Choosing one pitch out of a discrete series using the same timbre and using several timbres at the same time

I thought about a possible experience. For example, if I hear a cluster going from C3 to, let's say, B3, and I need to repeat just one of the notes that I'm hearing, which note will I choose? Will the answer change in children? Is it possible to see what happens in musical talents? Is there any pattern of answers or not? What about when you use just 7 notes instead of 12? What about changing the temperament from, let's equal temperament to just intonation? Will the results change if I change the timbre I'm using (i.e., human voice instead of piano)?
What made me think about this experience? I've read that a pitch is often inferred from non-harmonic spectra, supposedly through a mapping process, an attempt to find the closest harmonic fit. If we organize sounds in such a way that we need to harmonize things that are not harmonic and give them just one pitch -and just one timbre too-, how do we organize in pitch a growing and discret series of pitches? Finally, what would the results be if we use more than one instrument in the same experience? For example, an alto tenor plays a C3, a basoon a C3#, a violin a D3, a piano a D#3, and so on. I hear this rich combination of timbres and pitches and I need to answer by singing which pitch do I hear the most, and maybe I could answer which instrument does this pitch belong to. This experience, if well done and controlled, could provide us very interesting results.

Musical achievement, practice, expression and timbre.

I'm reading Sloboda's big book. I would like to jump a bit and talk about the relationship between practice and musical achievement. Let's start with three things that were discovered through the Leverhulm study:
1) Early parental involvement is very important in musical achievement. If you are a children and your parents talk with your music professor and if they really want to hear what can you do today with your instrument, you'll probably have more motivation to practice.
2) Self-motivation to practice is really important as adolescence progresses. Now it's time to work because you love music, not because your parents want you to do it.
3) External circumstances are really important. Studying in summer will not be as much as enlightening as studying before giving a concert.

Now let's say a word about our subject. Timbre microstructure is one of the elements that will be affected by the expressive devices a high-level performer will use to add value to a musical score. What about high-level composers and producers?