Context effects as auditory contrast

Three experiments are reported that collectively show that listeners perceive speech sounds as contrasting auditorily with neighboring sounds. Experiment 1 replicates the well-established finding that listeners categorize more of a [d–g] continuum as [g] after [l] than after [r]. Experiments 2 and 3 show that listeners discriminate stimuli in which the energy concentrations differ in frequency between the spectra of neighboring sounds better than those in which they do not differ. In Experiment 2, [alga–arda] pairs, in which the energy concentrations in the liquid-stop sequences are H(igh) L(ow)–LH, were more discriminable than [alda–arga] pairs, in which they are HH–LL. In Experiment 3, [da] and [ga] syllables were more easily discriminated when they were preceded by lower and higher pure tones, respectively—that is, tones that differed from the stops’ higher and lower F3 onset frequencies—than when they were preceded by H and L pure tones with similar frequencies. These discrimination results show that contrast with the target’s context exaggerates its perceived value when energy concentrations differ in frequency between the target’s spectrum and its context’s spectrum. Because contrast with its context does more that merely shift the criterion for categorizing the target, it cannot be produced by neural adaptation. The finding that nonspeech contexts exaggerate the perceived values of speech targets also rules out compensation for coarticulation by showing that their values depend on the proximal auditory qualities evoked by the stimuli’s acoustic properties, rather than the distal articulatory gestures.     

A comparison of visual and auditory short-term memory in monkeys (Cebus apella)

Using a visual and an acoustic sample set that appeared to favour the auditory modality of the monkey subjects, in Experiment 1 retention gradients generated in closely comparable visual and auditory matching (go/no-go) tasks revealed a more durable short-term memory (STM) for the visual modality. In Experiment 2, potentially interfering visual and acoustic stimuli were introduced during the retention intervals of the auditory matching task. Unlike the case of visual STM, delay-interval visual stimulation did not affect auditory STM. On the other hand, delay-interval music decreased auditory STM, confirming that the monkeys maintained an auditory trace during the retention intervals. Surprisingly, monkey vocalizations injected during the retention intervals caused much less interference than music. This finding, which was confirmed by the results of Experiments 3 and 4, may be due to differential processing of “arbitrary” (the acoustic samples) and species-specific (monkey vocalizations) sounds by the subjects. Although less robust than visual STM, auditory STM was nevertheless substantial, even with retention intervals as long as 32 sec.     

Expected endings and judged duration

In four experiments, the predictions of an expectancy/contrast model (Jones & Boltz, 1989) for judged duration were evaluated. In Experiments 1 and 2, listeners estimated the relative durations of auditory pattern pairs that varied in contextual phrasing and temporal contrast. The results showed that when the second pattern of a pair either seems to (Experiments 1 and 2) or actually does (Experiment 2) end earlier (later)than the first, subjects judge it as being relatively shorter (longer). In Experiment 3, listeners heard single patterns in which notes immediately preceding the final one were omitted. Timing of the final (target) tone was varied such that it was one beat early, on time, or one beat late. Listeners’ ratings of target tones revealed systematic effects of phrasing and target timing. In Experiment 4, listeners temporally completed (extrapolated) sequences of Experiment 3 that were modified to exclude the target tone. The results again showed that phrase context systematically influenced expectancies about “when” sequences should end. As a set, these studies demonstrate the effects of event structure and anticipatory attending upon experienced duration and are discussed in terms of the expectancy/contrast model.     

Characterizing the influence of native language experience on adult speech perception

Previous cross-language research has indicated that some speech contrasts present greater perceptual difficulty for adult non-native listeners than others do. It has been hypothesized that phonemic, phonetic, and acoustic factors contribute to this variability. Two experiments were conducted to evaluate systematically the role of phonemic status and phonetic familiarity in the perception of non-native speech contrasts and to test predictions derived from a model proposed by Best, McRoberts, and Sithole (1988). Experiment 1 showed that perception of an unfamiliar phonetic contrast was not less difficult for subjects who had experience with an analogous phonemic distinction in their native language than for subjects without such analogous experience. These results suggest that substantive phonetic experience influences the perception of non-native contrasts, and thus should contribute to a conceptualization of native language-processing skills. In Experiment 2, English listeners’ perception of two related nonphonemic place contrasts was not consistently different as had been expected on the basis of phonetic familiarity. A clear order effect in the perceptual data suggests that interactions between different perceptual assimilation patterns or acoustic properties of the two contrasts, or interactions involving both of these factors, underlie the perception of the two contrasts in this experiment. It was concluded that both phonetic familiarity and acoustic factors are potentially important to the explanation of variability in perception of nonphonemic contrasts. The explanation of how linguistic experience shapes speech perception will require characterizing the relative contribution of these factors, as well as other factors, including individual differences and variables that influence a listener’s orientation to speech stimuli.     

On apparent misalignment of collinear edges and boundaries

In two experiments, subjects adjusted various pairings of the top and bottom boundaries of two obliquely oriented outline bars (Experiment 1) and those of two similarly oriented complete and incomplete squares (Experiment 2) to apparent alignment. The data from the first experiment showed that the misalignment effects were determined jointly by the directional properties of the bar ends (vertical, oblique, and semicircular) and the pair of boundaries that were aligned (both top boundaries, top of upper bar with bottom of lower bar, bottom of upper bar with top of lower bar). The results from the second experiment showed that the misalignment effects were the same for the oblique boundaries of solid and outline squares and persisted when the squares were reduced to two parallel lines. The effect was undiminished when the ends of the parallels were aligned, but was markedly reduced when pairs of parallels themselves were aligned. The outcomes of the two experiments are explained in terms of the apparentpositions of the oblique boundaries. It is proposed that these vary with the positions of the elements (bar or square) relative to the visual field, the position of the boundaries relative to the stimulus elements, and the positions of the boundaries relative to axes that are delineated by the parallel adjacent ends of bars and sides of squares. This relative-position basis for apparent misalignment is held to be the basis of misalignment effects in other figures.     

Influence of temporal masking on click-pair discriminability

When temporal auditory acuity is estimated using time-reversed click pairs, the asymmetry of temporal masking may influence the results. To investigate this hypothesis, we first established normal-hearing listeners’ psychometric functions for the discrimination of time-reversed click pairs. An attempt to relate listeners’ performances in click-pair discrimination to their performances in forward and backward masking tasks was unsuccessful, probably due to the presence of spectral artifact in the temporal masking paradigms. We then investigated listeners’ abilities to discriminate time-reversed click pairs in which the intensity of the lower level click in one pair was altered. This alteration was introduced at random in order to minimize the influence of spectral artifact. Our results suggest that the course of temporal masking influenced the discriminability of the modified click pairs. Thus, the discrimination of time-reversed click pairs may yield a biased estimate of auditory temporal acuity.     

The structure of frontoparallel haptic space is task dependent

In three experiments, we investigated the structure of frontoparallel haptic space. In the first experiment, we asked blindfolded participants to rotate a matching bar so that it felt parallel to the reference bar, the bars could be at various positions in the frontoparallel plane. Large systematic errors were observed, in which orientations that were perceived to be parallel were not physically parallel. In two subsequent experiments, we investigated the origin of these errors. In Experiment 2, we asked participants to verbally report the orientation of haptically presented bars. In this task, participants made errors that were considerably smaller than those made in Experiment 1. In Experiment 3, we asked participants to set bars in a verbally instructed orientation, and they also made errors significantly smaller than those observed in Experiment 1. The data suggest that the errors in the matching task originate from the transfer of the reference orientation to the matching-bar position.     

Stream segregation revisited: Dynamic listening and influences of emotional context on stream perception and attention

A classical experiment of auditory stream segregation is revisited, reconceptualising perceptual ambiguity in terms of affordances and musical engagement. Specifically, three experiments are reported that investigate how listeners’ perception of auditory sequences change dynamically depending on emotional context. The experiments show that listeners adapt their attention to higher or lower pitched streams (Experiments 1 and 2) and the degree of auditory stream integration or segregation (Experiment 3) in accordance with the presented emotional context. Participants with and without formal musical training show this influence, although to differing degrees (Experiment 2). Contributing evidence to the literature on interactions between emotion and cognition, these experiments demonstrate how emotion is an intrinsic part of music perception and not merely a product of the listening experience.     

The semantics of prosody: acoustic and perceptual evidence of prosodic correlates to word meaning

This investigation examined whether speakers produce reliable prosodic correlates to meaning across semantic domains and whether listeners use these cues to derive word meaning from novel words. Speakers were asked to produce phrases in infant-directed speech in which novel words were used to convey one of two meanings from a set of antonym pairs (e.g., big/small). Acoustic analyses revealed that some acoustic features were correlated with overall valence of the meaning. However, each word meaning also displayed a unique acoustic signature, and semantically related meanings elicited similar acoustic profiles. In two perceptual tests, listeners either attempted to identify the novel words with a matching meaning dimension (picture pair) or with mismatched meaning dimensions. Listeners inferred the meaning of the novel words significantly more often when prosody matched the word meaning choices than when prosody mismatched. These findings suggest that speech contains reliable prosodic markers to word meaning and that listeners use these prosodic cues to differentiate meanings. That prosody is semantic suggests a reconceptualization of traditional distinctions between linguistic and nonlinguistic properties of spoken language.     

Intersensory conflict between vision and touch: the response modality dominates when precise, attention-riveting judgments are required

In four experiments, reducing lenses were used to minify vision and generate intersensory size conflicts between vision and touch. Subjects made size judgments, using either visual matching or haptic matching. In visual matching, the subjects chose from a set of visible squares that progressively increased in size. In haptic matching, the subjects selected matches from an array of tangible wooden squares. In Experiment 1, it was found that neither sense dominated when subjects exposed to an intersensory discrepancy made their size estimates by using either visual matching or haptic matching. Size judgments were nearly indentical for conflict subjects making visual or haptic matches. Thus, matching modality did not matter in Experiment 1. In Experiment 2, it was found that subjects were influenced by the sight of their hands, which led to increases in the magnitude of their size judgments. Sight of the hands produced more accurate judgments, with subjects being better able to compensate for the illusory effects of the reducing lens. In two additional experiments, it was found that when more precise judgments were required and subjects had to generate their own size estimates, the response modality dominated. Thus, vision dominated in Experiment 3, where size judgments derived from viewing a metric ruler, whereas touch dominated in Experiment 4, where subjects made size estimates with a pincers posture of their hands. It is suggested that matching procedures are inadequate for assessing intersensory dominance relations. These results qualify the position (Hershberger & Misceo, 1996) that the modality of size estimates influences the resolution of intersensory conflicts. Only when required to self-generate more precise judgments did subjects rely on one sense, either vision or touch. Thus, task and attentional requirements influence dominance relations, and vision does not invariably prevail over touch.     

The effect of vibrato on the recognition of masked vowels

Five experiments on the identifiability of synthetic vowels masked by wideband sounds are reported. In each experiment, identification thresholds (signal/masker ratios, in decibels) were measured for two versions of four vowels: a vibrated version, in which FO varied sinusoidally around 100 Hz; and a steady version, in which F0 was fixed at 100 Hz. The first three experiments were performed on naive subjects. Experiment 1 showed that for maskers consisting of bursts of pink noise, vibrato had no effect on thresholds. In Experiment 2, where the maskers were periodic pulse trains with an F0 randomly varied between 120 and 140 Hz from trial to trial, vibrato slightly improved thresholds when the sound pressure level of the maskers was 40 dB, but had no effect for 65-dB maskers. In Experiment 3, vibrated rather than steady pulse trains were used as maskers; when these maskers were at 40 dB, the vibrated versions of the vowels were slightly less identifiable than their steady versions; but, as in Experiment 2, vibrato had no effect when the maskers were at 65 dB. Experiment 4 showed that the unmasking effect of vibrato found in Experiment 2 disappeared in subjects trained in the identification task. Finally, Experiment 5 indicated that in trained listeners, vibrato had no influence on identification performance even when the maskers and the vowels had synchronous onsets and offsets. We conclude that vibrating a vowel masked by a wideband sound can affect its identification threshold, but only for tonal maskers and in untrained listeners. This effect of vibrato should probably be considered as a Gestalt phenomenon originating from central auditory mechanisms.     

The perceptual basis of loudness ratio judgments

In Experiment 1, subjects were required to estimateloudness ratios for 45 pairs of tones. Ten 1,200-Hz tones, differing only in intensity, were used to generate the 45 distinct tone pairs. In Experiment 2, subjects were required to directly compare two pairs of tones (chosen from among the set of 45) and indicate which pair of tones had the greaterloudness ratio. In both Experiments 1 and 2, the subjects’ judgments were used to rank order the tone pairs with respect to their judged loudness ratios. Nonmetric analyses of these rank orders indicated that both magnitude estimates of loudness ratios and direct comparisons of loudness ratios were based on loudnessintervals ordifferences where loudness was a power function of sound pressure. These experiments, along with those on loudness difference judgments (Parker & Schneider, 1974; Schneider, Parker, & Stein, 1974), support Torgerson’s (1961) conjecture that there is but one comparative perceptual relationship for ioudnesses, and that differences in numerical estimates for loudness ratios as opposed to loudness intervals simply reflect different reporting strategies generated by the two sets of instructions.     

Effects of Action Video Game Experience on Change Detection

Reflected sounds are often treated as an acoustic problem because they produce false localization cues and decrease speech intelligibility. However, their properties are shaped by the acoustic properties of the environment and therefore are a potential source of information about that environment. The objective of this study was to determine whether information carried by reflected sounds can be used by listeners to enhance their awareness of their auditory environment. Twelve listeners participated in two auditory training tasks in which they learned to identify three environments based on a limited subset of sounds and then were tested to determine whether they could transfer that learning to new, unfamiliar sounds. Results showed that significant learning occurred despite the task difficulty. An analysis of stimulus attributes suggests that it is easiest to learn to identify reflected sound when it occurs in sounds with longer decay times and broadly distributed dominant spectral components.     

Within-category discriminations in speech perception

The assumption that listeners are unaware of the highly encoded acoustic properties which lead to phoneme identification is questioned in the present study. It was found that some subjects can make use of small differences in voice onset time when making within-category discriminations. Subjects who can use these auditory features do so both implicitly (in a phonetic match task) and deliberately (in a physical match task). Results also indicate that some type of parallel process model is needed to account for the processing of auditory and phonetic information.     

Judging proportion with graphs: the summation model

People take longer to judge part-to-whole relationships with bar graphs than with pie charts or divided bar graphs. Subjects may perform summation operations to establish the whole with bar graphs, which would be unnecessary for other graph types depicting the whole with a single object. To test this summation model, the number of components forming the whole was varied with bars, divided bars, reference bars, and pies in three experiments. Response time increased with the number of components for bar graphs but there was little increase for other graph types in Experiment 1. An accuracy emphasis in Experiment 2 produced generally longer response times, but had little effect on the time per summation. The summation operation was not used when graphs were displayed briefly in Experiment 3, although subjects still took longer with bars. The estimated time for a summation operation is consistent with estimates derived from other research. In general, the bar graph is not effective for proportion judgments, and its disadvantage becomes potentially greater as the number of components increases. © 1998 John Wiley & Sons, Ltd.     

Audiovisual sentence recognition not predicted by susceptibility to the McGurk effect

In noisy situations, visual information plays a critical role in the success of speech communication: listeners are better able to understand speech when they can see the speaker. Visual influence on auditory speech perception is also observed in the McGurk effect, in which discrepant visual information alters listeners’ auditory perception of a spoken syllable. When hearing /ba/ while seeing a person saying /ga/, for example, listeners may report hearing /da/. Because these two phenomena have been assumed to arise from a common integration mechanism, the McGurk effect has often been used as a measure of audiovisual integration in speech perception. In this study, we test whether this assumed relationship exists within individual listeners. We measured participants’ susceptibility to the McGurk illusion as well as their ability to identify sentences in noise across a range of signal-to-noise ratios in audio-only and audiovisual modalities. Our results do not show a relationship between listeners’ McGurk susceptibility and their ability to use visual cues to understand spoken sentences in noise, suggesting that McGurk susceptibility may not be a valid measure of audiovisual integration in everyday speech processing.     

Which way is upright and normal? Haptic perception of letters above head level

In three experiments, the perception of the apparent orientation of block letters shown in various orientations above the subject’s head in the horizontal plane was examined. A block letter F with its front facing down toward the observer has two crossbars on its right side; the top is the part with the long crossbar, and the base has no bar. The experiments involved changing the locations of these parts with respect to the observer. In Experiment 1, the subjects using touch most often identified a letter as having its left and right sides in a normal orientation if the front of the block letter faced upwards away from the observer, with the bar on the right and the top of the letter farther from the subject than the letter’s base. In Experiment 2, the subjects judging visualuprightness favored positions in which the bars were on the right, the top of the block letter was near them, and the letter’s front faced downwards toward the observer. In Experiment 3, the subjects using touch most often assessed letters as being upright if the top of the letter was the farthest part and the bar was on the right. The results suggest that, when assessing orientation, subjects using touch favored positions that would be reached by a letter moving vertically upwards from table height, but subjects relying on vision favored positions reached by a letter moving in an arc centered on the subject’s head (on the eyes, in particular).     

Tangible pictures: viewpoint effects and linear perspective in visually impaired people

Perception of raised-line pictures in blindfolded-sighted, congenitally blind, late-blind, and low-vision subjects was studied in a series of experiments. The major aim of the study was to examine the value of perspective drawings for haptic pictures and visually impaired individuals. In experiment 1, subjects felt two wooden boards joined at 45 degrees, 90 degrees, or 135 degrees, and were instructed to pick the correct perspective drawing from among four choices. The first experiment on perspective found a significant effect of visual status, with much higher performance by the low-vision subjects. Mean performance for the congenitally blind subjects was not significantly different from that of the late-blind and blindfolded-sighted subjects. In a further experiment, blindfolded subjects drew tangible pictures of three-dimensional (3-D) geometric solids, and then engaged in a matching task. Counter to expectations, performance was not impaired for the 3-D drawings as compared with the frontal viewpoints. Subjects were also especially fast and more accurate when matching top views. Experiment 5 showed that top views were easiest for all of the visually impaired subjects, including those who were congenitally blind. Experiment 5 yielded higher performance for 3-D than frontal viewpoints. The results of all of the experiments were consistent with the idea that visual experience is not necessary for understanding perspective drawings of geometrical objects.     

Discovering phonetic coherence in acoustic patterns

Despite spectral and temporal discontinuities in the speech signal, listeners normally report coherent phonetic patterns corresponding to the phonemes of a language that they know. What is the basis for the internal coherence of phonetic segments? According to one account, listeners achieve coherence by extracting and integrating discrete cues; according to another, coherence arises automatically from general principles of auditory form perception; according to a third, listeners perceive speech patterns as coherent because they are the acoustic consequences of coordinated articulatory gestures in a familiar language. We tested these accounts in three experiments by training listeners to hear a continuum of three-tone, modulated sine wave patterns, modeled after a minimal pair contrast between three-formant synthetic speech syllables, either as distorted speech signals carrying a phonetic contrast (speech listeners) or as distorted musical chords carrying a nonspeech auditory contrast (music listeners). The music listeners could neither integrate the sine wave patterns nor perceive their auditory coherence to arrive at consistent, categorical percepts, whereas the speech listeners judged the patterns as speech almost as reliably as the synthetic syllables on which they were modeled. The outcome is consistent with the hypothesis that listeners perceive the phonetic coherence of a speech signal by recognizing acoustic patterns that reflect the coordinated articulatory gestures from which they arose.     

Prior experience with negative spectral correlations promotes information integration during auditory category learning

Complex sounds vary along a number of acoustic dimensions. These dimensions may exhibit correlations that are familiar to listeners due to their frequent occurrence in natural sounds—namely, speech. However, the precise mechanisms that enable the integration of these dimensions are not well understood. In this study, we examined the categorization of novel auditory stimuli that differed in the correlations of their acoustic dimensions, using decision bound theory. Decision bound theory assumes that stimuli are categorized on the basis of either a single dimension (rule based) or the combination of more than one dimension (information integration) and provides tools for assessing successful integration across multiple acoustic dimensions. In two experiments, we manipulated the stimulus distributions such that in Experiment 1, optimal categorization could be accomplished by either a rule-based or an information integration strategy, while in Experiment 2, optimal categorization was possible only by using an information integration strategy. In both experiments, the pattern of results demonstrated that unidimensional strategies were strongly preferred. Listeners focused on the acoustic dimension most closely related to pitch, suggesting that pitch-based categorization was given preference over timbre-based categorization. Importantly, in Experiment 2, listeners also relied on a two-dimensional information integration strategy, if there was immediate feedback. Furthermore, this strategy was used more often for distributions defined by a negative spectral correlation between stimulus dimensions, as compared with distributions with a positive correlation. These results suggest that prior experience with such correlations might shape short-term auditory category learning.