A bidimensional model of pitch in the recognition of melodies

Pitch can be conceptualized as a bidimensional quantity, reflecting both the overall pitch level of a tone (tone height) and its position in the octave (tone chroma). Though such a conceptualization has been well supported for perception of a single tone, it has been argued that the dimension of tone chroma is irrelevant in melodic perception. In the current study, melodies were subjected to structural transformations designed to evaluate the effects of interval magnitude, contour, tone height, and tone chroma. In two transformations, the component tones of a melody were displaced by octave intervals, either preserving or violating the pattern of changes in pitch direction (melodic contour). Replicating previous work, when contour was violated perception of the melody was severely disrupted. In contrast, when contour was preserved the melodies were identified as accurately as the untransformed melodies. In other transformations, a variety of forms of contour information were preserved, while eliminating information for absolute pitch and interval magnitude. The level of performance on all such transformations fell between the levels observed in the other two conditions. These results suggest that the bidimensional model of pitch is applicable to recognition of melodies as well as single tones. Moreover, the results argue that contour, as well as interval magnitude, is providing essential information for melodic perception.     

Rate of perceptual processing

Summary The primary goal of Schulze and Schuster's (1977) experiment was to test Massaro's (1972) hypothesis that the rate of processing of the auditory image after the tone is turned off is equal to the rate of processing the stimulus code while the stimulus is present. The experiment was unsuccessful, however, since the authors did not take into account corresponding changes in the asymptote parameter of the model with changes in stimulus duration. This review discusses the problem in detail along with a general discussion of model testing and appropriate experimental procedure.This research was supported by Public Health Service Grant MH-19399. Wendy L. Idson provided valuable comments. Requests for offprints should be sent to Dominic W. Massaro, Department of Psychology, University of Wisconsin, Johnson at Charter Streets, Madison, Wisconsin 53706, USA     

Temporal course of perceived auditory duration

A series of experiments explored the temporal course of the perceived duration of an auditory stimulus. A backward recognition masking paradigm was utilized, in which the subject was to determine which of two target durations was presented on a given trial. The target tone was followed, after a variable silent intertone interval, by a masking tone which could assume one of three possible durations. Identification of the long target was found to improve consistently with increases in the intertone interval. In contrast, identification of the short target was as accurate at the short as at the long intertone intervals. Blocking the intertone interval across experimental sessions eliminated these differences between the two target tones. Performance on both the long and the short target tones improved monotonically with increases in the intertone interval. When masking tone duration was randomized within an experimental session, identification of the long (short) target was most accurate with the longer (shorter) masking tone. Blocking the duration of the masking tone across experimental sessions eliminated the effect of the duration of the mask, but did not alter any of the other results. A model, proposed to account for the results, assumes that the percept of target duration grows over time, and can be terminated by the onset of the masking tone. The masking tone also acts to lengthen the perceived duration of the target tone, and this lengthening is a direct function of the duration of the masking tone.     

Similarity effects in backward recognition masking

Auditory backward recognition masking refers to the ability of a masking sound to terminate further perceptual resolution of a test sound presented slightly earlier in time. The present experiments were conducted to determine whether mask/test tone similarity effects in backward recognition masking could be reliably demonstrated. Although similarity effects were found in Experiments 1 and 2, only about 60% of the subjects demonstrated these effects. Experiment 3 was designed to isolate which stage of information processing is responsible for similarity effects. It was hypothesized that similarity effects are due to mask interference with the synthesized auditory memory of the test tone rather than to selective overwriting of a preperceptual auditory store: previous research has shown that interference in synthesized auditory memory depends on the similarity of the interfering stimulus to the items held in memory. By independently varying the backward masking interval and the interfering effect of the mask on the test tone memory, it was possible to demonstrate that similarity effects are indeed caused by mask interference in synthesized memory. The implications of these results are considered in the framework of auditory and visual masking.     

Equivalence classes formation applied to learning musical notes

Three experiments involving training and application of equivalence classes were carried out. In the first of them, with 6-6 years old children, and applying the equivalence classes logic to musical symbols and sounds learning, the necessary relations to build three equivalence classes (do, mi, sol) of five members each were acquired. In second and third experiments, five and seven equivalence classes (musical notes) of five member each were obtained. Six and a half years old children and one 17 years old Down syndrome diagnosed child took part in them, respectively. Results highlight the theoretical meaning of equivalence classes as explanation of human symbolic behavior, as the educational incomes of improving learning of basic elements in artistic skills.     

ICD-11 guidelines for psychotic,mood, anxiety and stress-related disorders in Mexico: Clinical utility and reliability

Background/Objective: The World Health Organization's diagnostic guidelines for ICD-11 mental and behavioural disorders must be tested in clinical settings around the world to ensure that they are clinically useful and genuinely global. The objective is evaluate the inter-rater reliability and clinical utility of ICD-11 guidelines for psychotic, mood, anxiety- and stress-related disorders in Mexican patients. Method: Adult volunteers exhibiting the selected symptoms were referred from the pre-consultation unit of a public psychiatric hospital to an interview by a pair of clinicians, who subsequently assigned independent diagnoses and evaluated the clinical utility of the diagnostic guidelines as applied to each particular case, on the basis of a scale developed for this purpose. Results: 23 clinicians evaluated 153 patients. Kappa scores were strong for psychotic disorders (.83), moderate for stress-related (.77) and mood disorders (.60) and week for anxiety and fear-related disorders (.43). A high proportion of clinicians considered all diagnostic guidelines to be quite to extremely useful as applied to their patients. Conclusions: ICD-11 guidelines for psychotic, stress-related and mood disorders allow adequate inter-rater consistency among Mexican clinicians, who also considered them as clinical useful tools.