Primacy, recency, and suffix effects in auditory short-term memory for pure tones: evidence from a probe recognition paradigm.

The present study was designed to explore serial position and suffix effects in the short-term retention of nonverbal sounds. In contrast with previous studies of these effects, a probe recognition paradigm was used to minimize the possibility that participants would use a verbal labelling strategy. On each trial, participants heard a memory set consisting of three pure tones, followed five seconds later by a probe tone. Participants were required to indicate whether or not the probe tone had been a member of the memory set. On most trials, a suffix sound was presented 1 second following the third sound in the memory set. Results revealed that tones presented in the first and last positions of the memory set were recognized more accurately than were tones presented in the middle position. Furthermore, recognition of sounds presented in the last position was compromised when the memory set was followed by a postlist suffix of similar pitch, spectral composition, and spatial location.     

Prospects for timbre physicalism

Timbre is that property of a sound that distinguishes it other than pitch and loudness, for instance the distinctive sound quality of a violin or flute. While the term is obscure, the concept has played an important, implicit role in recent philosophy of sound. Philosophers have debated whether to identify sounds with properties of waves, events, or objects. Many of the intuitive considerations in this debate apply most clearly to timbre qualities. Two prominent forms of timbre physicalism have emerged: one identifying timbre with the spectral composition of proximal waves; the second identifying timbre with the mechanical vibrations at a sound source. I demonstrate that the first possibility is conceptually unsatisfying, while the second fails to meet the standards of rigor established by the color physicalism literature. One response to these worries might be to adopt a more modest, non-reductive realism about timbre, such as the ecological view of J. J. Gibson.     

Congenital amusia: A short-term memory deficit for non-verbal,but not verbal sounds

Congenital amusia refers to a lifelong disorder of music processing and is linked to pitch-processing deficits. The present study investigated congenital amusics’ short-term memory for tones, musical timbres and words. Sequences of five events (tones, timbres or words) were presented in pairs and participants had to indicate whether the sequences were the same or different. The performance of congenital amusics confirmed a memory deficit for tone sequences, but showed normal performance for word sequences. For timbre sequences, amusics’ memory performance was impaired in comparison to matched controls. Overall timbre performance was found to be correlated with melodic contour processing (as assessed by the Montreal Battery of Evaluation of Amusia). The present findings show that amusics’ deficits extend to non-verbal sound material other than pitch, in this case timbre, while not affecting memory for verbal material. This is in line with previous suggestions about the domain-specificity of congenital amusia.     

Congenital amusia: A short-term memory deficit for non-verbal,but not verbal sounds

Congenital amusia refers to a lifelong disorder of music processing and is linked to pitch-processing deficits. The present study investigated congenital amusics’ short-term memory for tones, musical timbres and words. Sequences of five events (tones, timbres or words) were presented in pairs and participants had to indicate whether the sequences were the same or different. The performance of congenital amusics confirmed a memory deficit for tone sequences, but showed normal performance for word sequences. For timbre sequences, amusics’ memory performance was impaired in comparison to matched controls. Overall timbre performance was found to be correlated with melodic contour processing (as assessed by the Montreal Battery of Evaluation of Amusia). The present findings show that amusics’ deficits extend to non-verbal sound material other than pitch, in this case timbre, while not affecting memory for verbal material. This is in line with previous suggestions about the domain-specificity of congenital amusia.     

Infants' perception of timbre: classification of complex tones by spectral structure

Infants 7 to 8.5 months of age were tested for their discrimination of timbre or sound quality differences in the context of variable exemplars. They were familiarized with a set of complex tones with specified spectral structure; members of the set varied in fundamental frequency, intensity, or duration. Infants were then tested for their detection of tones that contrasted in spectral structure but were similar in other respects. They successfully differentiated the two spectral structures in the context of these variations, indicating that they can classify tonal stimuli on the basis of timbre. When the stimuli were organized into arbitrary categories, infants were unable to differentiate these categories, indicating that their performance with nonarbitrary categories was not attributable to memorization of the familiarized set.     

Binding “what” and “where” in auditory working memory: An asymmetrical association between sound identity and sound location

Contrasting results in visual and auditory working memory studies suggest that the mechanisms of association between location and identity of stimuli depend on the sensory modality of the input. In this auditory study, we tested whether the association of two features both encoded in the “what” stream is different from the association between a “what” and a “where” feature. In an old–new recognition task, blindfolded participants were presented with sequences of sounds varying in timbre, pitch and location. They were required to judge if either the timbre, pitch or location of a single-probe stimulus was identical or different to the timbre, pitch or location of one of the sounds of the previous sequence. Only variations in one of the three features were relevant for the task, whereas the other two features could vary, with task-irrelevant changes. Results showed that task-irrelevant variations in the “what” features (either timbre or pitch) caused an impaired recognition of sound location and in the other task-relevant “what” feature, whereas changes in sound location did not affect the recognition of either one of the “what” features. We conclude that the identity of sounds is incidentally processed even when not required by the task, whereas sound location is not maintained when task irrelevant.     

Interference from short-term memory processing on encoding and reproducing brief durations

A temporal reproduction task is composed of two temporal estimation phases: encoding of the interval to be reproduced, followed by its reproduction. The effect of short-term memory processing on each of these phases was tested in two experiments. In Exp. 1, a memory set was presented, followed by two successive tones bounding the target interval to be reproduced. During the reproduction of the target interval, a probe was presented, and the subject ended the reproduction by pressing one of two keys, depending on the presence or absence of the probe in the memory set. In Exp. 2, probe recognition was required during the encoding of the interval to be reproduced. Whereas in Exp. 1 reproductions lengthened as a function of memory-set size, in Exp. 2 temporal reproductions decreased with set size. These results support attentional models of time estimation and suggest that short-term memory processing interrupts concurrent accumulation of temporal information. Received: 11 September 1997 / Accepted: 2 March 1998     

Environmental sound recognition by timbre in children with Williams syndrome

Anecdotal reports have described children with Williams syndrome (WS) as presenting outstanding skills for recognizing environmental sounds by their timbre. This has led to suggest that the skills for environmental sound recognition by timbre are highly developed in WS. Furthermore, the term hypertimbria has been proposed to refer to this feature. However, no academic research has assessed these skills in WS. This study therefore aimed to contrast the reports on the highly developed skills for environmental sound recognition by timbre in children with WS. An environmental sound recognition task was administered to children with WS, children with Down syndrome of the same chronological age and cognitive level, and chronological age-matched typically developing children. Participants with WS performed significantly lower than their typically developing peers and no significant differences were found between the WS and Down syndrome groups. Unlike previous reports, this study points out that in WS environmental sound recognition by timbre does not constitute a phenotypic strength either in absolute or relative terms. Results suggest that children with WS do not present hypertimbria or preserved skills for timbre recognition. We discuss the implications of these results for theories of cognitive modularity.     

The Aesthetic Preference for Nature Sounds Depends on Sound Object Recognition

People across the world seek out beautiful sounds in nature, such as a babbling brook or a nightingale song, for positive human experiences. However, it is unclear whether this positive aesthetic response is driven by a preference for the perceptual features typical of nature sounds versus a higher‐order association of nature with beauty. To test these hypotheses, participants provided aesthetic judgments for nature and urban soundscapes that varied on ease of recognition. Results demonstrated that the aesthetic preference for nature soundscapes was eliminated for the sounds hardest to recognize, and moreover the relationship between aesthetic ratings and several measured acoustic features significantly changed as a function of recognition. In a follow‐up experiment, requiring participants to classify these difficult‐to‐identify sounds into nature or urban categories resulted in a robust preference for nature sounds and a relationship between aesthetic ratings and our measured acoustic features that was more typical of easy‐to‐identify sounds. This pattern of results was replicated with computer‐generated artificial noises, which acoustically shared properties with the nature and urban soundscapes but by definition did not come from these environments. Taken together, these results support the conclusion that the recognition of a sound as either natural or urban dynamically organizes the relationship between aesthetic preference and perceptual features and that these preferences are not inherent to the acoustic features. Implications for nature's role in cognitive and affective restoration are discussed.     

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.

     

From sensory to long-term memory: evidence from auditory memory reactivation studies

Everyday experience tells us that some types of auditory sensory information are retained for long periods of time. For example, we are able to recognize friends by their voice alone or identify the source of familiar noises even years after we last heard the sounds. It is thus somewhat surprising that the results of most studies of auditory sensory memory show that acoustic details, such as the pitch of a tone, fade from memory in ca. 10-15 s. One should, therefore, ask (1) what types of acoustic information can be retained for a longer term, (2) what circumstances allow or help the formation of durable memory records for acoustic details, and (3) how such memory records can be accessed. The present review discusses the results of experiments that used a model of auditory recognition, the auditory memory reactivation paradigm. Results obtained with this paradigm suggest that the brain stores features of individual sounds embedded within representations of acoustic regularities that have been detected for the sound patterns and sequences in which the sounds appeared. Thus, sounds closely linked with their auditory context are more likely to be remembered. The representations of acoustic regularities are automatically activated by matching sounds, enabling object recognition.     

An Adaptive Bias in the Perception of Looming Auditory Motion

Rising acoustic intensity can indicate movement of a sound source toward a listener. Perceptual overestimation of intensity change could provide a selective advantage by indicating that the source is closer than it actually is, providing a better opportunity for the listener to prepare for the source's arrival. In Experiment 1, listeners heard equivalent rising and falling level sounds and indicated whether one demonstrated a greater change in loudness than the other. In 2 subsequent experiments listeners heard equivalent approaching and receding sounds and indicated perceived starting and stopping points of the auditory motion. Results indicate that rising intensity changed in loudness more than equivalent falling intensity, and approaching sounds were perceived as starting and stopping closer than equidistant receding sounds. Both effects were greater for tones than for noise. Evidence is presented that suggests that an asymmetry in the neural coding of egocentric auditory motion is an adaptation that provides advanced warning of looming acoustic sources.     

Vocal Imitations and the Identification of Sound Events

It is commonly observed that a speaker vocally imitates a sound that she or he intends to communicate to an interlocutor. We report on an experiment that examined the assumption that vocal imitations can effectively communicate a referent sound and that they do so by conveying the features necessary for the identification of the referent sound event. Participants were required to sort a set of vocal imitations of everyday sounds. The resulting clusters corresponded in most of the cases to the categories of the referent sound events, indicating that the imitations enabled the listeners to recover what was imitated. Furthermore, a binary decision tree analysis showed that a few characteristic acoustic features predicted the clusters. These features also predicted the classification of the referent sounds but did not generalize to the categorization of other sounds. This showed that, for the speaker, vocally imitating a sound consists of conveying the acoustic features important for recognition, within the constraints of human vocal production. As such vocal imitations prove to be a phenomenon potentially useful to study sound identification.     

Effects of auditory input in individuation tasks

Under many conditions auditory input interferes with visual processing, especially early in development. These interference effects are often more pronounced when the auditory input is unfamiliar than when the auditory input is familiar (e.g. human speech, pre‐familiarized sounds, etc.). The current study extends this research by examining how auditory input affects 8‐ and 14‐month‐olds’ performance on individuation tasks. The results of the current study indicate that both unfamiliar sounds and words interfered with infants’ performance on an individuation task, with cross‐modal interference effects being numerically stronger for unfamiliar sounds. The effects of auditory input on a variety of lexical tasks are discussed.     

Relationship between cue word activation and prospective memory performance

The interaction of cue-word specificity in instructions and cue-word familiarity on prospective performance was examined. Exp. 1 was based on a typical prospective memory paradigm using familiar and unfamiliar cue words. Prospective memory performances under general and specific instruction conditions were compared. In Exp. 2, the relationship found in Exp. 1 was further investigated based on the activation of cue words and prospective memory performance. The experimental results indicated that, when a spontaneous retrieval process was used, unfamiliar cues were more likely to be detected, whereas when only strategic monitoring played a role, familiar cues were more likely to be detected, suggesting that retrieval varied systematically across experimental situations, as predicted by the multiprocess model.     

Perceptual interactions between musical pitch and timbre.

These experiments examined perceptual interactions between musical pitch and timbre. Experiment 1, through the use of the Garner classification tasks, found that pitch and timbre of isolated tones interact. Classification times showed interference from uncorrelated variation in the irrelevant attribute and facilitation from correlated variation; the effects were symmetrical. Experiments 2 and 3 examined how musical pitch and timbre function in longer sequences. In recognition memory tasks, a target tone always appeared in a fixed position in the sequences, and listeners were instructed to attend to either its pitch or its timbre. For successive tones, no interactions between timbre and pitch were found. That is, changing the pitches of context tones did not affect timbre recognition, and vice versa. The tendency to perceive pitch in relation to other context pitches was strong and unaffected by whether timbre was constant or varying. In contrast, the relative perception of timbre was weak and was found only when pitch was constant. These results suggest that timbre is perceived more in absolute than in relative terms. Perceptual implications for creating patterns in music with timbre variations are discussed.     

Short-term forgetting without interference

In the 1st reported experiment, we demonstrate that auditory memory is robust over extended retention intervals (RIs) when listeners compare the timbre of complex tones, even when active or verbal rehearsal is difficult or impossible. Thus, our tones have an abstract timbre that resists verbal labeling, they differ across trials so that no "standard" comparison stimulus is built up, and the spectral change to be discriminated is very slight and therefore does not shift stimuli across verbal categories. Nonetheless, performance in this nonverbal immediate memory task was better at short (1-, 2-, or 4-s) than long (8-, 16-, or 32-s) RIs, an outcome predicted by temporal distinctiveness theory whereby at long RIs, tones are closer in time to tones on previous trials. We reject this account in the 2nd experiment, where we demonstrate that the ratio of RI to intertrial interval makes absolutely no difference to performance. We suggest that steady forgetting is consistent with a psychoacoustically derived conception of an auditory memory (the timbre memory model) that embodies time-based forgetting in the absence of feature-specific interference.     

Two routes to face perception: evidence from psychophysics and computational modeling

The aim of this study was to separately analyze the role of featural and configural face representations. Stimuli containing only featural information were created by cutting the faces into their parts and scrambling them. Stimuli only containing configural information were created by blurring the faces. Employing an old-new recognition task, the aim of Experiments 1 and 2 was to investigate whether unfamiliar faces (Exp. 1) or familiar faces (Exp. 2) can be recognized if only featural or configural information is provided. Both scrambled and blurred faces could be recognized above chance level. A further aim of Experiments 1 and 2 was to investigate whether our method of creating configural and featural stimuli is valid. Pre-activation of one form of representation did not facilitate recognition of the other, neither for unfamiliar faces (Exp. 1) nor for familiar faces (Exp. 2). This indicates a high internal validity of our method for creating configural and featural face stimuli. Experiment 3 examined whether features placed in their correct categorical relational position but with distorted metrical distances facilitated recognition of unfamiliar faces. These faces were recognized no better than the scrambled faces in Experiment 1, providing further evidence that facial features are stored independently of configural information. From these results we conclude that both featural and configural information are important to recognize a face and argue for a dual-mode hypothesis of face processing. Using the psychophysical results as motivation, we propose a computational framework that implements featural and configural processing routes using an appearance-based representation based on local features and their spatial relations. In three computational experiments (Experiments 4–6) using the same sets of stimuli, we show how this framework is able to model the psychophysical data.     

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.     

The perception of interleaved melodies

If the notes of two melodies whose pitch ranges do not overlap are interleaved in time so that successive tones come from the different melodies, the resulting sequence of tones is perceptually divided into groups that correspond to the two melodies. Such “melodic fission” demonstrates perceptual grouping based on pitch alone, and has been used extensively in music.Experiment I showed that the identification of interleaved pairs of familiar melodies is possible if their pitch ranges do not overlap, but difficult otherwise. A short-term recognition-memory paradigm (Expt II) showed that interleaving a “background” melody with an unfamiliar melody interferes with same-different judgments regardless of the separation of their pitch ranges, but that range separation attenuates the interference effect. When pitch ranges overlap, listeners can overcome the interference effect and recognize a familiar target melody if the target is prespecified, thereby permitting them to search actively for it (Expt III). But familiarity or prespecification of the interleaved background melody appears not to reduce its interfering effects on same-different judgments concerning unfamiliar target melodies (Expt IV).