Effects of level and frequency on the audibility of partials in inharmonic complex tones

The effect of level and frequency on the audibility of partials was measured for complex tones with partials uniformly spaced on an equivalent rectangular bandwidth (ERB(N)) number scale. On each trial, subjects heard a sinusoidal "probe" followed by a complex tone. The probe was mistuned downwards or upwards (at random) by 4.5% from the frequency of one randomly selected partial in the complex. The subject indicated whether the probe was higher or lower in frequency than the nearest partial in the complex. The frequencies were roved from trial to trial, keeping frequency ratios fixed. In experiment 1, the level per partial, L, was 40 or 70 dB SPL and the mean frequency of the central partial, f(c), was 1201 Hz. Scores for the highest and lowest partials in the complexes were generally high for all spacings. Scores for the inner partials were close to chance at 0.75-ERB(N) spacing, and improved as the spacing was increased up to 2 ERB(N). For intermediate spacings, performance was better for the lower level used. In experiment 2, L was 70 dB SPL and f(c) was 3544 Hz. Performance worsened markedly for partial frequencies above 3544 Hz, consistent with a role of phase locking.     

Frequency discrimination of complex tones with overlapping and non-overlapping harmonics

These experiments address the following issues. (1) When two complex tones contain different harmonics, do the differences in timbre between them impair the ability to discriminate the pitches of the tones? (2) When two complex tones have only a single component in common, and that component is the most discriminable component in each tone, is the frequency discrimination of the component affected by differences in residue pitch between the two tones? (3) How good is the pitch discrimination of complex tones with no common components when each tone contains multiple harmonics, so as to avoid ambiguity of pitch? (4) Is the pitch discrimination of complex tones with common harmonics impaired by shifting the component frequencies to nonharmonic values? In all experiments, frequency difference limens (DLCs) were measured for multiple-component complex tones, using an adaptive two-interval, two-alternative, forced-choice task. Three highly trained subjects were used. The main conclusions are as follows. (1) When two tones have the first six harmonics in common, DLCs are larger when the upper harmonics are different than when the upper harmonics are in common or are absent. It appears that differences in timbre impair DLCs. (2) Discrimination of the frequency of a single common partial in two complex tones is worse when the two tones have different residue pitches than when they have the same residue pitch. (3) DLCs for complex tones with no common harmonics are generally larger than those for complex tones with common harmonics. For the former, large individual differences occur, probably because subjects are affected differently by differences in timbre. (4) DLCs for harmonic complex tones are smaller than DLCs for complex tones in which the components are mistuned from harmonic values. This can probably be attributed to the less distinct residue pitch of the inharmonic complexes, rather than to reduced discriminability of partials. Overall, the results support the idea that DLCs for complex tones with common harmonics depend on residue pitch comparisons, rather than on comparisons of the pitches of partials.     

Thresholds for the detection of inharmonicity in complex tones

Thresholds were measured for the detection of inharmonicity in complex tones. Subjects were required to distinguish a complex tone whose partials were all at exact harmonic frequencies from a similar complex tone with one of the partials slightly mistuned. The mistuning which allowed 71% correct identification in a two-alternative forced-choice task was estimated for each partial in turn. In experiment I the fundamental frequency was either 100, 200, or 400 Hz, and the complex tones contained the first 12 harmonics at equal levels of 60 dB SPL per component. The stimulus duration was 410 ms. For each fundamental the thresholds were roughly constant when expressed in Hz, having a mean value of about 4 Hz (range 2.4-7.3 Hz). In experiment II the fundamental frequency was fixed at 200 Hz, and thresholds for inharmonicity were measured for stimulus durations of 50, 110, 410, and 1610 ms. For harmonics above the fifth the thresholds increased from less than 1 Hz to about 40 Hz as duration was decreased from 1610-50 ms. For the lower harmonics (up to the fourth) threshold changed much less with duration, and for the three shorter durations thresholds for each duration were roughly a constant proportion of the harmonic frequency. The results suggest that inharmonicity is detected in different ways for high and low harmonics. For low harmonics the inharmonic partial appears to "stand out" from the complex tone as a whole. For high harmonics the mistuning is detected as a kind of "beat" or "roughness," presumably reflecting a sensitivity to the changing relative phase of the mistuned harmonic relative to the other harmonics.(ABSTRACT TRUNCATED AT 250 WORDS)     

Evidence for an analytic perception of multiharmonic sounds in the bat, Megaderma lyra, and its possible role for echo spectral analysis

For echolocation, the gleaning bat Megaderma lyra relies on short and broadband calls consisting of multiple harmonic components, each of which is downward frequency modulated. The harmonic components in M. lyra's calls have a relatively small frequency excursion and do not overlap spectrally. Broadband calls of other bat species, on the other hand, often consist of only a few harmonics which are modulated over broad and sometimes overlapping frequency ranges. A call consisting of narrow and nonoverlapping harmonic components may provide a less complete representation of target structure than a call which consists of broadly modulated components. However, a multiharmonic call may help the bats to perceive local spectral changes in the echo from shifts in the peak frequencies of single harmonics, and thereby to extract additional information about the target. To assess this hypothesis, the accuracy with which M. lyra can analyze frequency shifts of single partials in multiharmonic complex tones was investigated. A two-alternative, forced-choice behavioral task was used to measure M. lyra's frequency discrimination threshold for the third partial in complex tones whose spectral composition resembled that of the bat's sonar calls. The discrimination threshold for the third partial in a 21.5-kHz harmonic tone amounted to about 2% and was similar to the bat's pure-tone discrimination threshold at 64.5 kHz. Discrimination performance was essentially unaffected by random frequency changes of the other partials and by reducing stimulus duration from 50.5 to 1.5 ms. Both findings are in accordance with predictions made on the basis of the shape of M. Ivra's cochlear filters. The comparison between the observed frequency discrimination performance and a computational estimate of the expected frequency shift in the third harmonic of an echo reflected by a simple, two-front target showed that M. lyra's frequency resolution is sufficient for analyzing the target-specific information conveyed by shifts in the peak frequency of single echo components.     

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.     

The perception of complex tones by a false killer whale (Pseudorca crassidens)

Complex tonal whistles are frequently produced by some odontocete species. However, no experimental evidence exists regarding the detection of complex tones or the discrimination of harmonic frequencies by a marine mammal. The objectives of this investigation were to examine the ability of a false killer whale to discriminate pure tones from complex tones and to determine the minimum intensity level of a harmonic tone required for the whale to make the discrimination. The study was conducted with a go/no-go modified staircase procedure. The different stimuli were complex tones with a fundamental frequency of 5 kHz with one to five harmonic frequencies. The results from this complex tone discrimination task demonstrated: (1) that the false killer whale was able to discriminate a 5 kHz pure tone from a complex tone with up to five harmonics, and (2) that discrimination thresholds or minimum intensity levels exist for each harmonic combination measured. These results indicate that both frequency level and harmonic content may have contributed to the false killer whale's discrimination of complex tones.     

Thresholds for hearing mistuned partials as separate tones in harmonic complexes

When a low harmonic in a harmonic complex tone is mistuned from its harmonic value by a sufficient amount it is heard as a separate tone, standing out from the complex as a whole. This experiment estimated the degree of mistuning required for this phenomenon to occur, for complex tones with 10 or 12 equal-amplitude components (60 dB SPL per component). On each trial the subject was presented with a complex tone which either had all its partials at harmonic frequencies or had one partial mistuned from its harmonic frequency. The subject had to indicate whether he heard a single complex tone with one pitch or a complex tone plus a pure tone which did not "belong" to the complex. An adaptive procedure was used to track the degree of mistuning required to achieve a d' value of 1. Threshold was determined for each ot the first six harmonics of each complex tone. In one set of conditions stimulus duration was held constant at 410 ms, and the fundamental frequency was either 100, 200, or 400 Hz. For most conditions the thresholds fell between 1% and 3% of the harmonic frequency, depending on the subject. However, thresholds tended to be greater for the first two harmonics of the 100-Hz fundamental and, for some subjects, thresholds increased for the fifth and sixth harmonics. In a second set of conditions fundamental frequency was held constant at 200 Hz, and the duration was either 50, 110, 410, or 1610 ms. Thresholds increased by a factor of 3-5 as duration was decreased from 1610 ms to 50 ms. The results are discussed in terms of a hypothetical harmonic sieve and mechanisms for the formation of perceptual streams.     

The role of spectral and periodicity cues in auditory stream segregation, measured using a temporal discrimination task.

In a previous paper, it was shown that sequential stream segregation could be based on both spectral information and periodicity information, if listeners were encouraged to hear segregation [Vliegen and Oxenham, J. Acoust. Soc. Am. 105, 339-346 (1999)]. The present paper investigates whether segregation based on periodicity information alone also occurs when the task requires integration. This addresses the question: Is segregation based on periodicity automatic and obligatory? A temporal discrimination task was used, as there is evidence that it is difficult to compare the timing of auditory events that are perceived as being in different perceptual streams. An ABA ABA ABA... sequence was used, in which tone B could be either exactly at the temporal midpoint between two successive tones A or slightly delayed. The tones A and B were of three types: (1) both pure tones; (2) both complex tones filtered through a fixed passband so as to contain only harmonics higher than the 10th, thereby eliminating detectable spectral differences, where only the fundamental frequency (f0) was varied between tones A and B; and (3) both complex tones with the same f0, but where the center frequency of the spectral passband varied between tones. Tone A had a fixed frequency of 300 Hz (when A and B were pure tones) or a fundamental frequency (f0) of 100 Hz (when A and B were complex tones). Five different intervals, ranging from 1 to 18 semitones, were used. The results for all three conditions showed that shift thresholds increased with increasing interval between tones A and B, but the effect was largest for the conditions where A and B differed in spectrum (i.e., the pure-tone and the variable-center-frequency conditions). The results suggest that spectral information is dominant in inducing (involuntary) segregation, but periodicity information can also play a role.     

Sample discrimination of frequency by hearing-impaired and normal-hearing listeners

In a multiple observation, sample discrimination experiment normal-hearing (NH) and hearing-impaired (HI) listeners heard two multitone complexes each consisting of six simultaneous tones with nominal frequencies spaced evenly on an ERB(N) logarithmic scale between 257 and 6930 Hz. On every trial, the frequency of each tone was sampled from a normal distribution centered near its nominal frequency. In one interval of a 2IFC task, all tones were sampled from distributions lower in mean frequency and in the other interval from distributions higher in mean frequency. Listeners had to identify the latter interval. Decision weights were obtained from multiple regression analysis of the between- interval frequency differences for each tone and listeners' responses. Frequency difference limens (an index of sensorineural resolution) and decision weights for each tone were used to predict the sensitivity of different decision-theoretic models. Results indicate that low-frequency tones were given much greater perceptual weight than high-frequency tones by both groups of listeners. This tendency increased as hearing loss increased and as sensorineural resolution decreased, resulting in significantly less efficient weighting strategies for the HI listeners. Overall, results indicate that HI listeners integrated frequency information less optimally than NH listeners, even after accounting for differences in sensorineural resolution.     

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.     

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.     

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.     

Accuracy of pitch matching for pure tones and for complex tones with overlapping or nonoverlapping harmonics.

The discrimination of the fundamental frequency (fo) of pairs of complex tones with no common harmonics is worse than the discrimination of fo for tones with all harmonics in common. These experiments were conducted to assess whether this effect is a result of pitch shifts between pairs of tones without common harmonics or whether it reflects influences of spectral differences (timbre) on the accuracy of pitch perception. In experiment 1, pitch matches were obtained between sounds drawn from the following types: (1) pure tones (P) with frequencies 100, 200, or 400 Hz; (2) a multiple-component complex tone, designated A, with harmonics 3, 4, 8, 9, 10, 14, 15, and fo = 100, 200, or 400 Hz; (3) A multiple-component complex tone, designated B, with harmonics 5, 6, 7, 11, 12, 13, 16, and with fo = 100, 200 or 400 Hz. The following matches were made; A vs A, B vs B, A vs P, B vs P and P vs P. Pitch shifts were found between the pure tones and the complex tones (A vs P and B vs P), but not between the A and B tones (A vs B). However, the variability of the A vs B matches was significantly greater than that of the A vs A or B vs B matches. Also, the variability of the A vs P and B vs P matches was greater than that for the A vs B matches. In a second experiment, frequency difference limens (DLCs) were measured for the A vs A, B vs B, and A vs B pairs of sounds. The DLCs were larger for the A vs B pair than for A vs A or B vs B. The results suggest that the poor frequency discrimination of tones with no common harmonics does not result from pitch shifts between the tones. Rather, it seems that spectral differences between tones interfere with judgements of their relative pitch.     

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.     

Does fundamental-frequency discrimination measure virtual pitch discrimination?

Studies of pitch perception often involve measuring difference limens for complex tones (DLCs) that differ in fundamental frequency (F0). These measures are thought to reflect F0 discrimination and to provide an indirect measure of subjective pitch strength. However, in many situations discrimination may be based on cues other than the pitch or the F0, such as differences in the frequencies of individual components or timbre (brightness). Here, DLCs were measured for harmonic and inharmonic tones under various conditions, including a randomized or fixed lowest harmonic number, with and without feedback. The inharmonic tones were produced by shifting the frequencies of all harmonics upwards by 6.25%, 12.5%, or 25% of F0. It was hypothesized that, if DLCs reflect residue-pitch discrimination, these frequency-shifted tones, which produced a weaker and more ambiguous pitch than would yield larger DLCs than the harmonic tones. However, if DLCs reflect comparisons of component pitches, or timbre, they should not be systematically influenced by frequency shifting. The results showed larger DLCs and more scattered pitch matches for inharmonic than for harmonic complexes, confirming that the inharmonic tones produced a less consistent pitch than the harmonic tones, and consistent with the idea that DLCs reflect F0 pitch discrimination.     

Learning to perceive pitch differences

This paper reports two experiments concerning the stimulus specificity of pitch discrimination learning. In experiment 1, listeners were initially trained, during ten sessions (about 11,000 trials), to discriminate a monaural pure tone of 3000 Hz from ipsilateral pure tones with slightly different frequencies. The resulting perceptual learning (improvement in discrimination thresholds) appeared to be frequency-specific since, in subsequent sessions, new learning was observed when the 3000-Hz standard tone was replaced by a standard tone of 1200 Hz, or 6500 Hz. By contrast, a subsequent presentation of the initial tones to the contralateral ear showed that the initial learning was not, or was only weakly, ear-specific. In experiment 2, training in pitch discrimination was initially provided using complex tones that consisted of harmonics 3-7 of a missing fundamental (near 100 Hz for some listeners, 500 Hz for others). Subsequently, the standard complex was replaced by a standard pure tone with a frequency which could be either equal to the standard complex's missing fundamental or remote from it. In the former case, the two standard stimuli were matched in pitch. However, this perceptual relationship did not appear to favor the transfer of learning. Therefore, the results indicated that pitch discrimination learning is, at least to some extent, timbre-specific, and cannot be viewed as a reduction of an internal noise which would affect directly the output of a neural device extracting pitch from both pure tones and complex tones including low-rank harmonics.     

Pitch identification of simultaneous diotic and dichotic two-tone complexes

This study examines subjects' ability to recognize the pitches of two missing fundamentals in two simultaneous two-tone complexes whose partials are distributed in various ways between subjects' ears. The data show that identification performance is affected on different levels. Limited frequency resolution in the peripheral auditory system can degrade performance, but only if none of the four stimulus partials is aurally resolved. Identification performance is only weakly dependent on the manner of distributing partials between the ears. In some cases it was found that, probably at a very central level (e.g., attention), the identification processes of both simultaneous pitches interfere with one another. Some subjects are more likely to identify the pitch of one two-tone complex when the harmonic order of the other complex is higher than when this harmonic order is lower. Finally, some subjects tend to hear the complex tones analytically, i.e., perceive pitches of single partials instead of the missing fundamentals for some distribution of partials between the ears.     

Effect of level on the discrimination of harmonic and frequency-shifted complex tones at high frequencies

Moore and Se?k [J. Acoust. Soc. Am. 125, 3186-3193 (2009)] measured discrimination of a harmonic complex tone and a tone in which all harmonics were shifted upwards by the same amount in Hertz. Both tones were passed through a fixed bandpass filter and a background noise was used to mask combination tones. Performance was well above chance when the fundamental frequency was 800 Hz, and all audible components were above 8000 Hz. Moore and Se?k argued that this suggested the use of temporal fine structure information at high frequencies. However, the task may have been performed using excitation-pattern cues. To test this idea, performance on a similar task was measured as a function of level. The auditory filters broaden with increasing level, so performance based on excitation-pattern cues would be expected to worsen as level increases. The results did not show such an effect, suggesting that the task was not performed using excitation-pattern cues.     

Louder sounds can produce less forward masking: effects of component phase in complex tones

The influence of the degree of envelope modulation and periodicity on the loudness and effectiveness of sounds as forward maskers was investigated. In the first experiment, listeners matched the loudness of complex tones and noise. The tones had a fundamental frequency (F0) of 62.5 or 250 Hz and were filtered into a frequency range from the 10th harmonic to 5000 Hz. The Gaussian noise was filtered in the same way. The components of the complex tones were added either in cosine phase (CPH), giving a large crest factor, or in random phase (RPH), giving a smaller crest factor. For each F0, subjects matched the loudness between all possible stimulus pairs. Six different levels of the fixed stimulus were used, ranging from about 30 dB SPL to about 80 dB SPL in 10-dB steps. Results showed that, at a given overall level, the CPH and the RPH tones were louder than the noise, and that the CPH tone was louder than the RPH tone. The difference in loudness was larger at medium than at low levels and was only slightly reduced by the addition of a noise intended to mask combination tones. The differences in loudness were slightly smaller for the higher than for the lower F0. In the second experiment, the stimuli with the lower F0s were used as forward maskers of a 20-ms sinusoid, presented at various frequencies within the spectral range of the maskers. Results showed that the CPH tone was the least effective forward masker, even though it was the loudest. The differences in effectiveness as forward maskers depended on masker level and signal frequency; in order to produce equal masking, the level of the CPH tone had to be up to 35 dB above that of the RPH tone and the noise. The implications of these results for models of loudness are discussed and a model is presented based on neural activity patterns in the auditory nerve; this predicts the general pattern of loudness matches. It is suggested that the effects observed in the experiments may have been influenced by two factors: cochlear compression and suppression.     

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.