Contributions of temporal and place cues in pitch perception in absolute pitch possessors

Pitch perception is determined by both place and temporal cues. To explore whether the manner in which these cues are used differs depending on absolute pitch capability, pitch identification experiments with and without pitch references were conducted for subjects with different absolute pitch capabilities and musical experience. Three types of stimuli were used to manipulate place and temporal cues separately: narrowband noises, which provide strong place cues but less salient temporal cues; iterated rippled noises, which provide strong temporal cues but less salient place cues; and sinusoidal tones, which provide both. The results indicated that absolute pitch possessors utilize temporal cues more effectively when they identify musical chroma With regard to the judgment of height, it was indicated that place cues play an important role for both absolute and nonabsolute pitch possessors.     

Stimulus information and processing time in pitch perception

Summary The assumption of Massaro, that the preperceptual auditory image is processed at the same rate as the stimulus information, was tested for pitch recognition, using a recognition masking paradigm. The data clearly show that the preperceptual image is processed with a much lower rate.     

Chasing perception in domestic cats and dogs

Animal Cognition - Chasing motion is often used to study the perception of inanimate objects as animate. When chasing interaction and independent motions between two agents are displayed...     

Assessment of depth perception in cats

A behavioural method is described for the assessment of depth perception of kittens. Measurement is made of the smallest separation in depth that can be discriminated between two adjacent stimuli under both monocular and binocular viewing conditions. Normal animals can discriminate much smaller separations in depth when using two eyes than with monocular viewing, implying the presence of a cue to depth that is uniquely available with binocular viewing. The test provides a quick and reliable way of screening animals for stereopsis.     

Global and local pitch perception in children with developmental dyslexia

This study investigated global versus local pitch pattern perception in children with dyslexia aged between 8 and 11 years. Children listened to two consecutive 4-tone pitch sequences while performing a same/different task. On the different trials, sequences either preserved the contour (local condition) or they violated the contour (global condition). Compared to normally developing children, dyslexics showed robust pitch perception deficits in the local but not the global condition. This finding was replicated in a simple pitch direction task, which minimizes sequencing and short term memory. Results are consistent with a left-hemisphere deficit in dyslexia because local pitch changes are supposedly processed by the left hemisphere, whereas global pitch changes are processed by the right hemisphere. The present data suggest a link between impaired pitch processing and abnormal phonological development in children with dyslexia, which makes pitch pattern processing a potent tool for early diagnosis and remediation of dyslexia.     

Absolute pitch: perception, coding, and controversies

Recent findings in cognitive neuroscience and cognitive psychology are converging to shed light on the nature of processing, categorization and memory for pitch in humans and animals. Although most people are unable to name or place pitch values in consistent, well-defined categories, as they do for color, stable long-term memory for pitch has been shown in certain animal species, in infants, and in both adult musicians and non-musicians. 'Absolute pitch', the rare ability to label pitches without external reference, appears to require acquisition early in life, and involves specialized brain mechanisms, now partially identified. Research on pitch coding strategies informs wider theories in cognitive science of semantic memory, and the nature of perceptual categories.     

声调范畴感知和声调复杂度对音乐音高感知的跨领域影响

采用音高识别与区分任务, 以汉语母语者、越南语母语者和俄语母语者为研究对象, 考察了两个语言加工层面的因素, 即声调范畴感知模式以及不同语言声调系统的复杂度差异对跨领域音乐音高感知的影响。结果发现: (1)汉语和越南语两组声调语言母语者听辨结果符合范畴感知模式, 而俄语母语者是连续感知。在语言和音乐两种刺激条件下, 声调语言母语者在范畴边界宽度、范畴内区分率、范畴间区分率以及区分峰度等指标上不存在显著差异。(2)汉语和越南语两组声调语言母语者的音乐音高区分任务结果差异不显著。实验结果表明: 在行为层面, 母语声调范畴感知模式可以迁移到音乐音高感知中, 但复杂声调系统并不能促进跨领域的音乐音高精细感知。实验结果从语言对音乐音高加工影响的角度支持了“共享论”。     

Enhanced production and perception of musical pitch in tone language speakers

Individuals differ markedly with respect to how well they can imitate pitch through singing and in their ability to perceive pitch differences. We explored whether the use of pitch in one’s native language can account for some of the differences in these abilities. Results from two studies suggest that individuals whose native language is a tone language, in which pitch contributes to word meaning, are better able to imitate (through singing) and perceptually discriminate musical pitch. These findings support the view that language acquisition fine-tunes the processing of critical auditory dimensions in the speech signal and that this fine-tuning can be carried over into nonlinguistic domains.     

Syllabic pitch perception in 2- to 3-month-old infants

The pitch patterns present in speech addressed to infants may play an important role in perceptual processing by infants. In this study, the high-amplitude sucking procedure was used to assess discrimination by 2- to 3-month-old infants of rising versus falling pitch patterns in 400-msec synthetic [ra] and [la] tokens. The syllables’ intonation contour was modeled on infant-directed speech, and covered a range characteristic of an adult female speaker (180–300 Hz). Group data indicated that the 2- to 3-month-old infants discriminated the pitch contour for both stimuli. Results are discussed with reference to previous studies of syllabic pitch perception.     

Relative pitch perception in Japanese monkeys (Macaca fuscata).

To investigate whether monkeys perceive relative pitch, the author trained 3 Japanese monkeys (Macaca fuscata) to detect changes from rising to falling contours of 3-tone sequences. Tone sequences were presented serially with transposition, so monkeys were urged to attend to cues other than the absolute frequency of a component tone. Results from probe tests with novel sequences showed that monkeys discriminated by the relative pitch when the frequency ranges of sequences were within the training range, showing a similar tendency as birds in previous studies (e.g., S. H. Hulse, J. Cynx, & J. Humpal, 1984).     

A limit on behavioral plasticity in speech perception

It is well attested that we perceive speech through the filter of our native language: a classic example is that of Japanese listeners who cannot discriminate between the American /l/ and /r/ and identify both as their own /r/ phoneme (Goto, 1971). Studies in the laboratory have shown, however, that perception of non-native speech sounds can be learned through training (Lively et al., 1994). This is consistent with neurophysiological evidence showing considerable experience-dependent plasticity in the brain at the first levels of sensory processing (Edeline and Weinberger, 1993; Merzenich and Sameshima, 1993; Weinberger, 1993; Kraus et al., 1995). Outside of the laboratory, however, the situation seems to differ: we here report a study involving Spanish-Catalan bilingual subjects who have had the best opportunities to learn a new contrast but did not do it. Our study demonstrates a striking lack of behavioral plasticity: early and extensive exposure to a second language is not sufficient to attain the ultimate phonological competence of native speakers.     

Perceptual grouping affects pitch judgments across time and frequency

Pitch, the perceptual correlate of fundamental frequency (F0), plays an important role in speech, music, and animal vocalizations. Changes in F0 over time help define musical melodies and speech prosody, while comparisons of simultaneous F0 are important for musical harmony, and for segregating competing sound sources. This study compared listeners' ability to detect differences in F0 between pairs of sequential or simultaneous tones that were filtered into separate, nonoverlapping spectral regions. The timbre differences induced by filtering led to poor F0 discrimination in the sequential, but not the simultaneous, conditions. Temporal overlap of the two tones was not sufficient to produce good performance; instead performance appeared to depend on the two tones being integrated into the same perceptual object. The results confirm the difficulty of comparing the pitches of sequential sounds with different timbres and suggest that, for simultaneous sounds, pitch differences may be detected through a decrease in perceptual fusion rather than an explicit coding and comparison of the underlying F0s.     

Influence of tonal context and timbral variation on perception of pitch

In this study, spectral timbre's effect on pitch perception is examined in varying contexts. In two experiments, subjects detected pitch deviations of tones differing in brightness in an isolated context in which they compared two tones, in a tone-series context in which they judged whether the last tone of a simple sequence was in or out of tune, and in a melodic context in which they determined whether the last note of familiar melodies was in or out of tune. Timbre influenced pitch judgments in all the conditions, but increasing tonal context allowed the subjects to extract pitch information more accurately. This appears to be due to two factors: (1) The presence of extra tones creates a stronger reference point from which to judge pitch, and (2) the melodies' tonal structure gives more cues that facilitate pitch extraction, even in the face of conflicting spectral information.     

Visual perception of musical notation: Registering pitch symbols in memory

Music bears formal relations to language which suggest that perceptual processes in the two modes may also be similar. These experiments examined the way in which experienced musicians differed from non-musicians in their recognition of briefly exposed pitch notation. Experiments I and II together demonstrated that musicians are superior to non-musicians in their immediate written recall of stimuli containing more than three notes, but only when the stimulus is available to them for 150 ms or more. These results are accounted for well by a model proposed by Coltheart (1972) for letter perception under conditions of brief exposure. In this model, two coding processes act simultaneously on the stimulus, one a fast visual coding, and the other a slower, but more permanent abstract (or name) coding. In this case non-musicians appear to be lacking a second, abstract, coding which musicians possess. Experiments III and IV attempted to investigate the nature of the abstract code for musicians by presenting various types of interference in the linguistic or musical mode. Neither concurrent letter naming nor concurrent memorization of pitches appeared to cause a decrement in the original visual task, suggesting that musicians may not have been using simple naming or pitching transformations in coding the visual input.     

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.     

Stress and its perception in childhood

This paper examines how children may perceive events as stressful, and identifies some of the elements which may contribute to this perception, The proposition that this perception is dependant on individual phenomenology will be investigated. Various models that attempt to explain this phenomena will be presented and a synthesized paradigm offered.     

Velocity perception for sounds moving in frequency space

In three experiments, we considered the relative contribution of frequency change (Δf) and time change (Δt) to perceived velocity (Δf/Δt) for sounds that moved either continuously in frequency space (Experiment 1) or in discrete steps (Experiments 2 and 3). In all the experiments, participants estimated “how quickly stimuli changed in pitch” on a scale ranging from 0 (not changing at all) to 100 (changing very quickly). Objective frequency velocity was specified in terms of semitones per second (ST/s), with ascending and descending stimuli presented on each trial at one of seven velocities (2, 4, 6, 8, 10, 12, and 14 ST/s). Separate contributions of frequency change (Δf) and time change (Δt) to perceived velocity were assessed by holding total Δt constant and varying Δf or vice versa. For tone glides that moved continuously in frequency space, both Δf and Δt cues contributed approximately equally to perceived velocity. For tone sequences, in contrast, perceived velocity was based almost entirely on Δt, with surprisingly little contribution from Δf. Experiment 3 considered separate judgments about Δf and Δt in order to rule out the possibility that the results of Experiment 2 were due to the inability to judge frequency change in tone sequences.     

Effects of optical pitch on oculomotor control and the perception of target elevation

In two experiments, we used an ISCAN infrared video system to examine the influence of a pitched visual array on gaze elevation and on judgments of visually perceived eye level. In Experiment 1, subjects attempted to direct their gaze to arelaxed or to ahorizontal orientation while they were seated in a room whose walls were pitched at various angles with respect to gravity. Gaze elevation was biased in the direction in which the room was pitched. In Experiment 2, subjects looked into a small box that was pitched at various angles while they attempted simply to direct their gaze alone, or to direct their gaze and place a visual target at their apparent horizon. Both gaze elevation and target settings varied systematically with the pitch orientation of the box. Our results suggest that under these conditions, an optostatic response, of which the subject is unaware, is responsible for the changes in both gaze elevation and judgments of target elevation.     

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.