Feature processing during high-rate auditory selective attention

Auditory event-related brain potentials (ERPs) and reaction times were, analyzed in a selective attention task in which subjects attended to tone pips presented at high rates-Xinterstimulua intervals [ISIs] of 40-200 msec). Subjects responded to infrequent target tones of a specified frequency (250 or 4000 Hz) and location (left or right ear) that were louder than otherwise identical tones presented randomly to the left and right ears. Negative difference (Nd) waves were isolated by subtracting ERPs to tones with no target features from ERPs to the same tones when they shared target location, frequency, or both frequency and location cues. Nd waves began 60-70 msec after tone onset and lasted until 252–350 msec after tone onset, even for tones with single attended cues. The duration of Nd waves exceeded the ISIs between successive tones, implying that several stimuli underwent concurrent analysis. Nd waves associated with frequency processing had scalp distributions different from those associated with location processing, implying that the features were analyzed in distinct cortical areas. Nd waves specific to auditory feature conjunction were isolated. These began at latencies of 110–120 msec, some 30-40 msec after the Nds to single features. The relative timing of the different Nd waves suggests that auditory feaure conjunction begins after a brief parallel analysis of individual features but before feature analysis is complete.     

The role of spatial complexity in the perception of speech and pure tones in dichotic listening

Ear advantages for CV syllables were determined for 28 right-handed individuals in a target monitoring dichotic task. In addition, ear dominance for dichotically presented tones was determined when the frequency difference of the two tones was small compared to the center frequency and when the frequency difference of the tones was larger. On all three tasks, subjects provided subjective separability ratings as measures of the spatial complexity of the dichotic stimuli. The results indicated a robust right ear advantage (REA) for the CV syllables and a left ear dominance on the two tone tasks, with a significant shift toward right ear dominance when the frequency difference of the tones was large. Although separability ratings for the group data indicated an increase in the perceived spatial separation of the components of the tone complex across the two tone tasks, the separability judgment ratings and the ear dominance scores were not correlated for either tone task. A significant correlation, however, was evidenced between the laterality measure for speech and the judgment of separability, indicating that a REA of increased magnitude is associated with more clearly localized and spatially separate speech sounds. Finally, the dominance scores on the two tone tasks were uncorrelated with the laterality measures of the speech task, whereas the scores on the tone tasks were highly correlated. The results suggest that spatial complexity does play a role in the emergence of the REA for speech. However, the failure to find a relationship between speech and nonspeech tasks suggest that all perceptual asymmetries observed with dichotic stimuli cannot be accounted for by a single theoretical explanation.     

The effect of exogenous spatial attention on auditory information processing

This study investigated the effect of exogenous spatial attention on auditory information processing. In Experiments 1, 2 and 3, temporal order judgment tasks were performed to examine the effect. In Experiment 1 and 2, a cue tone was presented to either the left or right ear, followed by sequential presentation of two target tones. The subjects judged the order of presentation of the target tones. The results showed that subjects heard both tones simultaneously when the target tone, which was presented on the same side as the cue tone, was presented after the target tone on the opposite side. This indicates that spatial exogenous attention was aroused by the cue tone, and facilitated subsequent auditory information processing. Experiment 3 examined whether both cue position and frequency influence the resulting information processing. The same effect of spatial attention was observed, but the effect of attention to a certain frequency was only partially observed. In Experiment 4, a tone fusion judgment task was performed to examine whether the effect of spatial attention occurred in the initial stages of hearing. The result suggests that the effect occurred in the later stages of hearing.     

On the nature of phase attraction in sensorimotor synchronization with interleaved auditory sequences

In a task that requires in-phase synchronization of finger taps with an isochronous sequence of target tones that is interleaved with a sequence of distractor tones at various fixed phase relationships, the taps tend to be attracted to the distractor tones, especially when the distractor tones closely precede the target tones [Repp, B. H. (2003a). Phase attraction in sensorimotor synchronization with auditory sequences: Effects of single and periodic distractors on synchronization accuracy. Journal of Experimental Psychology: Human Perception and Performance, 29, 290-309]. The present research addressed two related questions about this distractor effect: (1) Is it a function of the absolute temporal separation or of the relative phase of the two stimulus sequences? (2) Is it the result of perceptual grouping (integration) of target and distractor tones or of simultaneous attraction to two independent sequences? In three experiments, distractor effects were compared across two different sequence rates. The results suggest that absolute temporal separation, not relative phase, is the critical variable. Experiment 3 also included an anti-phase tapping task that addressed the second question directly. The results suggest that the attraction of taps to distractor tones is caused mainly by temporal integration of target and distractor tones within a fixed window of 100-150 ms duration, with the earlier-occurring tone being weighted more strongly than the later-occurring one.     

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.     

Hearing a melody in different ways: multistability of metrical interpretation, reflected in rate limits of sensorimotor synchronization

Music commonly induces the feeling of a regular beat (i.e., a metrical structure) in listeners. However, musicians can also intentionally impose a beat (i.e., a metrical interpretation) on a metrically ambiguous passage. The present study aimed to provide objective evidence for this little-studied mental ability. Participants were prompted with musical notation to adopt different metrical interpretations of a cyclically repeated isochronous 12-note melody while tapping in synchrony with specified target tones in the melody. The target tones either coincided with the imposed beat (on-beat tapping) or did not (off-beat tapping). An adaptive staircase method was employed to determine the fastest tempo at which each synchronization task could be performed. For each metrical interpretation, a significant advantage for on-beat over off-beat tapping was obtained - except in a condition in which participants, instead of synchronizing, were in control of the target tones. By showing that a self-imposed beat can affect sensorimotor synchronization, the present results provide objective evidence for endogenous perceptual organization of metrical sequences. It is hypothesized that metrical interpretation rests upon covert rhythmic action.     

Some experiments relating to the perception of complex tones

Pattern recognition models for the perception of complex tones assume that the pitch of a complex tone is derived from more primary sensations, such as the pitches of the individual partials. Thus a complex tone will only have a well-defined pitch when at least one partial in the complex is separately perceptible. Models based on time-interval measurements, on the other hand, require an interaction of the original components, so that the periodicity of the input waveform is preserved. In Experiment I the relative intensity of a “target” tone, necessary for its identification in the presence of either one or two “masking” tones, was determined, over a range of frequencies. This intensity changes abruptly at around 5 kHz, a result consistent with the idea that the pitches of pure tones are determined by temporal mechanisms for frequencies up to 5 kHz, and by place mechanisms for frequencies above this. In Experiments II and III the audibility of the partials in a multi-tone complex was measured as a function of their frequency separation and compared with the range of conditions over which a complex stimulus produced a clear pitch sensation, using the same set of subjects in each experiment. It was found that under some conditions the complex had a well-defined pitch when none of the individual partials was separately audible. This is contrary to the predictions from the pattern recognition models. The effects of masking noise in the frequency region below the complex, and the results of individual subjects, also did not conform with the predictions from these models. Such models are not ruled out, however, for low harmonic numbers, or for stimuli containing only a small number of partials.     

Induced gamma-band responses in the human EEG are related to attentional information processing

Synchronized neural activity in the frequency range above 20 Hz, the gamma-band, has been proposed as a signature of temporal feature binding. Here we suggest that selective attention facilitates synchronization of neural activity. Selective attention can be guided by bottom-up, stimulus driven, or top-down task-driven processes. Both processes will cause that stimuli are processed preferentially. While bottom-up processes might facilitate synchronization of neurons due to the salience of the stimulus, top-down processes may bias information selection by facilitating synchronization of neurons coding a certain location in space and/or of neurons related to the processing of certain features. Animal as well as human EEG studies support the notion of a link between induced gamma-band responses and attentive, sensory stimulus processing.     

Evaluating frequency proximity in stream segregation

Consecutive sounds of similar structure that are close in frequency or pitch are more likely to be perceived as part of the same sequence than those at greater frequency separations. The principle of grouping into such perceptual sequences, or auditory streams, is known as frequency proximity. However, the metric by which one frequency difference is judged to be greater or less than another in complex auditory scenes is not yet known. Two experiments explored the metric for frequency proximity. We presented repeating three-tone stimulus patterns at a rate where they are normally heard as two streams, one containing the highest tone and one containing the lowest. The middle tone joined one stream or the other depending on its frequency. Subjects reported the perceived allocation of the variable tone by responding on a 5-point scale. The frequency at which either of these two percepts was equally probable was found to be lower than a logarithmic midpoint or the midpoints on a cochlear map or the Mel scale; that is, it was unlike metrics arrived at by direct comparisons of tones. Further, the midpoint for high and low tones presented synchronously was lower than that for the same tones presented sequentially, demonstrating that in addition to a proximity factor, some additional factor or factors must operate differently when the lower and upper fixed tones are, or are not, presented simultaneously.     

Nonconcurrently presented auditory tones reduce distraction

Recent research has demonstrated that task-irrelevant stimuli presented simultaneously with a target-distractor stimulus reduce distraction and improve selective attention. In studies examining this reduced interference effect, visual selective attention tasks and concurrently presented task-irrelevant stimuli are used. We report first evidence for a similar effect in the auditory domain and with nonconcurrent stimuli (i.e., the task-irrelevant stimuli are presented before the target). The effect of nonconcurrently presented auditory tones on an auditory Stroop task developed by Leboe and Mondor (Psychological Research, 71, 568--575, 2007) was investigated. Stroop interference was reduced when task-irrelevant tones were presented before the Stroop stimulus. We conclude that task-irrelevant stimuli can improve selective attention not only when presented concurrently, but also when presented before the selective attention task. Our results are consistent with the hypothesis that interference reduction is due to perceptual dilution caused by task-irrelevant stimuli.     

Vowel quality changes produced by surrounding tone sequences

In three experiments, we examined whether energy at the same frequency as one of a vowel's harmonics in the F1 region can be captured by a preceding or following sequence of tones. The position of the /I/-/E/ phoneme boundary along an F1 continuum was used to assess the extent of capture. The first two experiments showed that a sequence of tones at 500 Hz (56-msec duration at 10/sec) can perceptually remove added energy at 500 Hz from a steady vowel (F0 = 125 Hz) that forms part of the sequence. The effect is detectable with one preceding tone, asymptotes with four, and is greater when two tones follow the vowel than when none do. Rising and falling sequences of tones (at 62.5-Hz intervals or at whole-tone intervals) differ in their effect. Falling sequences behave much like constant tones at 500 Hz but with less effect, whereas rising sequences show no evidence of removing the added tone. The second experiment replicated the first and also showed that when the vowel is embedded in a rising or a falling sequence of tones that continue after it, the following tones have no effect. The third experiment suggested that the different effects found with rising versus falling sequences are qualitatively predictable on the basis of the additive effects of their constituent tones rather than by virtue of their contour. The experiments indicated that sequences of repeating tones are much more effective at capturing a harmonic from a vowel than are sequences that follow a simple pattern. This result may reflect the operation of a principle of least commitment in auditory grouping.     

Auditory stream segregation in Japanese monkeys.

Japanese monkeys were examined to determine whether they perceptually segregate tone sequences. Monkeys were required to discriminate two sequences of tones (target sequences) differing in frequency contours. Distractor sequences were presented simultaneously with the target sequences. Monkeys could discriminate the sequences when the frequency ranges of the target and distractor sequences did not overlap, but they could not when the ranges overlapped. Subsequent probe tests confirmed that the discrimination depended on cues other than the local pitch of the component tones regardless of the presence of the distractor sequence. The results suggest that monkeys segregate tone sequences based on frequency proximity, and they perceive global characters of the segregated streams.     

Schema-based processing in auditory scene analysis

What is the involvement of what we know in what we perceive? In this article, the contribution of melodic schema-based processes to the perceptual organization of tone sequences is examined. Two unfamiliar six-tone melodies, one of which was interleaved with distractor tones, were presented successively to listeners who were required to decide whether the melodies were identical or different. In one condition, the comparison melody was presented after the mixed sequence: a target melody interleaved with distractor tones. In another condition, it was presented beforehand, so that the listeners had precise knowledge about the melody to be extracted from the mixture. In the latter condition, recognition performance was better and a bias toward same responses was reduced, as compared with the former condition. A third condition, in which the comparison melody presented beforehand was transposed up in frequency, revealed that whereas the performance improvement was explained in part by absolute pitch or frequency priming, relative pitch representation (interval and/or contour structure) may also have played a role. Differences in performance as a function of mean frequency separation between target and distractor sequences, when listeners did or did not have prior knowledge about the target melody, argue for a functional distinction between primitive and schema-based processes in auditory scene analysis.     

Frequency ratios and the discrimination of pure tone sequences

We examined the effect of frequency ratios on the discrimination of patterns of alternating pure tones (ABABA). Listeners heard a repeating pattern presented in transposition (same frequency ratios between successive tones, different absolute frequencies) and were required to indicate when the pattern changed (different frequency ratios and absolute frequencies). Changes from patterns with simple frequency ratios to those with more complex ratios were more readily detected than were changes from complex ratios to simpler ratios.     

The octave illusion revisited: suppression or fusion between ears?

The octave illusion occurs when each ear receives a sequence of tones alternating by 1 octave but with the high and low tones in different ears. Most listeners perceive these stimuli as a high pitch in one ear alternating with a low pitch in the other ear. D. Deutsch and P. L. Roll (1976) interpreted this phenomenon as evidence for a what-where division of auditory processing caused by sequential interactions between the tones. They argued that the pitch follows the frequency presented to the dominant ear but is lateralized toward the higher frequency component. This model was examined in 4 experiments. Results indicate that the perceived pitch approximates the fundamental frequency and that the illusion does not depend on sequential interactions. The octave illusion may arise from an interaction between dichotic fusion and binaural diplacusis rather than from suppression as proposed by Deutsch.     

PHONOLOGY IN THE LEXICAL PROCESSING OF CHINESE: PRIMING TONE NEIGHBOURS

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Phonology in the Lexical Processing of Chinese: Priming Tone Neighbors

Using both visual-visual and auditory-visual priming lexical decision tasks, this study investigated phonological processing in reading logographic Chinese. Compound words sharing segmental templates but differing in lexical tones were used as primes and targets while their relative frequency was manipulated. It was found that tone neighbours did not prime each other significantly and the SOA of 100 msec in visual-visual priming. When the SOA was increased to 357 msec, or when primes were presented auditorily, the processing of target words was significantly delayed by their tone neighbours. Larger inhibitory effects were observed for low frequency targets with high frequency primes. It was argued that although phonological information is automatically activated and this activation affects access to semantics in reading Chinese,phonological mediation is not the only or the main ~urce of constraints on semantic activation.     

Subjective comparisons of auditory distortion

To assess the accuracy of comparing different levels of distortion when levels are well above threshold, judgments were elicited from 340 subjects using two test tones of similar harmonic distribution in terms of frequency. Even though the total level of distortion in one of the tones had been reduced, subjects could not invariably select the less distorted tone in a comparison. This was true even for those subjects who stated that they could tell that the two tones sounded different from each other. There are implications concerning the validity of subjects' reports in making auditory estimations of 'quality' between signals.     

Effects of redundant auditory stimuli on reaction time

Auditory redundancy gains were assessed in two experiments in which a simple reaction time task was used. In each trial, an auditory stimulus was presented to the left ear, to the right ear, or simultaneously to both ears. The physical difference between auditory stimuli presented to the two ears was systematically increased across experiments. No redundancy gains were observed when the stimuli were identical pure tones or pure tones of different frequencies (Experiment 1). A clear redundancy gain and evidence of coactivation were obtained, however, when one stimulus was a pure tone and the other was white noise (Experiment 2). Experiment 3 employed a two-alternative forced choice localization task and provided evidence that dichotically presented pure tones of different frequencies are apparently integrated into a single percept, whereas a pure tone and white noise are not fused. The results extend previous findings of redundancy gains and coactivation with visual and bimodal stimuli to the auditory modality. Furthermore, at least within this modality, the results indicate that redundancy gains do not emerge when redundant stimuli are integrated into a single percept.     

Auditory pattern perception: the effect of tone location on the discrimination of tonal sequences.

This study examined the effect of tonal location on the discrimination of sequences differing in the order of the tones and on their perceived grouping. The frequency range between the sequential tones was held constant. When all tones came from the same location, the sequence was rated as integrated, but when the higher frequency tones came from a different location than the lower frequency tones, the sequence was rated as segregated. Listeners discriminated the sequences in a 3IFC task. Discrimination performance was impaired when the sequence was split between two locations and tonal order was changed in only one location, even though the order of tones in different locations was changed. This result suggests that listeners have difficulty relating tones across locations or in different perceptual groups. Performance in this experiment is generally better than that observed by Barsz (1988), and it is suggested that the level of stimulus uncertainty explains this difference.