Auditory psychophysics and perception.

In this review of auditory psychophysics and perception, we cite some important books, research monographs, and research summaries from the past decade. Within auditory psychophysics, we have singled out some topics of current importance: Cross-Spectral Processing, Timbre and Pitch, and Methodological Developments. Complex sounds and complex listening tasks have been the subject of new studies in auditory perception. We review especially work that concerns auditory pattern perception, with emphasis on temporal aspects of the patterns and on patterns that do not depend on the cognitive structures often involved in the perception of speech and music. Finally, we comment on some aspects of individual difference that are sufficiently important to question the goal of characterizing auditory properties of the typical, average, adult listener. Among the important factors that give rise to these individual differences are those involved in selective processing and attention.

Influence of spectral locus and F0 changes on the pitch and timbre of complex tones.

Harmonic complex tones comprising components in different spectral regions may differ considerably in timbre. While the pitch of "residue" tones of this type has been studied extensively, their timbral properties have received little attention. Discrimination of F0 for such tones is typically poorer than for complex tones with "corresponding" harmonics [A. Faulkner, J. Acoust. Soc. Am. 78, 1993-2004 (1985)]. The F0 DLs may be higher because timbre differences impair pitch discrimination. The present experiment explores effects of changes in spectral locus and F0 of harmonic complex tones on both pitch and timbre. Six normally hearing listeners indicated if the second tone of a two-tone sequence was: (1) same, (2) higher in pitch, (3) lower in pitch, (4) same in pitch but different in "something else," (5) higher in pitch and different in "something else," or (6) lower in pitch and different in "something else" than the first. ("Something else" is assumed to represent timbre.) The tones varied in spectral loci of four equal-amplitude harmonics m, m + 1, m + 2, and m + 3 (m = 1,2,3,4,5,6) and ranged in F0 from 200 to 200 +/- 2n Hz (n = 0,1,2,4,8,16,32). Results show that changes in F0 primarily affect pitch, and changes in spectral locus primarily affect timbre. However, a change in spectral locus can also influence pitch. The direction of locus change was reported as the direction of pitch change, despite no change in F0 or changes in F0 in the opposite direction for delta F0 < or = 0-2%. This implies that listeners may be attending to the "spectral pitch" of components, or to changes in a timbral attribute like "sharpness," which are construed as changes in overall pitch in the absence of strong F0 cues. For delta F0 > or = 2%, the direction of reported pitch change accord with the direction of F0 change, but the locus change continued to be reported as a timbre change. Rather than spectral-pitch matching of corresponding components, a context-dependent spectral evaluation process is thus implied in discernment of changes in pitch and timbre. Relative magnitudes of change in derived features of the spectrum such as harmonic number and F0, and absolute features such as spectral frequencies are compared. What is called "spectral pitch," contributes to the overall pitch, but also appears to be an important dimension of the multidimensional percept, timbre.

Studies in auditory timing: 1. Simple patterns.

Listeners' accuracy in discriminating one temporal pattern from another was measured in three psychophysical experiments. When the standard pattern consisted of equally timed (isochronic) brief tones, whose interonset intervals (IOIs) were 50, 100, or 200 msec, the accuracy in detecting an asynchrony or deviation of one tone in the sequence was about as would be predicted from older research on the discrimination of single time intervals (6%-8% at an IOI of 200 msec, 11%-12% at an IOI of 100 msec, and almost 20% at an IOI of 50 msec). In a series of 6 or 10 tones, this accuracy was independent of position of delay for IOIs of 100 and 200 msec. At 50 msec, however, accuracy depended on position, being worst in initial positions and best in final positions. When one tone in a series of six has a frequency different from the others, there is some evidence (at IOI = 200 msec) that interval discrimination is relatively poorer for the tone with the different frequency. Similarly, even if all tones have the same frequency but one interval in the series is made twice as long as the others, temporal discrimination is poorer for the tones bordering the longer interval, although this result is dependent on tempo or IOI. Results with these temporally more complex patterns may be interpreted in part by applying the relative Weber ratio to the intervals before and after the delayed tone. Alternatively, these experiments may show the influence of accent on the temporal discrimination of individual tones.

Studies in auditory timing: 2. Rhythm patterns.

Listeners discriminated between 6-tone rhythmic patterns that differed only in the delay of the temporal position of one of the tones. On each trial, feedback was given and the subject's performance determined the amount of delay on the next trial. The 6 tones of the patterns marked off 5 intervals. In the first experiment, patterns comprised 3 "short" and 2 "long" intervals: 12121, 21121, and so forth, where the long (2) was twice the length of a short (1). In the second experiment, patterns were the complements of the patterns in the first experiment and comprised 2 shorts and 3 longs: 21212, 12212, and so forth. Each pattern was tested 45 times (5 positions of the delayed tone x 3 tempos x 3 replications). Consistent with previous work on simple interval discrimination, absolute discrimination (delta t in milliseconds) was poorer the longer the intervals (i.e., the slower the tempo). Measures of relative discrimination (delta t/t, where t was the short interval, the long interval, or the average of 2 intervals surrounding the delayed tone) were better the slower the tempo. Beyond these global results, large interactions of pattern with position of the delayed tone and tempo suggest that different models of performance are needed to explain behavior at the different tempos. A Weber's law model fit the slow-tempo data better than did a model based on positions of "natural accent" (Povel & Essens, 1985).

Poststimulatory pitch shifts for pure tones.

Changes in the pitch of a short tone pulse (25 msec, 1000 HZ), following a leading tone, were measured at various leading-tone frequencies and for various time intervals between the leading tone and the tone pulse. The results show that poststimulatory pitch shifts away from the pitch of the leading tone are significant and reproducible. It is suggested that poststimulatory pitch shifts may influence the results of various psychoacoustic experiments on pitch perception.

Acoustical research in the life sciences.

This paper briefly reviews research progress during the past 50 years in physiological and psychological acoustics. Special attention is paid to the physiology of the auditory system, sound conduction in the ear, cochlear mechanics, masking, auditory localization, psychoacoustic behavior in animals, speech perception, medical applications, coupling between psychophysics and physiology, temporal aspects of sensory attitudes, and ecological acoustics.

Some figural properties of auditory patterns.

Listeners identified one of six permutations of three frequencies, presented as brief three-note melodies. Identification performance remained high in spite of transposition of the original three frequencies throughout a two-octave range, so long as the musical intervals or frequency ratios between the adjacent pairs of frequencies remained constant. Even when those intervals were compressed or expanded, while remaining about equal to each other, identification was quite good for the range between the lowest and highest frequency of no more than approximately 1/3 octave. Performance decreased sharply when the span was much wider. Unequal intervals, where the low and middle frequencies were closer together or farther apart than the middle and high frequencies, did not retain good identification performance. When the three-tone patterns were embedded in longer sequences of seven or eight tones, the identification performance was best when the pattern occurred at the beginning or the end of the sequence, and when the range of frequencies from which the irrelevant background tones were chosen lay outside the range of pattern frequencies. Under conditions where the background frequencies were fixed and the pattern frequencies were moved, thus combining the manipulation of embedding with that of transposition of the pattern, overlap of pattern and background frequencies was still the principal cause of deterioration in performance. The findings are related to some analogies to the perceptual rules of Gestalt theory, as well as to certain aspects of musical practice.