Pitch motion with random chord sequences

Humans use local spectrotemporal correlations to detect rising and falling pitch

To discern speech or appreciate music, the human auditory system detects how pitch increases or decreases over time. However, the algorithms used to detect changes in pitch, or pitch motion, are incompletely understood. Here, using psychophysics, computational modeling, functional neuroimaging, and analysis of recorded speech, we ask if humans detect pitch motion using computations analogous to those used by the visual system. We adapted stimuli from studies of vision to create novel auditory correlated noise stimuli that elicited robust pitch motion percepts. Crucially, these stimuli possess no persistent features across frequency or time, but do possess positive or negative local spectrotemporal correlations in intensity. In psychophysical experiments, we found clear evidence that humans judge pitch direction based on both positive and negative spectrotemporal correlations. The observed sensitivity to negative correlations is a direct analogue of illusory "reverse-phi" motion in vision, and thus constitutes a new auditory illusion. Our behavioral results and computational modeling led us to hypothesize that human auditory processing employs pitch direction opponency. fMRI measurements in auditory cortex supported this hypothesis. To link our psychophysical findings to real-world pitch perception, we analyzed recordings of English and Mandarin speech and discovered that pitch direction was robustly signaled by the same positive and negative spectrotemporal correlations used in our psychophysical tests, suggesting that sensitivity to both positive and negative correlations confers ecological benefits. Overall, this work reveals that motion detection algorithms sensitive to local correlations are deployed by the central nervous system across disparate modalities (vision and audition) and dimensions (space and frequency).

In-channel cancellation: A model of early auditory processing

A model of early auditory processing is proposed in which each peripheral channel is processed by a delay-and-subtract cancellation filter, tuned independently for each channel with a criterion of minimum power. For a channel dominated by a pure tone or a resolved partial of a complex tone, the optimal delay is its period. For a channel responding to harmonically related partials, the optimal delay is their common fundamental period. Each peripheral channel is thus split into two subchannels-one that is cancellation-filtered and the other that is not. Perception can involve either or both, depending on the task. The model is illustrated by applying it to the masking asymmetry between pure tones and narrowband noise: a noise target masked by a tone is more easily detectable than a tone target masked by noise. The model is one of a wider class of models, monaural or binaural, that cancel irrelevant stimulus dimensions to attain invariance to competing sources. Similar to occlusion in the visual domain, cancellation yields sensory evidence that is incomplete, thus requiring Bayesian inference of an internal model of the world along the lines of Helmholtz's doctrine of unconscious inference.

Why Mozart? Information Processing Abilities of Gifted Young Musicians

An information processing model based on the neuropsychology of Alexander Luria was employed to investigate individual differences among normal and musically gifted children in their perception of pitch sequences with various degrees of structural coherence. The Luria model has three orthogonal dimensions of information processing: successive and simultaneous synthesis for encoding information, and executive synthesis which involves attention. It was hypothesised that music perception involves the cooperative interaction of these three information processing dimensions. Children with demonstrated musical precocity were compared with normal children on the three Luria model dimensions and on their perception of musical structure. The results highlighted the importance of metacognitive processes for realising extreme musical talent.

Tuning properties of the auditory frequency-shift detectors

Demany and Ramos [(2005). J. Acoust. Soc. Am. 117, 833-841] found that it is possible to hear an upward or downward pitch change between two successive pure tones differing in frequency even when the first tone is informationally masked by other tones, preventing a conscious perception of its pitch. This provides evidence for the existence of automatic frequency-shift detectors (FSDs) in the auditory system. The present study was intended to estimate the magnitude of the frequency shifts optimally detected by the FSDs. Listeners were presented with sound sequences consisting of (1) a 300-ms or 100-ms random "chord" of synchronous pure tones, separated by constant intervals of either 650 cents or 1000 cents; (2) an interstimulus interval (ISI) varying from 100 to 900 ms; (3) a single pure tone at a variable frequency distance (Delta) from a randomly selected component of the chord. The task was to indicate if the final pure tone was higher or lower than the nearest component of the chord. Irrespective of the chord's properties and of the ISI, performance was best when Delta was equal to about 120 cents (1/10 octave). Therefore, this interval seems to be the frequency shift optimally detected by the FSDs.

Pitch circularity from tones comprising full harmonic series

This paper describes an algorithm for producing pitch circularity using tones that each comprise a full harmonic series, and reports an experiment that demonstrates such circularity. Banks of 12 tones (i.e., scales) were created, with F0 varying in semitone steps. For each scale, as F0 descended, the amplitudes of the odd-numbered harmonics were reduced relative to the even-numbered ones by 3.5 dB for each semitone step. In consequence, the tone with the lowest F0 was heard as though displaced up an octave. In an experiment employing two such scales, all possible ordered tone pairs from each scale were presented, making 132 ordered tone pairs for each scale. Sixteen subjects judged for each tone pair whether the second tone was higher or lower than the first. The data derived from these pairwise comparisons were subjected to Kruskal's nonmetric multidimensional scaling, and excellent circularities were obtained. Individual differences in the subjects' judgments were also explored. The findings support the argument that musical pitch should be characterized as varying along two dimensions: the monotonic dimension of pitch height and the circular dimension of pitch class.

On the binding of successive sounds: perceiving shifts in nonperceived pitches

It is difficult to hear out individually the components of a "chord" of equal-amplitude pure tones with synchronous onsets and offsets. In the present study, this was confirmed using 300-ms random (inharmonic) chords with components at least 1/2 octave apart. Following each chord, after a variable silent delay, listeners were presented with a single pure tone which was either identical to one component of the chord or halfway in frequency between two components. These two types of sequence could not be reliably discriminated from each other. However, it was also found that if the single tone following the chord was instead slightly (e.g., 1/12 octave) lower or higher in frequency than one of its components, the same listeners were sensitive to this relation. They could perceive a pitch shift in the corresponding direction. Thus, it is possible to perceive a shift in a nonperceived frequency/pitch. This paradoxical phenomenon provides psychophysical evidence for the existence of automatic "frequency-shift detectors" in the human auditory system. The data reported here suggest that such detectors operate at an early stage of auditory scene analysis but can be activated by a pair of sounds separated by a few seconds.

Rhythm and pitch in music cognition

Rhythm and pitch are the 2 primary dimensions of music. They are interesting psychologically because simple, well-defined units combine to form highly complex and varied patterns. This article brings together the major developments in research on how these dimensions are perceived and remembered, beginning with psychophysical results on time and pitch perception. Progressively larger units are considered, moving from basic psychological categories of temporal and frequency ratios, to pulse and scale, to metrical and tonal hierarchies, to the formation of musical rhythms and melodies, and finally to the cognitive representation of large-scale musical form. Interactions between the dimensions are considered, and major theoretical proposals are described. The article identifies various links between musical structure and perceptual and cognitive processes, suggesting psychological influences on how sounds are patterned in music.

Perception of spectral changes in multi-tone complexes

Amplitude changes of the spectral components of a complex tone, relative to each other, are usually well perceived, even if the over-all intensity is kept fixed. Three experiments are reported: Experiment 1 dealt with the detectability of amplitude changes in two-tone complexes of fixed frequencies. Experiment 2 examined detection of slope changes in ramp-shaped spectral envelopes of two- and three-tone complexes as a function of spectral spacing. As a control experiment for some conditions a roving intensity level was used. Experiment 3 investigated the detectability of changes in the spectral slope of multi-tone complexes as a function of the number of components. The results of the experiments show that detection of spectral changes in a sound is strongly dependent on the frequency spacing of the components. It is concluded that the auditory system is capable of comparing the relative energy distributions over different critical bands. Within a critical band there exists an optimum frequency separation with respect to the detection of relative amplitude change.