Cross-series adaptation using song and string

The acoustic-auditory feature “risetime” has been claimed to underlie both the phoneticaffricate-fricative distinction and the nonphoneticplucked-string/bowed-string distinction. We used the perceptual adaptation technique to determine whether the risetime differences of the [d3a]-[3a] distinction would therefore be registered by the same mechanism that mediates risetime differences for the plucked-bowed distinction. Two continua were used, one of digitally modified natural speech and one of synthetic violin sounds, in which the risetime was varied across each set of tokens from 0 msec to 80 msec in steps of 10 msec. The speech was sung and the violin notes were synthesized with the same fundamental frequency, 294 Hz. Adaptation of the category boundaries was observed only when speech adaptors were tested with the speech continuum and when violin adaptors were tested with the violin continuum. When crossseries tests were performed (violin adaptors tested with the speech series, and speech adaptors tested with the violin series), no effect of adaptation was observed. This finding indicates that these speech and violin sounds, despite obvious acoustic similarities, do not share the same feature detectors.     

Evidence for two pitch encoding mechanisms using a selective auditory training paradigm

The neural mechanisms underlying the perception of pitch, a sensory attribute of paramount importance in hearing, have been a matter of debate for over a century. A question currently at the heart of the debate is whether the pitch of all harmonic complex tones can be determined by the auditory system's using a single mechanism, or whether two different neural mechanisms are involved, depending on the stimulus conditions. When the harmonics are widely spaced, as is the case at high fundamental frequencies (FOs), and/or when the frequencies of the harmonics are low, the frequency components of the sound fall in different peripheral auditory channels and are then "resolved" by the peripheral auditory system. In contrast, at low F0s, or when the harmonics are high in frequency, several harmonics interact within the passbands of the same auditory filters, being thus "unresolved" by the peripheral auditory system. The idea that more than one mechanism mediates the encoding of pitch depending on the resolvability status of the harmonics was investigated here by testing for transfer of learning in F0 discrimination between different stimulus conditions involving either resolved or unresolved harmonics after specific training in one of these conditions. The results, which show some resolvability-specificity of F0-discrimination learning, support the hypothesis that two different underlying mechanisms mediate the encoding of the F0 of resolved and unresolved harmonics.     

Effects of harmonics on relative pitch discrimination in a musical context

The contribution of different harmonics to pitch salience in a musical context was examined by requiring subjects to discriminate a small (1/4 semitone) pitch change in one note of a melody that repeated in transposition. In Experiment 1, performance was superior when more harmonics were present (first five vs. fundamental alone) and when the second harmonic (of tones consisting of the first two harmonics) was in tune compared with when it was out of tune. In Experiment 2, the effects of harmonics 6 and 8, which stand in octave-equivalent simple ratios to the fundamental (2∶3 and 1∶2, respectively) were compared with harmonics 5 and 7, which stand in more complex ratios (4:5 and 4:7, respectively). When the harmonics fused into a single percept (tones consisting of harmonics 1, 2, and one of 5, 6, 7, or 8), performance was higher when harmonics 6 or 8 were present than when harmonics 5 or 7 were present. When the harmonics did not fuse into a single percept (tones consisting of the fundamental and one of 5, 6, 7, or 8), there was no effect of ratio simplicity.     

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.     

The missing fundamental phenomenon in temporal vision

Subjective flicker rates were measured for compound waveforms consisting of five harmonics without a fundamental component. It was found that observers perceived a rate at the fundamental frequency, although energy at this frequency was not included in the signals. In auditory pitch sensation this is called the missing fundamental phenomenon, and an analogous finding is known to occur in spatial vision. Moreover, observers perceived the flicker rates at the fundamental frequency even in the random-phase conditions, in which the period of the fundamental component is unclear in the real waveforms. The results indicate that the perceived flicker rates are not detected from the temporal waveforms per se. One possible mechanism for extracting such a periodicity in the signal is an autocorrelation function to the real temporal waveforms. Received: 18 October 1999 / Accepted: 28 January 2000     

Visual hemispheric asymmetries depend on which spatial frequencies are task relevant

Observers classified sine-wave and square-wave gratings on the basis of fundamental frequency (Are the bars wide or narrow?) or on the basis of higher harmonic frequencies (Are the bars sharp or fuzzy?). Stimuli were presented in either the left (LVF) or right (RVF) visual field. When the classification was made on the basis of the fundamental frequencies (1 or 3 c/deg), there was a LVF/right hemisphere advantage. However, when the classification was on the basis of a sharp/fuzzy distinction which involved searching for the higher harmonic frequencies, then a RVF/left hemisphere advantage was found.     

Timbre control in zebra finch (Taeniopygia guttata) song syllables

Zebra finch (Taeniopygia guttata) song syllables often include harmonically related frequency components. These harmonics may be suppressed, and this differential emphasis varies between the syllables in a song and between individual birds' songs. These patterns of harmonic suppression are timbre. Individual syllables' patterns of harmonic suppression are constant with adult males' songs. Young males that imitate the songs of older males also imitate their patterns of harmonic suppression. Syringeal denervation distorts these patterns, which suggests that they are produced through active control of the vocal organ. The selective suppression and emphasis of some harmonics creates a great number of possible timbre variants for any one syllable. These add signal diversity to the limited array of frequency modulations and range of fundamental frequencies found in zebra finch song. Analyses of bird song that disregard timbre may overlook a feature that is important in vocal communication.     

Relative power of harmonics in human frequency-following responses associated with voice pitch in American and Chinese adults

When the fundamental frequency (f0) is removed from a complex stimulus, the pitch of the f0 is still perceived by the listener. Through the use of the scalp-recorded frequency-following response, this study examined the relative contributions of thef0 and its harmonics in pitch processing by systematically manipulating the speech stimulus to remove component frequencies. 12 American and 12 Chinese adults were recruited. There were statistically significant effects of pitch strength and frequency error for the experimental-condition factor. There were significantly larger responses to the harmonics-only conditions than those obtained in the f0-only and control conditions. No statistically significant difference was observed between the two groups of participants. These findings indicate that neural responses associated with individual harmonics dominate the pitch processing in the human brainstem, irrespective of whether the listener's native language is nontonal or tonal.     

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.     

特征关联的类别间面孔适应

研究通过系列实验探讨了面孔适应不仅仅发生在形状选择性上, 也能发生在任务相关的特征上有内在关联的两个不同类别的物体间。实验1以带有明显性别倾向的物品图片作为适应刺激, 让被试对男女之间morphing程度不同的图片面孔进行性别辨别, 考察了不同适应刺激呈现时间的类别间面孔适应。结果表明适应刺激呈现时间大于50 ms时均存在类别间面孔适应效应。实验2评估了“性别”这一特征以及适应刺激形式在类别间面孔适应中所起的作用, 结果发现带有性别倾向的物品图片、相应的物品名称和性别文字(“男性”、“女性”) 3种适应刺激类型均能产生类别间适应。实验3通过操纵适应刺激上的注意负荷(高负荷、低负荷和无负荷), 探究了注意对类别间面孔适应的影响。结果表明随着注意负荷的增加, 类别间面孔适应效应减小。3个实验报告了一个新异的类别间适应后效, 证明了适应也能发生于在任务相关特征上有内在关联的两个不同类别的物体间。     

A Big‐Five Personality Profile of the Adaptor and Innovator

This study explored the relationship between two creative styles (adaptor and innovator) and the Big Five personality traits (extraversion, agreeableness, conscientiousness, neuroticism, and openness to experience). 164 teachers from 3 secondary and 2 primary schools in Singapore completed a self‐report questionnaire, which consisted of the Kirton Adaption‐Innovation Inventory and the NEO‐Five Factor Inventory. It was found that adaptors were significantly more conscientious than innovators, while innovators were significantly more extraverted and open to experience than adaptors. No significant differences were found between adaptors and innovators in neuroticism and agreeableness. The study also revealed a meaningful pattern of relationships between the Big Five personality traits and the three facet scales of the KAI. Specifically, Sufficiency of Originality was negatively correlated with Openness to Experience and Extraversion; Rule Governance was positively correlated with conscientiousness but negatively correlated with openness to experience; Efficiency was positively correlated with conscientiousness. The overall findings supported the fundamental contention that different creative styles were due to different combinations of personality traits, with adaptors being more conscientious, while innovators being more extraverted and open to experience. These personality‐based differences in creative styles between adaptors and innovators had resulted in much social conflict between them. One way of resolving it is to make known the nature and value of different creative styles to these two different types of creators.     

A perceptual phenomenon and its neurophysiological correlate.

A square-wave grating from which the fundamental harmonic has been subtracted (missing fundamental grating) when viewed from a suitable distance appears similar to another grating of periodicity three times higher. The neurons of the visual cortex of the cat, in a given range of spatial frequencies characteristic of each cell, give similar responses to the two gratings.     

Task-dependent changes in visual feedback control: a frequency analysis of human manual tracking

Prominent components in the frequency spectrum of human manual tracking responses are thought to reflect the visual feedback control loop and have been used in estimations of the visual feedback loop delay. The frequency structure of human tracking was therefore examined here in two tasks: visually guided tracking of slow and fast pseudorandom targets. Visually related frequency components were identified by testing, in each condition, the effect of adding additional feedback delays on the frequency spectrum. The major frequency components of the responses consisted of a fundamental component and its odd harmonics. These components were related to the visual feedback loop delay and shifted in concert toward lower frequencies as the feedback delay was increased. Furthermore, there were no differences in responses between 3 normal subjects and 1 subject with peripheral sensory loss. This implies that the frequency structure is dominated by the visual feedback control loop, without significant influence from proprioceptive control loops. However, the feedback-loop delay was shown to decrease from around 341 to 264 ms as the task speed doubled. Thus the estimates of visual feedback delays are influenced by the target being followed, and this suggests that the subjects can lquot;tunerquot: their feedback system to suit the demands of the tracking task.     

Timbre discrimination in zebra finch (Taeniopygia guttata) song syllables

Zebra finch (Taeniopygia guttata) songs include syllables of a fundamental frequency and harmonics. Individual harmonics in 1 syllable can be more or less emphasized. The functional role of this variability is unknown. These experiments provide evidence of how the phenomenon is perceived. We trained 12 male and female zebra finches on a go-no-go operant procedure to discriminate between 2 song syllables that varied only in the absence of the 2nd or 5th harmonic. Training involved many thousands of trials. Both sexes used the presence or absence of the 2nd harmonic as the sole discriminative cue. Females had more difficulty learning to perform the task when the presence of the 2nd harmonic was the go stimulus, which indicates that their use of the information was biased by stimulus-response contingencies. The results are discussed in terms of a broad strategy to understand how animals perceive sounds used in communication.     

Discriminative performance of the domestic hen in a visual acuity task

The performance of 6 domestic hens on a visual acuity task was studied using a spatial discrete-trial conditional discrimination procedure. Gray stimuli and vertical square-wave gratings, ranging in spatial frequency from 1 to 10 cycles per millimeter, were presented in a descending and ascending series of probes. On each trial, either a grating or gray stimulus was presented. Only one spatial frequency of grating was presented during each session. Between probe sessions, training continued at the coarsest grating value. Stimulus discriminability, measured as values of log d, changed with changes in grating spatial frequency for both probe series. Fitted lines described the linear portion of the psychometric functions. Thresholds estimated from the lines generally ranged from four to six cycles per degree, with slightly greater estimates from data from the descending probe series. There were no systematic changes in response bias as a function of grating spatial frequency.     

Spatial-frequency-contingent color aftereffects: adaptation with one-dimensional stimuli.

The McCollough effect was shown to be spatial-frequency selective by Lovegrove and Over (1972) after adaptation with vertical colored square-wave gratings separated by 1 octave. Adaptation with slide-presented red and green vertical square-wave gratings separated by 1 octave failed to produce contingent color aftereffects (CAEs). However, when each of these gratings was adapted alone, strong CAEs were produced. Adaptation with vertical colored sine-wave gratings separated by 1 octave also failed to produce CAEs, but strong effects were produced by adaptation with each grating alone. By varying the spatial frequency of the test sine wave, CAEs were found to be tuned for spatial frequency at 2.85 octaves after adaptation of 4 cycles per degree (cpd) and at 2.30 octaves after adaptation of 8 cpd. Adaptation of both vertical and horizontal sine-wave gratings produced strong CAEs, with bandwidths ranging from 1.96 to 2.90 octaves and with lower adapting contrast producing weaker CAEs. These results indicate that the McCollough effect is more broadly tuned for spatial frequency than are simple adaptation effects.     

Spatial-frequency-contingent color aftereffects: Adaptation with one-dimensional stimuli

The McCollough effect was shown to be spatial-frequency selective by Lovegrove and Over (1972) after adaptation with vertical colored square-wave gratings separated by 1 octave. Adaptation with slide-presented red and green vertical square-wave gratings separated by 1 octave failed to produce contingent color aftereffects (CAEs).However, when each of these gratings was adapted alone, strong CAEs were produced. Adaptation with vertical colored sine-wave gratings separated by 1 octave also failed to produce CAEs, but strong effects were produced by adaptation with each grating alone. By varying the spatial frequency of the test sine wave, CAEs were found to be tuned for spatial frequency at 2.85 octaves after adaptation of 4 cycles per degree (cpd) and at 2.30 octaves after adaptation of 8 cpd. Adaptation of both vertical and horizontal sine-wave gratings produced strong CAEs, with bandwidths ranging from 1.96 to 2.90 octaves and with lower adapting contrast producing weaker CAEs. These results indicate that the McCollough effect is more broadly tuned for spatial frequency than are simple adaptation effects.     

Simple and contingent adaptation effects for place of articulation in stop consonants

Experiments on selective adaptation have shown that the locus of the phonetic category boundary between two segments shifts after repetitive listening to an adapting stimulus. Theoretical interpretations of these results have proposed that adaptation occurs either entirely at an auditory level of processing or at both auditory and more abstract phonetic levels. The present experiment employed two alternating stimuli as adaptors in an attempt to distinguish between these two possible explanations. Two alternating stimuli were used as adaptors in order to test for the presence of contingent effects and to compare these results to simple adaptation using only a single adaptor. Two synthetic CV series with different vowels that varied the place of articulation of the consonant were employed. When two alternating adaptors were used, contingent adaptation effects were observed for the two stimulus series. The direction of the shifts in each series was governed by the vowel context of the adapting syllables. Using the single adaptor data, a comparison was made between the additive effects of the single adaptors and their combined effects when presented in alternating pairs. With voiced adaptors, only within-series adaptation effects were found, and these data were consistent with a on,level model of selective adaptation. However, for the voiceless adaptors, both within- and cross-series adaptation effects were found, suggesting the possible presence of two levels of adaptation to place of articulation. Further, the contingent adaptation effects with the voiceless adaptors seemed to be the result of the additive effects of the two alternating adaptors. This result indicates that previously reported contingent adaptation results may also reflect the net vowel specific adaptation effects after cancellation of other, nonvowel dependent effects and that caution is needed in interpreting such results.     

An attentional mechanism in the analysis of spatial frequency

Sinusoidal gratings of various spatial frequencies were used as masking stimuli in a detection task and a vernier acuity task. The test stimuli were 1 cycle/deg square-wave gratings. The spatial frequency of the most effective mask was 1 cycle/deg for the detection task but 3 cycles/deg for the vernier acuity task. The different masking functions for the two tasks show that the visual system analyzes the square-wave stimulus into its various spatial-frequency components. Since the test stimulus was the same for both tasks, the different masking functions may be the result of an attentional mechanism that weighs the importance of the output from various spatial-frequency analyzers. Whether the information from a particular spatial-frequency analyzer is attended or not depends upon the task the visual system must perform.     

The perceptual segregation of simultaneous auditory signals: pulse train segregation and vowel segregation

In the experiments reported here, we attempted to find out more about how the auditory system is able to separate two simultaneous harmonic sounds. Previous research (Halikia & Bregman, 1984a, 1984b; Scheffers, 1983a) had indicated that a difference in fundamental frequency (F0) between two simultaneous vowel sounds improves their separate identification. In the present experiments, we looked at the effect of F0s that changed as a function of time. In Experiment 1, pairs of unfiltered or filtered pulse trains were used. Some were steady-state, and others had gliding F0s; different F0 separations were also used. The subjects had to indicate whether they had heard one or two sounds. The results showed that increased F0 differences and gliding F0s facilitated the perceptual separation of simultaneous sounds. In Experiments 2 and 3, simultaneous synthesized vowels were used on frequency contours that were steady-state, gliding in parallel (parallel glides), or gliding in opposite directions (crossing glides). The results showed that crossing glides led to significantly better vowel identification than did steady-state F0s. Also, in certain cases, crossing glides were more effective than parallel glides. The superior effect of the crossing glides could be due to the common frequency modulation of the harmonics within each component of the vowel pair and the consequent decorrelation of the harmonics between the two simultaneous vowels.