A comparison of monotic and dichotic complex-tone pitch perception in listeners with hearing loss.

The perception of fundamental pitch for two-harmonic complex tones was examined in musically experienced listeners with cochlear-based high-frequency hearing loss. Performance in a musical interval identification task was measured as a function of the average rank of the lowest harmonic for both monotic and dichotic presentation of the harmonics at 14 dB Sensation Level. Listeners with hearing loss demonstrated excellent musical interval identification at low fundamental frequencies and low harmonic numbers, but abnormally poor identification at higher fundamental frequencies and higher average ranks. The upper frequency limit of performance in the listeners with hearing loss was similar in both monotic and dichotic conditions. These results suggest that something other than frequency resolution per se limits complex-tone pitch perception in listeners with hearing loss.     

A central spectrum theory of binaural processing. Evidence from dichotic pitch

A theory is presented that describes the binaural processing of interaural time or phase differences. It is an elaboration of the central spectrum concept for the explanation of dichotic pitch phenomena [F. A. Bilsen, "Pitch of noise signals: Evidence for a 'central spectrum'," J. Acoust. Soc. Am. 61, 150-161 (1977)]. The generation is postulated for central activity patterns (CAP) due to binaural interaction. From these CAPs the central processor selects specific spectral information that constitutes the information for lateralization, dichotic pitch, binaural masking, etc. Here, a strategy is assumed to be based on central spectra (CS) rather than on interaural cross correlation. For the calculation of the central activity patterns a number of assumptions have been introduced. The peripheral filters are supposed to be infinitesimally narrow. The analog filter outputs from corresponding filters at both ears are thought to interact by means of a linear delay-and-add mechanism. The squared output (power) of such a binaural (addition) network constitutes the CAP. The theory has been tested with lateralization and BMLD measurements using dichotic stimulus configurations characteristic of the perception of dichotic pitch. The predictions of the model concerning the pitch and the lateralization of the pitch images as well as the BMLD patterns for this kind of stimuli are confirmed.     

Perception of musical and lexical tones by Taiwanese-speaking musicians

This study explored the relationship between music and speech by examining absolute pitch and lexical tone perception. Taiwanese-speaking musicians were asked to identify musical tones without a reference pitch and multispeaker Taiwanese level tones without acoustic cues typically present for speaker normalization. The results showed that a high percentage of the participants (65% with an exact match required and 81% with one-semitone errors allowed) possessed absolute pitch, as measured by the musical tone identification task. A negative correlation was found between occurrence of absolute pitch and age of onset of musical training, suggesting that the acquisition of absolute pitch resembles the acquisition of speech. The participants were able to identify multispeaker Taiwanese level tones with above-chance accuracy, even though the acoustic cues typically present for speaker normalization were not available in the stimuli. No correlations were found between the performance in musical tone identification and the performance in Taiwanese tone identification. Potential reasons for the lack of association between the two tasks are discussed.     

The Role of Pitch Memory in Pitch Discrimination and Pitch Matching

Accurate control of vocal pitch (fundamental frequency) requires coordination of sensory and motor systems. Previous research has supported the relationship between perceptual accuracy and vocal pitch matching accuracy. The purpose of this study was to investigate the role of memory for pitch in pitch matching and pitch discrimination ability. Three experimental tasks were used. First, a pitch matching task was completed, in which the participants listened to target tones and vocally matched the pitch of the tones. The second task was a pitch discrimination task that required the participants to judge the pitch (same or different) of complex tone pairs. The third task was pitch discrimination with memory interference task that was similar to the pitch discrimination task except interference tones were added. Results of the pitch matching and pitch discrimination tasks yielded a significant correlation between these values. When there was memory interference, pitch discrimination ability was poorer, and there was no significant correlation between pitch discrimination and pitch matching. These results support earlier findings of a relationship between pitch discrimination and pitch matching abilities. The results also suggest a possible role of pitch memory in both tasks. These findings may have implications for abilities related to accurate pitch control.     

Pitch identification of simultaneous dichotic two-tone complexes

The optimum processor theory of Goldstein can, in principle, account for pitch perception phenomena involving simultaneous dichotic complex tones. The frequency-coding noise function, which is the only free parameter of the model, was estimated with pitch identification data of two simultaneous two-tone complexes presented to different ears. This "sigma" function was found to have a shape similar to that of the function derived from data on identification performance for single pitches. The sigmas in the simultaneous pitch identification experiment are larger by an amount that differs from subject to subject. By using different methods of data analysis it was found that the pitch estimation processes for the two tones are independent for most subjects. This allows a simple extension of Goldstein's optimum processor theory.     

A central spectrum theory of binaural processing. The binaural edge pitch revisited

Recently, Klein and Hartmann [J. Acoust. Soc. Am. 70, 51-61 (1981)] investigated a new dichotic pitch, called the binaural edge pitch (BEP). They used computer-generated periodic noise signals to generate BEP. In the study presented here, the BEP is investigated in order to evaluate the predictions of the central spectrum theory with regard to this stimulus. Pitch-matching experiments using a nonperiodic BEP stimulus, produced by means of a modulation technique, led to the conclusion that the strongest pitch sensation in the BEP has the character of a weak fluctuating pure tones in noise, which corresponds to a frequency, equal or almost equal to the frequency of the phase transition. This result fits in with the predictions of the central spectrum theory, which, for instance, does not need the assumption of central lateral inhibition for explaining this pitch. Furthermore, it is shown that this theory can also predict the results obtained in lateralization measurements and BMLD measurements using BEP stimuli as well as related stimuli. The results are compared with the data obtained by Klein and Hartmann.     

Temporal pitch perception and the binaural system

Two experiments examined the relationship between temporal pitch (and, more generally, rate) perception and auditory lateralization. Both used dichotic pulse trains that were filtered into the same high (3,900-5,400-Hz) frequency region in order to eliminate place-of-excitation cues. In experiment 1, a 1-s periodic pulse train of rate Fr was presented to one ear, and a pulse train of rate 2Fr was presented to the other. In the "synchronous" condition, every other pulse in the 2Fr train was simultaneous with a pulse in the opposite ear. In each trial, subjects concentrated on one of the two binaural images produced by this mixture: they matched its perceived location by adjusting the interaural level difference (ILD) of a bandpass noise, and its rate/pitch was then matched by adjusting the rate of a regular pulse train. The results showed that at low Fr (e.g., 2 Hz), subjects heard two pulse trains of rate Fr, one in the "higher rate" ear, and one in the middle of the head. At higher Fr (>25 Hz) subjects heard two pulse trains on opposite sides of the midline, with the image on the higher rate side having a higher pitch than that on the "lower rate" side. The results were compared to those in a control condition, in which the pulses in the two ears were asynchronous. This comparison revealed a duplex region at Fr > 25 Hz, where across-ear synchrony still affected the perceived locations of the pulse trains, but did not affect their pitches. Experiment 2 used a 1.4-s 200-Hz dichotic pulse train, whose first 0.7 s contained a constant interaural time difference (ITD), after which the sign of the ITD alternated between subsequent pulses. Subjects matched the location and then the pitch of the "new" sound that started halfway through the pulse train. The matched location became more lateralized with increasing ITD, but subjects always matched a pitch near 200 Hz, even though the rate of pulses sharing the new ITD was only 100 Hz. It is concluded from both experiments that temporal pitch perception is not driven by the output of binaural mechanisms.     

Effects of Increasing Time Delays on Pitch-Matching Accuracy in Trained Singers and Untrained Individuals

Trained singers (TS) generally demonstrate accurate pitch matching, but this ability varies within the general population. Pitch-matching accuracy, given increasing silence intervals of 5, 15, and 25 seconds between target tones and vocal matches, was investigated in TS and untrained individuals. A relationship between pitch discrimination and pitch matching was also examined. Thirty-two females (20–30 years) were grouped based on individual vocal training and performance in an immediate pitch-matching task. Participants matched target pitches following time delays, and completed a pitch discrimination task, which required the classification of two tones as same or different. TS and untrained accurate participants performed comparably on all pitch-matching tasks, while untrained inaccurate participants performed significantly less accurately than the other two groups. Performances declined across groups as intervals of silence increased, suggesting degradation of pitch matching as pitch memory was taxed. A significant relationship between pitch discrimination and pitch matching was revealed across participants.     

Pitch perception of complex tones and human temporal-lobe function

Sixty-four patients with unilateral temporal-lobe excisions as well as 18 normal control subjects were tested in a missing fundamental pitch perception task. Subjects were required to indicate if the pitch of a pair of tones rose or fell. The excisions encroached upon Heschl's gyri in some cases, whereas, in others, this region was spared. All subjects included for study were able to perform well on a control task in which complex tones including a fundamental were presented. Stimuli for the experimental task, which was procedurally identical with the control task, consisted of several harmonic components spanning the same spectral range, but without a fundamental. Only subjects with right temporal lobectomy in whom Heschl's gyri were excised committed significantly more errors than the normal control group on this task. Patients with left temporal-lobe lesions or with anterior right temporal-lobe excisions were unimpaired. These results suggest that Heschl's gyri and surrounding cortex in the right cerebral hemisphere play a crucial role in extracting the pitch corresponding to the fundamental from a complex tone.     

Lateralization thresholds obtained under conditions in which the precedence effect is assumed to operate

Interaural differences of time (IDT) thresholds were measured with 600-microseconds transients. The initial experiment was a successful replication of previous experiments that have obtained the precedence effect in lateralization paradigms (e.g., Yost and Soderquist, 1984). When a dichotic click followed a diotic click with an interclick interval (ICI) less than 1 ms or larger than 5 ms, IDT thresholds were generally less than 40 microseconds. For ICIs between 1 to 5 ms, IDT thresholds increased to approximately 220 microseconds. Poorest performance was observed for ICIs of 1.75 to 2.35 ms. During the course of conducting a series of planned experiments on this effect, a substantial drop in IDT thresholds was observed across the ICIs of maximum interest (1 to 5 ms). The precedence effect, which we had replicated in our initial experiment, essentially "disappeared" when the subjects were given sufficient practice on the lateralization task. A number of conditions were explored in an unsuccessful attempt to recover the precedence effect in these experienced subjects. The implications of these results are discussed.     

The effect of superior auditory skills on vocal accuracy

The relationship between auditory perception and vocal production has been typically investigated by evaluating the effect of either altered or degraded auditory feedback on speech production in either normal hearing or hearing-impaired individuals. Our goal in the present study was to examine this relationship in individuals with superior auditory abilities. Thirteen professional musicians and thirteen nonmusicians, with no vocal or singing training, participated in this study. For vocal production accuracy, subjects were presented with three tones. They were asked to reproduce the pitch using the vowel /a/. This procedure was repeated three times. The fundamental frequency of each production was measured using an autocorrelation pitch detection algorithm designed for this study. The musicians' superior auditory abilities (compared to the nonmusicians) were established in a frequency discrimination task reported elsewhere. Results indicate that (a) musicians had better vocal production accuracy than nonmusicians (production errors of 1/2 a semitone compared to 1.3 semitones, respectively); (b) frequency discrimination thresholds explain 43% of the variance of the production data, and (c) all subjects with superior frequency discrimination thresholds showed accurate vocal production; the reverse relationship, however, does not hold true. In this study we provide empirical evidence to the importance of auditory feedback on vocal production in listeners with superior auditory skills.     

Monaural and interaural intensity discrimination: level effects and the "binaural advantage"

This study examined whether the level effects seen in monaural intensity discrimination (Weber's law and the "near miss") in a two-interval task are also observed in discrimination of interaural intensity differences (IIDs) in a single-interval task. Both tasks were performed for various standard levels of 4-kHz pure tones and broadband noise. The Weber functions (10 log deltaI/I versus I in dB) in the monaural and binaural conditions were parallel. For noise, the Weber functions had slopes close to zero (Weber's law) while the Weber functions for the tones had a mean slope of -0.089 (near miss). The near miss for the monaural and binaural tasks with tones was eliminated when a high-pass masker was gated with the listening intervals. The near-miss was also observed for 250- and 1000-Hz tones in the binaural task despite overall decreased sensitivity to changes in IID at 1000 Hz. The binaural thresholds showed a small (about 2-dB) advantage over monaural thresholds only in the broadband noise conditions. More important, however, is the fact that the level effects seen monaurally are also seen binaurally. This suggests that the basic mechanisms responsible for Weber's law and the near miss are common to monaural and binaural processing.     

Lateralization of acoustic signals by dichotically listening budgerigars (Melopsittacus undulatus)

Sound localization allows humans and animals to determine the direction of objects to seek or avoid and indicates the appropriate position to direct visual attention. Interaural time differences (ITDs) and interaural level differences (ILDs) are two primary cues that humans use to localize or lateralize sound sources. There is limited information about behavioral cue sensitivity in animals, especially animals with poor sound localization acuity and small heads, like budgerigars. ITD and ILD thresholds were measured behaviorally in dichotically listening budgerigars equipped with headphones in an identification task. Budgerigars were less sensitive than humans and cats, and more similar to rabbits, barn owls, and monkeys, in their abilities to lateralize dichotic signals. Threshold ITDs were relatively constant for pure tones below 4 kHz, and were immeasurable at higher frequencies. Threshold ILDs were relatively constant over a wide range of frequencies, similar to humans. Thresholds in both experiments were best for broadband noise stimuli. These lateralization results are generally consistent with the free field localization abilities of these birds, and add support to the idea that budgerigars may be able to enhance their cues to directional hearing (e.g., via connected interaural pathways) beyond what would be expected based on head size.     

Perception of intonation in Mandarin Chinese

There is a tendency across languages to use a rising pitch contour to convey question intonation and a falling pitch contour to convey a statement. In a lexical tone language such as Mandarin Chinese, rising and falling pitch contours are also used to differentiate lexical meaning. How, then, does the multiplexing of the F(0) channel affect the perception of question and statement intonation in a lexical tone language? This study investigated the effects of lexical tones and focus on the perception of intonation in Mandarin Chinese. The results show that lexical tones and focus impact the perception of sentence intonation. Question intonation was easier for native speakers to identify on a sentence with a final falling tone and more difficult to identify on a sentence with a final rising tone, suggesting that tone identification intervenes in the mapping of F(0) contours to intonational categories and that tone and intonation interact at the phonological level. In contrast, there is no evidence that the interaction between focus and intonation goes beyond the psychoacoustic level. The results provide insights that will be useful for further research on tone and intonation interactions in both acoustic modeling studies and neurobiological studies.     

Ear dominance in perception of dichotic chords: pure tones versus tone glides.

Pitch judgments for dichotic chords composed of two pure tones often show a bias in favor of the chord-component going to one ear. This "ear-advantage for pitch" (EAP) varies between subjects, but is very stable within subject and is thought to reflect differences in spectral "sensitivity" of the two auditory pathways. The present study explored this hypothesis by examining pitch judgments of complexes composed of tones dichotically paired with frequency-varying signals. The direction and strength of EAP was first established using pure tones, then rising tone glides were introduced into the channel going to thenondominant ear. Since a glide possesses less energy at a given frequency than a pure tone of equal duration, an increase in EAP was expected. An increase in EAP was consistently observed for only one subject; three subjects showed small, variable effects; and six subjects displayed a decrease in EAP. The results suggested that factors other than relative spectral sensitivity affect observed EAP.     

The acoustic analysis of tone differentiation as a means for assessing tone production in speakers of Cantonese

This paper reports on a methodology for acoustically analyzing tone production in Cantonese. F0 offset versus F0 onset are plotted for a series of tokens for each of the six tones in the language. These are grouped according to tone type into a set of six ellipses. Qualitative visual observations regarding the degree of differentiation of the ellipses within the tonal space are summarized numerically using two indices, referred to here as Index 1 and Index 2. Index 1 is a ratio of the area of the speaker's tonal space and the average of the areas of the ellipses of the three target tones making up the tonal space. Index 2 is a ratio of the average distance between all six tonal ellipses and the average of the sum of the two axes for all six tone ellipses. Using this methodology, tonal differentiation is compared for three groups of speakers; normally hearing adults; normally hearing children aged from 4-6 years; and, prelinguistically deafened cochlear implant users aged from 4-11 years. A potential conundrum regarding how tone production abilities can outstrip tone perception abilities is explained using the data from the acoustic analyses. It is suggested that young children of the age range tested are still learning to normalize for pitch level differences in tone production. Acoustic analysis of the data thus supports results from tone perception studies and suggests that the methodology is suitable for use in studies investigating tone production in both clinical and research contexts.     

The lateralization of simple dichotic pitches

A "simple" dichotic pitch arises when a single narrow band possesses a different interaural configuration from a surrounding broadband noise whose interaural configuration is uniform and correlated. Such pitches were created by interaurally decorrelating a narrow band (experiment 1) or by giving a narrow band a different interaural time difference from the noise (experiment 2). Using an adaptive forced-choice procedure, listeners adjusted the interaural intensity difference of "pointers" to match their lateralization to that of the dichotic pitches. The primary determinants of lateralization were the interaural configuration of the broadband noise (experiment 1), the center frequency of the narrow band (experiment 1), and its interaural configuration (experiment 2). The ability of two computational models to predict these results was evaluated. A version of the central-spectrum model [J. Raatgever and F. A. Bilsen, J. Acoust. Soc. Am. 80, 429-441 (1986)] incorporating realistic frequency selectivity accounted for the main results of experiment 1 but not experiment 2. A new "reconstruction-comparison" model accounted for the main results of both experiments. To accommodate the variables shown to influence lateralization, this model segregates evidence of the dichotic pitch from the noise, reconstructs the cross-correlogram of the noise, and compares it with the cross-correlogram of the original stimulus.     

Extension of a binaural cross-correlation model by contralateral inhibition. I. Simulation of lateralization for stationary signals

Running interaural cross correlation is a basic assumption to model the performance of the binaural auditory system. Although this concept is particularly suited to simulate psychoacoustic localization phenomena, there exist some localization effects which cannot be explained by pure cross correlation. In this paper a model of interaural cross correlation is extended by a "contralateral-inhibition mechanism" and by "monaural detectors" in order to simulate a wide range of psychoacoustic lateralization data. The extended model explains lateralization of pure tones with interaural time differences as well as with interaural level differences. Multiple images are predicted for tones with characteristic combinations of interaural signal parameters and for noise signals with different degrees of interaural cross correlation. The model is also capable of simulating dynamic lateralization phenomena, such as the "law of the first wave front" which is dealt with in a companion paper [Lindemann, J. Acoust. Soc. Am. 80, 1623-1630 (1986)]. The present paper is restricted to a comparison of the model predictions for stationary signals with the results of dichotic listening experiments.     

Musical intervals and relative pitch: frequency resolution, not interval resolution, is special

Pitch intervals are central to most musical systems, which utilize pitch at the expense of other acoustic dimensions. It seemed plausible that pitch might uniquely permit precise perception of the interval separating two sounds, as this could help explain its importance in music. To explore this notion, a simple discrimination task was used to measure the precision of interval perception for the auditory dimensions of pitch, brightness, and loudness. Interval thresholds were then expressed in units of just-noticeable differences for each dimension, to enable comparison across dimensions. Contrary to expectation, when expressed in these common units, interval acuity was actually worse for pitch than for loudness or brightness. This likely indicates that the perceptual dimension of pitch is unusual not for interval perception per se, but rather for the basic frequency resolution it supports. The ubiquity of pitch in music may be due in part to this fine-grained basic resolution.     

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.