Resetting the pitch-analysis system: 1. Effects of rise times of tones in noise backgrounds or of harmonics in a complex tone

The question of whether sudden increases in the amplitude of pure-tone components would perceptually isolate them from a more complex spectrum was investigated in two experiments. In Experiment 1, a 3.5-sec noise was played as a masker. During the noise, two pure-tone components of different frequencies appeared in succession. Subjects were asked to judge whether the pitch sequence went up or down. The rise time of these components had only a small and inconsistent effect on discrimination. In Experiment 2, the 3.5-sec background signal was a complex tone. The amplitudes of two of its components were incremented in succession. Again, subjects judged whether the pitch pattern went up or down. This time there was a sizable, monotonic effect of the rise time of the increments, with more rapid increments leading to better discrimination. The difference between the two results is interpreted in terms of the auditory system’s response to changing and unchanging signals and the role of its “sudden-change” responses in attracting perceptual processing to certain spectral regions.     

Auditory grouping based on fundamental frequency and formant peak frequency

The perceptual grouping of a four-tone cycle was studied as a function of differences in fundamental frequencies and the frequencies of spectral peaks. Each tone had a single formant and at least 13 harmonics. In Experiment 1 the formant was created by filtering a flat spectrum and in Experiment 2 by adding harmonics. Fundamental frequency was found to be capable of controlling grouping even when the spectra spanned exactly the same frequency range. Formant peak separation became more effective as the sharpness (amplitude of the peak relative to a spectral pedestal) increased. The effect of each type of acoustic difference depended on the task. Listeners could group the tones by either sort of difference but were also capable of resisting the disruptive effect of the other one. This was taken as evidence for the presence of a schema-based process of perceptual grouping and the relative weakness of primitive segregation.     

Comparison of the effect of onset asynchrony on auditory grouping in pitch matching and vowel identification

Previous experiments have shown that when a slightly mistuned harmonic of a complex tone starts more than about 80 msec before the remaining components, it makes a reduced contribution to the pitch of the complex. This contribution decreases to zero by about 300-msec onset asynchrony. In vowel perception, however, analogous experiments have shown that a much shorter asynchrony (around 40 msec) is enough to ensure that a component does not influence a vowel’s phonemic category. The three experiments reported here demonstrate that this difference in the utility of onset time as a grouping cue does not arise because of differences in stimulus structure, but rather is due to the perceptual task. They show that the onset asynchrony needed in a pitch-matching experiment to remove the contribution that a mistuned component makes to the pitch of a vowel is the same as that needed to remove the contribution to the pitch of a flat-spectrum complex tone. They further show that a much smaller onset asynchrony is needed to perceptually remove the same harmonic from a vowel for the calculation of vowel quality. The implication of this result for models of auditory grouping is discussed.     

Simultaneous grouping and auditory continuity

Are the conditions for illusory auditory continuity entirely local in frequency, or are judgments of continuity made on auditory objects? Listeners made continuous/pulsating judgments on a variety of complex tones that repeatedly alternated with a 100- to 500-Hz bandpass noise. A sufficiently quiet complex tone was heard as continuous when all its harmonics fell within the frequency range of the noise. Adding harmonics outside the noise's frequency range substantially reduced the impression of continuity, which was largely restored when these additional components were given a different fundamental frequency. Judgments of auditory continuity thus appear to be based on entire simultaneously grouped objects, rather than being determined solely by local criteria based on individual frequency channels.     

Minimal spectral contrast of formant peaks for vowel recognition as a function of spectral slope

In four experiments we investigated whether listeners can locate the formants of vowels not only from peaks, but also from spectral “shoulders”—features that give rise to zero crossings in the third, but not the first, differential of the excitation pattern—as hypothesized by Assmann and Summerfield (1989). Stimuli were steady-state approximations to the vowels [a, i, з, u, ?] created by summing the first 45 harmonics of a fundamental of 100 Hz. Thirty-nine harmonics had equal amplitudes; the other 6 formed three pairs that were raised in level to define three “formants.” An adaptive psychophysical procedure determined the minimal difference in level between the 6 harmonics and the remaining 39 at which the vowels were identifiably different from one another. These thresholds were measured through simulated communication channels, giving overall slopes to the excitation patterns of the five vowels that ranged from ?1 dB/erb to +2 dB/erb. Excitation patterns of the threshold stimuli were computed, and the locations of formants were estimated from zero crossings in the first and third differentials. With the more steeply sloping communication channels, some formants of some vowels were represented as shoulders rather than peaks, confirming the predictions of Assmann and Summerfield’s models. We discuss the limitations of the excitation pattern model and the related issue of whether the location of formants can be computed from spectral shoulders in auditory analysis.     

Grouping frequency components of vowels: When is a harmonic not a harmonic?

When one harmonic of a vowel starts before and stops after the others, its contribution to the vowel's phonetic quality is reduced. Two experiments demonstrate that this reduction cannot be attributed entirely to adaptation. The first experiment shows that a harmonic that starts at the same time as a short vowel but continues after the vowel has ended contributes almost as little to the vowel's phonetic quality as a harmonic that starts before but stops at the same time as the vowel. The second experiment shows that the small contribution to vowel quality of a harmonic that starts before a vowel can be increased by adding an additional tone that will in turn form a perceptual group with that part of the harmonic preceding the vowel. The experiments demonstrate that some perceptual grouping operations are performed before the first formant of a vowel is estimated from the amplitudes of its component harmonics.     

Contributions of subjective-tone to tone-phoneme identification

We measured subjective-tone identification thresholds evoked by acoustically filtered complex tones and compared them to Mandarin-Chinese tone-phoneme identification thresholds previously measured under the same filtering conditions. Tone phonemes were identified at intensities below subjective-tone identification thresholds, suggesting subjective tone is not necessary for tone-phoneme identification. Lower subjective-tone thresholds evoked by resolved harmonics rather than unresolved harmonics were consistent with pattern recognition theories of pitch perception.The authors thank Donald Gans and Richard Klich for all their help.     

Limits on phonetic integration in duplex perception

The telling fact about duplex perception is that listeners integrate into a unitary phonetic percept signals that are coherent from a phonetic point of view, even though the signals are, on purely auditory grounds, separate sources. Here we explore the limits on the integration of a sinusoidal consonant cue (theF3 transition for [da] vs. [ga]) with the resonances of the remainder of the syllable. Perceiving duplexly, listeners hear the whistle of the sinusoid, but also the [da] and [ga] for which the sinusoid provides the critical information. In the first experiment, phonetic integration was significantly reduced, but not to zero, by a precursor that extended the transition cue forward in time so that it started 50 msec before the cue. The effect was the same above and below the duplexity threshold (the intensity of sinusoid in the combined pattern at which the whistle was just barely audible). In the second experiment, integration was reduced once again by the precursor, and also, but only below the duplexity threshold, by harmonics of the cues that were simultaneous with it. The third experiment showed that the simultaneous harmonics reduced phonetic integration only by serving as distractors while also permitting the conclusion that the precursor produced its effects by making the cue part of a coherent and competing auditory pattern, and so “capturing” it. The fourth experiment supported this interpretation by showing that for some subjects the amount of capture was reduced when the capturing tone was itself captured by being made part of a tonal complex. The results support the assumption that the independent phonetic system will integrate across disparate sources according to the cohesive power of that system as measured against the evidence for separate sources.     

Perception of spectral changes in multi-tone complexes

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

Aftereffect arising from unidirectional change of sound level in a tone: frequency specificity with a complex adaptor

Subjects adapted to square-wave adaptors, stimuli containing odd harmonics of the fundamental, and, to provide baseline data, sinusoidal adaptors matching the square-wave's fundamental. Nulls were obtained for various frequencies of the test stimulus. At any given frequency, the baseline null was subtracted from the null for square-wave adaptation. These corrected nulls indicated frequency-specific aftereffects at the third and fifth harmonics. The evidence is consistent with previous attempts to link the aftereffect of changing sound level in a tone with the auditory movement aftereffect because the latter may also show frequency specificity.     

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.     

Sequential grouping of pure-tone percepts evoked by the segregation of components from a complex tone

A sudden change applied to a single component can cause its segregation from an ongoing complex tone as a pure-tone-like percept. Three experiments examined whether such pure-tone-like percepts are organized into streams by extending the research of Bregman and Rudnicky (1975). Those authors found that listeners struggled to identify the presentation order of 2 pure-tone targets of different frequency when they were flanked by 2 lower frequency "distractors." Adding a series of matched-frequency "captor" tones, however, improved performance by pulling the distractors into a separate stream from the targets. In the current study, sequences of discrete pure tones were substituted by sequences of brief changes applied to an otherwise constant 1.2-s complex tone. Pure-tone-like percepts were evoked by applying 6-dB increments to individual components of a complex comprising harmonics 1-7 of 300 Hz (Experiment 1) or 0.5-ms changes in interaural time difference to individual components of a log-spaced complex (range 160-905 Hz; Experiment 2). Results were consistent with the earlier study, providing clear evidence that pure-tone-like percepts are organized into streams. Experiment 3 adapted Experiment 1 by presenting a global amplitude increment either synchronous with, or just after, the last captor prior to the 1st distractor. In the former case, for which there was no pure-tone-like percept corresponding to that captor, the captor sequence did not aid performance to the same extent as previously. It is concluded that this change to the captor-tone stream partially resets the stream-formation process, and so the distractors and targets became likely to integrate once more.     

An algebra of human concept learning

An important element of learning from examples is the extraction of patterns and regularities from data. This paper investigates the structure of patterns in data defined over discrete features, i.e. features with two or more qualitatively distinct values. Any such pattern can be algebraically decomposed into a spectrum of component patterns, each of which is a simpler or more atomic “regularity.” Each component regularity involves a certain number of features, referred to as its degree. Regularities of lower degree represent simpler or more coarse patterns in the original pattern, while regularities of higher degree represent finer or more idiosyncratic patterns. The full spectral breakdown of a pattern into component regularities of minimal degree, referred to as its power series, expresses the original pattern in terms of the regular rules or patterns it obeys, amounting to a kind of “theory” of the pattern. The number of regularities at various degrees necessary to represent the pattern is tabulated in its power spectrum, which expresses how much of a pattern's structure can be explained by regularities of various levels of complexity. A weighted mean of the pattern's spectral power gives a useful numeric summary of its overall complexity, called its algebraic complexity. The basic theory of algebraic decomposition is extended in several ways, including algebraic accounts of the typicality of individual objects within concepts, and estimation of the power series from noisy data. Finally some relations between these algebraic quantities and empirical data are discussed.     

元音和复合声识别中噪声分离机制的实验研究

该文用配对比较方法,从夫调谐波的数量对谐波筛的影响（实验一）、失调谐波的位置（实验二）以及谐波相位与其失调幅度之间的相互作用（实验三）等三个方面对失调谐波的分离机制进行探讨。研究结果表明：（1）多个谐波同时失调时其失调效应要比单个谐波强,即谐波失调存在累积效应;（2）谐波次数不同,其失调效应也存在差异,这种差异与谐波和共振峰之间的距离有关,谐波越靠近共振峰,其失调效应越明显,但对由等振幅的谐波系列构成的复合声而言,高次谐波的失调效应比低次谐波弱;（3）谐波相位对其失调效应产生间接影响,这种影响与谐波的起始振幅有关,当相位为π／2和3π／2时,失调效应更加明显。     

The perceptual integration of auditory stimulus edges: an illusory short tone in stimulus patterns consisting of two partly overlapping glides

Two partly overlapping frequency glides can be perceived as consisting of a long pitch trajectory accompanied by a short tone in the temporal middle. It was found that the appearance of this middle tone could not be related to peripheral processes concerned with spectral splatter or combination tones that could have emerged during the overlap of the glides. Furthermore, it was found that the middle tone was perceived even when components of the 2 glides were separated by more than an equivalent rectangular bandwidth at any time during the overlap. The appearance of the middle tone indicates that auditory events can result from the perceptual integration of component parts-that is, stimulus edges-of acoustically different sounds.     

The influence of adaptation and inhibition on the effects of onset asynchrony on auditory grouping

Onset asynchrony is an important cue for auditory scene analysis. For example, a harmonic of a vowel that begins before the other components contributes less to the perceived phonetic quality. This effect was thought primarily to involve high-level grouping processes, because the contribution can be partly restored by accompanying the leading portion of the harmonic (precursor) with a synchronous captor tone an octave higher, and hence too remote to influence adaptation of the auditory-nerve response to that harmonic. However, recent work suggests that this restoration effect arises instead from inhibitory interactions relatively early in central auditory processing. The experiments reported here have reevaluated the role of adaptation in grouping by onset asynchrony and explored further the inhibitory account of the restoration effect. Varying the frequency of the precursor in the range ± 10% relative to the vowel harmonic (Experiment 1), or introducing a silent interval from 0 to 320 ms between the precursor and the vowel (Experiment 2), both produce effects on vowel quality consistent with those predicted from peripheral adaptation or recovery from it. However, there were some listeners for whom even the smallest gap largely eliminated the effect of the precursor. Consistent with the inhibitory account of the restoration effect, a contralateral pure tone whose frequency is close to that of the precursor is highly effective at restoring the contribution of the asynchronous harmonic (Experiment 3). When the frequencies match, lateralization cues arising from binaural fusion of the precursor and contralateral tone may also contribute to this restoration.     

Some experiments relating to the perception of complex tones

Pattern recognition models for the perception of complex tones assume that the pitch of a complex tone is derived from more primary sensations, such as the pitches of the individual partials. Thus a complex tone will only have a well-defined pitch when at least one partial in the complex is separately perceptible. Models based on time-interval measurements, on the other hand, require an interaction of the original components, so that the periodicity of the input waveform is preserved. In Experiment I the relative intensity of a “target” tone, necessary for its identification in the presence of either one or two “masking” tones, was determined, over a range of frequencies. This intensity changes abruptly at around 5 kHz, a result consistent with the idea that the pitches of pure tones are determined by temporal mechanisms for frequencies up to 5 kHz, and by place mechanisms for frequencies above this. In Experiments II and III the audibility of the partials in a multi-tone complex was measured as a function of their frequency separation and compared with the range of conditions over which a complex stimulus produced a clear pitch sensation, using the same set of subjects in each experiment. It was found that under some conditions the complex had a well-defined pitch when none of the individual partials was separately audible. This is contrary to the predictions from the pattern recognition models. The effects of masking noise in the frequency region below the complex, and the results of individual subjects, also did not conform with the predictions from these models. Such models are not ruled out, however, for low harmonic numbers, or for stimuli containing only a small number of partials.     

Influence of Regularity of Exposure to Chronic Stress on the Pattern of Habituation of Pituitary-Adrenal Hormones, Prolactin and Glucose

The effect of regularity of exposure to two different chronic stressors (noise or immobilization (IMO)) on the pattern of habituation of pituitary-adrenal (PA) hormones, prolactin and glucose was evaluated in adult male rats. Animals were chronically subjected to either regular or irregular time schedule of noise (30 min/day) or IMO (2 h/day) for two weeks. The day after the last stress session the rats were killed without stress or after having been subjected to 30 min of the homotypic stressor. Whereas regular noise did not affect food intake, body weight gain or adrenal weight, irregular noise decreased body weight gain and induced a moderate adrenal hypertrophy. In addition, previous daily exposure to regular but not to irregular noise reduced both prolactin and corticosterone responses to acute noise. In contrast, glucose response to acute noise was reduced after both regular and irregular exposure to chronic noise. Either regular or irregular exposure to chronic IMO decreased food intake and body weight and increased adrenal weight to the same extent. Likewise, no influence of regularity of exposure to chronic IMO on corticosterone and prolactin responses to acute IMO was observed. However, habituation of the ACTH response to acute IMO was observed in rats subjected to chronic regular IMO, but not in rats subjected to chronic irregular IMO. Finally, acute IMO-induced hyperglycemia diminished to the same extent after regular and irregular IMO. From these results we can conclude that: first, the process of habituation of the PA axis to chronic stress is greatly dependent upon factors such as regularity of exposure to the stressor and stressor intensity, and second, the influence of regularity on the pattern of habituation to a repeated stressor is dependent on the physiological variable we are dealing with.     

Auditory streaming: Competition among alternative organizations

It has been suggested that the ON and OFF components of the auditory evoked potential (AEP) may be mediated by independent physiological mechanisms and that the response to a brief tone consists of overlapping ON and OFF responses. Two experiments were performed to evaluate these proposals. First, AEPs were recorded to tonebursts of various durations presented at a fixed rate. As the tonebursts were made longer, they evoked smaller ON responses and larger OFF responses, particularly when either response followed the other by less than 5 sec. This indicates that ON and OFF responses are not physiologically independent. Second, the AEP to a 25-msec tone was compared with the ON response to a 2,000-msec tone. At an interstimulus interval of 4 sec, the difference wave formed by subtracting the latter AEP from the former contained clear N₁ (ca. 100 msec) and P₂ (ca. 180 msec) components, which have been interpreted as an OFF response by some authors. These components in the difference wave were greatly reduced or even inverted at 10-sec interstimulus intervals, however, where interactions between ON and OFF responses to successive stimuli were minimized. This result indicates that any residual OFF response in the AEP to a brief tone is very small in amplitude, if present at all.     

Application testing of a new three-dimensional acceleration measuring system with wireless data transfer (WAS) for behavior analysis

A wireless acceleration measurement system was applied to free-moving cows and horses. Sensors were available as a collar and a flat box for measuring leg or trunk movements. Results were transmitted simultaneously by radio or stored in an 8-MB internal memory. As analytical procedures, frequency distributions with standard deviations, spectral analyses, and fractal analyses were applied. By means of the collar sensor, basic behavior patterns (standing, grazing, walking, ruminating, drinking, and hay uptake) could be identified in cows. Lameness could be detected in cows and horses by means of the leg sensor. The portion of basic and harmonic spectral components was reduced; the fractal dimension was reduced. The system can be used for the detection and analysis of even small movements of free-moving humans or animals over several hours. It is convenient for the analysis of basic behaviors, emotional reactions, or events causing flight or fright or for comparing different housing elements, such as floors or fences.