I wonder if this is more a problem with the article than the study. I haven't read the study. It feels oddly described. Like, are they saying that when a Tsiman

I wonder if this is more a problem with the article than the study. I haven't read the study. It feels oddly described. Like, are they saying that when a Tsimané sings a song (solo, without instruments) on Tuesday, and then later sings the song on Friday, it's guaranteed to always start on the same pitch, without hearing some sort of reference note from an instrument? If so, that's basically perfect pitch. We all have comfortable vocal ranges, and I know generally where to start the Star Spangled Banner to hit both the high notes and the low notes, but since I have relative pitch and not perfect pitch, my starting point is still always going to vary within a minor third or so. Incidentally, I noticed in my college ear training courses that I (I have excellent relative pitch) would routinely score higher than the folks with perfect pitch. There's something about perfect pitch that can be really distracting to musicians for certain exercises, as it's not quite as flexible as relative pitch. So maybe that's related to the Tsimané. Also, there are aspects of different notes that very much are noticeable in physical reality and don't need to be culturally learned. In an old singing group of mine, we would have fun with a game where we would stand really close to each other, face to face, and sing unison, and then one of us would start to go slightly sharp or flat while the other would try to stay steady. There's an ugly "beating" sensation when this happens that goes away when you come back to unison. It's not just theory, you hear/feel it. That's present to a lesser extent with octaves, and then fifths, through the harmonic sequence. Those subtleties are of course covered up when you're using separate instruments or timbres, but using different timbres doesn't disprove the underlying presence.