The slippery context effect in psychophysics: intensive, extensive, and qualitative continua.

When subjects gave magnitude estimates of 500- and 2500-Hz tones at various SPLs, they judged a 500-Hz tone of 60 dB to be as loud as a 2500-Hz tone of 57 dB in one context (low SPLs at 500 Hz, high SPLs at 2500 Hz), but as loud as a 2500-Hz tone at 40 dB in another context (high SPLs at 500 Hz, low at 2500 Hz) (Marks, 1988). Such shifts in matches derived from judgments of multidimensionally varying stimuli are termed slippery context effects. The present set of seven experiments showed that slippery effects were absent from judgments of pitch of tones at different loudnesses, duration of tones at different pitches, and length of lines at different colors, though a small effect emerged in judgments of duration of tones and lights. Slippery context effects were substantial when subjects gave magnitude estimates of loudness of 500- and 2500-Hz tones under conditions in which the pitch at each trial either was cued visually beforehand or could be known through the regular stimulus sequence, and with instructions to make absolute magnitude estimates. The results are consistent with the view that slippery context effects occur automatically and "preattentively."     

Hear it playing low and slow: How pitch level differentially influences time perception

Variations in both pitch and time are important in conveying meaning through speech and music, however, research is scant on perceptual interactions between these two domains. Using an ordinal comparison procedure, we explored how different pitch levels of flanker tones influenced the perceived duration of empty interstimulus intervals (ISIs). Participants heard monotonic, isochronous tone sequences (ISIs of 300, 600, or 1200 ms) composed of either one or five standard ISIs flanked by 500 Hz tones, followed by a final interval (FI) flanked by tones of either the same (500 Hz), higher (625 Hz), or lower (400 Hz) pitch. The FI varied in duration around the standard ISI duration. Participants were asked to determine if the FI was longer or shorter in duration than the preceding intervals. We found that an increase in FI flanker tone pitch level led to the underestimation of FI durations while a decrease in FI flanker tone pitch led to the overestimation of FI durations. The magnitude of these pitch-level effects decreased as the duration of the standard interval was increased, suggesting that the effect was driven by differences in mode-switch latencies to start/stop timing. Temporal context (One vs. Five Standard ISIs) did not have a consistent effect on performance. We propose that the interaction between pitch and time may have important consequences in understanding the ways in which meaning and emotion are communicated.     

Critical fusion frequency as a function of stimulus intensity: and wavelength composition

Six Ss made judgments of equal loudness by adjusting the intensity of comparison tones of 10 different frequencies. The comparison tones were presented diotically alternately with standaxd tones. Each standard tone remained fixed at one frequency (125, 1,000, or 8,000 Hz) and one intensity (10, 20, 40, or 70 dB sensation level)while collecting the data for any single equal-loudness contour. In this manner, families of equal-loudness contours were generated for each of the three standard frequencies. The contours for the 1,000-Hz standard were compared with those in the literature. The families of contours for the 125- and 8,000-Hz standards, determined by the same algorithm, differed in the spacing of the contours from the 1,000-Hz standard family as well as from each other. Implications for the reflexive, symmetric, and transitive properties of the equal-loudness relation axe discussed.     

The perceptual basis of loudness ratio judgments

In Experiment 1, subjects were required to estimateloudness ratios for 45 pairs of tones. Ten 1,200-Hz tones, differing only in intensity, were used to generate the 45 distinct tone pairs. In Experiment 2, subjects were required to directly compare two pairs of tones (chosen from among the set of 45) and indicate which pair of tones had the greaterloudness ratio. In both Experiments 1 and 2, the subjects’ judgments were used to rank order the tone pairs with respect to their judged loudness ratios. Nonmetric analyses of these rank orders indicated that both magnitude estimates of loudness ratios and direct comparisons of loudness ratios were based on loudnessintervals ordifferences where loudness was a power function of sound pressure. These experiments, along with those on loudness difference judgments (Parker & Schneider, 1974; Schneider, Parker, & Stein, 1974), support Torgerson’s (1961) conjecture that there is but one comparative perceptual relationship for ioudnesses, and that differences in numerical estimates for loudness ratios as opposed to loudness intervals simply reflect different reporting strategies generated by the two sets of instructions.     

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.     

Separate "what" and "where" decision mechanisms in processing a dichotic tonal sequence.

Right-handed subjects were presented with a dichotic tonal sequence, whose basic pattern consisted of three 800-Hz tones followed by two 400-Hz tones on the channel and simultaneously three 400-Hz tones followed by two 800-Hz tones on the other. All tones were 250 msec in duration and separated by 250-msec pauses. On any given stimulus presentation, most subjects reported the sequence of pitches delivered to one ear and ignored the other. They further tended significantly to report the sequence delivered to the right ear rather than to the left. However, each tone appeared to be localized in the ear receiving the higher frequency, regardless of which ear was followed for pitch and regardless of whether the higher or lower frequency was in fact perceived.     

Does stimulus context affect loudness or only loudness judgments?

Marks (1988) reported that when equal-loudness matches were inferred from magnitude estimates of loudness for tones of two different frequencies, the matches were affected by changes in the stimulus intensity range at both frequencies. Marks interpreted these results as reflecting the operation of response biases in the subjects' estimates; that is, the effect of range was to alter subjects' judgments but not necessarily the perception of loudness itself. We investigated this effect by having subjects choose which of two tone pairs defined the larger loudness interval. By using tones of two frequencies, and varying their respective intensity ranges, we reproduced Marks' result in a procedure devoid of numerical responses. When the tones at one frequency are all soft, but the tones at the other frequency are not all soft, cross-frequency loudness matches are different from those obtained with other intensity range combinations. This suggests that stimulus range affects the perception of loudness in addition to whatever effects it may have on numerical judgments of loudness.     

Stimulus context and absolute magnitude estimation: a study of individual differences

The effect of stimulus context on absolute-magnitude-estimation (AME) judgments was examined by determining whether the loudness judgment of a tone is influenced by the intensities of other tones presented within the session. A group of 18 subjects was tested in separate sessions in which they judged stimuli within either a low (10-60 dB SL) or a high (40-90 dB SL) range of intensities. Examination of the results of individual subjects revealed that judgments of stimuli common to the two ranges were, in most subjects, unaffected or only slightly affected by the position of the range. The judgments of 2 subjects who failed to follow the instructions, however, showed very large context effects due to changing the stimulus range. The results of a second experiment, in which 22 subjects judged the loudness of tones within either a narrow (35-65 dB SL) or a wide (20-80 dB SL) range, revealed that, in all but 1 subject, the width of the range had no systematic effect on the loudness judgments of stimuli common to both ranges. This was also true 1 month later when 16 of the subjects returned to the laboratory to judge the loudness of tones within an even wider range of 10-90 dB SL. It was concluded that AME judgments are relatively insensitive to the potential biasing influences of stimulus context.     

Influence of tonal context and timbral variation on perception of pitch

In this study, spectral timbre's effect on pitch perception is examined in varying contexts. In two experiments, subjects detected pitch deviations of tones differing in brightness in an isolated context in which they compared two tones, in a tone-series context in which they judged whether the last tone of a simple sequence was in or out of tune, and in a melodic context in which they determined whether the last note of familiar melodies was in or out of tune. Timbre influenced pitch judgments in all the conditions, but increasing tonal context allowed the subjects to extract pitch information more accurately. This appears to be due to two factors: (1) The presence of extra tones creates a stronger reference point from which to judge pitch, and (2) the melodies' tonal structure gives more cues that facilitate pitch extraction, even in the face of conflicting spectral information.     

Stimulus sequence and the exponent of the power function for loudness

In two experiments, 15 and 13 subjects estimated the loudness of 12 sound-pressure levels (38-104 dB; 6-dB intervals) of a 1000-Hz tone by the method of magnitude estimation with a modulus assigned to the first stimulus presented. The tone duration was 1 sec. and the interstimulus interval was 6 sec. The presentation order was systematically ascending-descending in one experiment and balanced-irregular in the other. The results indicate that (1) loudness is a power function of sound pressure with an exponent of 0.60 for the systematic order and 0.29 for the irregular order. (2) For both the irregular and systematic orders, a large step-size (12 or 18 dB) between the stimulus on Trial n and on Trial n-1 (or n-3) results in a slight assimilation effect. This also occurs for the small step-size (6 dB) in the irregular order. (3) The size of momentary exponents (based on two points, Trials n and n-1 or n-3) depends on the sound pressures of successive stimuli, whether the steps are positive or negative, and whether the stimuli have been presented in systematic or irregular order. For positive steps, the momentary exponent is lower for a soft tone (Trial n) than for a loud tone, whereas for negative steps the momentary exponent is lower for a loud tone than for a soft tone. These effects ar more pronounced when these stimuli are presented in an irregular order. A relative judgment model is offered for magnitude estimation. It assumes that subjects judge the loudness of a stimulus in terms of three reference markers: the minimum and maximum sound pressures as well as the sound pressure of the previous stimulus.     

THE CONTINGENCY OF PERCEPTUAL PROCESSING: Context Modifies Equal-Loudness Relations

Abstract –The relative loudnesses of tones that differ in sound frequency can depend strongly on the stimulus context, that is, on the set of intensity levels m the stimulus ensemble Using a new paradigm, called matching in scaling, this investigation sought to confirm that context modifies loudness relations per se, and not, for example, only overt responses To this end, two experiments revealed that changes in stimulus context differentially affect direct comparisons of loudness of 500-Hz and 2,500-Hz tones, as well as numerical judgments of individual tones—when loudness matches and scaling judgments alike are obtained in the same experimental sessions These contingent effects vary dynamically over time as a function of the recent stimulus history A third experiment revealed analogous effects in a simple matching paradigm, with no numerical judgments at all These findings support the contention that basic properties of loudness perception—grounded in auditory processes often considered "low level"—nevertheless can be deeply contextual     

Factors producing and factors not producing time errors: An experiment with loudness comparisons

Pairs of 1-sec, 1,000-Hz tones, with interstimulus intervals of 1.5 sec, were judged by 60 subjects in categories of “louder,” “softer,” and “equal.” The judgments referred to the first tone in the pair for half of the subjects and to the second tone for the other half. Perceived loudness differences were scaled by a Thurstonian method. The SPL of the standard tone alternated between 50 and 70 dB in one experimental series and between 30 and 50 dB in the other. Time errors (TEs) were consistently positive (first tone overestimated relative to second) at the lower SPL and negative at the higher SPL. This “classical” effect of stimulus level on TE was thus shown to depend upon the relative, rather than the absolute, level of stimulation. The judgment mode was of very little consequence, which strongly contradicts TE theories that emphasize response-bias effects. The quantitative results are interpreted in terms of a general successive-comparison model employing the concepts of adaptation and differential weighting of sensation magnitudes.     

Slippery context effect and critical bands.

This article explored the slippery context effect: When Ss judge the loudness of tones that differ in sound frequency as well as intensity, stimulus context (relative intensity levels at the 2 frequencies) can strongly influence the levels that are judged equally loud. It is shown that the size of the slippery context effect depends on the frequency difference between the tones: Small frequency differences (less than a critical bandwidth) produced essentially no slippery effect; much larger differences produced substantial effects. These results are consistent with a model postulating the existence of a central attentional or preattentive "filter-like" process whose weighting coefficients represent the size of the absolute as opposed to the relative (contextual) component of loudness perception and judgment.     

Binaural summation of loudness: Noise and two-tone complexes

A series of six experiments used the method of magnitude estimation to assess how the two ears sum the loudness of stimuli with various spectra. The results showed that the binaural system sums loudnesses by at least two distinct sets of rules, one applicable to narrow-band stimuli (complete loudness summation), another to wide-band noises (partial summation, dependent on level). The main findings were: (1) Narrow-band noise (Vi-octave bands at 1,000 Hz) showed complete binaural loudness summation, like that previously reported for pure tones (Marks, 1978a). At all but low SPL, a monaural stimulus must be 10 dB greater than a binaural stimulus to be equally loud; a stimulus ratio of 10 dB corresponds to a loudness ratio of 2:1 on Stevens’ sone scale. (2) Wide-band noise (300-4,800 Hz) showed only partial summation, the subadditivity being confined largely to levels below about 60 dB SPL. This result obtained both with bands of white noise (flat spectrum) and pink noise (—3 dB/ octave). (3) Binaural summation of two-tone complexes depended slightly on frequency spacing. Narrow spacing (860 and 1,160 Hz) gave summation equal to about 10 dB, like that of narrowband noises and single tones, whereas wider spacing (675 and 1,475 Hz) gave less summation, equal to about 9 dB, and more like wide-band noise; however, a very wide spacing (300 and 4,800 Hz) gave summation like that of narrow-band noises and single pure tones.     

Illusory conjunctions of pitch and duration in unfamiliar tone sequences

In 3 experiments, the authors examined short-term memory for pitch and duration in unfamiliar tone sequences. Participants were presented a target sequence consisting of 2 tones (Experiment 1) or 7 tones (Experiments 2 and 3) and then a probe tone. Participants indicated whether the probe tone matched 1 of the target tones in both pitch and duration. Error rates were relatively low if the probe tone matched 1 of the target tones or if it differed from target tones in pitch, duration, or both. Error rates were remarkably high, however, if the probe tone combined the pitch of 1 target tone with the duration of a different target tone. The results suggest that illusory conjunctions of these dimensions frequently occur. A mathematical model is presented that accounts for the relative contribution of pitch errors, duration errors, and illusory conjunctions of pitch and duration.     

Context sensitivity and invariance in perception of octave-ambiguous tones

Three experiments investigated the influence of unambiguous (UA) context tones on the perception of octave-ambiguous (OA) tones. In Experiment 1, pairs of OA tones spanning a tritone interval were preceded by pairs of UA tones instantiating a rising or falling interval between the same pitch classes. Despite the inherent ambiguity of OA tritone pairs, most participants showed little or no priming when judging the OA tritone as rising or falling. In Experiments 2 and 3, participants compared the pitch heights of single OA and UA tones representing either the same pitch class or being a tritone apart. These judgments were strongly influenced by the pitch range of the UA tones, but only slightly by the spectral center of the OA tones. Thus, the perceived pitch height of single OA tones is context sensitive, but the perceived relative pitch height of two OA tones, as described in previous research on the “tritone paradox,” is largely invariant in UA tone contexts.     

Absolute identification of notes and intervals by musicians

Speech sounds are judged reliably and absolutely, while the judgment of nonspeech stimuli, such as tones, is thought to be unreliable and dependent on contextual cues. Here we demonstrated that the judgment of tonal stimuli may also be reliable and absolute, provided that the subjects are trained musicians. In Experiment 1, musicians with relative pitch identified 21 tonal intervals ranging from unison to major third, and the resulting identification functions were similar to those that have been previously obtained for speech. In Experiment 3, the judgment of intervals by musicians was shown to be free of context effects, since the best subjects gave virtually identical judgments to the same intervals in two stimulus contexts. Similar results were obtained in Experiments 2 and 4 for the judgment of single tones by possessors of absolute pitch. Performance with both notes and intervals by nonmusicians, however, was unreliable and greatly influenced by context. These findings suggest that musicians acquire categories for pitch that are functionally similar to phonemic categories for speech     

Manipulating number generation: Loud + long = large?

Humans make numerous choices every day and tend to perceive these choices as free. The present study shows how simple free choices are biased by experiencing unrelated auditory information. In two experiments, participants categorized tones according to their intensity on the dimensions volume and duration on the majority of trials. On some trials, however, they were to randomly generate a number, and we found these choices to be influenced by tone intensity. Particularly, if participants were cued toward volume, loud tones clearly biased participants to generate larger numbers. For tone duration, a similar effect only emerged if spatial information was reinforced by the motor context of the task. The findings extend previous findings relating to the ATOM framework (A Theory of Magnitude) by an explicit focus on auditory magnitude processing. As such, they also constrain ATOM by showing that the connections between different magnitude dimensions vary to a considerable degree.     

The representation of pitch in auditory imagery: Evidence from S-R compatibility and distance effects

In three experiments we explored the nature of representations constructed during the perception and imagination of pitch. We employed a same–different task to eliminate the influence of nonauditory information and to minimise use of cognitive strategies on auditory imagery. A reference tone of frequency 1000, 1500, or 2000 Hz, or an imagined tone of a pitch indicated by a visual cue, was followed by a comparison tone (1000, 1500, or 2000 Hz) to which either a speeded same or different response was required. In separate experiments, same–different judgements were mapped to vertically (Experiments 1 and 2) and horizontally arranged responses (Experiment 3). Judgements of tones closer in pitch yielded longer reaction times and higher error rates than more distant tones, indicating a pitch distance effect for perceptual and imagery tasks alike. In addition, in the imagery task, same–different responses were faster when low-pitched tones demanded a bottom or left key response and high-pitched tones a top or right response than vice versa, suggesting that pitch is coded spatially. Together, these behavioural effects support the assumption that both perceived and imagined pitch are translated into an analogical representation in the spatial domain.     

Distractor clustering enhances detection speed and accuracy during selective listening

The effects of distractor clustering on target detection were examined in two experiments in which subjects attended to binaural tone bursts of one frequency while ignoring distracting tones of two competing frequencies. The subjects pressed a button in response to occasional target tones of longer duration (Experiment 1) or increased loudness (Experiment 2). In evenly spaced conditions, attended and distractor frequencies differed by 6 and 12 semitones, respectively (e.g., 2096-Hz targets vs. 1482- and 1048-Hz distractors). In clustered conditions, distractor frequencies were grouped; attended tones differed from the distractors by 6 and 7 semitones, respectively (e.g., 2096-Hz targets vs. 1482- and 1400-Hz distractors). The tones were presented in randomized sequences at fixed or random stimulus onset asynchronies (SOAs). In both experiments, clustering of the unattended frequencies improved the detectability of targets and speeded target reaction times, Similar effects were found at fixed and variable SO As. Results from the analysis of stimulus sequence suggest that clustering improved performance primarily by reducing the interference caused by distractors that immediately preceded the target.