Editing Absolute pitch (section)

===History of study and terminologies===
Scientific studies of absolute pitch commenced in the 19th century, focusing on the phenomenon of musical pitch and methods of measuring it.<ref name=Ellis1876>{{Cite journal |date=November 6, 1876 |author=Ellis, Alexander J |title=On the Sensitiveness of the Ear to Pitch and Change of Pitch in Music |journal=Proceedings of the Musical Association|pages=1–32 |volume=3 |issue=1 |doi=10.1093/jrma/3.1.1 |url=http://www.aruffo.com/eartraining/research/articles/ellis76.pdf |archive-url=https://ghostarchive.org/archive/20221009/http://www.aruffo.com/eartraining/research/articles/ellis76.pdf |archive-date=October 9, 2022 |url-status=live |access-date=August 24, 2010 }}</ref> It would have been difficult for the notion of absolute pitch to have formed earlier because pitch references were not consistent. For example, the note known as 'A' varied in different local or national musical traditions between what is considered as G sharp and B flat before the standardisation of the late 19th century. While the term ''absolute pitch'', or ''absolute ear'', was in use by the late 19th century by both British<ref name=Bosanquet1876>{{Cite book |year=1876 |author=Bosanquet, R.H.M |title=An Elementary Treatise on Musical Intervals and Temperament |place=London |publisher=Macmillan and Co |page=xiv |url=https://archive.org/stream/cu31924022233088#page/n5/mode/2up |access-date=August 24, 2010 }}</ref> and German researchers,<ref name=vonKries>{{Cite journal |year=1892 |author=von Kries, J |title=Über das absolute Gehör |trans-title=About the perfect pitch |language=de |journal=Zeitschrift für Psychologie  |volume=3 |pages=257–79 |url=http://www.aruffo.com/eartraining/research/articles/kreis92.htm |access-date=August 24, 2010 }} [http://www.aruffo.com/eartraining/research/articles/kreis92e.htm Translation by Christopher Aruffo, www.acousticlearning.com]</ref> its application was not universal; other terms such as ''musical ear'',<ref name=Ellis1876/> ''absolute tone consciousness'',<ref name=Otto07>{{Cite journal |year=1907 |author=Abraham, O |title=Das absolute Tonbewußtsein und die Musik |trans-title=Absolute tone consciousness and music |language=de |journal=Sammelbände der Internationalen Musikgesellschaft |volume=8 |pages=485–90 |url=http://www.aruffo.com/eartraining/research/articles/abraham07.htm |access-date=August 25, 2010 }} [http://www.aruffo.com/eartraining/research/articles/abraham07e.htm Translation by Christopher Aruffo, www.acousticlearning.com]</ref> or ''positive pitch''<ref name="Copp 1916">{{cite journal|author=Copp, E.F. |year=1916 |title=Musical Ability |journal=Journal of Heredity|volume=7 |issue=7 |pages=297–305 |url=http://www.aruffo.com/eartraining/fletcher/copp.htm|doi=10.1093/oxfordjournals.jhered.a110728 }}</ref> referred to the same ability. The skill is not exclusively musical.