Why are damped sounds perceived as shorter than ramped sounds?

Hearing is the most accurate sense for perceiving duration. However, rarely it produces inaccurate estimates of duration, for example when it compares the subjective duration of tones that are increasing in intensity over time (i.e., ramped) with that of tones that are decreasing in intensity over time (i.e., damped). The literature reports that the damped tones are perceived as much being shorter than the ramped tones of the same length. The short subjective duration of damped tones may originate from a decay suppression mechanism that parses the source-informative part of many natural sounds (i.e., the beginning) from the less informative part of them (the decay): listeners may interpret the tail of damped tones like an echo or like the decay portion of an impact sound and exclude it from the account of the duration of the tone. In the natural soundscape, the tail of sounds produced in reverberant environments and the tail of impact sounds have a frequency content that is constant throughout the sound’s duration. Here, the carriers used for ramped and damped sounds were a tone constant in frequency and a tone modulated in frequency. The frequency modulation was introduced to prevent the listener from interpreting the tail of these tones as the result of reverberation or the decay portion of an impact sound. Frequency constant damped tones were largely underestimated in duration whereas frequency modulated ones were not (or were only slightly), demonstrating that the decay suppression mechanism is a worthy explanation for the short subjective duration of damped tones.

     

The perception of empty and filled time intervals by pigeons

Pigeons were trained in a within-subjects design to discriminate durations of a filled interval (2 s and 8 s of light) and durations of an empty interval (2 s and 8 s bound by two 500-ms light markers). Filled intervals required a response to one set of comparisons (e.g., blue vs. yellow), whereas empty intervals required a response to a different set of comparisons (e.g., red vs. green). Psychophysical testing indicated that empty intervals were judged to be longer than equivalent durations of a filled interval. This finding was replicated when the anchor durations used during training were changed to 1 s and 4 s, or 4 s and 16 s. The difference between the point of subjective equality (PSE) for the empty intervals and the PSE for filled intervals increased as the magnitude of the anchor duration pairs increased. In addition, the difference limens (DL) for empty intervals were smaller than those for filled intervals, and they also increased as the magnitude of anchor duration pairs increased. An analysis of the Weber fractions (WF; i.e., DL/PSE) provided evidence for superimposition of the empty and filled timing functions across the different sets of anchor durations. These results suggest that the accumulation of subjective time was greater for empty intervals than for filled intervals. Within the framework of scalar timing theory, this difference in timing appeared to be the result of a clock rate difference rather than a switch latency difference.     

Evidence for a learning bias against saltatory phonological alternations

This study provides new experimental evidence that people learn phonological alternations in a biased way. Adult participants were exposed to alternations between phonetically dissimilar sounds (i.e., those differing in both voicing and manner, such as [p] and [v]). After learning these alternations, participants assumed, without evidence in the input, that more similar sounds (e.g., [b] and [v]) also alternated (Exp. 1). Even when provided with explicit evidence that dissimilar sounds (e.g., [p] and [v]) alternated but similar sounds ([b] and [v]) did not, participants tended to make errors in assuming that the similar sounds also alternated (Exp. 2). By comparison, a control group of participants found it easier to learn the opposite pattern, where similar sounds alternated but dissimilar sounds did not. The results are taken as evidence that learners have a soft bias, considering alternations between perceptually similar sounds to be more likely.     

Signal pulse-rate and judged duration.

Therories which construct perception of time from content of input predict monotonic functions of rate-judged duration of stimuli, and do not account for intersensory differences. Two experiments required Ss to compare directly the durations of paird lights or sounds pulsed at various rates to produce discriminable beats and flickers (6.0, 10.0, 14.0 Hz), and steady signals. Pulsed lights, not sounds, were judged longer than steady, and this visual effect was identical for all flicker rates. Faster pulsled sounds and lights were judged longer than slower ones for all frequency combinations except for 10.0 to 14.0-Hz comparisons with vision. No monotonic function of ratejudged durations of pulses was obtained; the effect was all-or-none. Although pulse rate did affect judged duration, neither simple functions nor symmetry across senses was found.     

Alteration of adults' subjective feeling of familiarity toward infants' sounds

Many adults may have lower subjective feelings of familiarity toward infants' vocalizations since infants' sounds are different from those of adults. However, mothers frequently exposed to infants' vocalizations may be more familiar and less averse. To test this hypothesis, 21 mothers (M age = 31.1 yr., SD = 4.3) of infants (M age = 8.2 mo., SD = 3.5), 18 mothers (M age = 34.4 yr., SD = 4.8) of children between two and five years of age (M age = 2.8 yr., SD = 1.0), and 17 women (M age = 29.2 yr., SD = ll.1) with no children were exposed to 20 types of sounds. Of these sounds, 14 were produced by infants. Although the mothers of infants did not recognize sounds as those of an infant's vocalization, they showed higher subjective feelings of familiarity toward the timbres of the vowel-like stimuli than did the other groups. By contrast, the subjective feelings of familiarity for nonspeech sounds did not differ among groups. Maternal experiences may change women's recognition of perceived sounds.     

Effects of sound-marker durations on rhythm perception

Our aim in this study was to examine the influence of sound-marker durations on the perception of simple rhythm patterns. These comprised three successive sounds marking two neighbouring time intervals, T1 and T2, with their onsets. We varied the durations of each of the three sound markers to make them either 20 or 60 ms. Durations of T1 and T2 were also varied, but the total duration of T1 and T2 was fixed at either 240 or 480 ms. In experiment 1, participants compared the durations of T1 and T2. In experiment 2, the subjective duration of each interval was measured separately. We found that lengthening the duration of the sound marker which terminated an interval increased the subjective duration of that interval: lengthening the duration of the second marker increased the subjective duration of T1, and lengthening the duration of the third marker increased the subjective duration of T2. Lengthening the duration of the first marker increased the subjective duration of T1 when T1 + T2 = 240 ms, especially when T1 > T2. This effect of first-marker duration, which could not be observed with single intervals used in the control conditions, seemed to enhance the contrast between T1 and T2. The effects of marker durations are associated with previous time-perception studies, in which single time intervals were used. They are discussed in the context of rhythm-perception studies, in which more complex sound patterns have been used.     

Sex difference in subjective duration of looming and receding sounds

Looming sounds (sounds increasing in intensity over time) are more salient than receding sounds (a looming sound reversed in time). For example, they are estimated as being longer, louder, and more changing in loudness than receding sounds. Some authors interpret the looming salience as evolutionarily adaptive, because it increases the margins of safety of the perceiver in the case of preparatory behaviours (e.g., a motor reaction to an approaching sound source). Recently, Neuhoff et al (2009, Journal of Experimental Psychology: Human Perception and Performance 35 225-234) found that females more than males show overestimation of the spatiotemporal properties of virtually simulated looming sound sources. Here, I investigated whether the sex difference could be observed for the subjective duration of looming and receding sounds, and found that females more than males overestimate the duration of looming sounds in comparison to receding sounds.     

The effects of valence and arousal on the emotional modulation of time perception: evidence for multiple stages of processing

Previous research has demonstrated that both emotional valence and arousal can influence the subjective experience of time. The current research extends this work by (1) identifying how quickly this emotional modulation of time perception can occur and (2) examining whether valence and arousal have different effects at different stages of perception. These questions were addressed using a temporal bisection task. In each block of this task, participants are trained to distinguish between two different exposure durations. Participants are then shown stimuli presented at a number of durations that fall between the two learned times, and are asked to indicate whether the test stimulus was closer in duration to the shorter or longer learned item. In the current study, participants completed blocks of trials in which the durations were "Short" (100-300 ms) or "Long" (400-1600 ms). Stimuli consisted of neutral photographs as well as four categories of emotional images: high-arousal negative, high-arousal positive, low-arousal negative, and low-arousal positive. In Short blocks, arousing and nonarousing negative images were judged to have been shown for shorter durations than they actually were (i.e., the duration was underestimated); this effect occurred at durations as brief as 133 ms. In Long blocks, the display time for highly arousing negative items was overestimated, whereas durations were underestimated for highly arousing positive items and less arousing negative items. These data suggest that arousal and valence have different effects at different stages of perception, possibly due to the different neural structures involved at each stage of the emotional modulation of time perception.     

Attentional modulation of electrophysiological activity in auditory cortex for unattended sounds within multistream auditory environments

In three experiments, we addressed the issue of attention effects on unattended sound processing when one auditory stream is selected from three potential streams, creating a simple model of the cocktail party situation. We recorded event-related brain potentials (ERPs) to determine the way in which unattended, task-irrelevant sounds were stored in auditory memory (i.e., as one integrated stream or as two distinct streams). Subjects were instructed to ignore all the sounds and attend to a visual task or to selectively attend to a subset of the sounds and perform a task with the sounds (Experiments 1 and 2). A third (behavioral) experiment was conducted to test whether global pattern violations (used in Experiments 1 and 2) were perceptible when the sounds were segregated. We found that the mismatch negativity ERP component, an index of auditory change detection, was evoked by infrequent pattern violations occurring in the unattended sounds when all the sounds were ignored, but not when attention was focused on a subset of the sounds. The results demonstrate that multiple unattended sound streams can segregate by frequency range but that selectively attending to a subset of the sounds can modify the extent to which the unattended sounds are processed. These results are consistent with models in animal and human studies showing that attentional control can limit the processing of unattended input in favor of attended sensory inputs, thereby facilitating the ability to achieve behavioral goals.     

Infant cry as a graded signal: Experimental modifications of durations of pauses and expiratory sounds alter mothers' perceptions

The purpose of this study was to examine experimentally the effects of the temporal structure of infant crying on mothers' perceptions. Eighteen mothers of young infants rated variations of a 10-sec cry in which durations of all expiratory sounds and pauses were digitally lengthened and shortened by 50%. Results showed a general monotonic effect in which cries with increasingly shorter pauses were perceived to be more arousing, aversive, informative, and rough. Similarly, cries with short expirations were perceived to be more rhythmic and rough than cries with long expirations. The strength of the monotonic effect for pause duration on ratings of urgency interacted with the duration of expiratory sounds such that the combination of short pauses and short expirations created the greatest perceived urgency. This study replicates and extends previous findings which show that gradations in acoustic features of crying are associated with gradations in the intensity of adults' perceptions.     

An auditory analog of the picture superiority effect

Previous research has found that pictures (e.g., a picture of an elephant) are remembered better than words (e.g., the word "elephant"), an empirical finding called the picture superiority effect (Paivio & Csapo. Cognitive Psychology 5(2):176-206, 1973). However, very little research has investigated such memory differences for other types of sensory stimuli (e.g. sounds or odors) and their verbal labels. Four experiments compared recall of environmental sounds (e.g., ringing) and spoken verbal labels of those sounds (e.g., "ringing"). In contrast to earlier studies that have shown no difference in recall of sounds and spoken verbal labels (Philipchalk & Rowe. Journal of Experimental Psychology 91(2):341-343, 1971; Paivio, Philipchalk, & Rowe. Memory & Cognition 3(6):586-590, 1975), the experiments reported here yielded clear evidence for an auditory analog of the picture superiority effect. Experiments 1 and 2 showed that sounds were recalled better than the verbal labels of those sounds. Experiment 2 also showed that verbal labels are recalled as well as sounds when participants imagine the sound that the word labels. Experiments 3 and 4 extended these findings to incidental-processing task paradigms and showed that the advantage of sounds over words is enhanced when participants are induced to label the sounds.     

多感觉整合中的声音诱发闪光错觉效应

声音诱发闪光错觉效应是典型的视听整合错觉现象, 是指当视觉闪光刺激与间隔100 ms内的听觉声音刺激不等数量呈现时, 被试知觉视觉闪光的数量与听觉声音的数量相等。声音诱发闪光错觉的影响因素既包括自下而上和自上而下的被试内差异因素, 也包括视听刺激依赖程度、视听整合的发展和视听刺激知觉敏感性等被试间差异因素。该效应的产生在时程上主要体现在早期加工阶段, 在脑区上主要涉及多处皮层及皮层下相关脑区。未来研究应进一步考察注意、奖赏和视听整合方式等认知加工对声音诱发闪光错觉的影响, 同时也应该关注声音诱发闪光错觉对记忆和学习的影响以及结合计算模型和神经科学的手段进一步探讨其认知神经机制。     

Effect of interpolated temporal activity on temporal short-term memory

The purpose of this research was to determine the retroactive interference effects of a single interpolated task (i.e., one temporal duration) on the retention of a criterion duration. This research is of interest because the mnemonic structure of temporal information of different durations is uncertain. Previous research has indicated that there might be a difference in structure for durations of 1 and 4 sec., although the results are inconsistent. Thus, two criterion durations of 1 and 4 sec. and five interpolated durations (i.e., 60%, 80%, 100%, 120%, and 140% of the duration of the criterion) were utilized under the method of reproduction. In addition, subjects were instructed to use either a counting strategy or none (referred to as conscious time estimation) to facilitate the retention of the temporal information. Recall was less variable when using a counting strategy than not and when estimating 1 sec. than 4 sec. However, there was no effect of interpolated activity when comparing performance across different interpolated conditions (no interpolated activity). Apparently, one interpolated duration is not sufficient to produce structural interference with a single criterion duration.     

Influence of generalized complexity of a musical event on subjective time estimation

This study examined the variations in the apparent duration of music events produced by differences in their generalized compositional complexity. Stimuli were the first 90 sec. of Gustav Mahler's 3rd Movement of Symphony No. 2 (low complexity) and the first 90 sec. of Luciano Bério's 3rd Movement of Symphony for Eight Voices and Orchestra (high complexity). Bério's symphony is another "reading" of Mahler's. On the compositional base of Mahler's symphony, Bério explored complexity in several musical elements--temporal (i.e., rhythm), nontemporal (i.e., pitch, orchestral and vocal timbre, texture, density), and verbal (i.e., text, words, phonemes). These two somewhat differently filled durations were reproduced by 10 women and 6 men with a stopwatch under the prospective paradigm. Analysis showed that the more generalized complexity of the musical event was followed by greater subjective estimation of the duration of this 90-sec. symphonic excerpt.     

Discrimination of time intervals presented in sequences: spatial effects with multiple auditory sources

This article discusses two experiments on the discrimination of time intervals presented in sequences marked by brief auditory signals. Participants had to indicate whether the last interval in a series of three intervals marked by four auditory signals was shorter or longer than the previous intervals. Three base durations were under investigation: 75, 150, and 225 ms. In Experiment 1, sounds were presented through headphones, from a single-speaker in front of the participants or by four equally spaced speakers. In all three presentation modes, the highest different threshold was obtained in the lower base duration condition (75 ms), thus indicating an impairment of temporal processing when sounds are presented too rapidly. The results also indicate the presence, in each presentation mode, of a 'time-shrinking effect' (i.e., with the last interval being perceived as briefer than the preceding ones) at 75 ms, but not at 225 ms. Lastly, using different sound sources to mark time did not significantly impair discrimination. In Experiment 2, three signals were presented from the same source, and the last signal was presented at one of two locations, either close or far. The perceived duration was not influenced by the location of the fourth signal when the participant knew before each trial where the sounds would be delivered. However, when the participant was uncertain as to its location, more space between markers resulted in longer perceived duration, a finding that applies only at 150 and 225 ms. Moreover, the perceived duration was affected by the direction of the sequences (left-right vs. right-left).     

The spatial constraint in intersensory pairing: no role in temporal ventriloquism

A sound presented in temporal proximity to a light can alter the perceived temporal occurrence of that light (temporal ventriloquism). The authors explored whether spatial discordance between the sound and light affects this phenomenon. Participants made temporal order judgments about which of 2 lights appeared first, while they heard sounds before the 1st and after the 2nd light. Sensitivity was higher (i.e., a lower just noticeable difference) when the sound-light interval was approximately 100 ms rather than approximately 0 ms. This temporal ventriloquist effect was unaffected by whether sounds came from the same or a different position as the lights, whether the sounds were static or moved, or whether they came from the same or opposite sides of fixation. Yet, discordant sounds interfered with speeded visual discrimination. These results challenge the view that intersensory interactions in general require spatial correspondence between the stimuli.     

Effects of temporal shapes of sound markers on the perception of interonset time intervals

This study investigated how the temporal characteristics, particularly durations, of sounds affect the perceived duration of very short interonset time intervals (120-360?ms), which is important for rhythm perception in speech and music. In four experiments, the subjective duration of single time intervals marked by two sounds was measured utilizing the method of adjustment, while the markers' durations, amplitude difference (which accompanied the duration change), and sound energy distribution in time were varied. Lengthening the duration of the second marker in the range of 20-100?ms increased the subjective duration of the time interval in a stable manner. Lengthening the first marker tended to increase the subjective duration, but unstably; an opposite effect sometimes appeared for the shortest time interval of 120?ms. The effects of varying the amplitude and the sound energy distribution in time of either marker were very small in the present experimental conditions, thus proving the effects of marker durations per se.     

The effects of differential vowel prolongations on perceptions of speech naturalness

Prolongation of speech sounds is currently used to modify stuttering and enhance fluency. Prolonged speech (PS) (e.g., prolonged vowels, prolongation throughout utterances) is, however, often perceived as unnatural by listeners. This study examined at which durations and in which contexts 52 college students (primary language was American English) perceived PS to be unnatural. Stimuli were limited to controlled variation in prolongation of the vowel in the middle single-syllable word of a carrier phrase (i.e., say word again). The prolongation was effected by digital waveform manipulation within the Kay Elemetrics Computerized Speech Laboratory (CSL). The listeners judged if they strongly agreed, agreed, or disagreed that the phrases sounded natural. Results indicated that the extent of vowel duration (and possibly context) does influence listener's perception of speech naturalness, findings which can be applied to facilitate fluency therapy.

Educational objectives: (1) The reader will learn about and be able to summarize the digital waveform manipulation procedure in the study. (2) The reader will learn about and be able to describe the effects of differential vowel prolongation on listener's perception of speech naturalness. (3) The reader will learn about and evaluate how differential vowel prolongation can be used to enhance fluency.     

An effect of spatial-temporal association of response codes: understanding the cognitive representations of time

The present study addresses the question of how such an abstract concept as time is represented by our cognitive system. Specifically, the aim was to assess whether temporal information is cognitively represented through left-to-right spatial coordinates, as already shown for other ordered sequences (e.g., numbers). In Experiment 1, the task-relevant information was the temporal duration of a cross. RTs were shorter when short and long durations had to be responded to with left and right hands, respectively, than with the opposite stimulus-response mapping. The possible explanation that the foreperiod effect (i.e., shorter RTs for longer durations) is greater with right than with left hand responses is discarded by results of Experiment 2, in which right and left hand responses alternated block-wise in a variable foreperiod paradigm. Other explanations concerning manual or hemispheric asymmetries may be excluded based on the results of control experiments, which show that the compatibility effect between response side and cross duration occurs for accuracy when responses are given with crossed hands (Experiment 3), and for RTs when responses are given within one hand (Experiment 4). This pattern suggests that elapsing time, similarly to other ordered information, is represented in some circumstances through an internal spatial reference frame, in a way that may influence motor performance. Finally, in Experiment 5, the temporal duration was parametrically varied using different values for each response category (i.e., 3 short and 3 long durations). The compatibility effect between hand and duration was replicated, but followed a rectangular function of the duration. The shape of this function is discussed in relation to the specific task demands.     

The role of a change heuristic in judgments of sound duration

The present study investigated whether the quality of a frequency change within a sound (i.e., smooth vs. abrupt) would influence perception of its duration. In three experiments, participants were presented with two consecutive sounds on each of a series of trials, and their task was to judge whether the second sound was longer or shorter in duration than the first. In Experiment 1, participants were more likely to judge sounds consisting of a smooth and continuous change in frequency as longer in duration than sounds that maintained a constant frequency. In Experiment 2, the same bias was observed for sounds incorporating an abrupt change in frequency, but only when the frequency change was relatively small. The results of Experiment 3 suggested that the application of a change heuristic when generating duration judgments depends on the perception of change as originating from a single, integrated perceptual object.