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."     

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.     

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.     

Neural control of fundamental frequency rise and fall in Mandarin tones

The neural mechanisms used in tone rises and falls in Mandarin were investigated. Nine participants were scanned while they named one-character pictures that required rising or falling tone responses in Mandarin: the left insula and right putamen showed stronger activation between rising and falling tones; the left brainstem showed weaker activation between rising and falling tones. Connectivity analysis showed that the significant projection from the laryngeal motor cortex to the brainstem which was present in rising tones was absent in falling tones. Additionally, there was a significant difference between the connection from the insula to the laryngeal motor cortex which was negative in rising tones but positive in falling tones. These results suggest that the significant projection from the laryngeal motor cortex to the brainstem used in rising tones was not active in falling tones. The connection from the left insula to the laryngeal motor cortex that differs between rising and falling tones may control whether the rise mechanism is active or not.     

元音范畴知觉中特征分析和整合的时间进程

采用启动范式,在三个实验中通过操纵启动音和目标音的频谱相似度和时间间隔,考察了汉语听者元音范畴知觉中特征分析和整合的时间进程。结果发现随着启动音（从纯音、复合音到目标元音本身）和目标元音频谱相似度的增加,启动效应延续的时间越来越长。实验结果支持语音范畴知觉存在早期的声学特征分析和整合到后期的范畴知觉阶段,并为这些加工阶段的时间进程提供了初步的证据。     

非言语声音影响汉语听者言语声音的知觉

采用启动范式, 以汉语听者为被试, 考察了非言语声音是否影响言语声音的知觉。实验1考察了纯音对辅音范畴连续体知觉的影响, 结果发现纯音影响到辅音范畴连续体的知觉, 表现出频谱对比效应。实验2考察了纯音和复合音对元音知觉的影响, 结果发现与元音共振峰频率一致的纯音或复合音加快了元音的识别, 表现出启动效应。两个实验一致发现非言语声音能够影响言语声音的知觉, 表明言语声音知觉也需要一个前言语的频谱特征分析阶段, 这与言语知觉听觉理论的观点一致。     

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.     

Perception and production of tone in aphasia

An acoustical and perceptual study of lexical tone was conducted to evaluate the extent and nature of tonal disruption in aphasia. The language under investigation was Thai, a tone language which has five lexical tones--mid, low, falling, high, and rising. Subjects included six left brain-damaged aphasics (two Broca's, one transcortical motor, one global, one conduction, one Wernicke), one right brain-damaged nonaphasic, one cerebellar dysarthric, and five normals. High-quality tape recordings of each subject's productions of a minimal set of five, monosyllabic Thai words were presented to 10 adult Thai listeners for identification. Results from the phonemic identification tests indicated that tone production is relatively spared in aphasic patients with unilateral left hemisphere lesions. The performance of the global aphasic, however, was considerably below normal. Patterns of tonal confusions further revealed that the performance of all aphasics, except the global, differed from that of normal speakers primarily in degree rather than in kind. Tonal contrasts were signaled at a high level of proficiency by the right brain-damaged and dysarthric patients. Acoustical analysis revealed that F0 contours associated with the five tones for all aphasics, except the global, were similar in overall shape as well as position in the tone space to those of normals. F0 contours for the right brain-damaged patient and the dysarthric also generally agreed with those of normals in terms of shape and position. F0 ranges of both aphasic and nonaphasic brain-damaged speakers were generally larger than those of normals for all five tones. The relationship between tone and vowel duration was generally similar to that of normals for all brain-damaged speakers. A comparison of aphasics' performance on tone perception (J. Gandour & R. Dardarananda, 1983, Brain and Language, 18, 94-114) and tone production indicated that, for the normal and right brain-damaged subjects, performance on the perception task was higher than on production, whereas the opposite was true for the aphasics. These data are brought to bear on issues related to tone production in aphasia, consonant and vowel production in aphasia, hemispheric specialization for tone production, intonation production in aphasia, relationship between speech perception and speech production, and tone production in dysarthria with cerebellar disease.     

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.     

辅音和元音知觉中的启动效应差异

采用启动范式,在两个实验中分别考察了辅音范畴和元音范畴知觉中的启动效应。启动音是纯音和目标范畴本身,目标音是辅音范畴和元音范畴连续体。结果发现辅音范畴连续体知觉的范畴反应百分比受到纯音和言语启动音影响,辅音范畴知觉的反应时只受言语启动音影响;元音范畴连续体知觉的范畴反应百分比不受两种启动音影响,但元音范畴知觉的反应时受到言语启动音影响。实验结果表明辅音范畴和元音范畴知觉中的启动效应存在差异,这为辅音和元音范畴内在加工机制的差异提供了新证据。     

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.     

Perceptual grouping in audition

The present experiments evaluated the effect of relative frequency as a determinant of the figure-ground organization of sequences of auditory tones. Observers counted sequences of 20 ms tones that were presented at the same frequency or that alternated between two different frequencies. The alternating tones differed in frequency by one whole tone, seven tones, or nineteen tones. Counting accuracy increased with increases in the silent interval between the tones. When the alternating tones differed by seven or nineteen tones, counting was disrupted at rates of presentation of eight tones per second or slower. In contrast to this decrement in the counting of tones that alternated by over an octave, very little decrement was observed when the tones alternated by just one whole tone. The best subjects counted these alternating tones more accurately than the tones presented at the same frequency. The poorest subjects showed a small decrement even when the tones alternated by just one whole tone. The results were discussed in terms of determinants of figure-ground organization in auditory information processing.     

Identification and discrimination of sweep formants

Earlier identification experiments with sweep tones are repeated with rising and falling single formant (band) sweeps, with durations ranging from 15 to 40 msec and sweep rates from 0 to 40 oct/sec. Steady-state portions of 100-msec duration are then added to the sweeps. The general conclusions are that the tendency to perceive level and slightly rising tones as falling, which was such a prominent feature of the earlier results, disappears as the stimuli become more complex, and that sweep discrimination seems to be a function of the difference between the initial and the final frequency of a sweep.     

Effect on numerosity judgment of grouping of tones by auditory channels

Previous research suggests that numerosity judgments for sequences of tones improve when the sequence is structured such that equal and small groups of tones alternate between the ears. The present. study systematically investigates the effects of the structure of tone sequences on number judgment. Tone frequency is chosen as the grouping principle instead of spatial location. In the first experiment, sequences with equal groups of 2, 3, 4, 5, 6, or 7 tones (groups alternating between 800 and 1, 250 Hz) were compared with monotonous sequences. At a slow repetition rate of the tones (280 msec onset to onset), grouping the sequence deteriorated the numerosity judgment. At II fast repetition rate of the tones (100 msec onset to onset) grouping improved numerosity judgment, but only if the group size did not exceed 4 to 5 tones. In the second experiment, the equality of group size in the sequence as a necessary condition for the improvement was investigated. It was found that tone sequences comprised of equal groups were judged more accurately in number than sequences comprised of unequal groups. These results seem to give support for the existence of an auditory subitizing process. The results of this study are also compared with the results of studies in which sequences of tones, alternating one by om! between locations or frequencies, had to be judged in number.     

Auditory motion aftereffects

Observers were adapted to simulated auditory movement produced by dynamically varying the interaural time and intensity differences of tones (500 or 2,000 Hz) presented through headphones. At lO-sec intervals during adaptation, various probe tones were presented for 1 sec (the frequency of the probe was always the same as that of the adaptation stimulus). Observers judged the direction of apparent movement (“left” or “right”) of each probe tone. At 500 Hz, with a 200-deg/sec adaptation velocity, “stationary” probe tones were consistently judged to move in the direction opposite to that of the adaptation stimulus. We call this result an auditory motion aftereffect. In slower velocity adaptation conditions, progressively less aftereffect was demonstrated. In the higher frequency condition (2,000 Hz, 200-deg/sec adaptation velocity), we found no evidence of motion aftereffect. The data are discussed in relation to the well-known visual analog-the “waterfall effect.” Although the auditory aftereffect is weaker than the visual analog, the data suggest that auditory motion perception might be mediated, as is generally believed for the visual system, by direction-specific movement analyzers.     

Facilitation by repetition in recognition memory for tonal pitch

Subjects made delayed pitch comparisons when the standard and comparison tones were separated by a sequence of interpolated tones. In some conditions, a tone of the same pitch as the standard tone was included among the interpolated tones. Recognition performance was superior for sequences where the standard tone pitch was repeated, even compared with control sequences of reduced size. The improvement in performance produced by the repeated tone depended on its position in the intervening sequence. Improvement was substantial and highly significant when the standard tone pitch was repeated in the second serial position of a sequence of six interpolated tones, but small and insignificant when it was repeated in the fifth serial position.     

Shortening of subjective tone intervals followed by repetitive tone stimuli

Accumulated evidence shows that a subjective time interval is lengthened by preceding or concurrent presentation of flickers or repetitive tone stimuli that have been hypothesized to increase the frequency of pulse generation by a brain pacemaker. In the present study, we presented a series of repetitive tone stimuli after an interval that started and ended with tone markers. We found that subjective perception of the preceding interval was not lengthened but shortened by the tone stimuli that followed the interval. The perceived duration decreased as the frequency of the repetitive tone stimuli increased. The effect disappeared when the repetitive tone stimuli were delivered with a delay of 500 msec after the test interval or when continuous sound was delivered instead of delivering a rapid series of tones. On the basis of the results, we propose that the pulse count accumulated during a test interval was normalized by the clock frequency just after the test interval in a postdictive manner.     

Task integration as a factor in secondary-task effects on sequence learning

In several studies it has been found that implicit sequence learning is impaired by the concurrent performance of a secondary task. In most studies the task was to count high-pitched tones when high-pitched and low-pitched tones were presented in a random sequence. In this paper the hypothesis is examined that dual-task interference in the particular combination of tasks results from task integration, in particular from the learning of an integrated visual-auditory sequence in which every second (auditory) element is random. Instead of the tone-counting task a similar go/no-go task was used in which foot responses to high-pitched tones were performed. In Exp. 1 the sequence of tones was random in one condition, but in two other conditions repeated tone sequences of 5 and 6 elements were combined with visual sequences of 6 elements. Under dual-task test conditions, implicit learning of the visual as well as the auditory sequences was better with the auditory sequence of 6 elements than of 5 elements, while under single-task test conditions the nature of the tone sequence had no effect. In Exp. 2 the superior implicit learning with the 6-element sequence was replicated with different test procedures in which either the visual or auditory sequence was changed to random or in which the two sequences remained intact but were shifted by one element relative to each other. Randomization of the visual or auditory sequences not only impaired visual or auditory RT, respectively, but also impaired RT to stimuli in the other modality, and this cross-modal effect was almost as strong as the intra-modal effect of randomization. Finally, in Exp. 3 it was shown that integrated visual-auditory sequences are learned only when responses to both of them are required, but not when the tones can be neglected. These results are consistent with a conception of implicit learning as (at least partly) a basic and nonselective type of learning of all potentially behaviorally relevant relations between stimuli in the environment and one's own actions.