Auditory temporal discrimination by trained listeners

Previous reports from this laboratory have shown that untrained listeners cannot name the order of sounds in extended sequences of unrelated items such as hisses, tones, and buzzes at item durations of 200 msec, even though identification of order for the sounds of speech and music is accomplished readily at much shorter item durations. The present study indicates that under appropriate conditions subjects can be trained to distinguish between and to identify permuted orders within sequences of nonrelated sounds each lasting only 10 msec or less. Evidence is presented suggesting that much of what passes for direct identification of order is actually based on prior identification of a larger pattern. Two principal mechanisms seem to mediate discrimination of auditory temporal order: (1) fine resolution (requiring prior training) permitting identification of over-all patterns and capable of operating with item durations of only a few msec; (2) coarse resolution (special prior training not required) allowing naming of order of items having minimal durations usually above 200 msec for unfamiliar sequences.     

Auditory pattern recognition by untrained listeners

Earlier work with unpracticed Ss has indicated that identification (naming) of the temporal order of components within repeated sequences consisting of three or four unrelated sounds cannot be accomplished when the item durations are 200 msec or less. In the present experiment, separate groups of 30 unpracticed Ss were required to teil whether alternated sequences, each consisting of reiterated presentations of the same three or four successive items, were in identical or permuted order. Naming of the order within the sequences was not required. Accuracy of same/different judgments was significantly better than chance when all items lasted 200 msec. Changing the duration of each item in one of the two sequences above or below 200 msec made the task more difficult. These results, together with other evidence, suggest that: (1) identification of order and recognition of auditory temporal patterns may represent fundamentally different processes, and (2) recognition may involve matching of “temporal templates.”     

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.     

Within-modality and cross-modality attentional blinks in a simple discrimination task

Following up on studies of the "attentional blink," we studied interference between successive target stimuli in visual and auditory modalities. In each experiment, stimuli were two tones and four dots, simultaneously presented for 1,800 msec. Targets were brief intensity changes in either a tone or a dot. Subjects gave unspeeded responses. In four experiments, our results showed interference between targets in the same modality, but not across modalities. We conclude that, under our experimental conditions, restrictions in concurrent target identification are largely modality specific.     

Two types of auditory sequence perception

It has been suggested recently that there are two fundamentally distinct types of auditory sequence perception in man: (1) hofistic pattern recognition (HPR), operating for component item durations from a few milliseconds up to about 200 msec; and (2) direct identification of components and their order (Direct ICO), requiring verbal encoding of names for constituent sounds and requiring item durations roughly 200 msec and above for extended sequences. The present study, using only the very first judgments from 795 untrained participants presented with recycled three-item sequences, provided data consistent with this dichotomous formulation. In addition, it appeared that separate bursts of a noise band generated on-line were treated as different components in HPR and could not be used for sequence matching; “frozen” noise bursts having identical microstructure were treated as the same component and permitted HPR. On-fine noise bursts permitted Direct ICO, with naming based on long-term spectral characteristics of noise.     

When acoustic sequences are not perceptual sequences: The global perception of auditory patterns

Warren, Bashford, and Gardner (1990) found that when sequences consisting of 10 40-msec steady-state vowels were presented in recycled format, minimal changes in order (interchanging the position of two adjacent phonemes) produced easily recognizable differences in verbal organization, even though the vowel durations were well below the threshold for identification of order. The present study was designed to determine if this ability to discriminate between different arrangements of components is limited to speech sounds subject to verbal organization, or if it reflects a more general auditory ability. In the first experiment. 10 40-msec sinusoidal tones were substituted for the vowels; it was found that the easy discrimination of minimal changea in order is not limited to speech sounds. A second experiment substituted 10 40-msec frozen noise segments for the vowels. The succession of noise segments formed a 400-msec frozen noise pattern that cannot be considered as a sequence of individual sounds, as can the succession of vowels or tones. Nevertheless, listeners again could discriminate between patterns differing.only in the order of two adjacent 40-msec segments. These results, together with other evidence, indicate that it is not necessary foracoustic sequences of brief items (such as phonemes and tones) to be processed asperceptual sequences (that is, as a succession of discrete identifiable sounds) for different arrangements to be discriminated. Instead, component acoustic elements form distinctive “temporal compounds,” which permit listeners to distinguish between different arrangements of portions of an acoustic pattern without the need for segmentation into an ordered series of component items. Implications for models dealing with the recognition of speech and music are discussed.     

非言语声音影响汉语听者言语声音的知觉

采用启动范式, 以汉语听者为被试, 考察了非言语声音是否影响言语声音的知觉。实验1考察了纯音对辅音范畴连续体知觉的影响, 结果发现纯音影响到辅音范畴连续体的知觉, 表现出频谱对比效应。实验2考察了纯音和复合音对元音知觉的影响, 结果发现与元音共振峰频率一致的纯音或复合音加快了元音的识别, 表现出启动效应。两个实验一致发现非言语声音能够影响言语声音的知觉, 表明言语声音知觉也需要一个前言语的频谱特征分析阶段, 这与言语知觉听觉理论的观点一致。     

Pattern identification of pure tones and frequency glides by untrained listeners

Six subjects identified the order of four-event sequences. Contiguous pure tones (713, 1,031, 1,209, and 1,514 Hz in permuted orders) were presented by earphones at 40 dB SL, with individual events Itones) from 20, to 40, 60, and 300 msec in duration. Again, silent intervals of 20 or 60 msec were inserted among tones of 20 or 40 msec duration. Finally, the pure tones of 713 and 1,209 Hz were combined, in any four-event sequence, with two glissandi chosen from 466 to 714 Hz, from 714 to 1,208 Hz, and their mirror reversals. The temporal and frequency continuity both of tonal and of glissando-plus-tonal sequences affected the identification of sequential order. Degraded performance in the glissando-plus-tonal condition was attributed partially to a subjective experience of pitch blurring. The inclusion of silent intervals in the sequences of the shorter pure-tone durations improved identification performance to that of contiguous sequences of equal overall duration, i.e., adding silent processing time was as efficacious as increasing by the same amount the duration of the individual frequency event.     

Feature processing during high-rate auditory selective attention

Auditory event-related brain potentials (ERPs) and reaction times were, analyzed in a selective attention task in which subjects attended to tone pips presented at high rates-Xinterstimulua intervals [ISIs] of 40-200 msec). Subjects responded to infrequent target tones of a specified frequency (250 or 4000 Hz) and location (left or right ear) that were louder than otherwise identical tones presented randomly to the left and right ears. Negative difference (Nd) waves were isolated by subtracting ERPs to tones with no target features from ERPs to the same tones when they shared target location, frequency, or both frequency and location cues. Nd waves began 60-70 msec after tone onset and lasted until 252–350 msec after tone onset, even for tones with single attended cues. The duration of Nd waves exceeded the ISIs between successive tones, implying that several stimuli underwent concurrent analysis. Nd waves associated with frequency processing had scalp distributions different from those associated with location processing, implying that the features were analyzed in distinct cortical areas. Nd waves specific to auditory feature conjunction were isolated. These began at latencies of 110–120 msec, some 30-40 msec after the Nds to single features. The relative timing of the different Nd waves suggests that auditory feaure conjunction begins after a brief parallel analysis of individual features but before feature analysis is complete.     

Perceptual hysteresis in the judgment of auditory pitch shift

Perceptual hysteresis can be defined as the enduring influence of the recent past on current perception. Here, hysteresis was investigated in a basic auditory task: pitch comparisons between successive tones. On each trial, listeners were presented with pairs of tones and asked to report the direction of subjective pitch shift, as either “up” or “down.” All tones were complexes known as Shepard tones (Shepard, 1964), which comprise several frequency components at octave multiples of a base frequency. The results showed that perceptual judgments were determined both by stimulus-related factors (the interval ratio between the base frequencies within a pair) and by recent context (the intervals in the two previous trials). When tones were presented in ordered sequences, for which the frequency interval between tones was varied in a progressive manner, strong hysteresis was found. In particular, ambiguous stimuli that led to equal probabilities of “up” and “down” responses within a randomized context were almost fully determined within an ordered context. Moreover, hysteresis did not act on the direction of the reported pitch shift, but rather on the perceptual representation of each tone. Thus, hysteresis could be observed within sequences in which listeners varied between “up” and “down” responses, enabling us to largely rule out confounds related to response bias. The strength of the perceptual hysteresis observed suggests that the ongoing context may have a substantial influence on fundamental aspects of auditory perception, such as how we perceive the changes in pitch between successive sounds.     

Top-down gain control in the auditory system: evidence from identification and discrimination experiments

The influence of intensity range in auditory identification and intensity discrimination experiments is well documented and is usually attributed to nonsensory factors. Recent studies, however, have suggested that the stimulus range effect might be sensory in origin. To test this notion, in one set of experiments, we had listeners identify the individual tones in a set. One baseline condition consisted of identifying four 1-kHz, low-intensity tones; the other consisted of identifying four 1-kHz, high-intensity tones. In the experimental conditions, these baseline tone sets were augmented by adding a fifth tone at either 1 or 5 kHz. Added 5-kHz tones had little effect on identification accuracy for the four baseline tones. When an added 1-kHz tone differed substantially in intensity from the four baseline tones, it adversely affected performance, with the addition of a high-intensity tone to a set of low-intensity tones having a more deleterious effect than the addition of a low-intensity tone to a set of high-intensity tones. These and further results, obtained in an exploration of this asymmetrical range effect in a third identification experiment and in two intensity-discrimination experiments, were consistent with the notion of a nonlinear amplifier under top-down control whose functions include protection against sensory overload from loud sounds. The identification data were well described by a signal-detection model using equal-variance Laplace distributions instead of the usual Gaussian distributions.     

Effect on numerosity judgment of grouping of tones by auditory channels

Previous research suggests that numerosity judgments for sequences of tones improve when the sequence is structured such that equal and small groups of tones alternate between the ears. The present. study systematically investigates the effects of the structure of tone sequences on number judgment. Tone frequency is chosen as the grouping principle instead of spatial location. In the first experiment, sequences with equal groups of 2, 3, 4, 5, 6, or 7 tones (groups alternating between 800 and 1, 250 Hz) were compared with monotonous sequences. At a slow repetition rate of the tones (280 msec onset to onset), grouping the sequence deteriorated the numerosity judgment. At II fast repetition rate of the tones (100 msec onset to onset) grouping improved numerosity judgment, but only if the group size did not exceed 4 to 5 tones. In the second experiment, the equality of group size in the sequence as a necessary condition for the improvement was investigated. It was found that tone sequences comprised of equal groups were judged more accurately in number than sequences comprised of unequal groups. These results seem to give support for the existence of an auditory subitizing process. The results of this study are also compared with the results of studies in which sequences of tones, alternating one by om! between locations or frequencies, had to be judged in number.     

Auditory apparent motion in the free field: the effects of stimulus duration and separation.

The effects of stimulus duration and spatial separation on the illusion of apparent motion in the auditory modality were examined. Two narrow-band noise sources (40 dB, A-weighted) were presented through speakers separated in space by 2.5 degrees, 5 degrees, or 10 degrees, centered about the subject's midline. The duration of each stimulus was 5, 10, or 50 msec. On each trial, the sound pair was temporally separated by 1 of 10 interstimulus onset intervals (ISOIs): 0, 2, 4, 6, 8, 10, 15, 20, 50, or 70 msec. Five subjects were tested in nine trial block; each block represented a particular spatial-separation-duration combination. Within a trial block, each ISOI was presented 30 times each, in random order. Subjects were instructed to listen to the stimulus sequence and classify their perception of the sound into one of five categories: single sound, simultaneous sounds, continuous motion, broken motion, or successive sounds. Each subject was also required to identify the location of the first-occurring stimulus (left or right). The percentage of continuous-motion responses was significantly affected by the ISOI [F(9,36) = 5.67, p less than .001], the duration x ISOI interaction [F(18,72) = 3.54, p less than .0001], and the separation x duration x ISOI interaction [F(36,144) = 1.51, p less than .05]. The results indicate that a minimum duration is required for the perception of auditory apparent motion. Little or no motion was reported at durations of 10 msec or less. At a duration of 50 msec, motion was reported most often for ISOIs of 20-50 msec.(ABSTRACT TRUNCATED AT 250 WORDS)     

Estimating working memory capacity for lists of nonverbal sounds

Working memory (WM) capacity limit has been extensively studied in the domains of visual and verbal stimuli. Previous studies have suggested a fixed WM capacity of typically about three or four items, on the basis of the number of items in working memory reaching a plateau after several items as the set size increases. However, the fixed WM capacity estimate appears to rely on categorical information in the stimulus set (Olsson & Poom Proceedings of the National Academy of Sciences 102:8776-8780, 2005). We designed a series of experiments to investigate nonverbal auditory WM capacity and its dependence on categorical information. Experiments 1 and 2 used simple tones and revealed capacity limit of up to two tones following a 6-s retention interval. Importantly, performance was significantly higher at set sizes 2, 3, and 4 when the frequency difference between target and test tones was relatively large. In Experiment 3, we added categorical information to the simple tones, and the effect of tone change magnitude decreased. Maximal capacity for each individual was just over three sounds, in the range of typical visual procedures. We propose that two types of information, categorical and detailed acoustic information, are kept in WM and that categorical information is critical for high WM performance.     

Auditory delayed matching in the bottlenose dolphin

A bottlenose dolphin, already highly proficient in two-choice auditory discriminations, was trained over a nine-day period on auditory delayed matching-to-sample and then tested on 346 unique matching problems, as a function of the delay between the sample and test sounds. Each problem used new sounds and was from five to 10 trials long, with the same sound used as the sample for all trials of a problem. At each trial, the sample was projected underwater for 2.5 sec, followed by a delay and then by a sequence of two 2.5-sec duration test sounds. One of the test sounds matched the sample and was randomly first or second in the sequence, and randomly appeared at either a left or right speaker. Responses to the locus of the matching test sound were reinforced. Over nine, varying-sized blocks of problems, the longest delay of a set of delays in a block was progressively increased from 15 sec initially to a final value of 120 sec. There was a progressive increase across the early blocks in the percentage of correct Trial 1 responses. A ceiling-level of 100% correct responses was then attained over the final six blocks, during which there were 169 successive Trial 1 responses bracketed by two Trial 1 errors (at 24- and 120-sec delays). Performance on trials beyond the first followed a similar trend. Finally, when the sample duration was decreased to 0.2 sec or less, matching performance on Trial 1 of new problems dropped to chance levels.     

Perceptual grouping in audition

The present experiments evaluated the effect of relative frequency as a determinant of the figure-ground organization of sequences of auditory tones. Observers counted sequences of 20 ms tones that were presented at the same frequency or that alternated between two different frequencies. The alternating tones differed in frequency by one whole tone, seven tones, or nineteen tones. Counting accuracy increased with increases in the silent interval between the tones. When the alternating tones differed by seven or nineteen tones, counting was disrupted at rates of presentation of eight tones per second or slower. In contrast to this decrement in the counting of tones that alternated by over an octave, very little decrement was observed when the tones alternated by just one whole tone. The best subjects counted these alternating tones more accurately than the tones presented at the same frequency. The poorest subjects showed a small decrement even when the tones alternated by just one whole tone. The results were discussed in terms of determinants of figure-ground organization in auditory information processing.     

Deriving auditory features from triadic comparisons

A feature-based representation of auditory stimuli is proposed and tested experimentally. Within a measurement-theoretical framework, it is possible to decide whether a representation of subjective judgments with a set of auditory features is possible and how unique such a representation is. Furthermore, the method avoids confounding listeners' perceptual and verbal abilities, in that it strictly separates the process of identifying auditory features from labeling them. The approach was applied to simple synthetic sounds with well-defined physical properties (narrow-band noises and complex tones). For each stimulus triad, listeners had to judge whether the first two sounds displayed a common feature that was not shared by the third, by responding with a simple "yes" or "no." Because of the high degree of consistency in the responses, feature structures could be obtained for most of the subjects. In summary, the proposed procedure constitutes a supplement to the arsenal of psychometric methods with the main focus of identifying the type of sensation itself, rather than of measuring its threshold or magnitude.     

The importance of semantics in auditory representations

The purpose of the present study was to examine the nature of auditory representations by manipulating the semantic and physical relationships between auditory objects. On each trial, listeners heard a group of four simultaneous sounds for 1 sec, followed by 350 msec of noise, and then either the same sounds or three of the same plus a new one. Listeners completed a change-detection task and an object-encoding task. For change detection, listeners made a same-different judgment for the two groups of sounds. Object encoding was measured by presenting probe sounds that either were or were not present in the two groups. In Experiments 1 and 3, changing the target to an object that was acoustically different from but semantically the same as the original target resulted in more errors on both tasks than when the target changed to an acoustically and semantically different object. In Experiment 2, comparison of semantic and acoustic effects demonstrated that acoustics provide a weaker cue than semantics for both change detection and object encoding. The results suggest that listeners rely more on semantic information than on physical detail.)     

Preattentive auditory context effects

The effects of auditory context on the preattentive and perceptual organization of tone sequences were investigated. Two sets of experiments were conducted in which the pitch of contextual tones was varied, bringing about two different contextual manipulations. Preattentive auditory organization was indexed by the mismatch negativity event-related potential, which is elicited by violations of auditory regularities even when participants ignore the sounds (e.g., by reading a book). The perceptual effects of the contextual manipulations on auditory grouping were assessed using target-detection and orderjudgment tasks. The close correspondence found between the effects of auditory context on the perceptual and preattentive measures of auditory grouping suggests that a large part of contextual processing is preattentive.     

Attention and nontarget effects in the location-cuing paradigm

Three experiments were conducted in order to determine whether irrelevant items presented outside the focus of attention would affect the identification of a precued target. A peripheral cue indicated one of eight possible locations in a circular array, centered on fixation with a radius of 5.25°. After a variable interval (0–200 msec), eight characters were presented briefly and masked. In each experiment, there was an effect of the identity of the characters at the seven noncued locations (the nontargets) on the accuracy of identification of the target. When there were more nontargets identical to the target, accuracy was higher than when there were fewer nontargets identical to the target. Nontargets consistently affected performance despite incentives to focus only on the target.