Evoked magnetoencephalographic responses to omission of a tone in a musical scale

The musical scale is a basis for melodies and can be a simple melody by itself. The present study investigated magnetoencephalographic (MEG) responses to omissions of one tone out of the C major scale. The tone preceding the omitted "target" tone was either prolonged or repeated. In another series, the tone after the target tone was repeated. In "normal" oddball experiments, the complete C major scale was presented more frequently than an incomplete scale lacking one tone, and in "reverse" oddball experiments, the roles were exchanged. In the normal oddball experiments, omission of any tone produced a response significantly different in amplitude from the standard response in the group of non-musicians, although the responses differed depending on the types of omission. The leading tone (B in the C major scale) was shown to elicit a large response when omitted and also when its presence was emphasized. The Reverse oddball experiments showed that repeated presentation of an incomplete scale lacking one tone temporarily reduced the influence of the complete scale but could not even temporarily replace it working as "standard." In addition, an auxiliary study was done to see possible influence of rhythmic variations.     

Pitch strength decreases as F0 and harmonic resolution increase in complex tones composed exclusively of high harmonics

A melodic pitch experiment was performed to demonstrate the importance of time-interval resolution for pitch strength. The experiments show that notes with a low fundamental (75 Hz) and relatively few resolved harmonics support better performance than comparable notes with a higher fundamental (300 Hz) and more resolved harmonics. Two four note melodies were presented to listeners and one note in the second melody was changed by one or two semitones. Listeners were required to identify the note that changed. There were three orthogonal stimulus dimensions: F0 (75 and 300 Hz); lowest frequency component (3, 7, 11, or 15); and number of harmonics (4 or 8). Performance decreased as the frequency of the lowest component increased for both F0's, but performance was better for the lower F0. The spectral and temporal information in the stimuli were compared using a time-domain model of auditory perception. It is argued that the distribution of time intervals in the auditory nerve can explain the decrease in performance as F0, and spectral resolution increase. Excitation patterns based on the same time-interval information do not contain sufficient resolution to explain listener's performance on the melody task.     

Discrimination of uniform spectrum pulse sequences.

Random polarity-modulated sequences were produced with a uniform short-term spectrum over defined sampling intervals by a method described by Pierce, Lipes, and Cheetham [J. Acoust. Soc. Am. 61, 1609-1621 (1977)]. These are identified as PLC sequences. By contrast, unconstrained random polarity-modulated pulse trains with a constant interpulse interval may depart from a short-term uniform spectrum. It is shown that listeners can clearly discriminate between PLC sequences and unconstrained random sequences, and can discriminate among different PLC sequences. This discrimination is more nearly related to the statistical redundancy of the PLC sequences. This discrimination is more nearly related to the statistical redundancy of the PLC sequences than to their run-length distribution. Such discrimination is relatively resistant to moderate degrees of temporal jitter and is obtained with other forms of information coding. Discrimination of PLC sequences is presumably based upon phase information.     

The effect of competing melodies on melody recognition by hearing-impaired and normal-hearing listeners

For a group of 30 hearing-impaired subjects and a matched group of 15 normal-hearing subjects (age range 13-17) the following data were collected: the tone audiogram, the auditory bandwidth at 1000 Hz, and the recognition threshold of a short melody presented simultaneously with two other melodies, lower and higher in frequency, respectively. The threshold was defined as the frequency distance required to recognize the test melody. It was found that, whereas the mean recognition threshold for the normal-hearing subjects was five semitones, it was, on the average, 27 semitones for the hearing-impaired subjects. Although the interindividual spread for the latter group was large, it did not correlate with the subjects' auditory bandwidth, nor with their musical experience or education.     

The perceptual tone/noise ratio of merged iterated rippled noises

Iterated rippled noise (IRN) is constructed by delaying a random noise by d ms, adding it back to the same noise, and repeating the process iteratively. When two IRNs with the same power but slightly different delays are added together, the perceptual tone/noise ratio of the "merged" IRN is markedly reduced with respect to that of either of the component IRNs. In this paper, the reduction in the perceptual tone/noise ratio is measured for IRNs in which one of the delays is always 16 ms and the other is either 16 +/- 0.1 ms or 16 +/- 1.1 ms. The component IRNs have the same number of iterations, and the number varies across conditions from 4 to 256. The perceptual tone/noise ratio is measured using a discrimination matching procedure developed for single IRNs; each merged IRN is compared with a range of "standard" stimuli having varying proportions of a complex tone and a broadband noise [Patterson et al., J. Acoust. Soc. Am. 100, 3286-3294 (1996)]. For single IRNs, the function relating the signal-to-noise ratio of the matching standard to the number of iterations in the IRN was found to be essentially straight. This relationship was explained in terms of the height of the first peak in the autocorrelation of the stimulus wave, or by the first peak in the summary autocorrelogram produced by a time-domain auditory model. For the merged IRNs in the current experiment, the matching-point functions are found to have pronounced downward curvature, in addition to being well below the function for single IRNs. To account for the reduction in the perceptual tone/noise ratio of merged IRNs, the autocorrelation model was extended to include a simple rule for combining adjacent peaks in the autocorrelation function of the wave, and the autocorrelogram model was revised to improve the simulation of the "loss of phase locking" at higher frequencies in the autocorrelogram.     

Effect of filter spacing on melody recognition: acoustic and electric hearing

This paper assesses the effect of filter spacing on melody recognition by normal-hearing (NH) and cochlear implant (CI) subjects. A new semitone filter spacing is proposed for music. The quality of melodies processed by the various filter spacings is also evaluated. Results from NH listeners showed nearly perfect melody recognition with only four channels of stimulation, and results from CI users indicated significantly higher scores with a 12-channel semitone spacing compared to the spacing used in their daily processor. The quality of melodies processed by the semitone filter spacing was preferred over melodies processed by the conventional logarithmic filter spacing.     

The perceptual nature of vocal register change

This study focuses on the perceptual nature of chest and falsetto registers as a function of various production tokens and methods of perceptual evaluation. Fifteen target tones, ranging from G#3 to A#4, were sung by a male and a female subject in the context of ascending and descending sequences on the vowels /a/ and /i/. Register transitions were elicited by setting strict constraints on production. Segments of 1-s duration were extracted from the target notes, digitized, and acoustically analyzed. These excerpts were presented to ten trained listeners in four different perceptual tasks. Identification and discrimination tasks yielded nearly identical results, suggesting that the primary registers are perceived as distinct entities. The marked change from chest to falsetto as well as the locus of the transition between these registers did not vary systematically as a function of production token or perceptual task. Mean register shift-point frequencies of the male and female subjects were perceived at 320 Hz and 353 Hz, respectively. Multidimensional scaling and hierarchical clustering analyses were utilized to capture the dimensionality and the internal structure of perceptual data sets derived from the pair-wise similarity ratings. Optimal spatial representation of these data required no more than two orthogonal dimensions, with the quality attribute represented by the dominant dimension. The representation of pitch differences was reflected only in the internal ordering of the stimuli within registers, but did not affect the perceptual discontinuity between registers.     

Age effects in discrimination of repeating sequence intervals

The study measured listener sensitivity to increments in the inter-onset intervals (IOIs) of successive 20-ms 4000-Hz tone bursts in isochronous sequences. The stimulus sequences contained two-six tone bursts, separated equally by silent intervals, with tonal IOIs ranging from 25 to 100 ms. Difference limens (DLs) for increments of the tonal IOIs were measured to assess listener sensitivity to changes of sequence rate. Comparative DLs were also measured for increments of a single interval located within six-tone isochronous sequences with different tone rates. Listeners included younger normal-hearing adults and two groups of older adults with and without high-frequency sensorineural hearing loss. The results, expressed as Weber fractions (DL/IOI), revealed that discrimination improved as the sequence tone rate decreased and the number of tonal components increased. Discrimination of a single sequence interval also improved as the number of sequence components increased from two to six but only for brief intervals and fast sequence rates. Discrimination performance of the older listeners with and without hearing loss was equivalent and significantly poorer than that of the younger listeners. The discrimination results are examined and discussed within the context of multiple-look mechanisms and possible age-related differences in the sensory coding of signal onsets.     

Vibrato and pitch transitions

There are at least two timing variables to be considered in vocal music performance. The first is the note changes associated with the meter signature (4/4, 2/4, etc.) and the second is the vibrato rate of the performer. Because the probability is not great that these two temporal variables will always be in perfect synchrony, it was the purpose of this investigation to determine what singers do when these two timing variables come into conflict during singing. Six singers recorded a series of alternating upward and downward interval shifts of a third while singing whole notes, half notes, quarter notes and eighth notes. The same notes were then recorded with intervals of a fifth. The recorded samples were converted to a visual trace and examined for interactions between vibrato and meter. Analysis of the tracings indicated that, in the majority of the cases, the singers would alter their vibrato in order to adhere to the timing of the musical line.     

Non-isomorphism in efficient coding of complex sound properties

To the extent that sensorineural systems are efficient, stimulus redundancy should be captured in ways that optimize information transmission. Consistent with this principle, neural representations of sounds have been proposed to become "non-isomorphic," increasingly abstract and decreasingly resembling the original (redundant) input. Here, non-isomorphism is tested in perceptual learning using AXB discrimination of novel sounds with two highly correlated complex acoustic properties and a randomly varying third dimension. Discrimination of sounds obeying the correlation became superior to that of sounds violating it despite widely varying physical acoustic properties, suggesting non-isomorphic representation of stimulus redundancy.     

Auditory stream segregation in monkey auditory cortex: effects of frequency separation, presentation rate, and tone duration

Auditory stream segregation refers to the organization of sequential sounds into "perceptual streams" reflecting individual environmental sound sources. In the present study, sequences of alternating high and low tones, "...ABAB...," similar to those used in psychoacoustic experiments on stream segregation, were presented to awake monkeys while neural activity was recorded in primary auditory cortex (A1). Tone frequency separation (AF), tone presentation rate (PR), and tone duration (TD) were systematically varied to examine whether neural responses correlate with effects of these variables on perceptual stream segregation. "A" tones were fixed at the best frequency of the recording site, while "B" tones were displaced in frequency from "A" tones by an amount = delta F. As PR increased, "B" tone responses decreased in amplitude to a greater extent than "A" tone responses, yielding neural response patterns dominated by "A" tone responses occurring at half the alternation rate. Increasing TD facilitated the differential attenuation of "B" tone responses. These findings parallel psychoacoustic data and suggest a physiological model of stream segregation whereby increasing delta F, PR, or TD enhances spatial differentiation of "A" tone and "B" tone responses along the tonotopic map in A1.     

Virtual pitch integration for asynchronous harmonics

This experiment examined the generation of virtual pitch for harmonically related tones that do not overlap in time. The interval between successive tones was systematically varied in order to gauge the integration period for virtual pitch. A pitch discrimination task was employed, and both harmonic and nonharmonic tone series were tested. The results confirmed that a virtual pitch can be generated by a series of brief, harmonically related tones that are separated in time. Robust virtual pitch information can be derived for intervals between successive 40-ms tones of up to about 45 ms, consistent with a minimum estimate of integration period of about 210 ms. Beyond intertone intervals of 45 ms, performance becomes more variable and approaches an upper limit where discrimination of tone sequences can be undertaken on the basis of the individual frequency components. The individual differences observed in this experiment suggest that the ability to derive a salient virtual pitch varies across listeners.     

椰胡声功率级的半消声室测试

椰胡是具有地方特色的拉弦乐器之一,多用于演奏广东音乐和广东戏曲、曲艺的伴奏。但对其发声强度一直未进行过科学的测试。本文介绍在华南理工大学半消声室内参照ISO(GB)标准对椰胡声功率级的测量工作。由两位资深乐师分别用两把椰胡在pp,mp,f和ff力度下演奏单音、音阶和乐曲,对每一把椰胡的每一测试内容,由十通道测试设备同步测试中心频率为100～10000 Hz的1/3倍频带声压级谱,通过计算获得每把椰胡在演奏每项内容时的声功率级和动态范围。通过对两把椰胡的测试结果进行平均,获得该乐器在演奏上述内容时的典型声功率级数值及频谱。文中并将半消声室内的测试结果与混响室内的测试结果相对比,探讨测试环境对测试结果的影响。民族乐器发声强度及其频谱特性的获得是开展民族音乐厅堂音质研究的基础。     

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.     

Thresholds for hearing mistuned partials as separate tones in harmonic complexes

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

Temporal order discrimination of tonal sequences by younger and older adults: the role of duration and rate

The effect of tone duration and presentation rate on the discrimination of the temporal order of the middle two tones of a four-tone sequence was investigated in young normal-hearing (YNH) and older hearing-impaired (OHI) listeners. The frequencies and presentation level of the tone sequences were selected to minimize the effect of hearing loss on the performance of the OHI listeners. Tone durations varied from 20 to 400 ms and presentation rates from 2.5 to 25 toness. Two experiments were conducted with anisochronous (nonuniform duration and rate across entire sequence) and isochronous (uniform rate and duration) sequences, respectively. For the YNH listeners, performance for both isochronous and anisochronous sequences was determined primarily by presentation rate such that performance decreased at rates faster than 5 toness. For anisochronous tone sequences alone, the effects of rate were more pronounced at short tone durations. For the OHI listeners, both presentation rate and tone duration had an impact on performance for both isochronous and anisochronous sequences such that performance decreased as rate increased above 5 toness or duration decreased below 40 ms. Temporal masking was offered as an explanation for the interaction of short durations and fast rates on temporal order discrimination for the anisochronous sequences.     

Maturation of auditory temporal integration and inhibition assessed with event-related potentials (ERPs)

Background

We examined development of auditory temporal integration and inhibition by assessing electrophysiological responses to tone pairs separated by interstimulus intervals (ISIs) of 25, 50, 100, 200, 400, and 800 ms in 28 children aged 7 to 9 years, and 15 adults.

Results

In adults a distinct neural response was elicited to tones presented at ISIs of 25 ms or longer, whereas in children this was only seen in response to tones presented at ISIs above 100 ms. In adults, late N1 amplitude was larger for the second tone of the tone pair when separated by ISIs as short as 100 ms, consistent with the perceptual integration of successive stimuli within the temporal window of integration. In contrast, children showed enhanced negativity only when tone pairs were separated by ISIs of 200 ms. In children, the amplitude of the P1 component was attenuated at ISIs below 200 ms, consistent with a refractory process.

Conclusions

These results indicate that adults integrate sequential auditory information into smaller temporal segments than children. These results suggest that there are marked maturational changes from childhood to adulthood in the perceptual processes underpinning the grouping of incoming auditory sensory information, and that electrophysiological measures provide a sensitive, non-invasive method allowing further examination of these changes.     

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.     

Influences of multiple memory systems on auditory mental image acuity

The influence of different memory systems and associated attentional processes on the acuity of auditory images, formed for the purpose of making intonation judgments, was examined across three experiments using three different task types (cued-attention, imagery, and two-tone discrimination). In experiment 1 the influence of implicit long-term memory for musical scale structure was manipulated by varying the scale degree (leading tone versus tonic) of the probe note about which a judgment had to be made. In experiments 2 and 3 the ability of short-term absolute pitch knowledge to develop was manipulated by presenting blocks of trials in the same key or in seven different keys. The acuity of auditory images depended on all of these manipulations. Within individual listeners, thresholds in the two-tone discrimination and cued-attention conditions were closely related. In many listeners, cued-attention thresholds were similar to thresholds in the imagery condition, and depended on the amount of training individual listeners had in playing a musical instrument. The results indicate that mental images formed at a sensory/cognitive interface for the purpose of making perceptual decisions are highly malleable.     

Mapping the brain's orchestration during speech comprehension: task-specific facilitation of regional synchrony in neural networks

Background

How does the brain convert sounds and phonemes into comprehensible speech? In the present magnetoencephalographic study we examined the hypothesis that the coherence of electromagnetic oscillatory activity within and across brain areas indicates neurophysiological processes linked to speech comprehension.

Results

Amplitude-modulated (sinusoidal 41.5 Hz) auditory verbal and nonverbal stimuli served to drive steady-state oscillations in neural networks involved in speech comprehension. Stimuli were presented to 12 subjects in the following conditions (a) an incomprehensible string of words, (b) the same string of words after being introduced as a comprehensible sentence by proper articulation, and (c) nonverbal stimulations that included a 600-Hz tone, a scale, and a melody. Coherence, defined as correlated activation of magnetic steady state fields across brain areas and measured as simultaneous activation of current dipoles in source space (Minimum-Norm-Estimates), increased within left- temporal-posterior areas when the sound string was perceived as a comprehensible sentence. Intra-hemispheric coherence was larger within the left than the right hemisphere for the sentence (condition (b) relative to all other conditions), and tended to be larger within the right than the left hemisphere for nonverbal stimuli (condition (c), tone and melody relative to the other conditions), leading to a more pronounced hemispheric asymmetry for nonverbal than verbal material.

Conclusions

We conclude that coherent neuronal network activity may index encoding of verbal information on the sentence level and can be used as a tool to investigate auditory speech comprehension.