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.     

Macaque monkeys discriminate pitch relationships

This study demonstrates that non-human primates can categorize the direction of the pitch change of tones in a sequence. Two Macaca fascicularis were trained in a positive-reinforcement behavioral paradigm in which they listened to sequences of a variable number of different acoustic items. The training of discriminating pitch direction was divided into three phases with increasing task complexity. In the first two phases, subjects learned to employ a same/different rule. In phase 1, they discriminated acoustic items of different sound quality. Subjects had to respond when there was a change from repeating noise bursts to repeating click trains or vice versa. In phase II, acoustic items differed along one physical dimension only. Subjects had to respond to a change of the frequency of a repeating series of pure tones. In phase III, sequences consisted of three series of repeating tones of different frequency. Subjects were required to respond when the frequency of the tones changed in a downward direction and to refrain from responding when the frequency remained constant or increased. After several ten thousand trials, subjects categorized pitch direction well above chance level. The discrimination was performed over a 4.5-octave range of frequencies and was largely independent of the temporal and ordinal position of the downward pitch direction within the sequence. These results demonstrate that monkeys can recognize pitch relationships and thus that monkeys have the concept of ordinal relations between acoustic items.     

Perceptual interactions between musical pitch and timbre.

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

Responsiveness of Western adults to pitch-distributional information in melodic sequences

Responsiveness of musically trained and untrained adults to pitch-distributional information in melodic contexts was assessed. In Experiment 1, melodic contexts were pure-tone sequences, generated from either a diatonic or one of four nondiatonic tonesets, in which pitch-distributional information was manipulated by variation of the relative frequency of occurrence of tones from the toneset. Both the assignment of relative frequency of occurrence to tones and the construction of the (fixed) temporal order of tones within the sequences contravened the conventions of western tonal music. A probe-tone technique was employed. Each presentation of a sequence was followed by a probe tone, one of the 12 chromatic notes within the octave. Listeners rated the goodness of musical fit of the probe tone to the sequence. Probe-tone ratings were significantly related to frequency of occurrence of the probe tone in the sequence for both trained and untrained listeners. In addition, probe-tone ratings decreased as the pitch distance between the probe tone and the final tone of the sequence increased. For musically trained listeners, probe-tone ratings for diatonic sequences tended also to reflect the influence of an internalized tonal schema. Experiment 2 demonstrated that the temporal location of tones in the sequences could not alone account for the effect of frequency of occurrence in Experiment 1. Experiment 3 tested musically untrained listeners under the conditions of Experiment 1, with the exception that the temporal order of tones in each sequence was randomized across trials. The effect of frequency of occurrence found in Experiment 1 was replicated and strengthened.     

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.     

Changing the tune: the structure of the input affects infants' use of absolute and relative pitch

Sequences of notes contain several different types of pitch cues, including both absolute and relative pitch information. What factors determine which of these cues are used when learning about tone sequences? Previous research suggests that infants tend to preferentially process absolute pitch patterns in continuous tone sequences, while other types of input elicit relative pitch use by infants. In order to ask whether the structure of the input influences infants’ choice of pitch cues, we presented learners with continuous tone streams in which absolute pitch cues were rendered uninformative by transposing the tone sequences. Under these circumstances, both infants and adults successfully tracked relative pitches in a statistical learning task. Implications for the role played by the structure of the input in the learning process are considered.     

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.     

The role of pitch and temporal diversity in the perception and production of musical sequences

In two experiments we explored how the dimensions of pitch and time contribute to the perception and production of musical sequences. We tested how dimensional diversity (the number of unique categories in each dimension) affects how pitch and time combine. In Experiment 1, 18 musically trained participants rated the complexity of sequences varying only in their diversity in pitch or time; a separate group of 18 pianists reproduced these sequences after listening to them without practice. Overall, sequences with more diversity were perceived as more complex, but pitch diversity influenced ratings more strongly than temporal diversity. Further, although participants perceived sequences with high levels of pitch diversity as more complex, errors were more common in the sequences with higher diversity in time. Sequences in Experiment 2 exhibited diversity in both pitch and time; diversity levels were a subset of those tested in Experiment 1. Again diversity affected complexity ratings and errors, but there were no statistical interactions between dimensions. Nonetheless, pitch diversity was the primary factor in determining perceived complexity, and again temporal errors occurred more often than pitch errors. Additionally, diversity in one dimension influenced error rates in the other dimension in that both error types were more frequent relative to Experiment 1. These results suggest that although pitch and time do not interact directly, they are nevertheless not processed in an informationally encapsulated manner. The findings also align with a dimensional salience hypothesis, in which pitch is prioritised in the processing of typical Western musical sequences.     

Evaluation of an imputed pitch velocity model of the auditory tau effect

This article extends an imputed pitch velocity model of the auditory kappa effect proposed by Henry and McAuley (2009a) to the auditory tau effect. Two experiments were conducted using an AXB design in which listeners judged the relative pitch of a middle target tone (X) in ascending and descending three-tone sequences. In Experiment 1, sequences were isochronous, establishing constant fast, medium, and slow velocity conditions. No systematic distortions in perceived target pitch were observed, and thresholds were similar across velocity conditions. Experiment 2 introduced to-be-ignored variations in target timing. Variations in target timing that deviated from constant velocity conditions introduced systematic distortions in perceived target pitch, indicative of a robust auditory tau effect. Consistent with an auditory motion hypothesis, the magnitude of the tau effect was larger at faster velocities. In addition, the tau effect was generally stronger for descending sequences than for ascending sequences. Combined with previous work on the auditory kappa effect, the imputed velocity model and associated auditory motion hypothesis provide a unified quantitative account of both auditory tau and kappa effects. In broader terms, these findings add support to the view that pitch and time relations in auditory patterns are fundamentally interdependent.     

Examining auditory kappa effects through manipulating intensity differences between sequential tones

The auditory kappa effect is a tendency to base the perceived duration of an inter-onset interval (IOI) separating two sequentially presented sounds on the degree of relative pitch distance separating them. Previous research has found that the degree of frequency discrepancy between tones extends the subjective duration of the IOI. In Experiment 1, auditory kappa effects for sound intensity were tested using a three-tone, AXB paradigm (where the intensity of tone X was shifted to be closer to either Tone A or B). Tones closer in intensity level were perceived as occurring closer in time, evidence of an auditory-intensity kappa effect. In Experiments 2 and 3, the auditory motion hypothesis was tested by preceding AXB patterns with null intensity and coherent intensity context sequences, respectively. The auditory motion hypothesis predicts that coherent sequences should enhance the perception of motion and increase the strength of kappa effects. In this study, the presence of context sequences reduced kappa effect strength regardless of the properties of the context tones.     

Deterioration of planning ability with age in Japanese monkeys (Macaca fuscata)

To investigate the ability of aged monkeys to plan and the effect of aging on this ability, performance in a food retrieval task was assessed in aged and younger Japanese monkeys (Macaca fuscata). In this task, the monkeys had to retrieve food items by selecting from a set of 9 holes, each of which contained 1 food item. Results showed that task performance declined significantly with age. All monkeys showed, to a greater or lesser extent, some consistent patterns in their sequence of selecting holes for retrieving the food item. An analysis of these selection patterns indicated that the younger monkeys showed more consistent sequences in selection than the aged monkeys. Furthermore, success in the task performance correlated strongly with higher consistency in the sequence of selecting holes. The authors simulated performance for this task by monkeys without any strategies or plans. The results suggest that the empirical data were far more systematic than the simulated data. Thus, the authors conclude that Japanese monkeys have the ability to plan and that this ability to plan deteriorates with age.     

Temporal discrimination of recycled tonal sequences: Pattern matching and naming of order by untrained listeners

Sets of recycled sequences of four successive tones were presented in all six possible orders to untrained listeners. For pitches within the musical range, recognition (as measured by matching of any unknown order with an array of permuted orders of the same tones) could be accomplished as readily for tonal durations and frequency separations outside the limits employed for melodic construction as inside these limits. Identifying or naming of relative pitches of successive tones was considerably more difficult than matching for these tonal sequences, and appeared to follow different rules based upon duration and upon frequency separation. Use of frequencies above the pitch limits for music (4,500 Hz and above) resulted in poor performance both for matching and naming of order. Introduction of short silent intervals between items was without effect for both tasks. Naming of order and pattern recognition appear to reflect different basic processes, in agreement with earlier formulations based on experiments with phonemic sequences of speech and sequences of unrelated sounds (hisses, tones, buzzes). Special characteristics of tonal sequences are discussed, and some speculations concerning music are offered.     

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.     

Multi-Encoding for Pitch Information of Tone Sequences

This study was designed to investigate the possibilities that subjects would visualize an auditory contour as a visual contour (visual imagery) to encode pitch information of tone sequences (Experiment 1), and that subjects would be motivated to attempt to engage in covert rehearsal with multi-code (Experiment 2). The findings from these experiments suggest that: (a) Whereas the highly musically trained subjects were able to encode pitches as accurate notes on a staff, the less well musically trained subjects encoded the pitch sequence as a contour. It is quite evident that there is an intermodal analogy between the perception of pitch relationships and that of relationships in visual space. (b) Pitch rehearsal of auditory information along with note names (dual-code) and staff notation accompanied by pitch rehearsal with note names (triple-code) were the most effective strategies for highly trained subjects with pitches of tonal sequences; melodic contour accompanied by pitch rehearsal (dual-code) was used by highly trained subjects with atonal sequences and by less well trained subjects with both types of sequences.     

Absolute pitch in infancy and adulthood: the role of tonal structure

Despite many similarities in infant and adult auditory processing, the literature suggests that two aspects of music perception, pitch processing and knowledge of tonal structure, change over development. The current experiments assess the use of absolute and relative pitch cues in a tone sequence statistical learning task containing tonal structure. The results suggest that infants preferentially process absolute pitch patterns in continuous tone sequences, supporting the hypothesis that absolute pitch is present in infancy, whereas adults tracked both absolute and relative pitch patterns. Infants and adults detected the tonal structure in the input, suggesting that humans are attuned to basic aspects of tonality early in life.     

Relative pitch perception in the European starling (Sturnus vulgaris): further evidence for an elusive phenomenon

Relative pitch perception in animals has been difficult to demonstrate. This failing is due in part to stimulus sets that make an absolute pitch solution viable. In Experiment 1, starlings failed to acquire a discrimination that could be solved only on the basis of relative pitch. In Experiment 2, starlings were trained on a smaller set of pitch patterns, for which both absolute and relative pitch solutions were available, then tested with three series of unreinforced probe stimuli. Series 1 assessed stimulus control by absolute pitch. In Series 2, absolute pitch cues dictated one response, and relative pitch cues dictated a different response. Results indicate that starlings extract relative pitch from artificial pitch patterns only after acquiring a discrimination that permits both absolute and relative pitch solutions. Results are discussed in terms of the relative salience of absolute and relative pitch.     

Perceptual hysteresis in the judgment of auditory pitch shift

Perceptual hysteresis can be defined as the enduring influence of the recent past on current perception. Here, hysteresis was investigated in a basic auditory task: pitch comparisons between successive tones. On each trial, listeners were presented with pairs of tones and asked to report the direction of subjective pitch shift, as either “up” or “down.” All tones were complexes known as Shepard tones (Shepard, 1964), which comprise several frequency components at octave multiples of a base frequency. The results showed that perceptual judgments were determined both by stimulus-related factors (the interval ratio between the base frequencies within a pair) and by recent context (the intervals in the two previous trials). When tones were presented in ordered sequences, for which the frequency interval between tones was varied in a progressive manner, strong hysteresis was found. In particular, ambiguous stimuli that led to equal probabilities of “up” and “down” responses within a randomized context were almost fully determined within an ordered context. Moreover, hysteresis did not act on the direction of the reported pitch shift, but rather on the perceptual representation of each tone. Thus, hysteresis could be observed within sequences in which listeners varied between “up” and “down” responses, enabling us to largely rule out confounds related to response bias. The strength of the perceptual hysteresis observed suggests that the ongoing context may have a substantial influence on fundamental aspects of auditory perception, such as how we perceive the changes in pitch between successive sounds.     

Do humans and nonhuman animals share the grouping principles of the iambic–trochaic law?

The iambic–trochaic law describes humans’ tendency to form trochaic groups over sequences varying in pitch or intensity (i.e., the loudest or highest sounds mark group beginnings), and iambic groups over sequences varying in duration (i.e., the longest sounds mark group endings). The extent to which these perceptual biases are shared by humans and nonhuman animals is yet unclear. In Experiment 1, we trained rats to discriminate pitch-alternating sequences of tones from sequences randomly varying in pitch. In Experiment 2, rats were trained to discriminate duration-alternating sequences of tones from sequences randomly varying in duration. We found that nonhuman animals group sequences based on pitch variations as trochees, but they do not group sequences varying in duration as iambs. Importantly, humans grouped the same stimuli following the principles of the iambic–trochaic law (Exp. 3). These results suggest the early emergence of the trochaic rhythmic grouping bias based on pitch, possibly relying on perceptual abilities shared by humans and other mammals, whereas the iambic rhythmic grouping bias based on duration might depend on language experience.     

Temporal aspects of stimulus-driven attending in dynamic arrays

Auditory sequences of tones were used to examine a form of stimulus-driven attending that involves temporal expectancies and is influenced by stimulus rhythm. Three experiments examined the influence of sequence timing on comparative pitch judgments of two tones (standard, comparison) separated by interpolated pitches. In two of the experiments, interpolated tones were regularly timed, with onset times of comparison tones varied relative to this rhythm. Listeners were most accurate judging the pitch of rhythmically expected tones and least accurate with very unexpected ones. This effect persisted over time, but disappeared when the rhythm of interpolated tones was either missing or irregular.     

Absolute pitch: frequency-range discriminations in pigeons (Columba livia): comparisons with zebra finches (Taeniopygia guttata) and humans (Homo sapiens)

Absolute pitch (AP) is the ability to classify individual pitches without an external referent. The authors compared results from pigeons (Columba livia, a nonsongbird species) with results (R. Weisman, M. Njegovan, C. Sturdy, L. Phillmore, J. Coyle, & D. Mewhort, 1998) from zebra finches (Taeniopygia guttata, a songbird species) and humans (Homo sapiens) in AP tests that required classification of contiguous tones into 3 or 8 frequency ranges on the basis of correlations between the tones in each frequency range and reward. Pigeons' 3-range discriminations were similar in accuracy to those of zebra finches and humans. In the more challenging 8-range task, pigeons, like zebra finches, discriminated shifts from reward to nonreward from range to range across all 8 ranges, whereas humans discriminated only the 1st and last ranges. Taken together with previous research, the present experiments suggest that birds may have more accurate AP than mammals.