Pitch discrimination interference: the role of pitch pulse asynchrony

Gockel, Carlyon, and Plack [J. Acoust. Soc. Am. 116, 1092-1104 (2004)] showed that discrimination of the fundamental frequency (F0) of a target tone containing only unresolved harmonics was impaired when an interfering complex tone with fixed F0 was added to the target, but filtered into a lower frequency region. This pitch discrimination interference (PDI) was greater when the interferer contained resolved harmonics than when it contained only unresolved harmonics. Here, it is examined whether this occurred because, when the interferer contained unresolved harmonics, "pitch pulse asynchrony (PPA)" between the target and interferer provided a cue that enhanced performance; this was possible in the earlier experiment because both target and interferer had components added in sine phase. In experiment 1, it was shown that subjects were moderately sensitive to the direction of PPA across frequency regions. In experiments 2 and 3, PPA cues were eliminated by adding the components of the target only, or of both target and interferer, in random phase. For both experiments, an interferer containing resolved harmonics produced more PDI than an interferer containing unresolved harmonics. These results show that PDI is smaller for an interferer with unresolved harmonics even when cues related to PPA are eliminated.     

Across-frequency interference effects in fundamental frequency discrimination: questioning evidence for two pitch mechanisms

Carlyon and Shackleton [J. Acoust. Soc. Am. 95, 3541-3554 (1994)] presented an influential study supporting the existence of two pitch mechanisms, one for complex tones containing resolved and one for complex tones containing only unresolved components. The current experiments provide an alternative explanation for their finding, namely the existence of across-frequency interference in fundamental frequency (F0) discrimination. Sensitivity (d') was measured for F0 discrimination between two sequentially presented 400 ms complex (target) tones containing only unresolved components. In experiment 1, the target was filtered between 1375 and 15,000 Hz, had a nominal F0 of 88 Hz, and was presented either alone or with an additional complex tone ("interferer"). The interferer was filtered between 125-625 Hz, and its F0 varied between 88 and 114.4 Hz across blocks. Sensitivity was significantly reduced in the presence of the interferer, and this effect decreased as its F0 was moved progressively further from that of the target. Experiment 2 showed that increasing the level of a synchronously gated lowpass noise that spectrally overlapped with the interferer reduced this "pitch discrimination interference (PDI)". In experiment 3A, the target was filtered between 3900 and 5400 Hz and had an F0 of either 88 or 250 Hz. It was presented either alone or with an interferer, filtered between 1375 and 1875 Hz with an F0 corresponding to the nominal target F0. PDI was larger in the presence of the resolved (250 Hz F0) than in the presence of the unresolved (88 Hz F0) interferer, presumably because the pitch of the former was more salient than that of the latter. Experiments 4A and 4B showed that PDI was reduced but not eliminated when the interferer was gated on 200 ms before and off 200 ms after the target, and that some PDI was observed with a continuous interferer. The current findings provide an alternative interpretation of a study supposedly providing strong evidence for the existence of two pitch mechanisms.     

Virtual pitch extraction from harmonic structures by absolute-pitch musicians

The ability of absolute-pitch (AP) musicians to identify or produce virtual pitch from harmonic structures without feedback or an external acoustic referent was examined in three experiments. Stimuli consisted of pure tones, missing-fundamental harmonic complexes, or piano notes highpass filtered to remove their fundamental frequency and lower harmonics. Results of Experiment I showed that relative to control (non-AP) musicians, AP subjects easily (>90%) identified pitch of harmonic complexes in a 12-alternative forced-choice task. Increasing harmonic order (i.e., lowest harmonic number in the complex), however, resulted in a monotonic decline in performance. Results suggest that AP musicians use two pitch cues from harmonic structures: 1) spectral spacing between harmonic components, and 2) octave-related cues to note identification in individually resolved harmonics. Results of Experiment II showed that highpass filtered piano notes are identified by AP subjects at better than 75% accuracy even when the note’s energy is confined to the 4th and higher harmonics. Identification of highpass piano notes also appears to be better than that expected from pure or complex tones, possibly due to contributions from familiar timbre cues to note identity. Results of Experiment III showed that AP subjects can adjust the spectral spacing between harmonics of a missing-fundamental complex to accurately match the expected spacing from a target musical note. Implications of these findings for mechanisms of AP encoding are discussed. The text was submitted by the authors in English.     

Perception of the low pitch of frequency-shifted complexes

When all of the components in a harmonic complex tone are shifted in frequency by delta f, the pitch of the complex shifts roughly in proportion to delta f. For tones with a small number of components, the shift is usually somewhat larger than predicted from pitch theories, which has been attributed to the influence of combination tones [Smoorenburg, J. Acoust. Soc. Am. 48, 924-941 (1970)]. Experiment 1 assessed whether combination tones influence the pitch of complex tones with more than five harmonics, by using noise to mask the combination tones. The matching stimulus was a harmonic complex. Test complexes were bandpass filtered with passbands centered on harmonic numbers 5 (resolved), 11 (intermediate), or 16 (unresolved) and fundamental frequencies (FOs) were 100, 200, or 400 Hz. For the intermediate and unresolved conditions, the matching stimuli were filtered with the same passband to minimize differences in the excitation patterns of the test and matching stimuli. For the resolved condition, the matching stimulus had a passband centered above that of the test stimulus, to avoid common partials. For resolved and intermediate conditions, pitch shifts were observed that could generally be predicted from the frequencies of the partials. The shifts were unaffected by addition of noise to mask combination tones. For the unresolved condition, no pitch shift was observed, which suggests that pitch is not based on temporal fine structure for stimuli containing only high unresolved harmonics. Experiment 2 used three-component complexes resembling those of Schouten [J. Acoust. Soc. Am. 34, 1418-1424 (1962)]. Nominal harmonic numbers were 3, 4, 5 (resolved), 8, 9, 10 (intermediate), or 13, 14, 15 (unresolved) and F0s were 50, 100, 200, or 400 Hz. Clear shifts in the matches were found for all conditions, including unresolved. For the latter, subjects may have matched the "center of gravity" of the excitation patterns of the test and matching stimuli.     

Detection and F0 discrimination of harmonic complex tones in the presence of competing tones or noise

Normal-hearing listeners' ability to "hear out" the pitch of a target harmonic complex tone (HCT) was tested with simultaneous HCT or noise maskers, all bandpass-filtered into the same spectral region (1200-3600 Hz). Target-to-masker ratios (TMRs) necessary to discriminate fixed fundamental-frequency (F0) differences were measured for target F0s between 100 and 400 Hz. At high F0s (400 Hz), asynchronous gating of masker and signal, presenting the masker in a different F0 range, and reducing the F0 rove of the masker, all resulted in improved performance. At the low F0s (100 Hz), none of these manipulations improved performance significantly. The findings are generally consistent with the idea that the ability to segregate sounds based on cues such as F0 differences and onset/offset asynchronies can be strongly limited by peripheral harmonic resolvability. However, some cases were observed where perceptual segregation appeared possible, even when no peripherally resolved harmonics were present in the mixture of target and masker. A final experiment, comparing TMRs necessary for detection and F0 discrimination, showed that F0 discrimination of the target was possible with noise maskers at only a few decibels above detection threshold, whereas similar performance with HCT maskers was only possible 15-25 dB above detection threshold.     

Influence of peripheral resolvability on the perceptual segregation of harmonic complex tones differing in fundamental frequency

Two experiments investigated the influence of resolvability on the perceptual organization of sequential harmonic complexes differing in fundamental frequency (F0). Using a constant-stimuli method, streaming scores for ABA-... sequences of harmonic complexes were measured as a function of the F0 difference between the A and B tones. In the first experiment, streaming scores were measured for harmonic complexes having two different nominal F0s (88 and 250 Hz) and filtered in three frequency regions (a LOW, a MID, and a HIGH region with corner frequencies of 125-625 Hz, 1375-1875 Hz, and 3900-5400 Hz, respectively). Some streaming was observed in the HIGH region (in which the harmonics were always unresolved) but streaming scores remained generally lower than in the LOW and MID regions. The second experiment verified that the streaming observed in the HIGH region was not due to the use of distortion products. Overall, the results indicated that although streaming can occur in the absence of spectral cues, the degree of resolvability of the harmonics has a significant influence.     

An autocorrelation model with place dependence to account for the effect of harmonic number on fundamental frequency discrimination

Fundamental frequency (f0) difference limens (DLs) were measured as a function of f0 for sine- and random-phase harmonic complexes, bandpass filtered with 3-dB cutoff frequencies of 2.5 and 3.5 kHz (low region) or 5 and 7 kHz (high region), and presented at an average 15 dB sensation level (approximately 48 dB SPL) per component in a wideband background noise. Fundamental frequencies ranged from 50 to 300 Hz and 100 to 600 Hz in the low and high spectral regions, respectively. In each spectral region, f0 DLs improved dramatically with increasing f0 as approximately the tenth harmonic appeared in the passband. Generally, f0 DLs for complexes with similar harmonic numbers were similar in the two spectral regions. The dependence of f0 discrimination on harmonic number presents a significant challenge to autocorrelation (AC) models of pitch, in which predictions generally depend more on spectral region than harmonic number. A modification involving a "lag window"is proposed and tested, restricting the AC representation to a limited range of lags relative to each channel's characteristic frequency. This modified unitary pitch model was able to account for the dependence of f0 DLs on harmonic number, although this correct behavior was not based on peripheral harmonic resolvability.     

Reduced contribution of a nonsimultaneous mistuned harmonic to residue pitch

Ciocca and Darwin [V. Ciocca and C. J. Darwin, J. Acoust. Soc. Am. 105, 2421-2430 (1999)] reported that the shift in residue pitch caused by mistuning a single harmonic (the fourth out of the first 12) was the same when the mistuned harmonic was presented after the remainder of the complex as when it was simultaneous, even though subjects were asked to ignore the pure-tone percept. The present study tried to replicate this result, and investigated the role of the presence of the nominally mistuned harmonic in the matching sound. Subjects adjusted a "matching" sound so that its pitch equaled that of a subsequent 90-ms complex tone (12 harmonics of a 155-Hz F0), whose mistuned (+/-3%) third harmonic was presented either simultaneously with or after the remaining harmonics. In experiment 1, the matching sound was a harmonic complex whose third harmonic was either present or absent. In experiments 2A and 2B, the target and matching sound had nonoverlapping spectra. Pitch shifts were reduced both when the mistuned component was nonsimultaneous, and when the third harmonic was absent in the matching sound. The results indicate a shorter than originally estimated time window for obligatory integration of nonsimultaneous components into a virtual pitch.     

兴奋模式下谐波复合音音高感知机制的研究

通过测量谐波复合音的基频辨别阈,探讨中等"高次谐波"的音高感知是否依赖于谐波的可分离性,以及掩蔽音对实验结果的影响。实验方法:在目标音单独存在或目标音与掩蔽音混合时,将刺激通过高、中、低三个带通滤波器以获得不同的谐波可分离度。实验刺激设计为5种基频差异和4种相位组合。五名被试均为年轻人,纯音听阈≤15 dB HL。研究结果发现:谐波复合音的基频辨别阈随着信号频段的上移而增大;目标音和掩蔽音的基频差异对基频辨别阈有显著影响;但相位影响不显著。结论:谐波的可分离性对基频辨别阈有显著影响,但中等"高次谐波"的音高感知不依赖于可分离性;混合音的大部分音高感知结果与兴奋模式的峰值大小密切相关。      

Influence of spectral locus and F0 changes on the pitch and timbre of complex tones.

Harmonic complex tones comprising components in different spectral regions may differ considerably in timbre. While the pitch of "residue" tones of this type has been studied extensively, their timbral properties have received little attention. Discrimination of F0 for such tones is typically poorer than for complex tones with "corresponding" harmonics [A. Faulkner, J. Acoust. Soc. Am. 78, 1993-2004 (1985)]. The F0 DLs may be higher because timbre differences impair pitch discrimination. The present experiment explores effects of changes in spectral locus and F0 of harmonic complex tones on both pitch and timbre. Six normally hearing listeners indicated if the second tone of a two-tone sequence was: (1) same, (2) higher in pitch, (3) lower in pitch, (4) same in pitch but different in "something else," (5) higher in pitch and different in "something else," or (6) lower in pitch and different in "something else" than the first. ("Something else" is assumed to represent timbre.) The tones varied in spectral loci of four equal-amplitude harmonics m, m + 1, m + 2, and m + 3 (m = 1,2,3,4,5,6) and ranged in F0 from 200 to 200 +/- 2n Hz (n = 0,1,2,4,8,16,32). Results show that changes in F0 primarily affect pitch, and changes in spectral locus primarily affect timbre. However, a change in spectral locus can also influence pitch. The direction of locus change was reported as the direction of pitch change, despite no change in F0 or changes in F0 in the opposite direction for delta F0 < or = 0-2%. This implies that listeners may be attending to the "spectral pitch" of components, or to changes in a timbral attribute like "sharpness," which are construed as changes in overall pitch in the absence of strong F0 cues. For delta F0 > or = 2%, the direction of reported pitch change accord with the direction of F0 change, but the locus change continued to be reported as a timbre change. Rather than spectral-pitch matching of corresponding components, a context-dependent spectral evaluation process is thus implied in discernment of changes in pitch and timbre. Relative magnitudes of change in derived features of the spectrum such as harmonic number and F0, and absolute features such as spectral frequencies are compared. What is called "spectral pitch," contributes to the overall pitch, but also appears to be an important dimension of the multidimensional percept, timbre.     

Evidence against an effect of grouping by spectral regularity on the perception of virtual pitch

Two experiments investigated the role of the regularity of the frequency spacing of harmonics, as a separate factor from harmonicity, on the perception of the virtual pitch of a harmonic series. The first experiment compared the shifts produced by mistuning the 3rd, 4th, and 5th harmonics in the pitch of two harmonic series: the odd-H and the all-H tones. The odd-H tone contained odd harmonics 1 to 11, plus the 4th harmonic; the all-H tone contained harmonics 1 to 12. Both tones had a fundamental frequency of 155 Hz. Pitch shifts produced by mistuning the 3rd harmonic, but not the 4th and 5th harmonics, were found to be significantly larger for the odd-H tone than for the all-H tone. This finding was consistent with the idea that grouping by spectral regularity affects pitch perception since an odd harmonic made a larger contribution than an adjacent even harmonic to the pitch of the odd-H tone. However, an alternative explanation was that the 3rd mistuned harmonic produced larger pitch shifts within the odd-H tone than the 4th mistuned harmonic because of differences in the partial masking of these harmonics by adjacent harmonics. The second experiment tested these explanations by measuring pitch shifts for a modified all-H tone in which each mistuned odd harmonic was tested in the presence of the 4th harmonic, but in the absence of its other even-numbered neighbor. The results showed that, for all mistuned harmonics, pitch shifts for the modified all-H tone were not significantly different from those for the odd-H tone. These findings suggest that the harmonic relations among frequency components, rather than the regularity of their frequency spacing, is the primary factor for the perception of the virtual pitch of complex sounds.     

Pitch perception of concurrent harmonic tones with overlapping spectra

Fundamental frequency difference limens (F0DLs) were measured for a target harmonic complex tone with nominal fundamental frequency (F0) of 200 Hz, in the presence and absence of a harmonic masker with overlapping spectrum. The F0 of the masker was 0, ± 3, or ± 6 semitones relative to 200 Hz. The stimuli were bandpass filtered into three regions: 0-1000 Hz (low, L), 1600-2400 Hz (medium, M), and 2800-3600 Hz (high, H), and a background noise was used to mask combination tones and to limit the audibility of components falling on the filter skirts. The components of the target or masker started either in cosine or random phase. Generally, the effect of F0 difference between target and masker was small. For the target alone, F0DLs were larger for random than cosine phase for region H. For the target plus masker, F0DLs were larger when the target had random phase than cosine phase for regions M and H. F0DLs increased with increasing center frequency of the bandpass filter. Modeling using excitation patterns and "summary autocorrelation" and "stabilized auditory image" models suggested that use of temporal fine structure information can account for the small F0DLs obtained when harmonics are barely, if at all, resolved.     

Sequential F0 comparisons between resolved and unresolved harmonics: no evidence for translation noise between two pitch mechanisms

Carlyon and Shackleton [J. Acoust. Soc. Am. 95, 3541-3554 (1994)] suggested that fundamental-frequency (F0) discrimination performance between resolved and unresolved harmonics is limited by an internal "translation" noise between the outputs of two distinct F0 encoding mechanisms, in addition to the encoding noise associated with each mechanism. To test this hypothesis further, F0 difference limens (DLF0s) were measured in six normal-hearing listeners using sequentially presented groups of harmonics. The two groups of harmonics presented on each trial were bandpass filtered into the same or different spectral regions, in such a way that both groups contained mainly resolved harmonics, both groups contained only unresolved harmonics, or one group contained mainly resolved and the other only unresolved harmonics. Three spectral regions (low: 600-1150 Hz, mid: 1400-2500 Hz, or high: 3000-5250 Hz) and two nominal F0s (100 and 200 Hz) were used. The DLF0s measured in across-region conditions were well accounted for by a model assuming only two sources of internal noise: the encoding noise estimated on the basis of the within-region results plus a constant noise associated with F0 comparisons across different spectral regions, independent of resolvability. No evidence for an across-pitch-mechanism translation noise was found. A reexamination of previous evidence for the existence of such noise suggests that the present negative outcome is unlikely to be explained by insufficient measurement sensitivity or an unusually large across-region comparison noise in the present study. While the results do not rule out the possibility of two separate pitch mechanisms, they indicate that the F0s of sequentially presented resolved and unresolved harmonics can be compared internally at no or negligible extra cost.     

Grouping in pitch perception: effects of onset asynchrony and ear of presentation of a mistuned component.

Three experiments investigated how the onset asynchrony and ear of presentation of a single mistuned frequency component influence its contribution to the pitch of an otherwise harmonic complex tone. Subjects matched the pitch of the target complex by adjusting the pitch of a second similar but strictly periodic complex tone. When the mistuned component (the 4th harmonic of a 155 Hz fundamental) started 160 ms or more before the remaining harmonics but stopped simultaneously with them, it made a reduced contribution to the pitch of the complex. It made no contribution if it started more than 300 ms before. Pitch shifts and their reduction with onset time were larger for short (90 ms) sounds than for long (410 ms). Pitch shifts were slightly larger when the mistuned component was presented to the same ear as the remaining 11 in-tune harmonics than to the opposite ear. Adding a "captor" complex tone with a fundamental of 200 Hz and a missing 3rd harmonic to the contralateral ear did not augment the effect of onset time, even though the captor was synchronous with the mistuned harmonic, the mistuned component was equal in frequency to the missing 3rd harmonic of the captor complex tone and it was played to the same ear as the captor. The results show that a difference in onset time can prevent a resolved frequency component from contributing to the pitch of a complex tone even though it is present throughout that complex tone.     

The effect of modulation rate on the detection of frequency modulation and mistuning of complex tones

Experiment 1 measured frequency modulation detection thresholds (FMTs) for harmonic complex tones as a function of modulation rate. Six complexes were used, with fundamental frequencies (F0s) of either 88 or 250 Hz, bandpass filtered into a LOW (125-625 Hz), MID (1375-1875 Hz) or HIGH (3900-5400 Hz) frequency region. The FMTs were about an order of magnitude greater for the three complexes whose harmonics were unresolved by the peripheral auditory system (F0 = 88 Hz in the MID region and both F0s in the HIGH region) than for the other three complexes, which contained some resolved harmonics. Thresholds increased with increases in FM rate above 2 Hz for all conditions. The increase was larger when the F0 was 88 Hz than when it was 250 Hz, and was also larger in the LOW than in the MID and HIGH regions. Experiment 2 measured thresholds for detecting mistuning produced by modulating the F0s of two simultaneously presented complexes out of phase by 180 degrees. The size of the resulting mistuning oscillates at a rate equal to the rate of FM applied to the two carriers. At low FM rates, thresholds were lowest when the harmonics were either resolved for both complexes or unresolved for both complexes, and highest when resolvability differed across complexes. For pairs of complexes with resolved harmonics, mistuning thresholds increased dramatically as the FM rate was increased above 2-5 Hz, in a way which could not be accounted for by the effect of modulation rate on the FMTs for the individual complexes. A third experiment, in which listeners detected constant ("static") mistuning between pairs of frequency-modulated complexes, provided evidence that this deterioration was due the harmonics in one of the two "resolved" complexes becoming unresolved at high FM rates, when analyzed over some finite time window. It is concluded that the detection of time-varying mistuning between groups of harmonics is limited by factors that are not apparent in FM detection data.     

Pitch strength decreases as F0 and harmonic resolution increase in complex tones composed exclusively of high harmonics

A melodic pitch experiment was performed to demonstrate the importance of time-interval resolution for pitch strength. The experiments show that notes with a low fundamental (75 Hz) and relatively few resolved harmonics support better performance than comparable notes with a higher fundamental (300 Hz) and more resolved harmonics. Two four note melodies were presented to listeners and one note in the second melody was changed by one or two semitones. Listeners were required to identify the note that changed. There were three orthogonal stimulus dimensions: F0 (75 and 300 Hz); lowest frequency component (3, 7, 11, or 15); and number of harmonics (4 or 8). Performance decreased as the frequency of the lowest component increased for both F0's, but performance was better for the lower F0. The spectral and temporal information in the stimuli were compared using a time-domain model of auditory perception. It is argued that the distribution of time intervals in the auditory nerve can explain the decrease in performance as F0, and spectral resolution increase. Excitation patterns based on the same time-interval information do not contain sufficient resolution to explain listener's performance on the melody task.     

Extracting spectral envelopes: formant frequency matching between sounds on different and modulated fundamental frequencies

The four experiments reported here measure listeners' accuracy and consistency in adjusting a formant frequency of one- or two-formant complex sounds to match the timbre of a target sound. By presenting the target and the adjustable sound on different fundamental frequencies, listeners are prevented from performing the task by comparing the absolute or relative levels of resolved spectral components. Experiment 1 uses two-formant vowellike sounds. When the two sounds have the same F0, the variability of matches (within-subject standard deviation) for either the first or the second formant is around 1%-3%, which is comparable to existing data on formant frequency discrimination thresholds. With a difference in F0, variability increases to around 8% for first-formant matches, but to only about 4% for second-formant matches. Experiment 2 uses sounds with a single formant at 1100 or 1200 Hz with both sounds on either low or high fundamental frequencies. The increase in variability produced by a difference in F0 is greater for high F0's (where the harmonics close to the formant peak are resolved) than it is for low F0's (where they are unresolved). Listeners also showed systematic errors in their mean matches to sounds with different high F0's. The direction of the systematic errors was towards the most intense harmonic. Experiments 3 and 4 showed that introduction of a vibratolike frequency modulation (FM) on F0 reduces the variability of matches, but does not reduce the systematic error. The experiments demonstrate, for the specific frequencies and FM used, that there is a perceptual cost to interpolating a spectral envelope across resolved harmonics.     

The integration of nonsimultaneous frequency components into a single virtual pitch

The integration of nonsimultaneous frequency components into a single virtual pitch was investigated by using a pitch matching task in which a mistuned 4th harmonic (mistuned component) produced pitch shifts in a harmonic series (12 equal-amplitude harmonics of a 155-Hz F0). In experiment 1, the mistuned component could either be simultaneous, stop as the target started (pre-target component), or start as the target stopped (post-target component). Pitch shifts produced by the pre-target components were significantly smaller than those obtained with simultaneous components; in the post-target condition, the size of pitch shifts did not decrease relative to the simultaneous condition. In experiment 2, a silent gap of 20, 40, 80, or 160 ms was introduced between the nonsimultaneous components and the target sound. In the pre-target condition, pitch shifts were reduced to zero for silent gaps of 80 ms or longer; by contrast, a gap of 160 ms was required to eliminate pitch shifts in the post-target condition. The third experiment tested the hypothesis that, when post-target components were presented, the processing of the pitch of the target tone started at the onset of the target, and ended at the gap duration at which pitch shifts decreased to zero. This hypothesis was confirmed by the finding that pitch shifts could not be observed when the target tone had a duration of 410 ms. Taken together, the results of these experiments show that nonsimultaneous components that occur after the onset of the target sound make a larger contribution to the virtual pitch of the target, and over a longer period, than components that precede the onset of the target sound.     

Effect of duration on the frequency discrimination of individual partials in a complex tone and on the discrimination of fundamental frequency

Thresholds for the discrimination of fundamental frequency (FODLs) and frequency difference limens (FDLs) for individual partials within a complex tone (F0=250 Hz, harmonics 1-7) were measured for stimulus durations of 200, 50, and 16 ms. The FDLs increased with decreasing duration. Although the results differed across subjects, the effect of duration generally decreased as the harmonic number increased from 1 to 4, then increased as the harmonic number increased to 6, and finally decreased for the seventh harmonic. For each duration, FODLs were smaller than the smallest FDL for any individual harmonic, indicating that information is combined across harmonics in the discrimination of FO. FODLs predicted from the FDLs corresponded well with observed FODLs for the 200- and 16-ms durations but were significantly larger than observed FODLs for the 50-ms duration. A supplementary pitch-matching experiment using two subjects indicated that the contribution of the seventh harmonic to the pitch of the 16-ms complex tone was smaller than would be predicted from the FDL for that harmonic. The results are consistent with the idea that the dominant region shifts upward with decreasing duration, but that the weight assigned to individual harmonics is not always adjusted in an optimal way.     

Pitch discrimination of diotic and dichotic tone complexes: harmonic resolvability or harmonic number?

Three experiments investigated the relationship between harmonic number, harmonic resolvability, and the perception of harmonic complexes. Complexes with successive equal-amplitude sine- or random-phase harmonic components of a 100- or 200-Hz fundamental frequency (f0) were presented dichotically, with even and odd components to opposite ears, or diotically, with all harmonics presented to both ears. Experiment 1 measured performance in discriminating a 3.5%-5% frequency difference between a component of a harmonic complex and a pure tone in isolation. Listeners achieved at least 75% correct for approximately the first 10 and 20 individual harmonics in the diotic and dichotic conditions, respectively, verifying that only processes before the binaural combination of information limit frequency selectivity. Experiment 2 measured fundamental frequency difference limens (f0 DLs) as a function of the average lowest harmonic number. Similar results at both f0's provide further evidence that harmonic number, not absolute frequency, underlies the order-of-magnitude increase observed in f0 DLs when only harmonics above about the 10th are presented. Similar results under diotic and dichotic conditions indicate that the auditory system, in performing f0 discrimination, is unable to utilize the additional peripherally resolved harmonics in the dichotic case. In experiment 3, dichotic complexes containing harmonics below the 12th, or only above the 15th, elicited pitches of the f0 and twice the f0, respectively. Together, experiments 2 and 3 suggest that harmonic number, regardless of peripheral resolvability, governs the transition between two different pitch percepts, one based on the frequencies of individual resolved harmonics and the other based on the periodicity of the temporal envelope.