Cross-octave masking of single tones and musical sequences: The effects of structure on auditory recognition

A series of experiments explored the role of structural information in the auditory recognition process, within the context of a backward recognition masking paradigm. A masking tone presented after a test tone has been found to interfere with the perceptual processing of the test tone, the degree of interference decreasing with increased durations of the silent intertone interval between the test and masking tones. In the current studies, the task was modified to utilize three-tone sequences as the test stimuli. Six test sequences were employed (LMH, LHM, MLH, MHL, HLM, HML), where L, M, and H represent the lowest, middle, and highest frequencies in the melody. The observers identified these six possible sequences when the three tones of the test sequence were interleaved with three presentations of a single masking tone. All three tones of the test sequence were drawn from the same octave, while the masking tones could be drawn from any of three octaves, symmetrical around the octave containing the test tones. Under these conditions, interference occurred primarily from masking tones drawn from the same octave as the test tones. Masking tones drawn from other octaves were found to produce little, if any, interference with perception of the test tones. This effect was found to occur only for the identification of tonal sequences. Substantial masking of single-tone targets occurred with masking tones drawn from octaves other than that containing the targets. The results make apparent the use of structural information during auditory recognition. A theoretical interpretation was advanced which suggests that, while single tones are perceived on the basis of absolute pitch, the presence of auditory structure may allow relational information, such as exact pitch intervals or melodic contour, to facilitate perception of the tonal sequence.     

Sensorimotor synchronization: Motor responses to regular auditory patterns

Subjects (N = 32) were asked to synchronize a motor response with tones in auditory patterns. These patterns were created from six tones and six intertone intervals of equal duration. The pitch of the first tone differed from the others. It was found that subjects used three types of timing in their motor response: (1) the first intertone interval was prolonged and the second interval was shortened, (2) the second intertone interval was prolonged and the first interval was shortened, and/or (3) the first interval and the second interval were of approximately the same length. The prolongation of the fifth interval was observed during all three types of timing. The results are explained using the concept of suprasegmental control of timing, which explains a prolongation of intervals at critical control point of the patterns. The occurrence of three different strategies of timing is discussed in connection with similar principles in musical performance.     

Sensorimotor synchronization: motor responses to regular auditory patterns.

Subjects (N = 32) were asked to synchronize a motor response with tones in auditory patterns. These patterns were created from six tones and six intertone intervals of equal duration. The pitch of the first tone differed from the others. It was found that subjects used three types of timing in their motor response: (1) the first intertone interval was prolonged and the second interval was shortened, (2) the second intertone interval was prolonged and the first interval was shortened, and/or (3) the first interval and the second interval were of approximately the same length. The prolongation of the fifth interval was observed during all three types of timing. The results are explained using the concept of suprasegmental control of timing, which explains a prolongation of intervals at critical control point of the patterns. The occurrence of three different strategies of timing is discussed in connection with similar principles in musical performance.     

Some characteristics of auditory spatial attention revealed using rhythmic masking release

The tuning of auditory spatial attention with respect to interaural level and time difference cues (ILDs and ITDs) was explored using a rhythmic masking release (RMR) procedure. Listeners heard tone sequences defining one of two simple target rhythms, interleaved with arhythmic masking tones, presented over headphones. There were two conditions, which differed only in the ILD of the tones defining the target rhythm: For one condition, ILD was 0 dB and the perceived lateral position was central, and for the other, ILD was 4 dB and the perceived lateral position was to the right; target tone ITD was always zero. For the masking tones, ILD was fixed at 0 dB and ITDs were varied, giving rise to a range of lateral positions determined by ITD. The listeners' task was to attend to and identify the target rhythm. The data showed that target rhythm identification accuracy was low, indicating that maskers were effective, when target and masker shared spatial position, but not when they shared only ITD. A clear implication is that at least within the constraints of the RMR paradigm, overall spatial position, and not ITD, is the substrate for auditory spatial attention.     

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.     

The effect of tone duration on auditory stream formation

In a study in which the effect of tone duration on the formation of auditory streams was investigated, subjects were presented with 15-sec alternating pure-tone sequences (ABAB …) and were asked to orient their attention over the duration of the sequence toward hearing either a temporally coherent or a segregated percept. At stimulus offset, the subjects indicated whether their percept at the end of the stimulus had been that of a temporally coherent ABAB trill or that of segregated A and B streams. The experimental results indicated that the occurrence of stream segregation increases as (1) the duration of the A and B tones increases in unison and (2) the difference in duration between the A and B tones increases, with the duration differences between the tones producing the strongest segregation effects. A comparison of these experimental results with those of other studies strongly suggests that the time interval between the offset and onset of consecutive tones in the same frequency range is the most important temporal factor affecting auditory stream formation. Furthermore, a simulation of the experimental results by the Beauvois and Meddis (1996) stream segregation model suggests that both the tone duration effects reported here and Gestalt auditory grouping on the basis of temporal proximity can be understood in terms of low-level neurophysiological processes and peripheral-channeling factors.     

Age-related changes in auditory temporal processing

Two tone bursts separated by a silent interval and imbedded in a background white noise were presented to elderly subjects (M age = 71.3 years) and young subjects (M age = 22.2 years). Subjects were required to judge when the two tone bursts fused perceptually by adjusting the duration of tone-one. The bursts were separated by six discrete interstimulus intervals of 4, 8, 16, 24, 32, or 40 ms. The tone-two burst was held constant at 100 ms. Fusion point was defined as that critical tone-one duration at which the two tones fused (were perceived as one). Elderly subjects reached fusion point at longer critical tone-one durations than young subjects at each interval tested. The function relating tone-one duration and interval conformed to an exponential curve and is discussed with respect to an exponential decay model of the inhibitory interactions of neural systems responding to onsets and offsets of sensory events.     

Why are damped sounds perceived as shorter than ramped sounds?

Hearing is the most accurate sense for perceiving duration. However, rarely it produces inaccurate estimates of duration, for example when it compares the subjective duration of tones that are increasing in intensity over time (i.e., ramped) with that of tones that are decreasing in intensity over time (i.e., damped). The literature reports that the damped tones are perceived as much being shorter than the ramped tones of the same length. The short subjective duration of damped tones may originate from a decay suppression mechanism that parses the source-informative part of many natural sounds (i.e., the beginning) from the less informative part of them (the decay): listeners may interpret the tail of damped tones like an echo or like the decay portion of an impact sound and exclude it from the account of the duration of the tone. In the natural soundscape, the tail of sounds produced in reverberant environments and the tail of impact sounds have a frequency content that is constant throughout the sound’s duration. Here, the carriers used for ramped and damped sounds were a tone constant in frequency and a tone modulated in frequency. The frequency modulation was introduced to prevent the listener from interpreting the tail of these tones as the result of reverberation or the decay portion of an impact sound. Frequency constant damped tones were largely underestimated in duration whereas frequency modulated ones were not (or were only slightly), demonstrating that the decay suppression mechanism is a worthy explanation for the short subjective duration of damped tones.

     

Memory for the pitch of a tone

Observers attempted to detect the presence of a pitch dirference between two successive tones. The percentage of correct judgments was equivalent for tones separated by 95, 4.5, and 8.9 sec. There was a general increase in reports of a pitch difference with increased intertone interval, which is interpreted as arising from hypothesized shifts in the neural locus of the first stimulus during the intertone interval.     

The perception of pure and mistuned musical fifths and major thirds: Thresholds for discrimination,beats, and identification

In Experiment 1, the discriminability of pure and mistuned musical intervals consisting of simultaneously presented complex tones was investigated. Because of the interference of nearby harmonics, two features of beats were varied independently: (1) beat frequency, and (2) the depth of the level variation. Discrimination thresholds (DTs) were expressed as differences in level (AL) between the two tones. DTs were determined for musical fifths and major thirds, at tone durations of 250, 500, and 1,000 msec, and for beat frequencies within a range of .5 to 32 Hz. The results showed that DTs were higher (smaller values of ΔL) for major thirds than for fifths, were highest for the lowest beat frequencies, and decreased with increasing tone duration. Interaction of tone duration and beat frequency showed that DTs were higher for short tones than for sustained tones only when the mistuning was not too large. It was concluded that, at higher beat frequencies, DTs could be based more on the perception of interval width than on the perception of beats or roughness. Experiments 2 and 3 were designed to ascertain to what extent this was true. In Experiment 2, beat thresholds (BTs) for a large number of different beat frequencies were determined. In Experiment 3, DTs, BTs, and thresholds for the identification of the direction of mistuning (ITs) were determined. For mistuned fifths and major thirds, sensitivity to beats was about the same. ITs for fifths and major thirds were not significantly different; deviations from perfect at threshold ranged from about 20 to 30 cents. Comparison of the different thresholds revealed that DTs are mainly determined by sensitivity to beats. Detailed analysis, however, indicated that perception of interval width is a relevant aspect in discrimination, especially for the fifths.     

Age effects on a nonverbal auditory sustained attention task

A nonverbal auditory test of sustained attention was administered to 20 young and 20 elderly women, screened to ensure good health. Groups were matched for intelligence. Older subjects performed as accurately as younger subjects. Neither group showed increases in response latency as a function of time spent on test. Older subjects took longer to respond than younger subjects, but only for a particular combination of stimulus duration and order of presenting stimulus durations. When subjects were presented long tones first, there was no difference in response latency associated with age or stimulus duration. When short tones were presented first, older subjects were slower than younger subjects in both duration conditions and in response to long tones were slower than all other subjects.     

Decoupling stimulus duration from brightness in metacontrast masking: data and models

A brief target that is visible when displayed alone can be rendered invisible by a trailing stimulus (metacontrast masking). It has been difficult to determine the temporal dynamics of masking to date because increments in stimulus duration have been invariably confounded with apparent brightness (Bloch's law). In the research reported here, stimulus luminance was adjusted to maintain constant brightness across all durations. Increasing target duration yielded classical U-shaped masking functions, whereas increasing mask duration yielded monotonic decreasing functions. These results are compared with predictions from 6 theoretical models, with the lateral inhibition model providing the best overall fit. It is tentatively suggested that different underlying mechanisms may mediate the U-shaped and monotonic functions obtained with increasing durations of target and mask, respectively.     

Aptitude-related differences in auditory information processing: effects of selective attention and tone duration

College students selected for high or low aptitude performed an auditory backward recognition masking task in which tones differed in pitch (770 or 870 Hz) and duration (10, 13 or 20 msec). Ss were required to attend selectively to the pitch but not to the duration of the targets. As predicted, higher aptitude was associated with lower recognition thresholds at all tone durations. Although increased attentional demands impaired recognition thresholds, this had no apparent differential effect on aptitude-related differences in auditory information processing.     

Memory for the pitch of a tone

Observers attempted to detect the presence of a pitch difference between two successive tones. The percentage of correct judgments was equivalent for tones separated by .95, 4.5, and 8.9 sec. There was a general increase in reports of a pitch difference with increased intertone interval, which is interpreted as arising from hypothesized shifts in the neural locus of the first stimulus during the intertone interval.     

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.     

Accents in equitone sequences

Equitone sequences are defined as sequences of tones that are identical in all respects: frequency, spectral composition, intensity, and duration. The only parameter varied in these sequences is the time-interval between tones. In such sequences, clear accents are perceived. This paper describes accent perception in equitone sequences containing two alternating intervals; such sequences are perceived as consisting of repeating groups of two tones. An accent is heard on the first tone of a group if the difference between the intervals is about 5% to 10%. If the difference is made bigger, the accent is heard on the last tone of the group; this latter accent is considerably stronger than the accent previously heard on the first tone. In a number of experiments, the conditions under which the two types of accents occur were investigated. From these experiments, it was tentatively concluded that the accent on the last tone is heard because that tone, since it is followed by a longer interval, can be processed more completely. This “intervalproduced” accent indeed occurs only if the between-group interval is considerably longer than the within-group interval and if the latter does not exceed a duration of about 250 msec. The effect is slightly dependent on tone duration. The interval-produced accent can be balanced if the nonaccented tone is increased by about 4 dB in intensity. This shows that the effect is quite robust. The specific type of accentuation reported here might explain some rhythmical phenomena, examples of which are given.     

Effect of short and long exposure duration and dual-tasking on a global-local task

Past research has demonstrated a global advantage in responses to visually presented hierarchical stimuli such that, on incongruent trials, the global form interferes with responses to the local level [Kimchi, R. (1992). Primacy of wholistic processing and global/local paradigm: A critical review. Psychological Bulletin, 112, 24-38]. In Experiment 1, 32 adults performed alternating blocks of global or local identification of hierarchical letter stimuli in which the global and local letters were congruent, incongruent, or neutral, and were presented at either a short (17 ms) or long (100 ms) exposure duration. A global advantage was demonstrated at both durations. In the local-directed task, interference on incongruent, relative to neutral, trials was observed at both exposure durations, but facilitation on congruent trials, relative to neutral trials, was present only when stimuli were presented at the long exposure duration. In Experiment 2, global or local identification was performed by another group of 24 adults at either a long or short exposure duration, and also under conditions of full attention (FA) or dual-task (DT) conditions with a digit-monitoring task. Under FA, we again found significant interference at both exposure durations, but facilitation only at the long exposure duration. Under DT conditions, the pattern of facilitation and interference at the short duration remained unchanged. At the long duration, however, dual-tasking eliminated interference in the RT but not error data, while facilitation was present in both sets of data. Results are in line with a perceptual account of the global advantage, and suggest that facilitation requires consciously-mediated processes, whereas interference does not.     

Auditory-visual conflicts in the perceived duration of lights, tones and gaps

The perceived duration of a short tone (1,000 or 1,500 msec) was longer than that of a separately presented light of equal length. Thus, when light and tone were presented simultaneously, there was a conflict in perceived duration. In that case, the perceived duration of an interval filled with both light and tone was close to that of an interval filled with tone alone. A silent gap in otherwise continuous tone was perceived as longer than a gap in otherwise continuous light, and the perceived duration of a gap occurring simultaneously in both light and tone was close to that of a gap in tone alone. Thus, auditory dominance occurred under the preceding conditions-that is, auditory-visual conflicts in perceived duration, whether occurring between filled intervals or gaps, were resolved in favor of the auditory modality. Visual dominance occurred only under one condition, in which the intensity of tone was reduced, and in which the perceived duration of a 500-msec light was longer than that of a 500-msec tone. The finding of auditory dominance in the perception of time runs counter to the results of studies of sensory conflicts in spatial perception, where vision typically dominates audition and touch.     

Vibrotactile frequency recognition: forward and backward masking effects

Forward and backward vibrotactile recognition masking was investigated in 4 subjects with 240-Hz and 160-Hz targets of 20 ms duration and four 200-Hz masks, using interstimulus intervals (ISIs) ranging from -500 to 500 ms. Two of the masks (short) were 20 ms and two (long) were 200 ms in duration. One of each set of masks was matched in subjective intensity to the targets, but the others were more intense. The range of ISIs over which masking was obtained was comparable to that found by Massaro (1970) with auditory stimuli. Both short masks produced more masking than either long mask except at short ISIs. Larger mask intensities increased masking only at very short ISIs, and longer mask durations increased backward but not forward masking.