Samantha Foggle

MADISON — When Samantha Foggle was 3 years old, she said that the whine coming from the microwave that was warming up her dinner was an “F.”

“I said, ‘That’s not an ‘F,’ it’s a burrito,’ ” said her mother, Lili Foggle. “Then after listening to the microwave, I went to the piano and played an ‘F’ note. We were shocked to discover that she had perfect pitch.”

Samantha, now 13, has gone on to win two songwriting competitions, including the most recent one, Esongwriter.com’s International Songwriting Contest, which she won with her song “Just A Dream.”



Samantha, who has been playing piano and dabbling in music since age 3, competed against a large group of kids from all over the world, some of whom were five years older.

The Polson Middle School student plays guitar, drums, piano and a little bit of trumpet, and while she considers Taylor Swift to be her biggest influence, she doesn’t stick to light-hearted pop songs. Samantha hopes to write songs about global issues and help heal people with her music.

She had her first taste of fame in 2008 after winning the Original Girl Magazine Song Contest with her song “Anywhere But Here.”

“I wrote it when I was 9 about my friend whose family lost everything in Hurricane Katrina,” said Samantha. “If I were to become famous, I would write songs about helping others because there are a lot of people struggling in the world, like people in Africa who don’t get enough food, and rebellion in the Middle East.”

At a young age, Samantha tried helping others by going to The Hearth Retirement Center at Tuxis Pond to play piano and sing for Alzheimer’s patients.

“It sparked some memory that was still present,” said her father, John Foggle. “It rekindled it so they could sing along with songs that were hidden in the deep recesses of their minds.”

The singer/songwriter said that songs just come to her, sometimes the music before the lyrics or vice versa, but she constantly has music on her mind.

“Currently, I have five songs forming in my head,” said Samantha, who admits that some of her songs are focused on boys these days.

Samantha spends about 18 hours a week on her music, part of which is spent in rehearsal with the elite Elm City Girls’ Choir, a New Haven group for ages 6 to 18.

Samantha, who recently preformed with the group at Carnegie Hall, is one of 16 singers in the top division of the choir.

“She has been singing with the choir program for six years and she is an extraordinary musician,” said choir musical director Rebecca Rosenbaum.

“I hope that music is going to continue to be an important part of her life and that she will be contributing to the community as a musician,” Rosenbaum said.

But Samantha said that as much as she loves music, she may not choose it as a career and could see herself in a profession helping animals.

Her mother isn’t worried about Samantha ditching music anytime soon.

“I know that she’ll always write songs because she can’t not,” said Lili Foggle.

“I don’t think she has a goal; she writes songs because the songs come to her and because she needs to write them,” Lili Foggle said.

Samantha plans to enter more song-writing contests, but said that she isn’t going to take up a fifth instrument ... at least until the summer begins.

Call Alexandra Sanders at 203-789-5714. Follow us on Twitter @nhregister.

- New Haven Register March 8, 2011

A pop song written by Polson Middle School student Samantha Foggle has been chosen as the Youth Division Winner in the Esongwriter.com International Songwriting Contest. Her winning song, "Just A Dream" was announced on the CJC Music Radio Network - Music Business Showcase on blog talk radio Tuesday, March 1. As the winner of the Youth Divison, Ms. Foggle will be featured in Nashville's Stum Magazine.

This is the second song written by the 13-year-old to receive international recognition. Her song "Anywhere But Here" was a winner of the Original Girl Magazine 2008 Song Contest, a semi-finalist in the 2008 UK Songwriting Contest, and a top ten finalist in the 2008 GINA/LAWIM Singer-Songwriter Contest.



Foggle's songs and lyrics—including her winning song "Just a Dream"—can be found on her website: www.sonicbids.com/sammiejoy.
- Shore Publishing March 2, 2011

Byline: Frank D. Roylance

Samantha Foggle was 3 years old when her parents took in a relative's old piano. Her mother managed to pick out a scale one day, naming the notes for the girl, and then sang her the "Do-Re-Mi" song from "The Sound of Music."

"Three days later she was sitting in the kitchen," recalled Lili Foggle of Madison, Conn. "She said, `F ... The oven is an F.'

"I said, `What do you mean, the oven is an F?' " Eventually, it dawned on Foggle. She went to the piano, plunked an F, "and sure enough, it was the (humming) sound the microwave made when it was cooking."

Samantha has "perfect pitch." Sometimes called "absolute pitch," it is the ability to recognize and name a musical tone without reference to any other note. Musicians and scientists have long debated whether this mysterious talent is inborn - or a result of early musical training.

Now, a team of scientists led by a Yale researcher claims to have settled the argument, using the first test ever devised to identify people with perfect pitch even if they have never laid eyes on a page of music or played a note.

"We clearly have data that says true absolute pitch is independent of someone's musical training. These people are born with this skill," says David Ross, an M.D.-Ph.D. candidate at Yale's medical school. His findings are to be presented today in Nashville, Tenn., at a meeting of the Acoustical Society of America The Acoustical Society of America (ASA) is an international scientific society dedicated to increasing and diffusing the knowledge of acoustics and its practical applications.

Those who don't have it, he said, might develop good "relative pitch" or "heightened tonal memory In music, tonal memory is the ability to recall a previously sounded tone (Gorow 2002, p.35). Tonal memory assists with staying in tune and may be developed through ear training. ," becoming skilled at identifying and remembering tones by their relationship to other notes or from other cues. "But it's not the same if you look deeper at the actual perceptual process that's taking place," Ross said. For example, his test shows their tonal accuracy is fragile, easily erased by musical "interference."

Studies suggest that as few as one person in 10,000 has perfect pitch, perhaps one in 10 in the best music schools. Those who have it liken it to recognizing colors. When most people see blue, they recognize it immediately as blue. When people with perfect pitch hear a note, it automatically gets a label. It doesn't require any thought, they say.

Although sometimes the envy of their relative-pitch peers, people with perfect pitch say it's not always an advantage.

"I've known some wonderful musicians who do not have perfect pitch, and some horrible musicians who do have it," said Clinton Adams.

As a painter, Adams worked in several mediums, including oil, acrylic, watercolor painting, and egg tempera. , who teaches at the Peabody Conservatory of Music in Baltimore.

"We're fortunate to have it, but sometimes I wish I didn't. I think it's actually harder," said Chris Kovalchick, 19, of Princeton, N.J., a perfect-pitch violin student in Adams' class. When an ensemble tuned to a slightly sharped (too-high) A, he said, "I felt like I was playing everything out of tune."

Performers with perfect pitch say being even a quarter-tone off key can stump them in figuring out the right notes to play, as if they're trying to read a sentence in which every letter has been replaced by the next one in the alphabet.

Vivaldi, Mozart, Beethoven and Rimsky-Korsakov are just a few of the composers who had perfect pitch. Studies show it tends to run in families, suggesting a genetic component.

Among his Peabody students at least, Adams said, perfect pitch seems to occur most often among those who played a well-tuned instrument from an early age.

Ross said previous studies have found the same pattern, and researchers concluded the ability was the result of early training.

But "there's a problem with that argument," Ross said. "The way they test for perfect pitch is by asking people to name musical notes. If you're not a musician, you can't name a musical note. We've never had a test for perfect pitch (for) non-musicians."

So, Ross and his colleagues devised one.

To someone with perfect pitch, he reasoned, a C has a "salience," or identity, all its own. That should make it possible to form a long-term memory of it.

To test the idea, Ross had 65 test subjects listen to a wide range of pure tones produced by a machine. After silent intervals, the subjects were asked to match the original tone by turning a knob on the machine.

"Everybody should be able to do that task, regardless of musical ability, or whether they have perfect pitch," he said. And they did well both those identified as having perfect pitch and those with good relative pitch memory.

But Ross then replaced the silent interval with "interfering tones" a series of as many as 71 tones of various pitches. Prior studies showed they would obliterate
the subject's short-term memory of the first tone. The results were striking.

The people with perfect pitch were "phenomenally accurate," he said. As a group, they came within a half-tone of the original note 95 percent of the time.

Those without perfect pitch including 45 expert musicians at the Yale School of Music, each with 10 or 20 years of musical experience might as well have guessed at the notes.

Their responses were "indistinguishable from chance," Ross said. - Baltimore Sun 2003

This is Your Brain in Tune

Beethoven and Jimi Hendrix, Mozart and Nat King Cole: All had the rare and mysterious musical ability called perfect pitch. Neuroscientist David Ross is investigating why their brains allowed them to recognize and reproduce tones unerringly, and why the rest of us can't.

September/October 2003
by Bruce Fellman

Bruce Fellman, a banjo picker unencumbered by perfect pitch, is the managing editor of the Yale Alumni Magazine.

Samantha Foggle had just turned three in June of 2000 when her family moved from Massachusetts to Connecticut, and the appliances started to sing.

In the course of the move the family had acquired an upright piano, and in a spare moment between unpacking boxes, Samantha's mother, Lili, plunked out a melody. "I don't really know how to play—we're not a musical family—but I could manage 'Do-Re-Mi,' from The Sound of Music," Lili says. Samantha was delighted. "A few days later, I was in the kitchen heating food in the microwave, and it was humming," recalls Lili. "Samantha said, 'It's an F, Mommy!' I ran over to the piano and played that note. Sure enough, it was an F."

For other children and their amazed parents, it's the hair dryer singing a B-flat, or the can opener running at G. An uncanny talent for naming the pitch of a household appliance is often the first sign that a child possesses one of the rarest and strangest of musical gifts: the ability to identify any tone or to reproduce it without needing to compare it with another tone for reference.

"I'd love to be able to look at a score and hear what it'll sound like."

Many of the greatest composers—Beethoven, Bach, Chopin, Handel, Mozart, and Bartok, to name several—are thought to have had perfect pitch, which scientists call absolute pitch (AP). The same goes for Nat King Cole, Stevie Wonder, Barbra Streisand, Yo-Yo Ma, Brian Wilson, and Jimi Hendrix. "You don't need AP to survive in society, or the world of music," says Thomas Duffy, deputy dean of the School of Music. "But I'd love to be able to look at a score and, without having to sit down at the piano, hear what it'll sound like." Ask someone with AP to play or sing from memory a passage from a Brandenberg concerto or a riff from "Purple Haze," and the job is done precisely on key, with no effort. Ask the person to sing it a minor third lower, and the response is instant and just as flawless.

To the ordinary listener, this seems like, well, witchcraft. (Frank Sinatra had AP.) Most of us have relative pitch, the ability to hear differences between musical tones. A few trained musicians have a heightened ability to recognize one particular pitch, or pitches played on certain instruments. But only one in ten thousand has genuine AP as German physiologist A. Bachem observed it in his test subjects in 1937: "The[ir] absence of reflection and humming excludes the possibility of a comparison of the test tone with any standard. This grade of absolute pitch may be called infallible and universal absolute pitch."

Scientists have been hard pressed to come up with an adequate explanation for the phenomenon. But the advent of new neurological imaging tools is beginning to change the field. David Ross '99, a budding neurobiologist in the fifth year of Yale's MD/PhD program, is one of the researchers now using these tools to watch the AP brain at work. "People who have AP live in a different perceptual universe from the rest of us," says Ross, who is a dedicated amateur singer but does not have perfect pitch. "Figuring out how they do this will give us a window into the larger mystery of music perception."

When Ross was an undergraduate, he met someone with AP, and the experience left a lasting, if not entirely positive, impression. He auditioned for the a cappella group Redhot and Blue, and the musical director asked him to sing a C. "I had no idea what a C was," says Ross. "Notes had no identity for me, so she was asking me to hear things that just didn't make sense." (He got in anyway.) Exasperated but intrigued, he started trying to find out why she could hear what he couldn't.

Psychologists have done some intriguing studies of pitch perception at different ages and in different cultures. Jenny Saffran of the University of Wisconsin and Diana Deutsch of the University of California at San Diego, for instance, have suggested that infants may have better pitch perception than adults, but lose it unless they use it for learning tonal languages such as Vietnamese. David Huron, an Ohio State University musicologist, has found that people respond automatically, with nurturing and protectiveness, to the high-pitched cooing and gurgling of infants.

Neuroanatomically, however, there wasn't much to go on. Scientists understand, in fine detail, how the human visual system works, but there are many uncertainties about the biology of hearing.

In 1851, Alfonso Corti, an Italian researcher working in Germany, discovered the basic anatomy of the inner ear. A decade later, the eminent German physicist Hermann von Helmholtz suggested that sound waves in the air might trigger specific patterns of vibrations in the snail-shaped organ called the cochlea. In the 1930s and later, University of Budapest scientist Georg von Bekesy confirmed von Helmholtz's conjectures in a series of papers showing how sound waves of certain frequencies activated only specific places in the cochlea's basilar membrane. This "place code" then traveled along the auditory nerve to the brain stem for processing, and finally to the auditory cortex, where it could be discerned as a certain pitch.

But over the years, scientists found that place coding, by itself, couldn't account for even ordinary skill at pitch discrimination. They realized that information was also being conveyed by a second type of code, one based on the timing patterns of the electrical impulses that result when inner-ear nerve cells are stimulated by sounds. Temporal encoding is thought to be critical in processing pitch, but it is poorly understood.

Then came magnetic resonance imaging (MRI). It was during the 1990s that neurobiologists began learning how to use MRI devices, originally developed to detect damage to the body's soft tissues, for mapping the mind. MRI uses magnetic energy to induce different chemical elements in the brain to emit distinctive radio signals. The signals are then rendered in different colors that produce two-dimensional snapshots of brain activity. A recent innovation, called functional MRI (fMRI), is to MRI what the moving picture was to the camera: It films blood flow in the brain over time, revealing sequence and process as the brain works on a task.

As an undergraduate, Ross went to John Gore, then professor of diagnostic radiology and applied physics, to explore the possibility that fMRI could be used to study AP. Gore saw it as an opportunity to help scientists understand how the auditory cortex is integrated and how humans recognize sounds. (He has since moved to Vanderbilt University but continues to supervise Ross's doctoral research.) For his senior thesis and his subsequent graduate studies, Ross found six people with AP and compared their performance on a series of tasks with that of 13 non-AP musicians.

Ross puts his subjects through a complicated battery of tests. He starts with note naming. "Musicians with AP are incredibly fast at this and can often name a note before we're done playing it," he says. "By contrast, great musicians who only have relative pitch skills, however highly refined, just can't do this."

After seven interference notes, even professional musicians have completely lost the first tone.

Next, he plays a series of tones and asks the subject to reproduce them on a tone generator. At its simplest level, this is a task almost anyone can do. But then things get increasingly tricky. After he plays a note, Ross waits for up to 16 seconds before he asks the subject to reproduce it. Next, he'll play a string of several different tones and ask the subject to reproduce the first one. After seven interference notes, most people, including professional musicians, have completely lost the first tone. "You can really see them sweat," says Ross. But for six-year-old Samantha Foggle and other AP subjects, the tests are almost ludicrously easy.

The difference is obvious on the fMRI images. "The six AP musicians were demographically as different as you can imagine—in the group was everyone from a 19-year-old black saxophone player to a 50-year-old Spanish cellist," says Ross. "And yet their brain activation patterns looked absolutely identical." In the AP group, three distinct regions of the brain glowed strongly and consistently as the subjects named and reproduced different musical tones. No one in the non-AP group showed this pattern. In fact, there was no common pattern at all among the non-AP subjects. (Ross's results have been presented at scientific meetings and will be published later this year in the journal Magnetic Resonance Imaging.)

Robert J. Zatorre, director of the auditory processing laboratory at the Montreal Neurological Institute, has published several brain imaging studies involving AP. In a review paper published in July in the journal Nature Neuroscience, Zatorre also found "interesting differences" in brain activity and anatomy between musicians with and without AP, similar to those Ross found. But—while there's very little hard evidence at present—both Zatorre and Ross believe that their findings are simply cerebral reflections of more basic differences in processes that are taking place in the most primitive part of the brain, the brain stem. It is here, notes Ross, that the information from the inner ear passes through various detection and analysis centers, and it is probably here, he believes, that a fundamental anatomical difference in wiring exists. Ross's hypothesis is that people with AP possess an additional neural connection that enables them to tap directly into the timing patterns passing along the auditory nerve. Each individual pattern, encoded by the brain, then serves as an absolute representation of each individual pitch. When stored in the brain's long-term memory vaults, the codes become a registry that lets the AP-gifted identify tones or reproduce them as easily as someone looking up a number in a phone book.

Ross is particularly interested in understanding the wiring of this process. "What we're seeing in the fMRI scans is only the tip of the iceberg," he says. "We're hoping to develop ways to actually see the brainstem at work and confirm our model."

In Ross's view, AP can't be learned; it's a genetic fluke. He has even found AP in a non-musician, Subject RM, whose only musical training was middle-school band. RM utterly flunked the note-naming test. But he sailed through the most complicated tone-reproduction exercises.

These results have made Ross unpopular in some quarters. The Perfect Pitch Ear Training SuperCourse and similar enterprises like to promulgate the notion that AP is a skill anyone can acquire, given the proper training and instructional tapes (operators are standing by). Ross has tested a subject who claimed to have taught himself to have AP; the subject failed. Musical training, Ross says, doesn't foster AP so much as reveal it.

Besides, says Ross, this debate misses the central point he's trying to make. "True AP is not the ability to name notes," he says. "True AP is a fundamentally different way of encoding pitch."

Even musicians say that AP, helpful as it is, is far from essential for music or musicianship. "With perfect pitch you're able to recognize a tone as, say, A, but there's a range within that A," says Joanna Maurer, the violinist with AP who is a member of the American Chamber Players. In actual musical performance, especially with a group, she explains, "Perfect pitch does not mean perfect intonation. It's the right combination within a note's range that leads to good intonation."

"AP enables you to have a more discerning ear," adds Miles Hoffman '73, violist and artistic director of the American Chamber Players, who does not have the ability. "It gives you more information about what you're hearing. But it isn't a guarantee of taste, intelligence, or musicality. You still need to practice."
- Yale Alumni Magazine September/October 2003

Samantha Foggle was just 3 years old when her parents took in a relative's old piano. Her mother managed to pick out a scale one day, naming the notes for the girl, and then sang her the "Do-Re-Mi" song from The Sound of Music.

"Three days later she was sitting in the kitchen," Lili Foggle, of Madison, Conn., recalled. "She said, `F. The oven is an F.'

"I said, `What do you mean, the oven is an F?' " Eventually, it dawned on Foggle. She went to the piano, plunked an F, "and sure enough, it was the [humming] sound the microwave made when it was cooking."
- Orlando Sentinel May 5, 2003

By Hannah Vahl, Staff Writer

Madison - Samantha Foggle, a fifth grader at Brown Middle School, is one of the ten finalists in the GINA Singer/Songwriter Contest.

The other nine finalists are adults.

"She was so honored to be in the top ten," said mother Lili Foggle. "I thought I would be in the hundred millionth thousandth," interjected daughter Samantha.

Foggle, 10, was entered into competition by her mother, who said she was just hoping to get her daughter feedback on the songs she writes.

Her song for the contest, "Anywhere But Here," is inspired by a friend she made who moved to Connecticut after his family home was ravagaed by Hurricane Katrina. She dedicates her song to the victims of Katrina.

- Shore Line Times May 14, 2008

Samantha Foggle, a 6th grader at Brown Middle School, composed a song that was selected as a winner of the 2009 Original Girl Magazine Song Contest. Foggle's song, "Anywhere But Here," appears on the Original Girl Magazine compilation CD. It was also a finalist in the 2008 GINA Singer-Songwriter Contest, and was selected as a semi-finalist in the 2008 UK Songwriting Contest. - The Source June 4, 2009

Samantha's song "Anywhere But Here," is a tribute to the people of Hurricane Katrina and concludes the O.G. Compilation CD. She's the youngest singer on the CD as well at 11 years old and writes and plays her own music, too! Very talented, upcoming singer! - Original Girl Magazine Spring Issue 2009