Pitch shift of pure and complex tones induced by masking noise

Psychoacoustic experiments were performed to measure the pitch-shift effects of pure and complex tones resulting from the addition of a masking noise to the tonal stimuli. Harmonic residue tones with either two or three harmonics and a fundamental frequency of 200 Hz were chosen as test tones. The pitch shifts of virtual and spectral pitches of the residue tones were measured as a function of the intensity of a low-pass noise with 600-Hz cutoff frequency. The SPL of this noise varied between 30 and 70 dB. In another experiment, the pitch shifts of single pure tones corresponding to the frequencies and SPLs of the harmonics of the residue tones were measured using the same masking noise. The results from five subjects for the harmonic residue tones show only a weak dependence of pitch shift on masking noise intensity. This dependence exists for both spectral and virtual pitches. In the case of single pure tones, pitch shift depends more distinctly on noise intensity. Pitch shifts of up to 5% were found in the range of noise intensity investigated. The magnitude of pitch shift shows pronounced interindividual differences, but the direction of the shift effect is always the same. In all cases pitch increases with higher masking noise levels.     

Integration of spectral and temporal cues separated in time and frequency

Subjects discriminated a "standard" pair of tone bursts (T1, T2) from a "comparison" pair (T1 + delta t, T2 + delta f), containing increments in the duration delta t of the first burst and/or the frequency delta f of the second burst. The threshold (d' = 2.0) for delta t was measured as a function of delta f, and the threshold for delta f as a function of delta t. The integration of increments in duration and frequency was studied as a function of the spectral and temporal separation between T1 and T2. A trade-off between the values of delta t and delta f required for d' = 2.0 performance was observed. This integration takes place when delta t, delta f occur simultaneously in the same spectral region, and when they occur separated by up to 120 ms, or by up to a full octave. The efficiency of integration was similar for all conditions of temporal and spectral separation studied, because the discriminability of delta t and of delta f is also nearly uniform across experimental conditions. The results from all experimental conditions are adequately described by a vector summation model derived from TSD. In a subsidiary experiment, subjects categorized pure tones varying in duration and frequency as "high" or "low" in pitch and "long" or "short" in duration. It was found that combined variations in duration and frequency result in essentially independent perceptual processes, although pitch has a small effect upon the perceived duration. It is concluded that spectral-temporal integration is a general ability operating in a variety of stimulus conditions.(ABSTRACT TRUNCATED AT 250 WORDS)     

Frequency discrimination of single-, double-, and triple-cycle sinusoidal acoustic signals

Very short acoustic signals in the frequency range from 256-2048 Hz consisting of only one, two, or three sinusoidal cycles are examined. Although they are recognized as clicks, they can be distinguished by pitch. Frequency difference limens of these signals are in the order of 1-2 semitones. A tonal character of these short tones appears only with a longer signal, and is linked closer with the duration than with the number of periods.     

The influence of duration on the perception of pitch in single and simultaneous complex tones

The influence of duration on the virtual pitch of complex tones was measured using an absolute identification paradigm. If performance with two-tone complexes is expressed in terms of a single central frequency-coding noise function, this function is found to depend on duration in about the same way as the pure-tone difference limen function. The function is further found to be a reasonably good predictor of pitch identification performance with multitone complexes. Another experimental finding was that subjects tend to switch to the analytic mode of pitch perception when complex tones are shortened (i.e., they tend to hear the spectral pitches instead of the virtual ones). A third finding was that with simultaneous complex tones the degradation of each pitch percept depends not only on duration and harmonic order of the tone but also on the harmonic order of the other tone.     

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.     

Individual differences in the sensitivity to pitch direction

It is commonly assumed that one can always assign a direction-upward or downward-to a percept of pitch change. The present study shows that this is true for some, but not all, listeners. Frequency difference limens (FDLs, in cents) for pure tones roved in frequency were measured in two conditions. In one condition, the task was to detect frequency changes; in the other condition, the task was to identify the direction of frequency changes. For three listeners, the identification FDL was about 1.5 times smaller than the detection FDL, as predicted (counterintuitively) by signal detection theory under the assumption that performance in the two conditions was limited by one and the same internal noise. For three other listeners, however, the identification FDL was much larger than the detection FDL. The latter listeners had relatively high detection FDLs. They had no difficulty in identifying the direction of just-detectable changes in intensity, or in the frequency of amplitude modulation. Their difficulty in perceiving the direction of small frequency/pitch changes showed up not only when the task required absolute judgments of direction, but also when the directions of two successive frequency changes had to be judged as identical or different.     

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.     

The effect of amplitude envelope on the pitch of sine wave tones

Psychophysical experiments show that the pitch of a short sine wave tone depends upon the amplitude envelope of the tone. Subjects find that the pitch of an exponentially decaying tone (1dB/ms) is higher than the pitch of a (20-ms) rectangularly gated tone of equal frequency. The percentage difference in frequency required to produce equal pitches with the two envelopes depends upon frequency fo: 2.6% at fo = 412 Hz, 1.4% at fo = 825 Hz, 1% at fo = 1650 Hz, and 0.7% at fo = 3300 Hz. The pitch change is insensitive to the relative intensities of the two tones. The spectra of tones with the two different envelopes suggest no obvious explanation for the pitch change. However, the weighted time-varying spectra for tones with two different envelopes evolve differently with time. Alternatively the pitch change can be derived from a modified version of the auditory phase theory of Huggins.     

Two-tone suppression in auditory nerve of the cat: rate-intensity and temporal analyses

Responses to two-tone stimuli were recorded from auditory-nerve fibers in anesthetized cats. One tone, the suppressor, was set at a frequency above characteristic frequency and was fixed in intensity. A second tone was set at an excitatory frequency and was varied in intensity. The suppressor tone, when set at a sufficient level, always reduced the response to the excitatory tone by an amount equivalent to a fixed number of decibels, regardless of the excitatory tone's intensity. Estimates of suppression magnitude were derived from shifts in rate-intensity function obtained when the suppressor tone was present relative to the functions obtained for the excitatory tone alone. When suppressor-tone intensity was increased, suppression magnitude likewise increased. When the two tones were increasingly separated in frequency, either by varying the excitor or by varying the suppressor, suppression magnitude decreased monotonically. Suppression behaved in the same manner regardless of whether suppresor tone was excitatory or nonexcitatory. When frequency separation was small enough and when both tones were above the neuron's characteristic frequency, responses synchronized to low-order combination tones could be elicited. These responses usually possessed different rate-intensity characteristics and resulted in estimates of suppression magnitude which were spuriously low. When frequency separation is normalized with regard to position of traveling wave maxima within the cochlear duct, the magnitude of two-tone suppression for a given suppressor-tone intensity is seen to be frequency independent.     

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.     

Temporal discrimination for single components of nonspeech auditory patterns

This paper extends previous research on listeners' abilities to discriminate the details of brief tonal components occurring within sequential auditory patterns (Watson et al., 1975, 1976). Specifically, the ability to discriminate increments in the duration delta t of tonal components was examined. Stimuli consisted of sequences of ten sinusoidal tones: a 40-ms test tone to which delta t was added, plus nine context tones with individual durations fixed at 40 ms or varying between 20 and 140 ms. The level of stimulus uncertainty was varied from high (any of 20 test tones occurring in any of nine factorial contexts), through medium (any of 20 test tones occurring in ten contexts), to minimal levels (one test tone occurring in a single context). The ability to discriminate delta t depended strongly on the level of stimulus uncertainty, and on the listener's experience with the tonal context. Asymptotic thresholds under minimal uncertainty approached 4-6 ms, or 15% of the duration of the test tones; under high uncertainty, they approached 40 ms, or 10% of the total duration of the tonal sequence. Initial thresholds exhibited by inexperienced listeners are two-to-four times greater than the asymptotic thresholds achieved after considerable training (20,000-30,000 trials). Isochronous sequences, with context tones of uniform, 40-ms duration, yield lower thresholds than those with components of varying duration. The frequency and temporal position of the test tones had only minor effects on temporal discrimination. It is proposed that a major determinant of the ability to discriminate the duration of components of sequential patterns is the listener's knowledge about "what to listen for and where." Reduced stimulus uncertainty and extensive practice increase the precision of this knowledge, and result in high-resolution discrimination performance. Increased uncertainty, limited practice, or both, would allow only discrimination of gross changes in the temporal or spectral structure of the sequential patterns.     

The case of the missing delay lines: synthetic delays obtained by cross-channel phase interaction

Temporal models of pitch and harmonic segregation call for delays of up to 30 ms to cover the full range of existence of musical pitch. To date there is little anatomical or physiological evidence for delays that long. We propose a mechanism by which delays may be synthesized from cross-channel phase interaction. Phases of adjacent cochlear filter channels are shifted by an amount proportional to frequency and then combined as a weighted sum to approximate a delay. Synthetic delays may be used by pitch perception models such as autocorrelation, segregation models such as harmonic cancellation, and binaural processing models to explain sensitivity to large interaural delays. The maximum duration of synthetic delays is limited by the duration of the impulse responses of cochlear filters, itself inversely proportional to cochlear filter bandwidth. Maximum delay is thus frequency dependent. This may explain the fact, puzzling for temporal pitch models such as autocorrelation, that pitch is more salient and easy to discriminate for complex tones that contain resolved partials.     

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.     

A psychophysical pitch function determined by absolute magnitude estimation and its relation to the musical pitch scale

A psychophysical pitch function, describing the relation of perceived magnitude of pitch to the frequency of a pure tone, was determined by absolute magnitude estimation. Pitch estimates were made by listeners with relative pitch and by absolute pitch possessors for 27 tones spanning a frequency range of 31.5-12,500 Hz in 1/3 octave steps. Results show that the pitch function, plotted in log-log coordinates, is steeper below 200 Hz than at higher frequencies. It is hypothesized that the pitch function's bend may reflect the diversity of neurophysiological mechanisms of pitch encoding in frequency ranges below and above 200 Hz. The variation of the function's slope implies that pitch distances between tones with the same frequency ratios are perceived as larger below 200 Hz than at higher frequencies. It is argued that this implication may apply only to a purely sensory concept of pitch distance and cannot be extended to the perception of musical intervals, a phenomenon governed by musical cognitive principles. The results also show that pitch functions obtained for listeners with relative and absolute pitch have a similar shape, which means that quantitative pitch relations determined for both groups of listeners do not differ appreciably along the frequency scale.     

Gap detection for similar and dissimilar gap markers

Detection thresholds for temporal gaps between markers of dissimilar frequency are usually elevated with respect to thresholds for gaps between markers of similar frequency. Because gaps between markers of dissimilar frequency represent both a spectrally based perceptual discontinuity as well as a temporal discontinuity, it is not clear what factors underlie the threshold elevation. This study sought to examine the effects of perceptual dissimilarities on gap detection. The first experiment measured gap detection for configurations of narrow-band gap markers comprised of pure tones, frequency-modulated tones, and amplitude-modulated tones. The results showed that gap thresholds for frequency-disparate pure-tone markers were elevated with respect to isofrequency tonal markers, but that perceptual discontinuities between markers restricted to the same frequency region did not uniformly elevate threshold. The second experiment measured gap detection for configurations of markers where the leading and trailing markers could differ along the dimensions of bandwidth, duration, and pitch. The results showed that, in most cases, gap detection deteriorated when the bandwidth of the two markers differed, even when the spectral content of the narrower-band marker was completely subsumed by the spectral content of the wider-band marker. This finding suggests that gap detection is sensitive to spectral dissimilarity between markers in addition to spectral discontinuity. The effects of marker duration depended on the marker bandwidth. Pitch differences across spectrally similar markers had no effect.     

Voice frequency change in singers and nonsingers

Trained singers and nonsingers vocally shadowed sequences of rapidly changing tones. Tone changes within the sequences were unpredictable in terms of direction and extent of frequency change. Subjects' responses to the shadowing task could be evaluated for accuracy of frequency matching, and for time and speed of voice frequency change. In addition, subjects' transitions between tones could be classified as hit, overshoot, undershoot, or oscillate. The two groups were equally accurate in matching the pitches of tones comprising the sequences. Similarly, pitch lowering was faster than pitch raising for both groups of subjects, while speeds for both lowering and raising increased with increases in size of the interval between tones. However, singers required less time than nonsingers in effecting transitions, apparently because they achieved faster peak speeds and took more direct paths between tones. Implications of the data for physiological and mechanical aspects of voice frequency control are discussed.     

The role of temporal fine structure information for the low pitch of high-frequency complex tones

The fused low pitch evoked by complex tones containing only unresolved high-frequency components demonstrates the ability of the human auditory system to extract pitch using a temporal mechanism in the absence of spectral cues. However, the temporal features used by such a mechanism have been a matter of debate. For stimuli with components lying exclusively in high-frequency spectral regions, the slowly varying temporal envelope of sounds is often assumed to be the only information contained in auditory temporal representations, and it has remained controversial to what extent the fast amplitude fluctuations, or temporal fine structure (TFS), of the conveyed signal can be processed. Using a pitch matching paradigm, the present study found that the low pitch of inharmonic transposed tones with unresolved components was consistent with the timing between the most prominent TFS maxima in their waveforms, rather than envelope maxima. Moreover, envelope cues did not take over as the absolute frequency or rank of the lowest component was raised and TFS cues thus became less effective. Instead, the low pitch became less salient. This suggests that complex pitch perception does not rely on envelope coding as such, and that TFS representation might persist at higher frequencies than previously thought.     

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.     

Frequency and intensity difference limens for harmonics within complex tones

A two-interval, two-alternative forced choice task was used to estimate frequency difference limens (DLs) for individual harmonics within complex tones, and DLs for the periodicity (i.e., number of periods per s) of the whole complexes. For complex tones with equal-amplitude harmonics, the DLs for the lowest harmonics were small (less than one percent). The DLs increased rather abruptly around the fifth to seventh harmonic. The highest harmonic in each complex was also well discriminated, and the discriminability of a single high harmonic was markedly improved by increasing its level relative to the other components. The DL for a complex tone was generally smaller than the frequency DL of its most discriminable component. The DL for a complex was found to be predictable from the DLs of the harmonics comprising the complex, using a formula derived by Goldstein [J. Acoust. Soc. Am. 54, 1496-1516 (1973)] from his optimum processor theory for the formation of the pitch of complex tones. The DL for a complex is sometimes primarily determined by high harmonics, such as the highest harmonic, or a harmonic whose level exceeds that of adjacent harmonics. We also measured intensity DLs for individual harmonics within complex tones. The intensity DLs were smallest for low harmonic numbers, and for the highest harmonic in a complex. An excitation-pattern model was used to determine whether the frequency DLs of harmonics within complex tones could be explained in terms of place mechanisms, i.e., in terms of changes in the amount of excitation at appropriate frequency places. We conclude that place mechanisms are not adequate, and that information about the frequencies of individual harmonics is probably carried in the time patterning of neural impulses.     

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.