The identification has been du bbed 'passive absolut e pi tch', while the reproduction has been dubbed 'active absolute pitch '. , by sing ing or adjust ing th e frequency of a vari abl e ton e genera to r) and ro do so wit hout reference to an external sta nda rd (l -3). Ab solut e pitch is generally defined as the ability either to zdentijjJ the chroma (pit ch class) of an isolat ed tone usin g labels such as C, 261 hert z, or D o or to p roduce a specified tone (e.g. For an und erst andin g of this dis com fort and its p roper pe rspe ctiv e, it is useful to define what absolut e pitch is, dema rcate what it is not, and explore it s possible origin s. N otwith st anding the above, many of th ose who p ossess absolut e pit ch do exper ience ta ng ible di scomf ort, disori entat ion, or anxiety whe n their pit ch pe rcep tion shifts, often varyi ng with wom en 's menstru al cycles, as a result of cert ain ph arm acologi cal int erventi ons (carbamaze pine in particul ar) or simp le ag ing. MOZART had it, HAYDNdid not RICHARDCARPENTER has it, PAUL MCCARTNEYdoes not. It is wid ely regard ed by many as representin g th e pinn acle of musical abilit y, and by others-includin g some wh o possess it-as a bother. Yet it has remain ed one of the most pers istent pu zzles in cogn itive psychology for over 100 years, and it has received renewed inter est from cogniti ve neuroscientists and geneticists hoping to better p inpoi nt its etiology. Ab solute pi tch has no obv ious societal or evoluti on ary adva ntage. Clinic ians are neith er besieged by patient s comp lain ing that they have it (and want to tid them selves of it) nor by those who lack it (and deman d some m ed ical int ervent ion in orde r to acquire th at which th ey consid er to be their musical, if not neu rologi cal, right ). There is no d escrip tion of it in the DSM-IV (the D iagnostic Statistical Manu al of the American Psychi atr ic Association). Bsolut e p itch is not a medi cal cond ition.

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