Auditory stream segregation in Japanese monkeys.

Japanese monkeys were examined to determine whether they perceptually segregate tone sequences. Monkeys were required to discriminate two sequences of tones (target sequences) differing in frequency contours. Distractor sequences were presented simultaneously with the target sequences. Monkeys could discriminate the sequences when the frequency ranges of the target and distractor sequences did not overlap, but they could not when the ranges overlapped. Subsequent probe tests confirmed that the discrimination depended on cues other than the local pitch of the component tones regardless of the presence of the distractor sequence. The results suggest that monkeys segregate tone sequences based on frequency proximity, and they perceive global characters of the segregated streams.     

Facilitation by repetition in recognition memory for tonal pitch

Subjects made delayed pitch comparisons when the standard and comparison tones were separated by a sequence of interpolated tones. In some conditions, a tone of the same pitch as the standard tone was included among the interpolated tones. Recognition performance was superior for sequences where the standard tone pitch was repeated, even compared with control sequences of reduced size. The improvement in performance produced by the repeated tone depended on its position in the intervening sequence. Improvement was substantial and highly significant when the standard tone pitch was repeated in the second serial position of a sequence of six interpolated tones, but small and insignificant when it was repeated in the fifth serial position.     

Proactive interference of a sequence of tones in a two-tone pitch comparison task

Subjects compared pitches of a standard tone and a comparison tone separated by 1,300–3,000 msec and responded according to whether the comparison tone sounded higher or lower in pitch than the standard tone. Three interfering tones at 300-msec intervals were presented before each pair of tones. Their pitch range varied, being either below or above the pitch of the standard tone; in some of the trials, their pitches were identical to the pitch of the standard tone (no interference). The highest error rate in performance was found when the interfering tones and the comparison tone deviated in the same direction in pitch from the standard tone. In turn, their deviations in the opposite directions resulted in the lowest error rate. This effect was not found to be dependent on whether the interfering tones were randomly ordered or monotonically ordered, together with the standard tone, into melodically ascending/descending sequences. An intermediate error rate in performance was found when the interfering tones and the standard tone were identical. The results support earlier hypotheses, presented in the context of retroactive interference, by demonstrating proactive interference of a tone sequence at the level of representations of individual tones.     

Perceptual organization of acoustic stimuli by budgerigars (Melopsittacus undulatus): I. Pure tones

A new combination of operant conditioning and psychophysical scaling procedures was used to study auditory perception in a small bird. In a same-different discrimination task, budgerigars learned to discriminate among pure tones that varied along one or more acoustic dimensions. Response latencies were used to generate a matrix of interstimulus similarities. Multidimensional scaling procedures were used to arrange these acoustic stimuli in a multidimensional space that supposedly reflects the bird's perceptual organization. For tones that varied in intensity, duration, and frequency simultaneously, budgerigars were much more sensitive to frequency changes. From a set of tones that varied only in intensity, it was possible to calculate the growth of loudness with intensity for the budgerigar. For tones that varied only in frequency, budgerigars showed evidence of an "acoustic fovea" for frequency change in the spectral region of 2-4 kHz. Budgerigars and humans also differed in their perceptual grouping of tone sequences that rise, fall, or remain constant in pitch. Surprisingly, budgerigars were much less responsive to pitch contour than were humans.     

Evaluating frequency proximity in stream segregation

Consecutive sounds of similar structure that are close in frequency or pitch are more likely to be perceived as part of the same sequence than those at greater frequency separations. The principle of grouping into such perceptual sequences, or auditory streams, is known as frequency proximity. However, the metric by which one frequency difference is judged to be greater or less than another in complex auditory scenes is not yet known. Two experiments explored the metric for frequency proximity. We presented repeating three-tone stimulus patterns at a rate where they are normally heard as two streams, one containing the highest tone and one containing the lowest. The middle tone joined one stream or the other depending on its frequency. Subjects reported the perceived allocation of the variable tone by responding on a 5-point scale. The frequency at which either of these two percepts was equally probable was found to be lower than a logarithmic midpoint or the midpoints on a cochlear map or the Mel scale; that is, it was unlike metrics arrived at by direct comparisons of tones. Further, the midpoint for high and low tones presented synchronously was lower than that for the same tones presented sequentially, demonstrating that in addition to a proximity factor, some additional factor or factors must operate differently when the lower and upper fixed tones are, or are not, presented simultaneously.     

Interference in memory for tonal pitch: Implications for a working-memory model

The degree of interference caused by different kinds of stimuli on memory for tonal pitch was studied. Musically trained and untrained subjects heard a sequence of two tones separated by an interval of 5 sec. The tones were either identical in pitch or differed by a semitone. Subjects had to decide whether the tones were identical or not. The interval was filled with tonal, verbal, or visual material under attended and unattended conditions. The results revealed clear group differences. Musically trained subjects' retention of the first test tone was only affected by the interposition of other tones. In contrast, the performance of musically untrained subjects was also affected by verbal and visual items. The findings are discussed in the framework of Baddeley's (1986) working-memory model.     

The Doppler effect is not what you think it is: dramatic pitch change due to dynamic intensity change

Historically, auditory pitch has been considered to be a function of acoustic frequency, with only a small effect being due to absolute intensity. Yet we found that when tones are Doppler shifted so that frequency drops, the pitch dramatically rises and falls, closely following the pattern of dynamic intensity change. We show that continuous intensity change can produce pitch variation comparable to a frequency change approaching an octave. This effect opposes and is an order of magnitude larger than the well-known effect of discrete intensity change in the frequency range employed. We propose that the perceptual interaction of continuous changes in pitch and loudness reflects a natural correlation between changes in frequency and intensity that is neurally encoded to facilitate the parsing and processing of meaningful acoustic patterns.     

Interference in pitch memory as a function of ear or input

An experiment was conducted to investigate the effect of spatial separation on interference effects in pitch memory. Subjects compared the pitches of two tones that were separated by a sequence of eight interpolated tones. It was found that error rates were lower in sequences where the test and interpolated tones were presented to different ears, compared with sequences where they were presented to the same ear; however, this effect of spatial separation was not large. It is concluded that differences in spatial location can enable the focussing of attention away from the irrelevant tones and so reduce their disruptive effect, but that this occurs only to a limited extent.     

Vowel quality changes produced by surrounding tone sequences

In three experiments, we examined whether energy at the same frequency as one of a vowel's harmonics in the F1 region can be captured by a preceding or following sequence of tones. The position of the /I/-/E/ phoneme boundary along an F1 continuum was used to assess the extent of capture. The first two experiments showed that a sequence of tones at 500 Hz (56-msec duration at 10/sec) can perceptually remove added energy at 500 Hz from a steady vowel (F0 = 125 Hz) that forms part of the sequence. The effect is detectable with one preceding tone, asymptotes with four, and is greater when two tones follow the vowel than when none do. Rising and falling sequences of tones (at 62.5-Hz intervals or at whole-tone intervals) differ in their effect. Falling sequences behave much like constant tones at 500 Hz but with less effect, whereas rising sequences show no evidence of removing the added tone. The second experiment replicated the first and also showed that when the vowel is embedded in a rising or a falling sequence of tones that continue after it, the following tones have no effect. The third experiment suggested that the different effects found with rising versus falling sequences are qualitatively predictable on the basis of the additive effects of their constituent tones rather than by virtue of their contour. The experiments indicated that sequences of repeating tones are much more effective at capturing a harmonic from a vowel than are sequences that follow a simple pattern. This result may reflect the operation of a principle of least commitment in auditory grouping.     

Interference in Immediate Spatial Memory: Shifts of Spatial Attention or Central executive Involvement?

Interference in serial spatial memory was investigated in six experiments. Experiment 1 replicated Experiment 2 by Smyth and Scholey (1994) in showing that listening to tones that originated from different directions interfered with spatial memory. Experiment 2 showed, however, that the effect of mere listening was not observed when this was the only interference condition experienced by the subject. In Experiment 3, a binary pitch discrimination task performed on spatially separated tones impaired recall performance to the same extent as did left-right decisions. The same disrupting effect was also observed when the tones were presented from the same direction in the pitch discrimination task (Experiment 4) as well as in a binary loudness discrimination task (Experiment 5). Finally, repeating heard words did not interfere, whereas a pitch discrimination performed on these same words disrupted recall (Experiment 6). It is argued that the disrupting effects reflect not a specifically spatial interference, but a central executive involvement in the rehearsal process in serial spatial memory.     

Non-musicians also have a piano in the head: evidence for spatial–musical associations from line bisection tracking

The spatial representation of ordinal sequences (numbers, time, tones) seems to be a fundamental cognitive property. While an automatic association between horizontal space and pitch height (left-low pitch, right-high pitch) is constantly reported in musicians, the evidence for such an association in non-musicians is mixed. In this study, 20 non-musicians performed a line bisection task while listening to irrelevant high- and low-pitched tones and white noise (control condition). While pitch height had no influence on the final bisection point, participants’ movement trajectories showed systematic biases: When approaching the line and touching the line for the first time (initial bisection point), the mouse cursor was directed more rightward for high-pitched tones compared to low-pitched tones and noise. These results show that non-musicians also have a subtle but nevertheless automatic association between pitch height and the horizontal space. This suggests that spatial–musical associations do not necessarily depend on constant sensorimotor experiences (as it is the case for musicians) but rather reflect the seemingly inescapable tendency to represent ordinal information on a horizontal line.     

Does an auditory distractor sequence affect self-paced tapping?

This study investigated whether an auditory distractor (D) sequence affects the timing of self-paced finger tapping. To begin with, Experiment 1 replicated earlier findings by showing that, when taps are synchronized with an isochronous auditory target (T) sequence, an isochronous D sequence of different tempo and pitch systematically modulates the tap timing. The extent of the modulation depended on the relative intensity of the T and D tones, but not on their pitch distance. Experiment 2 then used a synchronization-continuation paradigm in which D sequences of different tempi were introduced only during continuation tapping. Although the D sequences rarely captured the taps completely, they did increase the tapping variability and deviations from the correct tempo. Furthermore, they eliminated the negative correlation between successive inter-tap intervals and led to intermittent phase locking when the tapping period was close to the period of the D sequence. These distractor effects occurred regardless of whether or not the taps generated auditory feedback tones. The distractor effects thus depend neither on the intention to synchronize with a T sequence nor on the simultaneous perception of two auditory sequences. Rather, they seem to reflect a basic attraction of rhythmic movement to auditory rhythms.     

Segregated in perception,integrated for action: Immunity of rhythmic sensorimotor coordination to auditory stream segregation

Auditory stream segregation can occur when tones of different pitch (A, B) are repeated cyclically: The larger the pitch separation and the faster the tempo, the more likely perception of two separate streams is to occur. The present study assessed stream segregation in perceptual and sensorimotor tasks, using identical ABBABB … sequences. The perceptual task required detection of single phase-shifted A tones; this was expected to be facilitated by the presence of B tones unless segregation occurred. The sensorimotor task required tapping in synchrony with the A tones; here the phase correction response (PCR) to shifted A tones was expected to be inhibited by B tones unless segregation occurred. Two sequence tempi and three pitch separations (2, 10, and 48 semitones) were used with musically trained participants. Facilitation of perception occurred only at the smallest pitch separation, whereas the PCR was reduced equally at all separations. These results indicate that auditory action control is immune to perceptual stream segregation, at least in musicians. This may help musicians coordinate with diverse instruments in ensemble playing.     

The role of reference points in ordinal numerical comparisons by rhesus macaques (Macaca mulatta)

Two experiments examined ordinal numerical knowledge in rhesus macaques (Macaca mulatta). Experiment 1 replicated the finding (E. M. Brannon & H. S. Terrace, 2000) that monkeys trained to respond in descending numerical order (4-->3-->2-->1) did not generalize the descending rule to the novel values 5-9 in contrast to monkeys trained to respond in ascending order. Experiment 2 examined whether the failure to generalize a descending rule was due to the direction of the training sequence or to the specific values used in the training sequence. Results implicated 3 factors that characterize a monkey's numerical comparison process: Weber's law, knowledge of ordinal direction, and a comparison of each value in a test pair with the reference point established by the first value of the training sequence.     

Serial expertise of rhesus macaques

Here we describe the development of serial expertise in 4 experimentally naive rhesus monkeys that learned, by trial and error, the correct order in which to respond to 3-, 4-, and 7-item lists of arbitrarily selected photographs. The probabilities of guessing the correct sequence on 3-, 4-, and 7-item lists were, respectively, 1/6, 1/24, and 1/5040. Each monkey became progressively more efficient at determining the correct order in which to respond on new lists. During subsequent testing, the subjects were presented with all possible pairs of the 28 items used to construct the four 7-item lists (excluding pairs of items that occupied the same ordinal position in different lists). Subjects responded to pairs from different lists in the correct order 91% of the time on the first trials on which these pairs were presented. These features of subjects' performance, which cannot be attributed to procedural memory, satisfy two criteria of declarative memory: rapid acquisition of new knowledge and flexible application of existing knowledge to a new problem.     

Temporal ordering deficits following anterior temporal lobectomy

Subjects were required to report the pitch sequence of two 10-msec tones of different frequency presented monaurally while the stimulus onset asynchrony (SOA) between the two tones was varied. The value of the SOA at which the subjects achieved an 80% correct sequence report was determined by an adaptive procedure without feedback. This measure was compared in the right and left ears, on subjects with a right or left anterior temporal lobectomy and on a normal control group. The results reveal an elevated threshold for performing temporal order judgments in the ear contralateral to the surgical lesion.     

Serial learning with wild card items by monkeys (Cebus apella): implications for knowledge of ordinal position

We investigated monkeys' knowledge of the ordinal positions of stimuli that formed a 5-item serial list, ABCDE, by means of wild card items (W) that could substitute for items in the original series. In Experiment 1, training with wild cards was given on 3-, 4-, and 5-item series. In the last of these series, the wild card substitutions created five wild card sequences, WBCDE through ABCDW. During the final 10 sessions of training with each of two different wild cards (Items x and Y), the 3 subjects were able to successfully complete almost 60% of the wild card sequences. In Experiment 2, the two wild cards were presented on the same trial in 10 different double wild card sequences (e.g., AXCDY). The 2 monkey subjects correctly completed about 59% of the double wild card sequences during the final two training sessions. The performance levels achieved on single and on double wild card sequences, although well below that observed on the baseline sequence ABCDE (90% or better), support the view that the monkeys possessed some knowledge regarding the ordinal position of each baseline item. Consequently, an associative chain interpretation, which does not provide for knowledge of ordinal position, falls short as a complete account of the monkey's capacity for serial learning.     

Temporal aspects of stimulus-driven attending in dynamic arrays

Auditory sequences of tones were used to examine a form of stimulus-driven attending that involves temporal expectancies and is influenced by stimulus rhythm. Three experiments examined the influence of sequence timing on comparative pitch judgments of two tones (standard, comparison) separated by interpolated pitches. In two of the experiments, interpolated tones were regularly timed, with onset times of comparison tones varied relative to this rhythm. Listeners were most accurate judging the pitch of rhythmically expected tones and least accurate with very unexpected ones. This effect persisted over time, but disappeared when the rhythm of interpolated tones was either missing or irregular.     

Responsiveness of Western adults to pitch-distributional information in melodic sequences

Responsiveness of musically trained and untrained adults to pitch-distributional information in melodic contexts was assessed. In Experiment 1, melodic contexts were pure-tone sequences, generated from either a diatonic or one of four nondiatonic tonesets, in which pitch-distributional information was manipulated by variation of the relative frequency of occurrence of tones from the toneset. Both the assignment of relative frequency of occurrence to tones and the construction of the (fixed) temporal order of tones within the sequences contravened the conventions of western tonal music. A probe-tone technique was employed. Each presentation of a sequence was followed by a probe tone, one of the 12 chromatic notes within the octave. Listeners rated the goodness of musical fit of the probe tone to the sequence. Probe-tone ratings were significantly related to frequency of occurrence of the probe tone in the sequence for both trained and untrained listeners. In addition, probe-tone ratings decreased as the pitch distance between the probe tone and the final tone of the sequence increased. For musically trained listeners, probe-tone ratings for diatonic sequences tended also to reflect the influence of an internalized tonal schema. Experiment 2 demonstrated that the temporal location of tones in the sequences could not alone account for the effect of frequency of occurrence in Experiment 1. Experiment 3 tested musically untrained listeners under the conditions of Experiment 1, with the exception that the temporal order of tones in each sequence was randomized across trials. The effect of frequency of occurrence found in Experiment 1 was replicated and strengthened.     

Temporal discrimination of recycled tonal sequences: Pattern matching and naming of order by untrained listeners

Sets of recycled sequences of four successive tones were presented in all six possible orders to untrained listeners. For pitches within the musical range, recognition (as measured by matching of any unknown order with an array of permuted orders of the same tones) could be accomplished as readily for tonal durations and frequency separations outside the limits employed for melodic construction as inside these limits. Identifying or naming of relative pitches of successive tones was considerably more difficult than matching for these tonal sequences, and appeared to follow different rules based upon duration and upon frequency separation. Use of frequencies above the pitch limits for music (4,500 Hz and above) resulted in poor performance both for matching and naming of order. Introduction of short silent intervals between items was without effect for both tasks. Naming of order and pattern recognition appear to reflect different basic processes, in agreement with earlier formulations based on experiments with phonemic sequences of speech and sequences of unrelated sounds (hisses, tones, buzzes). Special characteristics of tonal sequences are discussed, and some speculations concerning music are offered.