The influence of musical training on the perception of sequentially presented mistuned harmonics.

The question of whether musical scales have developed from a processing advantage for frequency ratios based on small integers, i.e., ratios derived from relationships among harmonically related tones, is widely debated in musicology and music perception. In the extreme position, this processing advantage for these so-called "natural intervals" is assumed to be inherent, and to apply to sequentially presented tones. If this is the case, evidence for this processing advantage should show up in psychoacoustic experiments using listeners from the general population. This paper reports on replications and extensions of two studies from the literature. One [Lee and Green, J. Acoust. Soc. Am. 96, 716-725 (1994)] suggests that listeners from the general population can in fact determine whether sequentially presented tones are harmonically related. The other study [Houtgast, J. Acoust. Soc. Am. 60, 405-409 (1976)] is interpreted in different terms, but could be confounded by such an ability. The results of the replications and extensions, using listeners of known relative pitch proficiency, are consistent with the idea that only trained musicians can reliably determine whether sequentially presented tones are harmonically related.

Discrimination of changes in the spectral shape of two-tone complexes.

Discrimination experiments were performed for changes in the amplitude of two-tone complexes. Thresholds were measured, among other things, as a function of bandwidth and center frequency. Usually, the overall intensity was roved in each and every presentation to prevent subjects from using loudness cues. The results show that changes in the spectral shape of broadband two-tone complexes can be perceived with and without a roving intensity level. For narrow-band signals, attempts have been made to explain the results in terms of the EWAIF model [Feth, Percept. Psychophys. 15, 375-378 (1974)]. This model could account for the data for signal bandwidths of 1 semitone or less. Modified EWAIF models did not yield better predictions. Thresholds for a change in the spectral shape were measured as a function of sensation level. The "near-miss" to Weber's law was not observed. This result is consistent with excitation pattern models.

Directional sensitivity to a tactile point stimulus moving across the fingerpad.

The ability of subjects to discriminate between directions of a point contact moving across the fingerpad was examined. Subjects were required to report, using an adaptive two-interval, two-alternative forced-choice procedure, whether in two sequential stimuli the direction of motion changed in a clockwise or counterclockwise direction. The overall mean orientation-change threshold across eight stimulus orientations was approximately 14 degrees, with the lowest threshold for the point motion toward the wrist. This observed lower threshold in the distal-to-proximal direction is thought to be due to stretching of the skin at the tip of the fingernail, to which one may be particularly sensitive. For all orientations, thresholds were generally more uniform and higher than those reported on vibrotactile linear contactor arrays for horizontal and vertical orientations.

Comparison of auditory filter shapes obtained with notched-noise and noise-tone maskers.

The notched-noise method has been widely used to estimate the shape of the auditory filter. Results obtained using this method may be influenced by combination bands produced by the interaction of components within the upper band of noise in the notched-noise masker. To assess the possible effect of such combination bands, results were compared for two types of masker: A notched noise, as used in previous experiments; and a masker in which the upper band of noise was replaced by a sinusoid with a frequency corresponding to the lower edge frequency of that band. This is referred to as the noise-tone masker. The signal frequency was 2 kHz, and measurements were obtained for two different spectrum levels of the noise masker, 30 and 45 dB. Auditory filter shapes derived using the two maskers were similar on their low-frequency sides, as expected. The low-frequency sides were less steep at the higher masker level. The high-frequency sides of the auditory filters derived using the noise-tone masker were sometimes slightly steeper than those obtained using the notched-noise masker, but the effect was generally small. Changes with level on the high-frequency sides were not consistent across subjects. An analysis of the notched-noise data taking into account the effects of the combination bands suggests that the maximal spectrum level of the combination bands, in the region just below the lower spectral edge of the primary noise band, is about 20 to 30 dB below the spectrum level of the primary band.(ABSTRACT TRUNCATED AT 250 WORDS)

Discrimination of auditory temporal patterns.

Two same-different discrimination experiments were performed for click patterns having a total duration of about 4 sec and interclick intervals of n x 250 msec, with n a random integer. In Experiment 1, the influence of the physical click group structure on discrimination performance was investigated. In Experiment 2, the effect of the strength of an induced internal clock on discrimination performance was measured. Performance was poor if the group structure of clicks was maintained during a change in click pattern and also if the induced internal clock strength was low. The performance of about 70% of the subjects improved significantly if either a change in click grouping structure occurred or a strong internal clock could be induced. These results cannot be accounted for with simple models based on single-interval duration discrimination or between-pattern correlation statistics.

Pitch related to spectral edges of broadband signals.

A complex tone often evokes a pitch sensation associated with its extreme spectral components, besides the holistic pitch associated with its fundamental frequency. We studied the edge pitch created at the upper spectral edge of complexes with a low-pass spectrum by asking subjects to adjust the frequency of a sinusoidal comparison tone to the perceived pitch. Measurements were performed for different values of the fundamental frequency and of the upper frequency of the complex as well as for three different phase relations of the harmonic components. For a wide range of these parameters the subjects could adjust the comparison tone with a high accuracy, measured as the standard deviation of repeated adjustments, to a frequency close to the nominal edge frequency. The detailed dependence of the matching accuracy on temporal parameters of the harmonic complexes suggests that the perception of the edge pitch in harmonic signals is related to the temporal resolution of the hearing system. This resolution depends primarily on the time constants of basilar-membrane filters and on additional limitations due to neuronal processes.

Analytic and synthetic pitch of two-tone complexes.

An experiment was performed in which subjects had to judge whether the pitch of two sequential sounds went up or down. The sounds were harmonic two-tone complexes. They were constructed in such a way that the frequency of one harmonic remained fixed, the frequency of the other went up or down, and the missing fundamental moved in the opposite direction. Results show that, for partials of low harmonic order, most subjects tend to follow the frequency of the moving partial, whereas for partials of order 6 or higher, responses are divided more or less equally between tracking of the moving partial and tracking of the missing fundamental.

Perception of spectral changes in multi-tone complexes.

Amplitude changes of the spectral components of a complex tone, relative to each other, are usually well perceived, even if the over-all intensity is kept fixed. Three experiments are reported: Experiment 1 dealt with the detectability of amplitude changes in two-tone complexes of fixed frequencies. Experiment 2 examined detection of slope changes in ramp-shaped spectral envelopes of two- and three-tone complexes as a function of spectral spacing. As a control experiment for some conditions a roving intensity level was used. Experiment 3 investigated the detectability of changes in the spectral slope of multi-tone complexes as a function of the number of components. The results of the experiments show that detection of spectral changes in a sound is strongly dependent on the frequency spacing of the components. It is concluded that the auditory system is capable of comparing the relative energy distributions over different critical bands. Within a critical band there exists an optimum frequency separation with respect to the detection of relative amplitude change.

Pitch motion with random chord sequences.

Perception of global pitch motion was studied through psychoacoustic experiments with random chord sequences. Chords contained either six or eight (fixed) tone elements, being sinusoidal, sawtooth-like, or Shepard tones, which were either on or off according to a probability controlled by the experimenter. Sequences of 2, 4, 5, or 8 chords were used. Identification by subjects of the perceived direction of overall pitch motion (up or down) was found to be well accounted for by a model in which the ultimate pitch motion percept is given by a sum of contributions from selected element transitions--that is, transitions between adjoining tone elements in successive time frames only. In its simplest form, this dipole contribution model has only one free parameter, the perceptual noise for an element transition, which was estimated for various acoustic tone representations and chord arrangements. Results of two experiments, which were carried out independently in two different laboratories, are reported.

Pitch identification of simultaneous diotic and dichotic two-tone complexes.

This study examines subjects' ability to recognize the pitches of two missing fundamentals in two simultaneous two-tone complexes whose partials are distributed in various ways between subjects' ears. The data show that identification performance is affected on different levels. Limited frequency resolution in the peripheral auditory system can degrade performance, but only if none of the four stimulus partials is aurally resolved. Identification performance is only weakly dependent on the manner of distributing partials between the ears. In some cases it was found that, probably at a very central level (e.g., attention), the identification processes of both simultaneous pitches interfere with one another. Some subjects are more likely to identify the pitch of one two-tone complex when the harmonic order of the other complex is higher than when this harmonic order is lower. Finally, some subjects tend to hear the complex tones analytically, i.e., perceive pitches of single partials instead of the missing fundamentals for some distribution of partials between the ears.

Auditory discrimination of tone-pulse onsets.

Two experiments are reported in which difference limens (DLs) were measured for onset times of a 1000-Hz tone pulse. An adaptive two-alternative forced-choice procedure and (mostly) well-trained subjects were used. In the first experiment, DLs were measured for the rise time of linear onset ramps at rise-time values between 10 and 60 msec. The DLs follow Weber's law up to a rise time of about 50 msec, and do not support the notion that rise times are perceived in a categorical manner. In the second experiment, DLs were obtained for linear, exponential, and raised-cosine onset envelopes at rise-time values between 10 and 40 msec. When energy differences in the critical band around 1000 Hz are computed for just-discriminable onsets, values between 0.7 dB (10-msec rise time) and 0.3 dB (40-sec rise time) are found. These equivalent intensity DLs show the same "near miss to Weber's law" behavior as do intensity DLs for pure tones.

Multidimensional tactile displays: identification of vibratory intensity, frequency, and contactor area.

Experiments were conducted to determine the ability of subjects to identify vibrotactile stimuli presented to the distal pad of the middle finger. The stimulus sets varied along one or more of the following dimensions: intensity of vibration, frequency of vibration, and contactor area. Identification performance was measured by information transfer. One-dimensional stimulus sets produced values in the range 1-2 bits and, for most subjects, three-dimensional sets produced values in the range 4-5 bits. Of the three dimensions considered, performance on the intensity variable was most affected, and performance on contactor area least affected, by simultaneous variations in the other dimensions.

Effects of signal envelope on the pitch of short complex tones.

Envelope-induced pitch shifts were measured for exponentially decaying complex tones consisting of two sinusoidal components with frequencies f1 = nf0 + 50 Hz and f2 = (n + 1) f0 + 50 Hz, where n equals 3, 4, or 5 and exponential decay rates were 0, 0.5, 1, and 2 dB/ms. Four subjects adjusted a sinusoidal comparison tone to match the virtual pitch of the (missing) fundamental and the pitches of the lower and upper partials f1 and f2. Pitch shifts for f1 are generally less, and pitch shifts for f2 always greater, than envelope-induced shifts observed in isolated sinusoidal tones of comparable frequency and envelope decay rate. Pitch-shift functions for virtual pitch are similar in magnitude and shape to average pitch-shift functions of the partials, which supports the idea that virtual pitch depends on spectral pitch.

Comparative learning of pitch and loudness identification.

This study investigated possible similarities between the ability to identify pitches and the ability to identify loudnesses. Systematic training of musically naive subjects indicated that frequency identification performance improves at about the same rate as intensity identification performance. Examination of frequency and intensity identification behavior of musically trained subjects showed that their ability to code pitch information efficiently does not generalize to an ability to encode loudness information more efficiently than untrained subjects. Intensity identification training curves of musically trained and untrained subjects are similar, but final performance levels are below frequency identification performance levels exhibited by musically trained subjects, especially those with absolute pitch.

Pitch identification of simultaneous dichotic two-tone complexes.

The optimum processor theory of Goldstein can, in principle, account for pitch perception phenomena involving simultaneous dichotic complex tones. The frequency-coding noise function, which is the only free parameter of the model, was estimated with pitch identification data of two simultaneous two-tone complexes presented to different ears. This "sigma" function was found to have a shape similar to that of the function derived from data on identification performance for single pitches. The sigmas in the simultaneous pitch identification experiment are larger by an amount that differs from subject to subject. By using different methods of data analysis it was found that the pitch estimation processes for the two tones are independent for most subjects. This allows a simple extension of Goldstein's optimum processor theory.

Effects of signal envelope on the pitch of short sinusoidal tones.

The pitch of short sinusoidal tones with exponentially rising or decaying envelopes is judged higher than the pitch of a gated tone of the same frequency, duration, and energy. The upward pitch shift depends on the rise or decay rate, the intensity, and the frequency. The effect, which requires a nonlinearity in the auditory system, cannot be adequately explained by existing models of hearing. Control experiments on pitch matching for short tones of varying duration and varying intensity are described. These suggest that envelope-induced pitch effects are linked to changes in average intensity, so that they are essentially the same as intensity-induced pitch changes. A model based on these considerations is proposed.

Tuning curves and pitch matches in a listener with a unilateral, low-frequency hearing loss.

Psychoacoustical tuning curves and interaural pitch matches were measured in a listener with a unilateral, moderately severe hearing loss of primarily cochlear origin below 2 kHz. The psychoacoustical tuning curves, measured in a simultaneous-masking paradigm, were obtained at 1 kHz for probe levels of 4.5-, 7-, and 13-dB SL in the impaired ear, and 7-dB SL in the impaired ear, and 7-dB SL in the normal ear. Results show that as the level of the probe increased from 4.5- to 13-dB SL in the impaired ear, (1) the frequency location of the tip of the tuning curve decreased from approximately 2.85 to 2.20 kHz and (2) the lowest level of the masker required to just mask the probe increased from 49- to 83-dB SPL. The tuning curve in the normal ear was comparable to data from other normal listeners. The interaural pitch matches were measured from 0.5 to 6 kHz at 10-dB SL in the impaired ear and approximately 15- to 20-dB SL in the normal ear. Results show reasonable identity matches (e.g., a 500-Hz tone in the impaired ear was matched close to a 500-Hz tone in the normal ear), although variability was significantly greater for pitch matches below 2 kHz. The results are discussed in terms of their implications for models of pitch perception.

Pitch of unequal-amplitude dichotic two-tone harmonic complexes.

Melodic interval identification experiments are reported for dichotic tone complexes of two successive random harmonics having different intensity ratios. Experimentally obtained confusion matrices are compared with theoretical matrices derived from Goldstein's optimal processor theory. Wightman's pattern transformation theory, and a newly formulated analytic pitch theory. Results confirm that at relatively low harmonic numbers, the optimal processor theory provides an excellent description of the empirical data, even for large inter-tone intensity differences, but that for complex tones of higher harmonic order analytic pitch perception plays a significant role. At harmonic numbers higher than about six, none of the examined theories or combinations of theories gives a complete account of empirical data, which underscores the fact that aural processing of complex tones is still not well understood.

Intensity perception XI. Experimental results on the relation of intensity resolution to loudness matching.

According to a recent extension of our theory of intensity perception [Lim et al., J. Acoust. Soc. Am 62, 1256-1267 (1977)], two stimuli are matched in loudness if and only if their intensities divide the respective dynamic ranges proportionally in terms of just noticeable differences. This study reports results of intensity discrimination and loudness matching experiments designed to test this prediction. Data were obtained over most of the dynamic range for three different types of sounds: a 1000-Hz tone in quiet, a 1000-Hz tone partially masked by a 2-octave band of noise, and spectrally flat wide-band noise. Of the five subjects tested, three produced results that had sufficient internal consistency to be useful for testing the predictions. For these subjects, the data and the theory were found to be reasonably consistent. Comparison with other studies, however, reveals that loudness matching results vary with matching paradigm by an amount that is significant with respect to the task of evaluating the theory. Hence, a rigorous test of the theory requires an improved understanding of the effects of matching paradigm.

Pitch of amplitude-modulated low-pass noise and predictions by temporal and spectral theories.

Pitch phenomena related to the periodic interruption rate of white noise have traditionally been regarded as evidence for time domain pitch processing in the auditory system since spectra of these signals are flat. Short-term spectra, however, contain information about the interruption rate. Melodic interval identification experiments were performed with sounds comprising low-pass filtered noise modulated by either a sine wave, a square wave, or a periodic narrow pulse wave. Melodic intervals were generated by varying the modulation frequency fm while the low-pass cutoff frequency fco of the noise was an experimental variable. The correct identification score shows a particular dependence on the ratio fco/fm for each type of modulation signal. Shapes and relative positions of performance functions are compared with predictions derived from an energy detector (time domain) model and a short-term power spectrum correlation (frequency domain) model, and are found to support the former more strongly than the latter. There is some evidence, however, for the existence of both types of processing in the auditory system.