Categorical perception--phenomenon or epiphenomenon: evidence from experiments in the perception of melodic musical intervals

Categorical perception was investigated in a series of experiments on the perception of melodic musical intervals (sequential frequency ratios). When procedures equivalent to those typically used in speech-perception experiments were employed, i.e., determination of identification and discrimination functions for stimuli separated by equal physical increments), musical intervals were perceived categorically by trained musicians. When a variable-step-size (adaptive) discrimination procedure was used, evidence of categorical perception (in the form of smaller interval-width DL's for ratios at identification category boundaries than for ratios within categories), although present initially, largely disappeared after subjects had reached asymptotic performance. However, equal-step-size discrimination functions obtained after observers had reached asymptotic performance in the adaptive paradigm were not substantially different from those initially obtained. The results of other experiments imply that this dependence of categorical perception on procedure may be related to differences in stimulus uncertainty between the procedures. An experiment on the perception of melodic intervals by musically untrained observers showed no evidence for the existence of "natural" categories for musical intervals.     

Pitch Matching Accuracy of Trained Singers, Untrained Subjects with Talented Singing Voices, and Untrained Subjects with Nontalented Singing Voices in Conditions of Varying Feedback

At a physiological level, the act of singing involves control and coordination of several systems involved in the production of sound, including respiration, phonation, resonance, and afferent systems used to monitor production. The ability to produce a melodious singing voice (eg, in tune with accurate pitch) is dependent on control over these motor and sensory systems. To test this position, trained singers and untrained subjects with and without expressed singing talent were asked to match pitches of target pure tones. The ability to match pitch reflected the ability to accurately integrate sensory perception with motor planning and execution. Pitch-matching accuracy was measured at the onset of phonation (prephonatory set) before external feedback could be utilized to adjust the voiced source, during phonation when external auditory feedback could be utilized, and during phonation when external auditory feedback was masked. Results revealed trained singers and untrained subjects with singing talent were no different in their pitch-matching abilities when measured before or after external feedback could be utilized. The untrained subjects with singing talent were also significantly more accurate than the trained singers when external auditory feedback was masked. Both groups were significantly more accurate than the untrained subjects without singing talent.     

Phonetogram Changes for Trained Singers Over a Nine-Month Period of Vocal Training

Professional vocalists encounter demands requiring voluntary control of phonation, while utilizing a considerable range of frequency and intensity. These quantifiable acoustic events can be measured and represented in a phonetogram. Previous research has compared the phonetograms of trained and untrained voices and found significant differences between these groups. This study was designed to assess the effects of vocal training for singers over a period of nine months. Phonetogram contour changes were examined, with the primary focus on expansion of frequency range and/or intensity control. Twenty-one first-year, master's level, vocal music students, who were engaged in an intensive vocal performance curriculum, participated in this study. Following nine months of vocal training, significant differences were revealed in the subjects' mean frequency range and minimum vocal intensity across frequency levels. There was no significant difference for the mean maximum vocal intensity across frequency levels following vocal training.     

A Comparison of Trained and Untrained Vocalists on the Dysphonia Severity Index

The purposes of this study were (1) to compare trained and untrained singers on the Dysphonia Severity Index (DSI) and its component measures, and (2) to contribute to normative DSI data for trained singers. This study included 36 untrained participants (15 males and 21 females) and 30 participants (15 males and 15 females) with singing experience between the ages of 18 and 30 years. Measures of maximum phonation time (MPT), highest phonational frequency, lowest intensity, and jitter were obtained for each subject and incorporated into the previously published multivariate DSI formula. Results indicated that vocally trained subjects have significantly higher DSI scores than untrained subjects (mean DSI: 6.48 vs 4.00, respectively), with significant differences observed between trained and untrained groups for three of the four components of the DSI (F₀ high; I low; jitter). The findings of this study are consistent with previous reports that indicate significant increases in the DSI with vocal training, and with various studies that have observed increased vocal capability in trained singers versus their untrained counterparts. The results of this study indicate that alternative normative expectations for the DSI may need to be taken into account when using the DSI with patients who have participated in directed vocal training, such as choral participation and voice/singing lessons.     

Perception of intraphonemic differences by phoneticians, musicians, and inexperienced listeners

Several studies have shown that extensive training with synthetic speech sounds can result in substantial improvements in listeners' perception of intraphonemic differences. The purpose of the present study was to investigate the effects of listening experience on the perception of intraphonemic differences in the absence of specific training with the synthetic speech sounds being tested. Phonetically trained listeners, musicians, and untrained listeners were tested on a two-choice identification task, a three-choice identification task, and an ABX discrimination task using a synthetic [bi]-[phi] continuum and a synthetic [wei]-[rei] continuum. The three-choice identification task included the identification of stimuli with an "indefinite" or "ambiguous" quality in addition to clear instances of the opposing phonetic categories. Results included: (1) All three subject groups showed some ability to identify ambiguous stimuli; (2) phonetically trained listeners were better at identifying ambiguous stimuli than musicians and untrained listeners; (3) phonetically trained listeners performed better on the discrimination task than musicians and untrained listeners; (4) musicians and untrained listeners did not differ on any of the listening tasks; and (5) participation by the inexperienced listeners in a 10-week introductory phonetics course did not result in improvements in either the three-choice identification task or the discrimination task.     

Standardized laryngeal videostroboscopic rating: Differences between untrained and trained male and female subjects, and effects of varying sound intensity, fundamental frequency, and age

To determine the influence of the factors gender, vocal training, sound intensity, pitch, and aging on vocal function, videolaryngostroboscopic images of 214 subjects, subdivided according to gender and status of vocal training, were evaluated by three judges with standardized rating scales, comprising aspects of laryngeal appearance (larynx/pharynx ratio; epiglottal shape; asymmetry arytenoid region; compensatory adjustments; thickness, width, length, and elasticity of vocal folds) and glottal functioning (amplitudes of excursion; duration, percentage, and type of vocal fold closure; phase differences; location of glottal chink). The video registrations were made while the subjects performed a set of phonatory tasks, comprising the utterance of the vowel /i/ at three levels of both fundamental frequency and sound intensity. Analysis of the rating scales showed generally sufficient agreement among judges. With the exception of more frequently observed complete closure and lateral phase differences of vocal fold excursions in trained subjects, no further differences were established between untrained and trained subjects. With an α level of p = 0.005, men differed from women with respect to laryngeal appearance (larynx/pharynx ratio, compensatory adjustments, and the presence of omega and deviant-shaped epiglottises), and their vocal folds were rated thicker in the vertical dimension, smaller in the lateral dimension, longer, and more tense, with smaller amplitudes of excursion during vibration. Glottal closure in male subjects was rated more complete, but briefer in duration. Significant effects of the factors pitch, sound intensity, and age on vocal fold appearance and glottal functioning were ascertained. Awareness of the influence of these factors, as well as the factor gender, on the rated scales is essential for an adequate evaluation of laryngostroboscopic images.     

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.     

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.     

Effects of musical training and absolute pitch ability on event-related activity in response to sine tones.

The neural correlates of music perception have received relatively little scientific attention. The neural activity of listeners without musical training (N = 11), highly trained musicians (N = 14), and musicians possessing "absolute pitch" (AP) ability (N = 10) have been measured. Major differences were observed in the P3, an endogenous event-related potential (ERP), which is thought to be a neurophysiological manifestation of working memory processing. The P3 was elicited using the classical "oddball" paradigm with a sine-tone series. Subjects' musical backgrounds were evaluated with a survey questionnaire. AP ability was verified with an objective pitch identification test. The P3 amplitude, latency and wave shape were evaluated along with each subjects' performance score and musical background. The AP subjects showed a significantly smaller P3 amplitude than either the musicians or nonmusicians, which were nearly identical. The P3 latency was shortest for the AP subjects, and was longer for the nonmusicians. Performance scores were uniformly high in all three groups. It is concluded that AP subjects do indeed exhibit P3 ERPs, albeit with smaller amplitudes and shorter latencies. The differences in neural activity between the musicians and AP subjects were not due to musical training, as the AP subjects had similar musical backgrounds to the musician group. It is also concluded that persons with the AP ability may have superior auditory sensitivity at cortical levels and/or use unique neuropsychological strategies when processing tones.     

A perceptual learning investigation of the pitch elicited by amplitude-modulated noise

Noise that is amplitude modulated at rates ranging from 40 to 850 Hz can elicit a sensation of pitch. Here, the processing of this temporally based pitch was investigated using a perceptual-learning paradigm. Nine listeners were trained (1 hour per day for 6-8 days) to discriminate a standard rate of sinusoidal amplitude modulation (SAM) from a faster rate in a single condition (150 Hz SAM rate, 5 kHz low-pass carrier). All trained listeners improved significantly on that condition. These trained listeners subsequently showed no more improvement than nine untrained controls on pure-tone and rippled-noise discrimination with the same pitch, and on SAM-rate discrimination with a 30 Hz rate, although they did show some improvement with a 300 Hz rate. In addition, most trained, but not control, listeners were worse at detecting SAM at 150 Hz after, compared to before training. These results indicate that listeners can learn to improve their ability to discriminate SAM rate with multiple-hour training and that the mechanism that is modified by learning encodes (1) the pitch of SAM noise but not that of pure tones and rippled noise, (2) different SAM rates separately, and (3) differences in SAM rate more effectively than cues for SAM detection.     

Time-of-day effects on voice range profile performance in young, vocally untrained adult females

Time-of-day effects on voice range profile performance were investigated in 20 vocally healthy untrained women between the ages of 18 and 35 years. Each subject produced two complete voice range profiles: one in the morning and one in the evening, about 36 hours apart. The order of morning and evening trials was counterbalanced across subjects. Dependent variables were (1) average minimum and average maximum intensity, (2) Voice range profile area and (3) center of gravity (median semitone pitch and median intensity). In this study, the results failed to reveal any clear evidence of time-of-day effects on voice range profile performance, for any of the dependent variables. However, a reliable interaction of time-of-day and trial order was obtained for average minimum intensity. Investigation of other subject populations, in particular trained vocalists or those with laryngeal lesions, is required for any generalization of the results.     

Average speaking fundamental frequency in soprano singers with and without symptoms of vocal attrition

Nineteen trained soprano singers aged 18–30 years vocalized tasks designed to assess average speaking fundamental frequency (SFF) during spontaneous speaking and reading. Vocal range and perceptual characteristics while singing with low intensity and high frequency were also assessed, and subjects completed a survey of vocal habits/symptoms. Recorded signals were digitized prior to being analyzed for SFF using the Kay Computerized Speech Lab program. Subjects were assigned to a normal voice or impaired voice group based on ratings of perceptual tasks and survey results. Data analysis showed group differences in mean SFF, no differences in vocal range, higher mean SFF values for reading than speaking, and 58% ability to perceive speaking in low pitch. The role of speaking in too low pitch as causal for vocal symptoms and need for voice classification differentiation in vocal performance studies are discussed.     

Training English listeners to perceive phonemic length contrasts in Japanese

The present study investigated the extent to which native English listeners' perception of Japanese length contrasts can be modified with perceptual training, and how their performance is affected by factors that influence segment duration, which is a primary correlate of Japanese length contrasts. Listeners were trained in a minimal-pair identification paradigm with feedback, using isolated words contrasting in vowel length, produced at a normal speaking rate. Experiment 1 tested listeners using stimuli varying in speaking rate, presentation context (in isolation versus embedded in carrier sentences), and type of length contrast. Experiment 2 examined whether performance varied by the position of the contrast within the word, and by whether the test talkers were professionally trained or not. Results did not show that trained listeners improved overall performance to a greater extent than untrained control participants. Training improved perception of trained contrast types, generalized to nonprofessional talkers' productions, and improved performance in difficult within-word positions. However, training did not enable listeners to cope with speaking rate variation, and did not generalize to untrained contrast types. These results suggest that perceptual training improves non-native listeners' perception of Japanese length contrasts only to a limited extent.     

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.     

Comparison of Singer's Formant, Speaker's Ring, and LTA Spectrum Among Classical Singers and Untrained Normal Speakers

Many studies have described and analyzed the singer's formant. A similar phenomenon produced by trained speakers led some authors to examine the speaker's ring. If we consider these phenomena as resonance effects associated with vocal tract adjustments and training, can we hypothesize that trained singers can carry over their singing formant ability into speech, also obtaining a speaker's ring? Can we find similar differences for energy distribution in continuous speech? Forty classically trained singers and forty untrained normal speakers performed an all-voiced reading task and produced a sample of a sustained spoken vowel /a/. The singers were also requested to perform a sustained sung vowel /a/ at a comfortable pitch. The reading was analyzed by the long-term average spectrum (LTAS) method. The sustained vowels were analyzed through power spectrum analysis. The data suggest that singers show more energy concentration in the singer's formant/speaker's ring region in both sung and spoken vowels. The singers' spoken vowel energy in the speaker's ring area was found to be significantly larger than that of the untrained speakers. The LTAS showed similar findings suggesting that those differences also occur in continuous speech. This finding supports the value of further research on the effect of singing training on the resonance of the speaking voice.     

Perceptual adaptation by normally hearing listeners to a simulated "hole" in hearing

Simulations of cochlear implants have demonstrated that the deleterious effects of a frequency misalignment between analysis bands and characteristic frequencies at basally shifted simulated electrode locations are significantly reduced with training. However, a distortion of frequency-to-place mapping may also arise due to a region of dysfunctional neurons that creates a "hole" in the tonotopic representation. This study simulated a 10 mm hole in the mid-frequency region. Noise-band processors were created with six output bands (three apical and three basal to the hole). The spectral information that would have been represented in the hole was either dropped or reassigned to bands on either side. Such reassignment preserves information but warps the place code, which may in itself impair performance. Normally hearing subjects received three hours of training in two reassignment conditions. Speech recognition improved considerably with training. Scores were much lower in a baseline (untrained) condition where information from the hole region was dropped. A second group of subjects trained in this dropped condition did show some improvement; however, scores after training were significantly lower than in the reassignment conditions. These results are consistent with the view that speech processors should present the most informative frequency range irrespective of frequency misalignment.     

Perceptual learning and generalization resulting from training on an auditory amplitude-modulation detection task

Fluctuations in sound amplitude provide important cues to the identity of many sounds including speech. Of interest here was whether the ability to detect these fluctuations can be improved with practice, and if so whether this learning generalizes to untrained cases. To address these issues, normal-hearing adults (n = 9) were trained to detect sinusoidal amplitude modulation (SAM; 80-Hz rate, 3-4 kHz bandpass carrier) 720 trials/day for 6-7 days and were tested before and after training on related SAM-detection and SAM-rate-discrimination conditions. Controls (n = 9) only participated in the pre- and post-tests. The trained listeners improved more than the controls on the trained condition between the pre- and post-tests, but different subgroups of trained listeners required different amounts of practice to reach asymptotic performance, ranging from 1 (n = 6) to 4-6 (n = 3) sessions. This training-induced learning did not generalize to detection with two untrained carrier spectra (5 kHz low-pass and 0.5-1.5 kHz bandpass) or to rate discrimination with the trained rate and carrier spectrum, but there was some indication that it generalized to detection with two untrained rates (30 and 150 Hz). Thus, practice improved the ability to detect amplitude modulation, but the generalization of this learning to untrained cases was somewhat limited.     

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.     

Relating binaural pitch perception to the individual listener's auditory profile

The ability of eight normal-hearing listeners and fourteen listeners with sensorineural hearing loss to detect and identify pitch contours was measured for binaural-pitch stimuli and salience-matched monaurally detectable pitches. In an effort to determine whether impaired binaural pitch perception was linked to a specific deficit, the auditory profiles of the individual listeners were characterized using measures of loudness perception, cognitive ability, binaural processing, temporal fine structure processing, and frequency selectivity, in addition to common audiometric measures. Two of the listeners were found not to perceive binaural pitch at all, despite a clear detection of monaural pitch. While both binaural and monaural pitches were detectable by all other listeners, identification scores were significantly lower for binaural than for monaural pitch. A total absence of binaural pitch sensation coexisted with a loss of a binaural signal-detection advantage in noise, without implying reduced cognitive function. Auditory filter bandwidths did not correlate with the difference in pitch identification scores between binaural and monaural pitches. However, subjects with impaired binaural pitch perception showed deficits in temporal fine structure processing. Whether the observed deficits stemmed from peripheral or central mechanisms could not be resolved here, but the present findings may be useful for hearing loss characterization.