Proactive interference in a two-tone pitch-comparison task without additional interfering tones

Two-tone pitch-comparison tasks typically comprise several successive pairs of successive tones separated by silent intervals. The serial occurrence of such pairs has been associated with degraded task performance, but the nature of this association is not fully understood. Human adult participants were presented with successive pairs of successive tones. The latter, to-be-compared tone of a pair could differ from the former, to-be-remembered tone of 1046.5 Hz by no more than ±15 Hz (25 cents). The direction of this difference was easier to identify when it was opposite to that of the preceding pair than when being the same. Merely responding accordingly (irrespectively of whether the response was correct or not) was found not to account for this finding. Our study demonstrates proactive interference in a two-tone pitch comparison task as the difficulty to remember when the first tone of the present pair occurred relative to the last tone of the immediately preceding pair.     

Task choice and semantic interference in picture naming

Evidence from dual-task performance indicates that speakers prefer not to select simultaneous responses in picture naming and another unrelated task, suggesting a response selection bottleneck in naming. In particular, when participants respond to tones with a manual response and name pictures with superimposed semantically related or unrelated distractor words, semantic interference in naming tends to be constant across stimulus onset asynchronies (SOAs) between the tone stimulus and the picture–word stimulus. In the present study, we examine whether semantic interference in picture naming depends on SOA in case of a task choice (naming the picture vs reading the word of a picture–word stimulus) based on tones. This situation requires concurrent processing of the tone stimulus and the picture–word stimulus, but not a manual response to the tones. On each trial, participants either named a picture or read aloud a word depending on the pitch of a tone, which was presented simultaneously with picture–word onset or 350 ms or 1000 ms before picture–word onset. Semantic interference was present with tone pre-exposure, but absent when tone and picture-word stimulus were presented simultaneously. Against the background of the available studies, these results support an account according to which speakers tend to avoid concurrent response selection, but can engage in other types of concurrent processing, such as task choices.     

Tone‐affect compatibility with affective stimuli and affective responses

Three experiments examine multimodal integration of tone pitch (high/low), facial expression stimuli (happy/angry), and responses (happy/angry) in a compatibility paradigm. When the participants' task is to imitate facial expressions (Experiment 1), smiles are facilitated by high tones whereas frowns are facilitated by low tones. Experiments 2 and 3 further analyse this effect and show that there is both integration between the tone stimulus and the facial stimulus and between the tone stimulus and the facial response. Results suggest that pitch height is associated with emotion. An interpretation in terms of an embodied cognition approach that emphasizes an interweavement of perception and action is discussed.     

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 multi-dimensionally varying stimuli are termedslippery 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.”     

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."     

Pure-tone perception and ear advantages in dichotic listening

A same-different matching task was used to investigate how subjects perceived a dichotic pair of pure tones. Pairs of stimulus tones in four frequency ranges (center frequencies of 400–1,700 Hz), with separations between 40 and 400 Hzt were tested. Five types of test tones were matched to the stimulus pair: the stimulus pair presented again (control) or crossed over (same tones, different ears), the geometric mean of the two tones, or a binaural tone of the low or high tone of the pair. In the lowest frequency range and the highest with maximum separation, the crossed-over test tones were perceived as different from the same stimulus tones. A bias for perceiving the higher tone of a pair was evident in the frequency ranges with separations of 40-200 Hz. In the lowest frequency range, the bias was for perceiving the higher tone in the right ear. This restricted ear advantage in the perception of pure tones was not significantly related to the right-ear advantage in dichotic word monitoring.     

Referential coding contributes to the horizontal SMARC effect

The present study tested whether coding of tone pitch relative to a referent contributes to the correspondence effect between the pitch height of an auditory stimulus and the location of a lateralized response. When left-right responses are mapped to high or low pitch tones, performance is better with the high-right/low-left mapping than with the opposite mapping, a phenomenon called the horizontal SMARC effect. However, when pitch height is task irrelevant, the horizontal SMARC effect occurs only for musicians. In Experiment 1, nonmusicians performed a pitch discrimination task, and the SMARC effect was evident regardless of whether a referent tone was presented. However, in Experiment 2, for a timbre-judgment task, nonmusicians showed a SMARC effect only when a referent tone was presented, whereas musicians showed a SMARC effect that did not interact with presence/absence of the referent. Dependence of the SMARC effect for nonmusicians on a reference tone was replicated in Experiment 3, in which judgments of the color of a visual stimulus were made in the presence of a concurrent high- or low-pitched pure tone. These results suggest that referential coding of pitch height is a key determinant for the horizontal SMARC effect when pitch height is irrelevant to the task.     

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.     

Auditory habituation in the fetus and neonate: an fMEG study

Habituation – the most basic form of learning – is used to evaluate central nervous system (CNS) maturation and to detect abnormalities in fetal brain development. In the current study, habituation, stimulus specificity and dishabituation of auditory evoked responses were measured in fetuses and newborns using fetal magnetoencephalography (fMEG). An auditory habituation paradigm consisting of 100 trains of five 500 Hz tones, one 750 Hz tone (dishabituator) and two more 500 Hz tones, respectively, were presented to 41 fetuses (gestational age 30–39 weeks) and 22 newborns or babies (age 6–89 days). A response decrement between the first and fifth tones (habituation), an increment between the fifth tone and the dishabituator (stimulus specificity) and an increment between the fifth (last tone before the dishabituator) and seventh tones (first tone after the dishabituator) (dishabituation) were expected. Fetuses showed weak responses to the first tone. However, a significant response decrement between the second and fifth tones (habituation) and a significant increment between the fifth tone and the dishabituator (stimulus specificity) were found. No significant difference was found for dishabituation nor was a developmental trend found at the group level. From the neonatal data, significant values for stimulus specificity were found. Sensory fatigue or adaptation was ruled out as a reason for the response decrement due to the strong reactions to the dishabituator. Taken together, the current study used fMEG to directly show fetal habituation and provides evidence of fetal learning in the last trimester of pregnancy.     

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.     

Pushing the limits of imagination: mental practice for learning sequences

In 2 experiments, the efficacy of motor imagery for learning to type number sequences was examined. Adults practiced typing 4-digit numbers. Then, during subsequent training, they either typed in the same or a different location, imagined typing, merely looked at each number, or performed an irrelevant task. Repetition priming (faster responses for old relative to new numbers) was observed on an immediate test and after a 3-month delay for participants who imagined typing. Improvement across the delay in typing old and new numbers was found for the imagined and actual typing conditions but not for the other conditions. The findings suggest that imagery can be used to acquire and retain representations of sequences and to improve general typing skill.     

Interference effects in tone memory

Memory for a standard tone in comparison to a subsequent test tone was examined in three experiments with three intervening tones between the standard and test tones. In each trial, the intervening tones were presented from one of seven frequency range and distance from the standard tone conditions. Experiment 1 tone patterns were played at four different presentation rates, and the subjects judged whether the test was higher or lower than the standard. Memory interference effects caused by the different intervening tone conditions could be accounted for by a directional shift in the standard tone memory toward the intervening tones and by a general decrease in the standard tone memory strength with more distant intervening tones. Interference effects were smaller for the rapid presentation rates because the intervening tones formed separate "perceptual streams." Two additional experiments presented the tone patterns in a task requiring the subjects to match a continuously variable tone to their memory of the standard (Experiment 2) and a task requiring them to judge whether the standard and test tones were the "same" or "different" (Experiment 3). These experiments showed large differences in interference effects as a function of the required judgment and the subjects' musical experience.     

Cardiac activity and information processing: the effects of stimulus significance, and detection and response requirements.

In two experiments, measures of heart rate and electromyographic activity were obtained from 40 male undergraduates while they performed two series of trials involving a sequential information processing task. Each trial consisted of a warning light, three successive tones, and a responded light, separated by 6-sec intervals. In Experiment 1, subjects responded only if the three tones were of different frequencies. Acclerative heart-rate responses to the last tone increased as a function of the significance of that tone. Subsequent cardiac decelerations were only observed if the subject was preparing to make a response. These results were replicated in Experiment 2, in which subjects responded only if two of the preceding tones were of the same frequency. Electromyographic activity was not significantly affected by stimulus significance or response anticipation. The data indicate that cardiac acceleration and deceleration reflect two independent psychological processes, associated with information-processing and decision-making activity on the one hand, and preparatory activity on the other.     

The basis of Stroop interference involving the multimodal correlates of auditory pitch

A pure auditory tone has a range of multimodal qualities that are determined by its pitch. A reaction-time task was used to demonstrate that subjects respond immediately and automatically to these qualities. Subjects were required to press one of two keys depending on which word, from a limited set, appeared on a microcomputer screen. The words were antonyms that represented multimodal stimulus qualities, and they were assigned to alternative responses so that the two words that shared the same response were correlated in the same way with pitch. As an incidental stimulus, either a 50 Hz tone or a 5500 Hz tone accompanied the presentation of each word. Subjects were found to respond more slowly when the multimodal qualities of the tone were incongruent with the qualities represented by the test word. When the stimulus-response mapping rules were changed, however, the Stroop effect did not occur; suggesting that a polarised semantic code of the incidental tone, that embraces its multimodal features, accesses the same semantic register as the equivalent code for the test word itself.     

Facial reactions to auditory stimuli: Sex differences

This study explored whether males and females differ in facial muscle activity when exposed to tone stimuli with different intensity. Males and females were repeatedly exposed to 95 dB and 75 dB 1000 Hz tones while their facial electromyographic (EMG) activity from corrugator and zygomatic muscle regions were measured. Skin conductance responses were also measured. It was found that 95 dB but not 75 dB tones evoked increased corrugator activity. This effect differed significantly between males and females. Thus, it was only females that reacted with a significant increased corrugator response to the high intensity tone. While facial responses differed between the sexes, the skin conductance response patterns did not. Consistent with previous research it is concluded that females are more facially expressive than are males.     

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.     

Fear imagery and the startle-probe reflex

Blink reflexes to acoustic probes, heart rate, and subjective reports were studied during affective memory imagery. Thirty-six undergraduates memorized 6 pairs of neutral and fearful sentences. After learning each pair, they relaxed and listened to a series of uniform tones, one every 6 s. A change in tone pitch (higher or lower) cued recall of one of the two sentences. At the first cue tone, groups (n = 12) were under different instructions: (a) ignore the sentence and relax, (b) silently articulate the sentence, and (c) imagine the sentence content as a personal experience. At the second cue tone, all subjects performed the imagery task. Startle probes (50-ms, 95-dB white noise) were presented unpredictably during relaxation and recall trials. Probe blink reflexes were larger and cardiac rate faster at fear sentence recall than at neutral sentence recall or relaxation. For probe reflexes, this effect was greater for imagery than for nonsemantic recall tasks.     

Proactive interference of a sequence of tones in a two-tone pitch comparison task

Subjects compared pitches of a standard tone and a comparison tone separated by 1,300–3,000 msec and responded according to whether the comparison tone sounded higher or lower in pitch than the standard tone. Three interfering tones at 300-msec intervals were presented before each pair of tones. Their pitch range varied, being either below or above the pitch of the standard tone; in some of the trials, their pitches were identical to the pitch of the standard tone (no interference). The highest error rate in performance was found when the interfering tones and the comparison tone deviated in the same direction in pitch from the standard tone. In turn, their deviations in the opposite directions resulted in the lowest error rate. This effect was not found to be dependent on whether the interfering tones were randomly ordered or monotonically ordered, together with the standard tone, into melodically ascending/descending sequences. An intermediate error rate in performance was found when the interfering tones and the standard tone were identical. The results support earlier hypotheses, presented in the context of retroactive interference, by demonstrating proactive interference of a tone sequence at the level of representations of individual tones.     

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.     

A PRP-study to determine the locus of target priming effects

Visual stimuli that are made invisible by a following mask can nonetheless affect motor responses. To localize the origin of these target priming effects we used the psychological refractory period paradigm. Participants classified tones as high or low, and responded to the position of a visual target that was preceded by a prime. The stimulus onset asynchrony (SOA) between both tasks varied. In Experiment 1 the tone task was followed by the position task and SOA dependent target priming effects were observed. When the visual position task preceded the tone task in Experiment 2, with short SOA the priming effect propagated entirely to the tone task yielding faster responses to tones on visually congruent trials and delayed responses to tones on visually incongruent trials. Together, results suggest that target priming effects arise from processing before and at the level of the central bottleneck such as sensory analysis and response selection.