Perceptual interactions in the loudness of combined auditory and vibrotactile stimuli.

The loudness of auditory (A), tactile (T), and auditory-tactile (A+T) stimuli was measured at supra-threshold levels. Auditory stimuli were pure tones presented binaurally through headphones; tactile stimuli were sinusoids delivered through a single-channel vibrator to the left middle fingertip. All stimuli were presented together with a broadband auditory noise. The A and T stimuli were presented at levels that were matched in loudness to that of the 200-Hz auditory tone at 25 dB sensation level. The 200-Hz auditory tone was then matched in loudness to various combinations of auditory and tactile stimuli (A+T), and purely auditory stimuli (A+A). The results indicate that the matched intensity of the 200-Hz auditory tone is less when the A+T and A+A stimuli are close together in frequency than when they are separated by an octave or more. This suggests that A+T integration may operate in a manner similar to that found in auditory critical band studies, further supporting a strong frequency relationship between the auditory and somatosensory systems.

Integration of auditory and vibrotactile stimuli: effects of frequency.

Perceptual integration of vibrotactile and auditory sinusoidal tone pulses was studied in detection experiments as a function of stimulation frequency. Vibrotactile stimuli were delivered through a single channel vibrator to the left middle fingertip. Auditory stimuli were presented diotically through headphones in a background of 50 dB sound pressure level broadband noise. Detection performance for combined auditory-tactile presentations was measured using stimulus levels that yielded 63% to 77% correct unimodal performance. In Experiment 1, the vibrotactile stimulus was 250 Hz and the auditory stimulus varied between 125 and 2000 Hz. In Experiment 2, the auditory stimulus was 250 Hz and the tactile stimulus varied between 50 and 400 Hz. In Experiment 3, the auditory and tactile stimuli were always equal in frequency and ranged from 50 to 400 Hz. The highest rates of detection for the combined-modality stimulus were obtained when stimulating frequencies in the two modalities were equal or closely spaced (and within the Pacinian range). Combined-modality detection for closely spaced frequencies was generally consistent with an algebraic sum model of perceptual integration; wider-frequency spacings were generally better fit by a Pythagorean sum model. Thus, perceptual integration of auditory and tactile stimuli at near-threshold levels appears to depend both on absolute frequency and relative frequency of stimulation within each modality.

Listening to Filtered Music as a Treatment Option for Tinnitus: A Review.

TINNITUS IS THE PERCEPTION OF A SOUND IN THE absence of an external acoustic stimulus and it affects roughly 10-15% of the population. This review will discuss the different types of tinnitus and the current research on the underlying neural substrates of subjective tinnitus. Specific focus will be paid to the plasticity of the auditory cortex, the inputs from non-auditory centers in the central nervous system and how these are affected by tinnitus. We also will discuss several therapies that utilize music as a treatment for tinnitus and highlight a novel method that filters out the tinnitus frequency from the music, leveraging the plasticity in the auditory cortex as a means of reducing the impact of tinnitus.

Integration of auditory and vibrotactile stimuli: effects of phase and stimulus-onset asynchrony.

The perceptual integration of 250 Hz, 500 ms vibrotactile and auditory tones was studied in detection experiments as a function of (1) relative phase and (2) temporal asynchrony of the tone pulses. Vibrotactile stimuli were delivered through a single-channel vibrator to the left middle fingertip and auditory stimuli were presented diotically through headphones in a background of 50 dB sound pressure level broadband noise. The vibrotactile and auditory stimulus levels used each yielded 63%-77%-correct unimodal detection performance in a 2-I, 2-AFC task. Results for combined vibrotactile and auditory detection indicated that (1) performance improved for synchronous presentation, (2) performance was not affected by the relative phase of the auditory and tactile sinusoidal stimuli, and (3) performance for non-overlapping stimuli improved only if the tactile stimulus preceded the auditory. The results are generally more consistent with a "Pythagorean Sum" model than with either an "Algebraic Sum" or an "Optimal Single-Channel" Model of perceptual integration. Thus, certain combinations of auditory and tactile signals result in significant integrative effects. The lack of phase effect suggests an envelope rather than fine-structure operation for integration. The effects of asynchronous presentation of the auditory and tactile stimuli are consistent with time constants deduced from single-modality masking experiments.

Human cortical activity during streaming without spectral cues suggests a general neural substrate for auditory stream segregation.

The brain continuously disentangles competing sounds, such as two people speaking, and assigns them to distinct streams. Neural mechanisms have been proposed for streaming based on gross spectral differences between sounds, but not for streaming based on other nonspectral features. Here, human listeners were presented with sequences of harmonic complex tones that had identical spectral envelopes, and unresolved spectral fine structure, but one of two fundamental frequencies (f0) and pitches. As the f0 difference between tones increased, listeners perceived the tones as being segregated into two streams (one stream for each f0) and cortical activity measured with functional magnetic resonance imaging and magnetoencephalography increased. This trend was seen in primary cortex of Heschl's gyrus and in surrounding nonprimary areas. The results strongly resemble those for pure tones. Both the present and pure tone results may reflect neuronal forward suppression that diminishes as one or more features of successive sounds become increasingly different. We hypothesize that feature-specific forward suppression subserves streaming based on diverse perceptual cues and results in explicit neural representations for auditory streams within auditory cortex.

Cortical FMRI activation to sequences of tones alternating in frequency: relationship to perceived rate and streaming.

Human listeners were functionally imaged while reporting their perception of sequences of alternating-frequency tone bursts separated by 0, 1/8, 1, or 20 semitones. Our goal was to determine whether functional magnetic resonance imaging (fMRI) activation of auditory cortex changes with frequency separation in a manner predictable from the perceived rate of the stimulus. At the null and small separations, the tones were generally heard as a single stream with a perceived rate equal to the physical tone presentation rate. fMRI activation in auditory cortex was appreciably phasic, showing prominent peaks at the sequence onset and offset. At larger-frequency separations, the higher- and lower-frequency tones perceptually separated into two streams, each with a rate equal to half the overall tone presentation rate. Under those conditions, fMRI activation in auditory cortex was more sustained throughout the sequence duration and was larger in magnitude and extent. Phasic to sustained changes in fMRI activation with changes in frequency separation and perceived rate are comparable to, and consistent with, those produced by changes in the physical rate of a sequence and are far greater than the effects produced by changing other physical stimulus variables, such as sound level or bandwidth. We suggest that the neural activity underlying the changes in fMRI activation with frequency separation contribute to the coding of the co-occurring changes in perceived rate and perceptual organization of the sound sequences into auditory streams.