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.     

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.     

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.     

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.     

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.     

Formant-frequency matching between sounds with different bandwidths and on different fundamental frequencies

The two experiments described here use a formant-matching task to investigate what abstract representations of sound are available to listeners. The first experiment examines how veridically and reliably listeners can adjust the formant frequency of a single-formant sound to match the timbre of a target single-formant sound that has a different bandwidth and either the same or a different fundamental frequency (F0). Comparison with previous results [Dissard and Darwin, J. Acoust. Soc. Am. 106, 960-969 (2000)] shows that (i) for sounds on the same F0, introducing a difference in bandwidth increases the variability of matches regardless of whether the harmonics close to the formant are resolved or unresolved; (ii) for sounds on different F0's, introducing a difference in bandwidth only increases variability for sounds that have unresolved harmonics close to the formant. The second experiment shows that match variability for sounds differing in F0, but with the same bandwidth and with resolved harmonics near the formant peak, is not influenced by the harmonic spacing or by the alignment of harmonics with the formant peak. Overall, these results indicate that match variability increases when the match cannot be made on the basis of the excitation pattern, but match variability does not appear to depend on whether ideal matching performance requires simply interpolation of a spectral envelope or also the extraction of the envelope's peak frequency.     

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.     

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.     

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.     

Across-frequency pitch discrimination interference between complex tones containing resolved harmonics

Pitch discrimination interference (PDI) refers to an impairment in the ability to discriminate changes in the fundamental frequency (F0) of a target harmonic complex, caused by another harmonic complex (the interferer) presented simultaneously in a remote spectral region. So far, PDI has been demonstrated for target complexes filtered into a higher spectral region than the interferer and containing no peripherally resolved harmonics in their passband. Here, it is shown that PDI also occurs when the target harmonic complex contains resolved harmonics in its passband (experiment 1). PDI was also observed when the target was filtered into a lower spectral region than that of the interferer (experiment 2), revealing that differences in relative harmonic dominance and pitch salience between the simultaneous target and the interferer, as confirmed using pitch matches (experiment 3), do not entirely explain PDI. When the target was in the higher spectral region, and the F0 separation between the target and the interferer was around 7% or 10%, dramatic PDI effects were observed despite the relatively large FO separation between the two sequential targets (14%-20%). Overall, the results suggest that PDI is more general than previously thought, and is not limited to targets consisting only of unresolved harmonics.     

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.     

Effect of noise on the detectability and fundamental frequency discrimination of complex tones

Percent correct performance for discrimination of the fundamental frequency (0) of a complex tone was measured as a function of the level of a background pink noise (using fixed values of the difference in F0, deltaF0) and compared with percent correct performance for detection of the complex tone in noise, again as a function of noise level. The tone included some low, resolvable components, but not the fundamental component. The results were used to test the hypothesis that the worsening in F0 discrimination with increasing noise level was caused by the reduced detectability of the tone rather than by reduced precision of the internal representation of F0. For small values of deltaF0, the hypothesis was rejected because measured performance fell below that predicted by the hypothesis. However, this was true only for high noise levels, within 2-4.5 dB of the level required for masked threshold. The results indicate that the mechanism for extracting the F0 of a complex tone with resolved harmonics is remarkably robust. They also indicate that adding a background noise to a complex tone containing resolved harmonics is not a good means for equating its pitch salience with that of a complex tone containing only unresolved harmonics.     

Perceived continuity and pitch shifts for complex tones with unresolved harmonics

Brief complex tone bursts with fundamental frequencies (F0s) of 100, 125, 166.7, and 250 Hz were bandpass filtered between the 22nd and 30th harmonics, to produce waveforms with five regularly occurring envelope peaks ("pitch pulses") that evoked pitches associated with their repetition period. Two such tone bursts were presented sequentially and separated by a silent interval of two periods (2/F0). When the relative phases of the two bursts were varied, such that the interpulse interval (IPI) between the last pulse of the first burst and the first pulse of the second burst was varied, the pitch of the whole sequence was little affected. This is consistent with previous results suggesting that the pitch integration window may be "reset" by a discontinuity. However, when the interval between the two bursts was filled with a noise with the same spectral envelope as the complex, variations in IPI had substantial effects on the pitch of the sequence. It is suggested that the presence of the noise causes the two tones bursts to appear continuous, hence, resetting does not occur, and the pitch mechanism is sensitive to the phase discontinuity across the silent interval.     

Context dependence of fundamental-frequency discrimination: lateralized temporal fringes

In a two-interval, two-alternative, forced-choice (2I-2AFC) adaptive procedure, listeners discriminated between the fundamental frequencies (F0s) of two 100-ms harmonic target complexes. This ability can be impaired substantially by the presence of another complex (the "fringe") immediately before and after each target complex. It has been shown that for the impairment to occur (i) target and fringes have to be in the same frequency region; (ii) if all harmonics of target and fringes are unresolved then they may differ in F0; otherwise, they have to be similar [C. Micheyl and R. P. Carlyon, J. Acoust. Soc. Am. 104, 3006-3018 (1998)]. These findings have been discussed in terms of information about the fringe's F0 being included in the estimate of the F0 of the target, and in terms of auditory streaming. The present study investigated the role of perceived location and ipsilateral versus contralateral presentation of the fringes on F0 discrimination of the target. Experiment 1 used interaural level differences (ILDs), and experiment 2 used interaural time differences (ITDs) to create a range of lateralized perceptions of the 200-ms harmonic fringes. Difference limens for the F0 of the monaural target complex were measured in the presence and absence of the fringes. The nominal F0 was 88 or 250 Hz and could be the same or different for target and fringes. Stimuli were bandpass filtered between 125-625, 1375-1875, or 3900-5400 Hz. In both experiments, the effect of the fringes was reduced when their subjective location differed from that of the target. This reduction depended on the resolvability of both the fringes and the target. The effect of the fringes was reduced most (but still present), when fringes were presented purely contralaterally to the target. The results are consistent with the idea that the fringes produce interference when the listeners have difficulty segregating the target from the fringes, and that a difference in perceived location enhances segregation of the sequentially presented stimuli.     

Pitch matches between unresolved complex tones differing by a single interpulse interval

The experiment compared the pitches of complex tones consisting of unresolved harmonics. The fundamental frequency (F0) of the tones was 250 Hz and the harmonics were bandpass filtered between 5500 and 7500 Hz. Two 20-ms complex-tone bursts were presented, separated by a brief gap. The gap was an integer number of periods of the waveform: 0, 4, or 8 ms. The envelope phase of the second tone burst was shifted, such that the interpulse interval (IPI) across the gap was reduced or increased by 0.25 or 0.75 periods (1 or 3 ms). A "no shift" control was also included, where the IPI was held at an integer number of periods. Pitch matches were obtained by varying the F0 of a comparison tone with the same temporal parameters as the standard but without the shift. Relative to the no-shift control, the variations in IPI produced substantial pitch shifts when there was no gap between the bursts, but little effect was seen for gaps of 4 or 8 ms. However, for some conditions with the same IPI in the shifted interval, an increase in the IPI of the comparison interval from 4 to 8 ms (gap increased from 0 to 4 ms) changed the pitch match. The presence of a pitch shift suggests that the pitch mechanism is integrating information across the two tone bursts. It is argued that the results are consistent with a pitch mechanism employing a long integration time for continuous stimuli that is reset in response to temporal discontinuities. For a 250-Hz F0, an 8-ms IPI may be sufficient for resetting. Pitch models based on a spectral analysis of the simulated neural spike train, on an autocorrelation of the spike train, and on the mean rate of pitch pulses, all failed to account for the observed pitch matches.     

Influence of spatial and temporal coding on auditory gap detection

This study investigated the effect on gap detection of perceptual channels, hypothesized to be tuned to spatial location or fundamental frequency (f0). Thresholds were measured for the detection of a silent temporal gap between two markers. In the first experiment, the markers were broadband noise, presented either binaurally or monaurally. In the binaural conditions, the markers were either diotic, or had a 640-micros interaural time difference (ITD) or a 12-dB interaural level difference (ILD). Reversing the ITD across the two markers had no effect on gap detection relative to the diotic condition. Reversing the ILD across the two markers produced a marked deterioration in performance. However, the same deterioration was observed in the monaural conditions when a 12-dB level difference was introduced between the two markers. The results provide no evidence for the role of spatially tuned neural channels in gap detection. In the second experiment, the markers were harmonic tone complexes, filtered to contain only high, unresolved harmonics. Using complexes with a fixed spectral envelope, where the f0 (of 140 or 350 Hz) was different for the two markers, produced a deterioration in performance, relative to conditions where the f0 remained the same. A larger deterioration was observed when the two markers occupied different spectral regions but had the same f0. This supports the idea that peripheral coding is dominant in determining gap-detection thresholds when the two markers differ along any physical dimension. Higher-order neural coding mechanisms of f0 and spatial location seem to play a smaller role and no role, respectively.     

Perceptual learning of fundamental frequency discrimination: effects of fundamental frequency, harmonic number, and component phase

Thresholds (F0DLs) were measured for discrimination of the fundamental frequency (F0) of a group of harmonics (group B) embedded in harmonics with a fixed F0. Miyazono and Moore [(2009). Acoust. Sci. & Tech. 30, 383386] found a large training effect for tones with high harmonics in group B, when the harmonics were added in cosine phase. It is shown here that this effect was due to use of a cue related to pitch pulse asynchrony (PPA). When PPA cues were disrupted by introducing a temporal offset between the envelope peaks of the harmonics in group B and the remaining harmonics, F0DLs increased markedly. Perceptual learning was examined using a training stimulus with cosine-phase harmonics, F0 = 50 Hz, and high harmonics in group B, under conditions where PPA was not useful. Learning occurred, and it transferred to other cosine-phase tones, but not to random-phase tones. A similar experiment with F0 = 100 Hz showed a learning effect which transferred to a cosine-phase tone with mainly high unresolved harmonics, but not to cosine-phase tones with low harmonics, and not to random-phase tones. The learning found here appears to be specific to tones for which F0 discrimination is based on distinct peaks in the temporal envelope.     

Missing-data model of vowel identification.

Vowel identity correlates well with the shape of the transfer function of the vocal tract, in particular the position of the first two or three formant peaks. However, in voiced speech the transfer function is sampled at multiples of the fundamental frequency (F0), and the short-term spectrum contains peaks at those frequencies, rather than at formants. It is not clear how the auditory system estimates the original spectral envelope from the vowel waveform. Cochlear excitation patterns, for example, resolve harmonics in the low-frequency region and their shape varies strongly with F0. The problem cannot be cured by smoothing: lag-domain components of the spectral envelope are aliased and cause F0-dependent distortion. The problem is severe at high F0's where the spectral envelope is severely undersampled. This paper treats vowel identification as a process of pattern recognition with missing data. Matching is restricted to available data, and missing data are ignored using an F0-dependent weighting function that emphasizes regions near harmonics. The model is presented in two versions: a frequency-domain version based on short-term spectra, or tonotopic excitation patterns, and a time-domain version based on autocorrelation functions. It accounts for the relative F0-independency observed in vowel identification.     

The role of the envelope in processing iterated rippled noise.

Iterated rippled noise (IRN) is generated by a cascade of delay and add (the gain after the delay is 1.0) or delay and subtract (the gain is -1.0) operations. The delay and add/subtract operations impart a spectral ripple and a temporal regularity to the noise. The waveform fine structure is different in these two conditions, but the envelope can be extremely similar. Four experiments were used to determine conditions in which the processing of IRN stimuli might be mediated by the waveform fine structure or by the envelope. In experiments 1 and 3 listeners discriminated among three stimuli in a single-interval task: IRN stimuli generated with the delay and add operations (g = 1.0), IRN stimuli generated using the delay and subtract operations (g = -1.0), and a flat-spectrum noise stimulus. In experiment 2 the listeners were presented two IRN stimuli that differed in delay (4 vs 6 ms) and a flat-spectrum noise stimulus that was not an IRN stimulus. In experiments 1 and 2 both the envelope and waveform fine structure contained the spectral ripple and temporal regularity. In experiment 3 only the envelope had this spectral and temporal structure. In all experiments discrimination was determined as a function of high-pass filtering the stimuli, and listeners could discriminate between the two IRN stimuli up to frequency regions as high as 4000-6000 Hz. Listeners could discriminate the IRN stimuli from the flat-spectrum noise stimulus at even higher frequencies (as high as 8000 Hz), but these discriminations did not appear to depend on the pitch of the IRN stimuli. A control experiment (fourth experiment) suggests that IRN discriminations in high-frequency regions are probably not due entirely to low-frequency nonlinear distortion products. The results of the paper imply that pitch processing of IRN stimuli is based on the waveform fine structure.     

Memory for pitch versus memory for loudness

The decays of pitch traces and loudness traces in short-term auditory memory were compared in forced-choice discrimination experiments. The two stimuli presented on each trial were separated by a variable delay (D); they consisted of pure tones, series of resolved harmonics, or series of unresolved harmonics mixed with lowpass noise. A roving procedure was employed in order to minimize the influence of context coding. During an initial phase of each experiment, frequency and intensity discrimination thresholds [P(C) = 0.80] were measured with an adaptive staircase method while D was fixed at 0.5 s. The corresponding physical differences (in cents or dB) were then constantly presented at four values of D: 0.5, 2, 5, and 10 s. In the case of intensity discrimination, performance (d') markedly decreased when D increased from 0.5 to 2 s, but was not further reduced when D was longer. In the case of frequency discrimination, the decline of performance as a function of D was significantly less abrupt. This divergence suggests that pitch and loudness are processed in separate modules of auditory memory.