Editing Absolute pitch (section)

===Possible problems===
Musicians with absolute perception may experience difficulties that do not exist for other musicians. Because absolute listeners are capable of recognizing that a musical composition has been transposed from its original key, or that a pitch is being produced at a nonstandard frequency (either sharp or flat), a musician with absolute pitch may become confused upon perceiving tones believed to be "wrong" or hearing a piece of music "in the wrong key". The relative pitch of the notes may be in tune to each other, but out of tune to the standard pitch or pitches the musician is familiar with or perceives as correct. This can especially apply to [[Baroque music]], as many Baroque orchestras tune to A&nbsp;= 415&nbsp;Hz as opposed to 440&nbsp;Hz (i.e., roughly one standard [[semitone]] lower than the ISO standard for concert A),<ref name="Sacks, O. 2007">{{cite book |author=Sacks, O. |year=2007 |title=Musicophilia: Tales of Music and the Brain |url=https://archive.org/details/musicophilia00oliv |url-access=registration |publisher=Knopf |location=New York |isbn=978-1-4000-4081-0}}</ref> while other recordings of Baroque pieces (especially those of French Baroque music) are performed at 392&nbsp;Hz. Historically, tuning forks for concert A used on keyboard instruments (which ensembles tune to when present), have varied widely in frequency, often between 415&nbsp;Hz to 456.7&nbsp;Hz.<ref>{{cite journal |last1=Ellis |first1=Alexander |title=On the History of Musical Pitch |journal=Journal of the Society of Arts |date=March 5, 1880}}</ref>

Variances in the sizes of intervals for different keys and the method of tuning instruments also can affect musicians in their perception of correct pitch, especially with music synthesized digitally using alternative tunings (e.g., unequal [[well temperament]]s and alternative meantone tunings such as [[19 equal temperament|19-tone equal temperament]] and [[31 equal temperament|31-tone equal temperament]]) as opposed to [[12-tone equal temperament]].{{citation needed|date=August 2023}} An absolute listener may also use absolute strategies for tasks that are more efficiently accomplished with [[relative pitch|relative strategies]], such as transposition<ref name="miy_1993">{{cite journal |author=Miyazaki, K. |title=Absolute pitch as an inability: Identification of musical intervals in a tonal context |journal=Music Perception |volume=11 |issue=1 |year=1993 |pages=55–72 |doi=10.2307/40285599|jstor=40285599}}</ref> or producing harmony that is [[microtonal music|microtonal]] or whose frequencies do not match standard 12-tone equal temperament.<ref>{{cite book |author=Harris, G. B. |year=1974 |title=Categorical perception and absolute pitch |publisher=University of Western Ontario |location=Ontario}}</ref> It is also possible for some musicians to have displaced absolute pitch, where all notes are slightly flat or slightly sharp of their respective pitch as defined by a given convention.{{citation needed|date=June 2015}} This may arise from learning the pitch names from an instrument that was tuned to a concert pitch convention other than the one in use (e.g., A&nbsp;= 435&nbsp;Hz, the [[Paris Opera]] convention of the late 19th and early 20th centuries, as opposed to the modern Euro-American convention for concert A&nbsp;= 440&nbsp;Hz). Concert pitches have shifted higher for a brighter sound. When playing in groups with other musicians, this may lead to playing in a tonality that is slightly different from that of the rest of the group, such as when soloists tune slightly sharp of the rest of the ensemble to stand out or to compensate for loosening strings during longer performances.{{citation needed|date=August 2023}}