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PubMed1992

Accuracy of pitch matching for pure tones and for complex tones with overlapping or nonoverlapping harmonics.

The discrimination of the fundamental frequency (fo) of pairs of complex tones with no common harmonics is worse than the discrimination of fo for tones with all harmonics in common. These experiments were conducted to assess whether this effect is a result of pitch shifts between pairs of tones without common harmonics or whether it reflects influences of spectral differences (timbre) on the accuracy of pitch perception. In experiment 1, pitch matches were obtained between sounds drawn from the following types: (1) pure tones (P) with frequencies 100, 200, or 400 Hz; (2) a multiple-component complex tone, designated A, with harmonics 3, 4, 8, 9, 10, 14, 15, and fo = 100, 200, or 400 Hz; (3) A multiple-component complex tone, designated B, with harmonics 5, 6, 7, 11, 12, 13, 16, and with fo = 100, 200 or 400 Hz. The following matches were made; A vs A, B vs B, A vs P, B vs P and P vs P. Pitch shifts were found between the pure tones and the complex tones (A vs P and B vs P), but not between the A and B tones (A vs B). However, the variability of the A vs B matches was significantly greater than that of the A vs A or B vs B matches. Also, the variability of the A vs P and B vs P matches was greater than that for the A vs B matches. In a second experiment, frequency difference limens (DLCs) were measured for the A vs A, B vs B, and A vs B pairs of sounds. The DLCs were larger for the A vs B pair than for A vs A or B vs B. The results suggest that the poor frequency discrimination of tones with no common harmonics does not result from pitch shifts between the tones. Rather, it seems that spectral differences between tones interfere with judgements of their relative pitch.

Adult↗
PubMed2004

Reconsidering evidence for the suppression model of the octave illusion.

The octave illusion is elicited by a sequence of tones presented to each ear that continuously alternate in frequency by one octave, but with high and low frequencies always in different ears. The percept for most listeners is a high pitch in one ear, alternating with a low pitch in the other ear. The influential suppression model of the illusion proposed by Deutsch and Roll (1976) carries three postulates: first, that listeners perceive only the pitch of the tones presented to their dominant ear; second, that this pitch is heard in whichever ear received the higher frequency tone; and third, that this apparent dissociation between what and where mechanisms arises from sequential interactions between the tones. In the present article, we reappraise evidence for the suppression model and demonstrate (1) the incompatibility of the theory with the existing literature on pitch perception, sound localization, and ear dominance and (2) methodological limitations in studies that have claimed to provide support for the suppression model. We conclude by proposing an alternative theory of the octave illusion that is based on established principles of fusion, rather than suppression, between ears.

Auditory Perception↗
PubMed1994

Perception of pitch and timbre by musically trained and untrained listeners.

In 2 experiments the author investigated how musicians and nonmusicians differentially perceive the dimensions of pitch and timbre. A categorization task was used in Experiment 1 to assess Ss' ability to identify how 2 consecutively presented tones changed along these dimensions. A speeded classification task was used in Experiment 2 to measure Ss' ability to ignore or take advantage of information in 1 dimension while attending to the other. The 2 groups differed in the degree to which variation along the dimensions influenced responses. Timbre variation affected nonmusicians' judgments of pitch more than the reverse. Musicians showed no such asymmetry.

Acoustic Stimulation↗
PubMed1975

Far-field recorded frequency-following responses: correlates of low pitch auditory perception in humans.

The recent demonstration that auditory frequency-following responses (FFR) can be recorded by signal averaging from the human scalp, opened the way for studies correlating FFR with auditory experience. This report describes FFR amplitude changes as a function of stimulus intensity and the addition of masking noise. The first experiment revealed a high degree of consistency both within and across subjects in the latency, phase and waveform of averaged FFR. This experiment also demonstrated a monotonic relationship between average FFR amplitude and stimulus intensity between 40 and 65 dB SL. Results of the second experiment showed a close correlation between the detectability of a tone in a noise masker and FFR amplitude. FFR amplitude diminishes precipitously as noise intensity approaches or exceeds the threshold for masking of the tone. These results are interpreted as emphasizing the role of neural periodicity mechanisms in the preception of low frequencies.

Acoustic Stimulation↗
PubMed1992

Perception of motion and position relative to the earth. An overview.

Results of the five experiments are consistent with the following generalizations. Canal-mediated turn perception (pitch, roll, or yaw) in earth-horizontal or earth-vertical plane, is suppressed in direct relationship to the magnitude of a linear acceleration vector lying in the plane of a responding canal when the magnitude of the linear vector is constant or increasing and when its direction is either fixed or rotating in the same direction as the concomitant canal signal. Canal-mediated turn perception (pitch, roll, or yaw) is not suppressed by a coplanar linear vector that is counterrotating relative to the canal signal. Change in perceived attitude (pitch, roll, or yaw) is very sluggish in the absence of concordant canal information; attitude change may not be an immediate otolith-mediated perceptual event but a slowly developing perception dependent upon cognitive appreciation of an immediate otolith angular position signal. Otolith phasic neural units, unreinforced by appropriate canal signals, may contribute more to a brief linear velocity component in perception than to rate of attitude change. Otolith-mediated attitude perception within a given earth-vertical plane can be distorted by strong coplanar angular velocity canal information. Once distorted, return to veridical attitude perception can be gradual because, in the absence of complimentary canal or visual information, recovery is dependent upon relatively slow cognitive appreciation of a prevailing otolith position signal. Several attractive hypotheses relating to the dynamics of attitude perception can only be tested by substantially more data on the dynamics of spatial orientation perception. Most of our objectives cannot be achieved without models that yield valid prediction of the dynamics of spatial orientation perception. All of the observations in these experiments were carried out in darkness, or, in the simulated catapult experiment, without external visual reference. Various forms of visual information will change the dynamics of spatial orientation perception. My discussion has been limited to consideration of the vestibular system, as though the canal and otolith systems completely controlled the dynamics of spatial orientation perceptions. Obviously other partners in the dynamics of postural control, including vision, proprioception, and expectation, must be included in this challenging field of research. Dedication to stereotyped ideas about objectivity in the 20th century has hindered advancement of knowledge on the dynamics of spatial orientation perception relative to rate of progress achieved by several scientists of the 18th and 19th centuries, who provided word pictures of perceived motions and tilts along with descriptions of the motions that engendered the pictures.(ABSTRACT TRUNCATED AT 400 WORDS)

Gravitation↗
PubMed2005

Dominance region for pitch: effects of duration and dichotic presentation.

The dominance region (DR) for pitch was determined for 16- and 200-ms complex tones containing the first seven harmonics of a fundamental frequency (F0) of 250 Hz. A tone was presented with one of the harmonics mistuned upwards or downwards by 3%, followed 500 ms later by a perfectly harmonic tone of the same duration. Listeners adjusted the F0 of the harmonic tone so that its pitch matched that of the mistuned complex. In experiment 1, stimuli were presented monaurally. The DR was significantly higher in harmonic number for the short than for the long duration. The overall sum of the pitch shifts produced by all harmonics was significantly larger for the short than for the long duration, presumably due to stronger perceptual fusion for the former. In experiment 2, the mistuned harmonic was presented only contralaterally to the remainder of the complex. A similar shift in the DR with duration was observed, although the pitch shifts were smaller than for monaural presentation. There was no significant effect of duration on the overall pitch shifts. The results are discussed in terms of pattern recognition and autocorrelation models of pitch perception, and a role of attention in pitch matching is suggested.

Acoustic Stimulation↗
PubMed1999

Evidence against an effect of grouping by spectral regularity on the perception of virtual pitch.

Two experiments investigated the role of the regularity of the frequency spacing of harmonics, as a separate factor from harmonicity, on the perception of the virtual pitch of a harmonic series. The first experiment compared the shifts produced by mistuning the 3rd, 4th, and 5th harmonics in the pitch of two harmonic series: the odd-H and the all-H tones. The odd-H tone contained odd harmonics 1 to 11, plus the 4th harmonic; the all-H tone contained harmonics 1 to 12. Both tones had a fundamental frequency of 155 Hz. Pitch shifts produced by mistuning the 3rd harmonic, but not the 4th and 5th harmonics, were found to be significantly larger for the odd-H tone than for the all-H tone. This finding was consistent with the idea that grouping by spectral regularity affects pitch perception since an odd harmonic made a larger contribution than an adjacent even harmonic to the pitch of the odd-H tone. However, an alternative explanation was that the 3rd mistuned harmonic produced larger pitch shifts within the odd-H tone than the 4th mistuned harmonic because of differences in the partial masking of these harmonics by adjacent harmonics. The second experiment tested these explanations by measuring pitch shifts for a modified all-H tone in which each mistuned odd harmonic was tested in the presence of the 4th harmonic, but in the absence of its other even-numbered neighbor. The results showed that, for all mistuned harmonics, pitch shifts for the modified all-H tone were not significantly different from those for the odd-H tone. These findings suggest that the harmonic relations among frequency components, rather than the regularity of their frequency spacing, is the primary factor for the perception of the virtual pitch of complex sounds.

Humans↗
PubMed1979

Is pitch a learned attribute of sounds? Two points in support of Terhardt's pitch theory.

Terhardt [J. Acoust. Soc. Am. 55, 1061-1069 (1974)] postulated a pitch perception model wherein a learning stage constitutes an integral part: it is only repeated exposure to patterns of spectral pitch that will generate the percept of virtual pitch (i.e., the residue). Two examples, one clinical and one musical, are cited to support the idea that perception of the pitch of complex tones represents a case of pattern perception which is acquired with experience.

Hearing Loss, Sensorineural↗
PubMed2003

Pitch of amplitude-modulated irregular-rate stimuli in acoustic and electric hearing.

The pitch of stimuli was studied under conditions where place-of-excitation was held constant, and where pitch was therefore derived from "purely temporal" cues. In experiment 1, the acoustical and electrical pulse trains consisted of pulses whose amplitudes alternated between a high and a low value, and whose interpulse intervals alternated between 4 and 6 ms. The attenuated pulses occurred after the 4-ms intervals in condition A, and after the 6-ms intervals in condition B. For both normal-hearing subjects and cochlear implantees, the period of an isochronous pulse train equal in pitch to this "4-6" stimulus increased from near 6 ms at the smallest modulation depth to nearly 10 ms at the largest depth. Additionally, the modulated pulse trains in condition A were perceived as being lower in pitch than those in condition B. Data are interpreted in terms of increased refractoriness in condition A, where the larger pulses are more closely followed by the smaller ones than in condition B. Consistent with this conclusion, the A-B difference was reduced at longer interpulse intervals. These findings provide a measure of supra-threshold effects of refractoriness on pitch perception, and increase our understanding of coding of temporal information in cochlear implant speech processing schemes.

Acoustic Stimulation↗
PubMed2001

Searching for the time constant of neural pitch extraction.

Multichannel, auditory models have been repeatedly used to explain many aspects of human pitch perception. Among the most successful ones are models where pitch is estimated based on an analysis of periodicity in the simulated auditory-nerve firing. This periodicity analysis is typically implemented as a running autocorrelation, i.e., the autocorrelation is calculated within a temporal window which is shifted along the time axis. The window was suggested to have an exponential decay with time-constant estimates between 1.5 and 100 ms. The window length determines the minimal integration time of pitch extraction. The present experiments are designed to quantify the temporal window of pitch extraction using regular-interval noises (RINs). RINs were generated by concatenating equal-duration noise samples which produce a pitch corresponding to the reciprocal of the sample duration when the samples are identical (periodic noise). When the samples are independent, the stimulus is Gaussian noise and produces no pitch. Using RIN stimuli where periodic portions interchange with aperiodic portions, it is shown that the temporal window of pitch extraction cannot be modeled using a single time constant but that the size of the temporal window depends on the pitch itself.

Adult↗
PubMed1989

Place-pitch and vowel-pitch comparisons in cochlear implant patients using the Melbourne-Nucleus cochlear implant.

Results of place-pitch and vowel-pitch comparisons are presented in 21 cochlear implant patients using the Melbourne-Nucleus cochlear implant. Vowel-pitch comparisons were also carried out in 10 normal hearing subjects. A technique for the place-pitch ranking test has been developed. A graphic representation of the results shows the well-ranked electrodes in sequential pitch-order, and reveals any indication of abnormal place-pitch perception. It aids the selection of correctly place-pitch ranked electrodes. The vowel-pitch comparisons showed that both normal hearing subjects and cochlear implant patients are able to rank vowels according to 'vowel-pitch'. In normal hearing subjects, three main types of vowel-pitch processing have been found. Results indicate that an information selection and reduction process occurs at higher levels along the auditory pathway. Cochlear implant patients test results showed the limited contribution of the first and the virtual lack of the second formant's contribution to pitch-ranking the voiced vowels. These results indicate that fundamental frequency converted to pulse rate may not be adequate at certain segments along the cochlear partition. Vowels are not perceived by cochlear implant patients according to their first or second formant frequency converted to place-pitch. There would seem to be a need for alternative speech processing strategies in the Melbourne-Nucleus implant.

Adult↗
PubMed2003

Half pitch lower sound perception caused by carbamazepine.

We report a 16-year-old woman with secondary generalization of partial seizure, who complained of an auditory disturbance after carbamazepine (CBZ) administration. She had been taking sodium valproate (VPA) from the age of 15. However, her seizures remained poorly controlled. We changed her antiepileptic drug from VPA to CBZ. At 1 week after CBZ administration, she noticed that electone musical performances were heard as a semitone lower. When oral administration of CBZ was stopped, her pitch perception returned to normal. If she had not been able to discern absolute pitch, she might have been unable to recognize her lowered pitch perception. Auditory disturbance caused by CBZ is reversible and very rare.

Adolescent↗
PubMed1994

Effects of harmonic content on complex-tone fundamental-frequency discrimination in hearing-impaired listeners.

Complex-tone (fundamental) frequency discrimination was measured in eight well-trained listeners with moderately severe sensorineural hearing impairments as a function of parametric variations in the rank, number, and sensation level of stimulus components. Results indicate substantial differences in the effects of harmonic content on complex-tone frequency discrimination among hearing-impaired listeners and between hearing-impaired and normal-hearing listeners. Despite large variability among the hearing-impaired subjects, several patterns of results emerged: Performance of two subjects grew worse as harmonic rank increased; performance of three subjects did not change substantially with changes in harmonic rank; and performance of three impaired subjects improved as harmonic rank increased. Performance of all but two subjects was significantly degraded for stimuli containing low-order harmonics. For stimuli containing only high-order harmonics, five subjects showed performance that was comparable to that of normal-hearing subjects, and three showed abnormally poor performance. Performance of impaired subjects generally improved as the number of stimulus components increased. The sensation level of stimulus components influenced the performance of several impaired subjects, but not in a uniform manner. To the extent that complex-tone fundamental-frequency discrimination can be assumed to be a pitch perception task, the present results suggest that, in contrast to normal-hearing subjects, hearing-impaired listeners rely primarily on periodicity cues in the perception of complex-tone pitch.

Acoustic Stimulation↗
PubMed2006

Cortical representations of pitch in monkeys and humans.

Pitch perception is crucial for vocal communication, music perception, and auditory object processing in a complex acoustic environment. How pitch is represented in the cerebral cortex has for a long time remained an unanswered question in auditory neuroscience. Several lines of evidence now point to a distinct non-primary region of auditory cortex in primates that contains a cortical representation of pitch.

Animals↗
PubMed1980

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.

Humans↗