Pitch strength of normal and dysphonic voices

Two sounds with the same pitch may vary from each other based on saliency of their pitch sensation. This perceptual attribute is called "pitch strength." The study of voice pitch strength may be important in quantifying of normal and pathological qualities. The present study investigated how pitch strength varies across normal and dysphonic voices. A set of voices (vowel /a/) selected from the Kay Elemetrics Disordered Voice Database served as the stimuli. These stimuli demonstrated a wide range of voice quality. Ten listeners judged the pitch strength of these stimuli in an anchored magnitude estimation task. On a given trial, listeners heard three different stimuli. The first stimulus represented very low pitch strength (wide-band noise), the second stimulus consisted of the target voice and the third stimulus represented very high pitch strength (pure tone). Listeners estimated pitch strength of the target voice by positioning a continuous slider labeled with values between 0 and 1, reflecting the two anchor stimuli. Results revealed that listeners can judge pitch strength reliably in dysphonic voices. Moderate to high correlations with perceptual judgments of voice quality suggest that pitch strength may contribute to voice quality judgments.     

Pitch circularity from tones comprising full harmonic series

This paper describes an algorithm for producing pitch circularity using tones that each comprise a full harmonic series, and reports an experiment that demonstrates such circularity. Banks of 12 tones (i.e., scales) were created, with F0 varying in semitone steps. For each scale, as F0 descended, the amplitudes of the odd-numbered harmonics were reduced relative to the even-numbered ones by 3.5 dB for each semitone step. In consequence, the tone with the lowest F0 was heard as though displaced up an octave. In an experiment employing two such scales, all possible ordered tone pairs from each scale were presented, making 132 ordered tone pairs for each scale. Sixteen subjects judged for each tone pair whether the second tone was higher or lower than the first. The data derived from these pairwise comparisons were subjected to Kruskal's nonmetric multidimensional scaling, and excellent circularities were obtained. Individual differences in the subjects' judgments were also explored. The findings support the argument that musical pitch should be characterized as varying along two dimensions: the monotonic dimension of pitch height and the circular dimension of pitch class.     

Perceptual segregation and pitch shifts of mistuned components in harmonic complexes and in regular inharmonic complexes.

It is unclear whether the perceptual segregation of a mistuned harmonic from a periodic complex tone depends specifically on harmonic relations between the other components. A procedure used previously for harmonic complexes [W. M. Hartmann et al., J. Acoust. Soc. Am. 88, 1712-1724 (1990)] was adapted and extended to regular inharmonic complexes. On each trial, subjects heard a 12-component complex followed by a pure tone in a continuous loop. In experiment 1, a mistuning of +/- 4% was applied to one of the components 2-11. The complex was either harmonic, frequency shifted, or spectrally stretched. Subjects adjusted the pure tone to match the pitch of the mistuned component. Near matches were taken to indicate segregation, and were almost as frequent in the inharmonic conditions as in the harmonic case. Also, small but consistent mismatches, pitch shifts, were found in all conditions. These were similar in direction and size to earlier findings for harmonic complexes. Using a range of mistunings, experiment 2 showed that the segregation of components from regular inharmonic complexes could be sensitive to mistunings of 1.5% or less. These findings are consistent with the proposal that aspects of spectral regularity other than harmonic relations can also influence auditory grouping.     

Extrinsic context affects perceptual normalization of lexical tone

The present study explores the use of extrinsic context in perceptual normalization for the purpose of identifying lexical tones in Cantonese. In each of four experiments, listeners were presented with a target word embedded in a semantically neutral sentential context. The target word was produced with a mid level tone and it was never modified throughout the study, but on any given trial the fundamental frequency of part or all of the context sentence was raised or lowered to varying degrees. The effect of perceptual normalization of tone was quantified as the proportion of non-mid level responses given in F0-shifted contexts. Results showed that listeners' tonal judgments (i) were proportional to the degree of frequency shift, (ii) were not affected by non-pitch-related differences in talker, (iii) and were affected by the frequency of both the preceding and following context, although (iv) following context affected tonal decisions more strongly than did preceding context. These findings suggest that perceptual normalization of lexical tone may involve a "moving window" or "running average" type of mechanism, that selectively weights more recent pitch information over older information, but does not depend on the perception of a single voice.     

Dissimilarity and the Classification of Female Singing Voices: A Preliminary Study

Traditionally, timbre has been defined as that perceptual attribute that differentiates two sounds when pitch and loudness are equal and thus is a measure of dissimilarity. By such a definition, each voice possesses a set of timbres, and the identity of any voice or voice category across different pitch-loudness-vowel combinations must be due to an abstraction of the pattern of timbre transformation. Using stimuli produced across the singing range by singers from different voice categories, this study sought to examine how timbre and pitch interact in the perception of dissimilarity. This study also investigated whether listener experience affects the perception of timbre as a function of pitch. The resulting multidimensional scaling (MDS) representations showed that for all stimuli and listeners, dimension 1 correlated with pitch, whereas dimension 2 correlated with spectral centroid and separated vocal stimuli into the categories mezzo-soprano and soprano. Dimension 3 appeared highly idiosyncratic depending on the nature of the stimuli and on the experience of the listener. Inexperienced listeners appeared to rely more heavily on pitch in making dissimilarity judgments than did experienced listeners. The resulting MDS representations of dissimilarity across pitch provide a glimpse of the timbre transformation of voice categories across pitch.     

Dial A440 for absolute pitch: absolute pitch memory by non-absolute pitch possessors

Listeners without absolute (or "perfect") pitch have difficulty identifying or producing isolated musical pitches from memory. Instead, they process the relative pattern of pitches, which remains invariant across pitch transposition. Musically untrained non-absolute pitch possessors demonstrated absolute pitch memory for the telephone dial tone, a stimulus that is always heard at the same absolute frequency. Listeners accurately classified pitch-shifted versions of the dial tone as "normal," "higher than normal" or "lower than normal." However, the role of relative pitch processing was also evident, in that listeners' pitch judgments were also sensitive to the frequency range of stimuli.     

Dead regions and pitch perception

The perception of pitch for pure tones with frequencies falling inside low- or high-frequency dead regions (DRs) was examined. Subjects adjusted a variable-frequency tone to match the pitch of a fixed tone. Matches within one ear were often erratic for tones falling in a DR, indicating unclear pitch percepts. Matches across ears of subjects with asymmetric hearing loss, and octave matches within ears, indicated that tones falling within a DR were perceived with an unclear pitch and/or a pitch different from "normal" whenever the tones fell more than 0.5 octave within a low- or high-frequency DR. One unilaterally impaired subject, with only a small surviving region between 3 and 4 kHz, matched a fixed 0.5-kHz tone in his impaired ear with, on average, a 3.75-kHz tone in his better ear. When asked to match the 0.5-kHz tone with an amplitude-modulated tone, he adjusted the carrier and modulation frequencies to about 3.8 and 0.5 kHz, respectively, suggesting that some temporal information was still available. Overall, the results indicate that the pitch of low-frequency tones is not conveyed solely by a temporal code. Possibly, there needs to be a correspondence between place and temporal information for a normal pitch to be perceived.     

Perceptual components of pitch: spatial representation using a multidimensional scaling technique

Paired comparison experiments were carried out on the pitch of 18 computer-generated complex tones synthesized by slight modification of the frequency structure of Shepard's endless scale sounds. The results were analyzed by a multidimensional scaling technique, and simple helixes were obtained in which two components of pitch (tone height and tone chroma) were represented. Some individual differences in perception of pitch were observed according to the weight that the subject gives to each component.     

Dissimilarity and the Classification of Male Singing Voices

Traditionally, timbre has been defined as that perceptual attribute that differentiates two sounds when pitch and loudness are equal, and thus is a measure of dissimilarity. By such a definition, each voice possesses a set of timbres, and the ability to identify any voice or voice category across different pitch-loudness-vowel combinations must be due to an ability to "link" these timbres by abstracting the "timbre transformation," the manner in which timbre subtly changes across pitch and loudness for a specific voice or voice category. Using stimuli produced across the singing range by singers from different voice categories, this study sought to examine how timbre and pitch interact in the perception of dissimilarity in male singing voices. This study also investigated whether or not listener experience affects the perception of timbre as a function of pitch. The resulting multidimensional scaling (MDS) representations showed that for all stimuli and listeners, dimension 1 correlated with pitch, while dimension 2 correlated with spectral centroid and separated vocal stimuli into the categories baritone and tenor. Dimension 3 appeared highly idiosyncratic depending on the nature of the stimuli and on the experience of the listener. Inexperienced listeners appeared to rely more heavily on pitch in making dissimilarity judgments than did experienced listeners. The resulting MDS representations of dissimilarity across pitch provide a glimpse of the timbre transformation of voice categories across pitch.     

Tuning curves and pitch matches in a listener with a unilateral, low-frequency hearing loss

Psychoacoustical tuning curves and interaural pitch matches were measured in a listener with a unilateral, moderately severe hearing loss of primarily cochlear origin below 2 kHz. The psychoacoustical tuning curves, measured in a simultaneous-masking paradigm, were obtained at 1 kHz for probe levels of 4.5-, 7-, and 13-dB SL in the impaired ear, and 7-dB SL in the impaired ear, and 7-dB SL in the normal ear. Results show that as the level of the probe increased from 4.5- to 13-dB SL in the impaired ear, (1) the frequency location of the tip of the tuning curve decreased from approximately 2.85 to 2.20 kHz and (2) the lowest level of the masker required to just mask the probe increased from 49- to 83-dB SPL. The tuning curve in the normal ear was comparable to data from other normal listeners. The interaural pitch matches were measured from 0.5 to 6 kHz at 10-dB SL in the impaired ear and approximately 15- to 20-dB SL in the normal ear. Results show reasonable identity matches (e.g., a 500-Hz tone in the impaired ear was matched close to a 500-Hz tone in the normal ear), although variability was significantly greater for pitch matches below 2 kHz. The results are discussed in terms of their implications for models of pitch perception.     

Acoustic correlates of timbre space dimensions: a confirmatory study using synthetic tones

Timbre spaces represent the organization of perceptual distances, as measured with dissimilarity ratings, among tones equated for pitch, loudness, and perceived duration. A number of potential acoustic correlates of timbre-space dimensions have been proposed in the psychoacoustic literature, including attack time, spectral centroid, spectral flux, and spectrum fine structure. The experiments reported here were designed as direct tests of the perceptual relevance of these acoustical parameters for timbre dissimilarity judgments. Listeners presented with carefully controlled synthetic tones use attack time, spectral centroid, and spectrum fine structure in dissimilarity rating experiments. These parameters thus appear as major determinants of timbre. However, spectral flux appears as a less salient timbre parameter, its salience depending on the number of other dimensions varying concurrently in the stimulus set. Dissimilarity ratings were analyzed with two different multidimensional scaling models (CLASCAL and CONSCAL), the latter providing psychophysical functions constrained by the physical parameters. Their complementarity is discussed.     

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.     

Separate mechanisms govern the selection of spectral components for perceptual fusion and for the computation of global pitch

The perceptual fusion of harmonics is often assumed to result from the operation of a template mechanism that is also responsible for computing global pitch. This dual-role hypothesis was tested using frequency-shifted complexes. These sounds are inharmonic, but preserve a regular pattern of equal component spacing. The stimuli had a nominal fundamental (F0) frequency of 200 Hz (+/- 20%), and were frequency shifted either by 25.0% or 37.5% of F0. Three consecutive components (6-8) were removed and replaced with a sinusoidal probe, located at one of a set of positions spanning the gap. On any trial, subjects heard a complex tone followed by an adjustable pure tone in a continuous loop. Subjects were well able to match the pitch of the probe unless it corresponded with a position predicted by the spectral pattern of the complex. Peripheral factors could not account for this finding. In contrast, hit rates were not depressed for probes positioned at integer multiples of the F0(s) corresponding to the global pitch(es) of the complex, predicted from previous data [Patterson, J. Acoust. Soc. Am. 53, 1565-1572 (1973)]. These findings suggest that separate central mechanisms are responsible for computing global pitch and for the perceptual grouping of partials.     

Perceptual differences between vowels located in a limited phonetic space

The perception of subphonemic differences between vowels was investigated using multidimensional scaling techniques. Three experiments were conducted with natural-sounding synthetic stimuli generated by linear predictive coding (LPC) formant synthesizers. In the first experiment, vowel sets near the pairs (i-I), (epsilon-ae), or (u-U) were synthesized containing 11 vowels each. Listeners judged the dissimilarities between all pairs of vowels within a set several times. These perceptual differences were mapped into distances between the vowels in an n-dimensional space using two-way multidimensional scaling. Results for each vowel set showed that the physical stimulus space, which was specified by the two parameters F1 and F2, was always mapped into a two-dimensional perceptual space. The best metric for modeling the perceptual distances was the Euclidean distance between F1 and F2 in barks. The second experiment investigated the perception of the same vowels from the first experiment, but embedded in a consonantal context. Following the same procedures as experiment 1, listeners' perception of the (bv) dissimilarities was not different from their perception of the isolated vowel dissimilarities. The third experiment investigated dissimilarity judgments for the three vowels (ae-alpha-lambda) located symmetrically in the F1 X F2 vowel space. While the perceptual space was again two dimensional, the influence of phonetic identity on vowel difference judgments was observed. Implications for determining metrics for subphonemic vowel differences using multidimensional scaling are discussed.     

The use of multidimensional perceptual models in the selection of sonar echo features

The development of an accurate and efficient sonar-target classification system depends upon the identification of a set of signal features which may be used to discriminate important classes of signals. Feature selection can be facilitated through the identification of perceptual features used by human listeners in discriminating relevant sonar echoes. This study was conducted to establish a more reliable means of identifying perceptual features in terms of physical signal parameters as an initial step toward the development of an automatic sonar-target classification system. The results of an experiment involving eight subjects and six sonar echoes are presented. A model of the perceptual structure of these echoes was derived from subject similarity judgments using a multidimensional scaling (MDS) technique. It was found that three perceptual features accounted for the similarity judgments made by the human listeners. Echoes modified along candidate physical dimensions were employed to aid in the identification of perceptual dimensions in terms of physical signal parameters. The three perceptual features could be associated with signal parameters involving the amplitude envelope of the echoes.     

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.     

Acoustic and perceptual evaluation of Mandarin tone productions before and after perceptual training

Training American listeners to perceive Mandarin tones has been shown to be effective, with trainees' identification improving by 21%. Improvement also generalized to new stimuli and new talkers, and was retained when tested six months after training [Y. Wang et al., J. Acoust. Soc. Am. 106, 3649-3658 (1999)]. The present study investigates whether the tone contrasts gained perceptually transferred to production. Before their perception pretest and after their post-test, the trainees were recorded producing a list of Mandarin words. Their productions were first judged by native Mandarin listeners in an identification task. Identification of trainees' post-test tone productions improved by 18% relative to their pretest productions, indicating significant tone production improvement after perceptual training. Acoustic analyses of the pre- and post-training productions further reveal the nature of the improvement, showing that post-training tone contours approximate native norms to a greater degree than pretraining tone contours. Furthermore, pitch height and pitch contour are not mastered in parallel, with the former being more resistant to improvement than the latter. These results are discussed in terms of the relationship between non-native tone perception and production as well as learning at the suprasegmental level.     

The relation between the human frequency-following response and the low pitch of complex tones

The relation between the auditory brain stem potential called the frequency-following response (FFR) and the low pitch of complex tones was investigated. Eleven complex stimuli were synthesized such that frequency content varied but waveform envelope periodicity was constant. This was accomplished by repeatedly shifting the components of a harmonic complex tone upward in frequency by delta f of 20 Hz, producing a series of six-component inharmonic complex tones with constant intercomponent spacing of 200 Hz. Pitch-shift functions were derived from pitch matches for these stimuli to a comparison pure tone for each of four normal hearing adults with extensive musical training. The FFRs were recorded for the complex stimuli that were judged most divergent in pitch by each subject and for pure-tone signals that were judged equal in pitch to these complex stimuli. Spectral analyses suggested that the spectral content of the FFRs elicited by the complex stimuli did not vary consistently with component frequency or the first effect of pitch shift. Furthermore, complex and pure-tone signals judged equal in pitch did not elicit FFRs of similar spectral content.     

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.     

Pitch of components of complex tones

Subjects made pitch matches to individual components in complex tones consisting of either the 4th to 7th or the 1st to 7th harmonics of a 200-Hz fundamental. All components were at equal levels (either 31-, 51-, or 71-dB SPL per component) and the matching pure tone was equal in level to the component being matched. Attention was drawn to the component to be matched either by giving the matching tone an initial frequency close to that of the component (standard condition) or by suppressing and then introducing the component (emergent condition). The pitch matches did not differ significantly for the two conditions, and did not change with overall level. For two subjects, matches to components in the context of the complexes were very close to matches obtained for the components presented in isolation. For a third subject, matches in context were shifted slightly upwards for the lowest component, and downwards for the highest component. A control condition showed that subjects were able accurately to match a small shift in frequency of one component in a four-tone complex. An adaptive forced-choice method described by Jesteadt [Percept. Psychophys. 28, 85-88 (1980)] was also used to estimate the pitches of the components. A very slight bias was apparent in the results, but the pitches of components in context were again found to be very close to those of components in isolation.