Biomedical subjects

S McAdams

Publications and source records attributed to S McAdams.

At least 19 recordsLinked to original sources

PubMed2002

Neural correlates of timbre change in harmonic sounds.

Timbre is a major structuring force in music and one of the most important and ecologically relevant features of auditory events. We used sound stimuli selected on the basis of previous psychophysiological studies to investigate the neural correlates of timbre perception. Our results indicate that both the left and right hemispheres are involved in timbre processing, challenging the conventional notion that the elementary attributes of musical perception are predominantly lateralized to the right hemisphere. Significant timbre-related brain activation was found in well-defined regions of posterior Heschl's gyrus and superior temporal sulcus, extending into the circular insular sulcus. Although the extent of activation was not significantly different between left and right hemispheres, temporal lobe activations were significantly posterior in the left, compared to the right, hemisphere, suggesting a functional asymmetry in their respective contributions to timbre processing. The implications of our findings for music processing in particular and auditory processing in general are discussed.

Adult↗

PubMed2001

Similarity, invariance, and musical variation.

Perceptual similarity underlies a number of important psychological properties of musical materials, including perceptual invariance under transformation, categorization, recognition, and the sense of familiarity. Mental processes involved in the perception of musical similarity may be an integral part of the functional logic of music composition and thus underly important aspects of musical experience. How much and in what ways can musical materials be varied and still be considered as perceptually related or as belonging to the same category? The notions of musical material, musical variation, perceptual similarity and invariance, and form-bearing dimensions are considered in this light. Recent work on similarity perception has demonstrated that the transformation space for a given musical material is limited by several factors ranging from degree of match of the values of auditory attributes of the events composing the sequences to their relations of various levels of abstraction and to the degree that the transformation respects the grammar of the musical system within which the material was composed. These notions and results are considered in the light of future directions of research, particularly concerning the role of similarity and invariance in the understanding of musical form during listening.

Auditory Perception↗

PubMed2001

Feature dependence in the automatic identification of musical woodwind instruments.

The automatic identification of musical instruments is a relatively unexplored and potentially very important field for its promise to free humans from time-consuming searches on the Internet and indexing of audio material. Speaker identification techniques have been used in this paper to determine the properties (features) which are most effective in identifying a statistically significant number of sounds representing four classes of musical instruments (oboe, sax, clarinet, flute) excerpted from actual performances. Features examined include cepstral coefficients, constant-Q coefficients, spectral centroid, autocorrelation coefficients, and moments of the time wave. The number of these coefficients was varied, and in the case of cepstral coefficients, ten coefficients were sufficient for identification. Correct identifications of 79%-84% were obtained with cepstral coefficients, bin-to-bin differences of the constant-Q coefficients, and autocorrelation coefficients; the latter have not been used previously in either speaker or instrument identification work. These results depended on the training sounds chosen and the number of clusters used in the calculation. Comparison to a human perception experiment with sounds produced by the same instruments indicates that, under these conditions, computers do as well as humans in identifying woodwind instruments.

Acoustics↗

PubMed2000

Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness.

Can tension in nontonal music be expressed without dynamic or rhythmic cues? Perceptual theories of tonal harmony predict that psychoacoustic roughness plays an important role in the perception of this tension. We chose a set of orchestrated chords from a nontonal piece and investigated listeners' judgments of musical tension and roughness. Paired comparisons yielded psychophysical scales of tension and roughness. Two experiments established distinct levels of these two attributes across chords. A model simulation reproduced the experimental roughness measures. The results indicate that nontonal tension could be perceived consistently on the basis of timbral differences and that it was correlated with roughness, the correlation being stronger as the perceptual salience of other attributes (such as high-pitched tones or tonal intervals) was reduced.

Adolescent↗

PubMed1999

Discrimination of musical instrument sounds resynthesized with simplified spectrotemporal parameters.

The perceptual salience of several outstanding features of quasiharmonic, time-variant spectra was investigated in musical instrument sounds. Spectral analyses of sounds from seven musical instruments (clarinet, flute, oboe, trumpet, violin, harpsichord, and marimba) produced time-varying harmonic amplitude and frequency data. Six basic data simplifications and five combinations of them were applied to the reference tones: amplitude-variation smoothing, coherent variation of amplitudes over time, spectral-envelope smoothing, forced harmonic-frequency variation, frequency-variation smoothing, and harmonic-frequency flattening. Listeners were asked to discriminate sounds resynthesized with simplified data from reference sounds resynthesized with the full data. Averaged over the seven instruments, the discrimination was very good for spectral envelope smoothing and amplitude envelope coherence, but was moderate to poor in decreasing order for forced harmonic frequency variation, frequency variation smoothing, frequency flattening, and amplitude variation smoothing. Discrimination of combinations of simplifications was equivalent to that of the most potent constituent simplification. Objective measurements were made on the spectral data for harmonic amplitude, harmonic frequency, and spectral centroid changes resulting from simplifications. These measures were found to correlate well with discrimination results, indicating that listeners have access to a relatively fine-grained sensory representation of musical instrument sounds.

Adult↗

PubMed1999

Two phase effects in roughness perception.

The respective influences of spectral and temporal aspects of sound in roughness perception are examined by way of phase manipulations. In a first experiment, the phase of the central component of three-component signals is shown to modify perceived roughness, for a given amplitude spectrum, regardless of whether it modifies the waveform envelope. A second experiment shows that the shape of the waveform envelope, for a given amplitude spectrum and a given modulation depth, also influences perceived roughness. We interpret both of these results by considering the envelope of an internal representation that is deduced from the physical signal by taking into account peripheral auditory processing. The results indicate that the modulation depth of such an internal representation is not the only determinant of roughness, but that an effect of temporal asymmetry is also to be taken into account.

Adult↗

PubMed1999

The auditory continuity phenomenon: role of temporal sequence structure.

The auditory continuity phenomenon occurs when listening to a series of alternating high- and low-level tones: instead of perceiving this intermittence, listeners often report hearing a continuous tone upon which is superimposed a series of intermittent tones. The temporal limits to the perception of this phenomenon are investigated, as well as effects of task instructions on it. A loudness-matching paradigm developed previously [McAdams et al., J. Acoust. Soc. Am. 130, 1580-1591 (1998)] provided both an objective indication of this phenomenon and an indication of its strength. In the studies reported here, the phenomenon was observed reliably when the low-level tones were at least half the duration of the high-level tones: the greater the duration ratio between low-level and high-level tones, the stronger the phenomenon. Duty-cycle duration did not affect the strength of this phenomenon. It proved to be particularly robust as its strength was unaffected by task instructions, level of expertise, and repetition. A model is proposed in which adjusted levels depend on the relative levels of the high- and low-level tones weighted by relative duration and attentional focusing.

Auditory Perception↗

PubMed1998

The functional anatomy of sound intensity discrimination.

The human neuroanatomical substrate of sound intensity discrimination was investigated by combining psychoacoustics and functional neuroimaging. Seven normal subjects were trained to detect deviant sounds presented with a slightly higher intensity than a standard harmonic sound, using a Go/No Go paradigm. Individual psychometric curves were carefully assessed using a three-step psychoacoustic procedure. Subjects were scanned while passively listening to the standard sound and while discriminating changes in sound intensity at four different performance levels (d' = 1.5, 2.5, 3.5, and 4.5). Analysis of regional cerebral blood flow data outlined activation, during the discrimination conditions, of a right hemispheric frontoparietal network already reported in other studies of selective or sustained attention to sensory input, and in which activity appeared inversely proportional to intensity discriminability. Conversely, a right posterior temporal region included in secondary auditory cortex was activated during discrimination of sound intensity independently of performance level. These findings suggest that discrimination of sound intensity involves two different cortical networks: a supramodal right frontoparietal network responsible for allocation of sensory attentional resources, and a region of secondary auditory cortex specifically involved in sensory computation of sound intensity differences.

Adult↗

PubMed1998

Auditory continuity and loudness computation.

Sequences composed of alternating bursts of different levels with no silences separating them can give rise to a perception of a continuous sound upon which is superimposed an intermittent stream. These experiments sought to determine how the perceived loudness of the intermittent stream depends on the level difference between higher-level and lower-level bursts in the sequence in cases in which continuity is either heard or not heard. In the main experiment, listeners were asked to adjust the level of continuous or intermittent comparison sequences to match the loudness of components that appeared to be either continuous or intermittent in an alternating-level reference sequence, thus urging them to focus on the two-stream percept. Loudness matches of continuous comparison stimulus were close to physical levels of the lower-level bursts, whereas matches of the intermittent comparison stimulus were well below the physical levels of higher-level bursts. These results are discussed in terms of Bregman's [Auditory Scene Analysis (MIT, Cambridge, MA, 1990)] "old-plus-new" hypothesis: The loudness of the intermittent stream should result from the subtraction of the lower level from the higher level under the assumption that the higher-level burst represents a simultaneous mixture of sounds including the continuation of the lower-level burst. Additional experiments verified that, in the absence of the continuity phenomenon, matched levels were very close to the physical levels and that matches to fixed-level continuous and intermittent sequences were precise. The matching results from the main experiment support predictions of neither classical loudness models that do not take auditory organization processes into account nor schema-based models that presume a selection of information from the higher-level burst that does not affect the perceptual content of this burst. The matched levels fell between predictions of models based on subtraction of acoustic pressure and acoustic power, but were very different from subtraction of loudness measured in sones, suggesting that loudness is computed subsequent to auditory organization processes.

Acoustic Stimulation↗

PubMed1997

Organization and discrimination of repeating sound sequences by newborn infants.

A study was conducted to determine whether newborn infants organize auditory streams in a manner similar to that of adults. A series of three experiments investigated the ability of 3- to 4-day-old infants to discriminate repeated rising and falling four-tone sequences in two configurations of source timbre and spatial position. It was hypothesized that if the sequences were organized into two auditory streams on the basis of timbre and spatial position, one of the configurations should be discriminable from its reversal while the other should not. The sequences were tested with different pitch and temporal intervals separating the tones. Sequences were discriminated for the first configuration by adults at both fast tempo/small interval and slow tempo/large interval combinations, while only the latter was discriminated by newborns as measured with a non-nutritive high-amplitude sucking paradigm. Neither adults nor infants could discriminate the sequence reversals for the second configuration. The results suggest that newborn infants organize auditory streams on the basis of source timbre and/or spatial position. They also suggest that newborns have limits in temporal and/or pitch resolution when discriminating tone sequences.

Auditory Perception↗

PubMed1997

Perceptual attenuation of nonfocused auditory streams.

The aim of this study was to measure the perceptual attenuation, measured in decibels, resulting from the focusing of attention on one stream within a multistream auditory sequence. The intensity of a nonfocused stream was increased until the accuracy of detecting a temporal irregularity in this stream was the same as in a focused stream. Eight subjects were required to detect a temporal irregularity created by delaying or advancing one tone which could be situated in one of three temporally regular streams played simultaneously to create a multistream sequence. The three streams differed in tempo and frequency. Subjects' attention was focused on one of the streams by preceding the multistream sequence with one of the single streams (a cue). We first established the size of temporal irregularity detected at a 90% level in cued streams, confirming that subjects were able to focus on one particular stream. Second, an irregularity of this size was not detected above chance level in noncued streams, demonstrating that listeners focus only on the cued stream. Third, for 5 subjects, a 15-dB increase in the level of one of the noncued streams was necessary to bring detection up to that found in the cued streams. This gain provides an equivalent measure of the perceptual attenuation of nonfocused streams. For 3 other subjects, detection in the noncued stream remained at chance performance whatever the level. For all subjects, detection in the cued stream decreased slightly as the level of the noncued stream increased. We conclude that the attenuation of nonfocused auditory streams can attain as much as 15 dB, at least for some subjects.

Attention↗

PubMed1997

The representation of auditory source characteristics: simple geometric form.

Two experiments examined listeners' ability to discriminate the geometric shape of simple resonating bodies on the basis of their corresponding auditory attributes. In cross-modal matching tasks, subjects listened to recordings of pairs of metal bars (Experiment 1) or wooden bars (Experiment 2) struck in sequence and then selected a visual depiction of the bar cross sections that correctly represented their relative widths and heights from two opposing pairs presented on a computer screen. Multidimensional scaling solutions derived from matching scores for metal and wooden bars indicated that subjects' performance varied directly with increasing differences in the width/height (W/H) ratios of both sets of bars. Subsequent acoustic analyses revealed that the frequency components from torsional vibrational modes and the ratios of frequencies of transverse bending modes in the bars correlated strongly with both the bars' W/H ratios and bar coordinates in the multidimensional configurations. The results suggest that listeners can encode the auditory properties of sound sources by extracting certain invariant physical characteristics of their gross geometric properties from their acoustic behavior.

Adolescent↗

PubMed1997

Isolation, genetic diversity, and geographic distribution of Bayou virus (Bunyaviridae: hantavirus).

Bayou hantavirus, previously implicated in human hantavirus pulmonary syndrome in Louisiana, was isolated from a rice rat (Oryzomys palustris) captured in Georgia. The presence of antibody among rice rats captured throughout the southeastern United States and the extent of diversity among the genetic variants of Bayou viruses suggest that the rice rat is the most likely natural reservoir of the virus and that both virus and host have probably co-evolved for some years.

Animals↗

PubMed1996

The role of auditory beats induced by frequency modulation and polyperiodicity in the perception of spectrally embedded complex target sounds.

The contribution of auditory beats to the perception of target sounds differing from an interfering background by their frequency modulation (FM) pattern or by a difference in fundamental frequency (F0) was investigated. On each trial, test sounds composed of a single, second-order formant were embedded in harmonic backgrounds and presented in successive intervals. The center frequencies of these "normal" formants differed across intervals. Subjects were to decide which interval contained the test formant with a center frequency matching that of an isolated target formant presented before each test stimulus. Matching thresholds were measured in terms of the width of modulation for FM stimuli or the mistuning of the F0's of unmodulated test formants relative to that of the background. Beats may have allowed the identification of the spectral region of the target in both experiments. To reduce interactions between test and background components, matching thresholds were measured for "flat" formants composed of two or three equal-amplitude components embedded in a harmonic background in which components corresponding to those of test formants were absent. These measures were repeated with the addition of a pink noise floor. Matching was still possible in all cases, though at higher thresholds than for normal formants. Computer simulations suggested that the modulation depth of envelope fluctuations within auditory channels played a significant role in the matching of target sounds when their components were mixed in the same frequency region with those of an interfering sound, but not when the target and background components were separated by as much as 250 Hz, the F0 of the stimulus.

Adult↗

PubMed1995

Perceptual scaling of synthesized musical timbres: common dimensions, specificities, and latent subject classes.

To study the perceptual structure of musical timbre and the effects of musical training, timbral dissimilarities of synthesized instrument sounds were rated by professional musicians, amateur musicians, and nonmusicians. The data were analyzed with an extended version of the multidimensional scaling algorithm CLASCAL (Winsberg & De Soete, 1993), which estimates the number of latent classes of subjects, the coordinates of each timbre on common Euclidean dimensions, a specificity value of unique attributes for each timbre, and a separate weight for each latent class on each of the common dimensions and the set of specificities. Five latent classes were found for a three-dimensional spatial model with specificities. Common dimensions were quantified psychophysically in terms of log-rise time, spectral centroid, and degree of spectral variation. The results further suggest that musical timbres possess specific attributes not accounted for by these shared perceptual dimensions. Weight patterns indicate that perceptual salience of dimensions and specificities varied across classes. A comparison of class structure with biographical factors associated with degree of musical training and activity was not clearly related to the class structure, though musicians gave more precise and coherent judgments than did non-musicians or amateurs. The model with latent classes and specificities gave a better fit to the data and made the acoustic correlates of the common dimensions more interpretable.

Adolescent↗

PubMed1995

Identification of concurrent harmonic and inharmonic vowels: a test of the theory of harmonic cancellation and enhancement.

The improvement of identification accuracy of concurrent vowels with differences in fundamental frequency (delta F0) is usually attributed to mechanisms that exploit harmonic structure. To decide whether identification is aided primarily by selecting the target vowel on the basis of its harmonic structure ("harmonic enhancement") or removing the interfering vowel on the basis of its harmonic structure ("harmonic cancellation"), pairs of synthetic vowels, each of which was either harmonic or inharmonic, were presented to listeners for identification. Responses for each vowel were scored according to the vowel's harmonicity and that of the vowel that accompanied it. For a given target, identification was better by about 3% for a harmonic ground unless the target was also harmonic with the same F0. This supports the cancellation hypothesis. Identification was worse for harmonic than for inharmonic targets by 3%-8%. This does not support the enhancement hypothesis. When both vowels were harmonic, identification was better by about 6% when the F0's differed by 1/2 semitone, consistent with previous experiments. Results are interpreted in terms of harmonic enhancement and harmonic cancellation, and alternative explanations such as waveform interaction are considered.

Adult↗

PubMed1993

Evidence that the major physiological role of TRH in the hypothalamic paraventricular nuclei may be to regulate the set-point for thyroid hormone negative feedback on the pituitary thyrotroph.

If a primary physiologic action of TRH is to regulate the set-point for negative feedback, a sudden drop in plasma thyroid hormone concentration should stimulate the same rate of in vivo increase in TSH secretion from normal and TRH-deprived thyrotrophs. To test this hypothesis, 3 experiments were performed in which young adult female rats were divided into 3 groups of 6-10 rats each: intact controls, hypothalamic paraventricular nuclei ablation (PVN) and sham-ablated (Sham). Sham and PVN rats were thyroparathyroidectomized 2-4 weeks after brain lesions and serial blood samples taken in all groups at frequent intervals from 0 to 58 days post-thyroidectomy. Plasma TSH was significantly higher than in intact controls by 3 days post-thyroidectomy in both the Sham and PVN groups (p < 0.05). At 14 days PVN plasma TSH was 4 x higher and at 30 days 8 x higher than in intact controls and remained consistently at 50% of that of the Sham group. There was no statistical difference between PVN and Sham in the rate of increase in TSH. Plasma T4 was 40% lower in PVN than in Sham at the time of thyroidectomy and became undetectable in both by day 3. The prompt parallel rate of rise of plasma TSH in Sham and PVN groups following thyroidectomy indicates that a primary physiologic action of TRH in the thyrotroph is to control the set-point for thyroid hormone negative feedback on TSH secretion.(ABSTRACT TRUNCATED AT 250 WORDS)

Animals↗

PubMed1992

Perception of timbral analogies.

Recent studies have investigated the structure of perceptual relations among musical instrument timbres by multidimensional scaling (MDS) techniques. These studies have employed both acoustically produced tones and digitally synthesized imitations and hybrids of acoustic instrument tones. The analyses of dissimilarity ratings for all pairs of a set of tones are usually represented as geometrical structures in a two- or three-dimensional Euclidean space in which the shared 'perceptual' axes are shown to have a qualitative correspondence to acoustic properties such as spectral energy distribution, onset characteristics and degree of change in spectral distribution over the duration of the tone. The present study took as a point of departure a MDS analysis for complex, synthetic tones with the aim of testing whether musician and non-musician listeners used the relations defined by the perceptual space to perform an analogies task of the sort: timbre A is to timbre B as timbre C is to which of two possible timbres, D or D'? A parallelogram model was used to select the D timbres: if the relation between A and B is represented as a vector with both magnitude and direction components, then the appropriate D should form a vector with C having similar magnitude and direction in the timbre space. Aside from conceptual difficulties with the task for both non-musicians and composers, choices for both groups provide support for the parallelogram model indicating a capacity in listeners to perceive abstract relations among the timbres of complex sounds without specific training in such a task.

Acoustic Stimulation↗