Controlling audibility with noise for online experiments using sound.

Online auditory experiments use the sound delivery equipment of each participant, with no practical way to calibrate sound level or frequency response. Here, a method is proposed to control sensation level across frequencies: embedding stimuli in threshold-equalizing noise. In a cohort of 100 online participants, noise could equate detection thresholds from 125 to 4000 Hz. Equalization was successful even for participants with atypical thresholds in quiet, due either to poor quality equipment or unreported hearing loss. Moreover, audibility in quiet was highly variable, as overall level was uncalibrated, but variability was much reduced with noise. Use cases are discussed.

The perception of octave pitch affinity and harmonic fusion have a common origin.

Musicians say that the pitches of tones with a frequency ratio of 2:1 (one octave) have a distinctive affinity, even if the tones do not have common spectral components. It has been suggested, however, that this affinity judgment has no biological basis and originates instead from an acculturation process ‒ the learning of musical rules unrelated to auditory physiology. We measured, in young amateur musicians, the perceptual detectability of octave mistunings for tones presented alternately (melodic condition) or simultaneously (harmonic condition). In the melodic condition, mistuning was detectable only by means of explicit pitch comparisons. In the harmonic condition, listeners could use a different and more efficient perceptual cue: in the absence of mistuning, the tones fused into a single sound percept; mistunings decreased fusion. Performance was globally better in the harmonic condition, in line with the hypothesis that listeners used a fusion cue in this condition; this hypothesis was also supported by results showing that an illusory simultaneity of the tones was much less advantageous than a real simultaneity. In the two conditions, mistuning detection was generally better for octave compressions than for octave stretchings. This asymmetry varied across listeners, but crucially the listener-specific asymmetries observed in the two conditions were highly correlated. Thus, the perception of the melodic octave appeared to be closely linked to the phenomenon of harmonic fusion. As harmonic fusion is thought to be determined by biological factors rather than factors related to musical culture or training, we argue that octave pitch affinity also has, at least in part, a biological basis.

Auditory Perception: Relative Universals for Musical Pitch.

Do members of a remote Amazonian tribe and Boston-trained musicians share similarities in their mental representations of auditory pitch? According to an impressive new set of psychoacoustic evidence they do, a finding which highlights the universal importance of relative pitch patterns.

Effect of stimulus type and pitch salience on pitch-sequence processing.

Using a same-different discrimination task, it has been shown that discrimination performance for sequences of complex tones varying just detectably in pitch is less dependent on sequence length (1, 2, or 4 elements) when the tones contain resolved harmonics than when they do not [Cousineau, Demany, and Pessnitzer (2009). J. Acoust. Soc. Am. 126, 3179-3187]. This effect had been attributed to the activation of automatic frequency-shift detectors (FSDs) by the shifts in resolved harmonics. The present study provides evidence against this hypothesis by showing that the sequence-processing advantage found for complex tones with resolved harmonics is not found for pure tones or other sounds supposed to activate FSDs (narrow bands of noise and wide-band noises eliciting pitch sensations due to interaural phase shifts). The present results also indicate that for pitch sequences, processing performance is largely unrelated to pitch salience per se: for a fixed level of discriminability between sequence elements, sequences of elements with salient pitches are not necessarily better processed than sequences of elements with less salient pitches. An ideal-observer model for the same-different binary-sequence discrimination task is also developed in the present study. The model allows the computation of d' for this task using numerical methods.

Automatic Frequency-Shift Detection in the Auditory System: A Review of Psychophysical Findings.

The human brain has the task of binding successive sounds produced by the same acoustic source into a coherent perceptual stream, and binding must be selective when several sources are concurrently active. Binding appears to obey a principle of spectral proximity: pure tones close in frequency are more likely to be bound than pure tones with remote frequencies. It has been hypothesized that the binding process is realized by automatic "frequency-shift detectors" (FSDs), comparable to the detectors of spatial motion in the visual system. In 2005, this hypothesis was supported by a psychophysical study showing that human listeners are able to identify the direction of a frequency shift between two successive pure tones while the first of these tones is not audible individually due to informational masking by other tones presented synchronously. A number of variants of this study have been performed since 2005, in order to confirm the existence of FSDs, to characterize their properties, and to clarify as far as possible their neural underpinnings. The results obtained up to now suggest that the working of the FSDs exploits an implicit sensory memory which is powerful with respect to both capacity and retention time. Tones within chords can be perceptually enhanced by small frequency shifts, in a manner suggesting that the FSDs can serve in auditory scene analysis not only as binding tools but also, to a limited extent, as segregation tools.

Detecting temporal changes in acoustic scenes: The variable benefit of selective attention.

Four experiments investigated change detection in acoustic scenes consisting of a sum of five amplitude-modulated pure tones. As the tones were about 0.7 octave apart and were amplitude-modulated with different frequencies (in the range 2-32 Hz), they were perceived as separate streams. Listeners had to detect a change in the frequency (experiments 1 and 2) or the shape (experiments 3 and 4) of the modulation of one of the five tones, in the presence of an informative cue orienting selective attention either before the scene (pre-cue) or after it (post-cue). The changes left intensity unchanged and were not detectable in the spectral (tonotopic) domain. Performance was much better with pre-cues than with post-cues. Thus, change deafness was manifest in the absence of an appropriate focusing of attention when the change occurred, even though the streams and the changes to be detected were acoustically very simple (in contrast to the conditions used in previous demonstrations of change deafness). In one case, the results were consistent with a model based on the assumption that change detection was possible if and only if attention was endogenously focused on a single tone. However, it was also found that changes resulting in a steepening of amplitude rises were to some extent able to draw attention exogenously. Change detection was not markedly facilitated when the change produced a discontinuity in the modulation domain, contrary to what could be expected from the perspective of predictive coding.

The Effect of Cochlear Damage on the Sensitivity to Harmonicity.

OBJECTIVES: A sum of simultaneous pure tones with harmonic relationships (i.e., simple frequency ratios) is normally heard as a single sound, with a single pitch, even when its components are fully resolved in the auditory periphery. This perceptual phenomenon called "harmonic fusion" is thought to play an important role in auditory scene analysis as listeners often have to segregate simultaneous harmonic sounds with different fundamental frequencies. The present study explored the consequences of mild or moderate cochlear hearing loss for the sensitivity to harmonicity and the detection of inharmonicity. DESIGN: The subjects were 12 normal-hearing (NH) listeners and 8 listeners with cochlear hearing loss amounting to 30 to 50 dB (mean: 42 dB) from 0.25 to 3 kHz. In each subject, thresholds for the detection of a change in the frequency ratio of simultaneous pure tones were measured with an adaptive forced-choice procedure. The standard frequency ratio was either harmonic (2:1, i.e., one octave) or inharmonic (0.8 or 1.2 octaves). The tones were presented at a low sensation level (at most 15 dB) within broadband noise, to minimize their cochlear interactions. In the main experimental conditions, the frequency register of the stimuli varied randomly within each trial, so that subjects were forced to process frequency ratios to achieve good performance; frequency discrimination was not sufficient. In other conditions, by contrast, frequency discrimination was sufficient to perform the task optimally. RESULTS: For both groups of subjects, thresholds in the main experimental conditions were lower (i.e., better) when the standard frequency ratio was harmonic than when it was inharmonic. This effect, revealing sensitivity to harmonicity, was weak for some members of the hearing-impaired group, but could be observed even in subjects showing a very poor frequency discrimination ability. The two groups, however, differed from each other with respect to the detection of inharmonicity: for the NH group, in agreement with previous results, negative deviations from one octave (i.e., compressions of this frequency ratio) were better detected than positive deviations (stretchings); for the hearing-impaired group, on the other hand, the sign of the deviations had no effect on performance. CONCLUSIONS: Sensitivity to harmonicity appears to be remarkably robust. However, it can be reduced in some listeners with mild or moderate cochlear damage. Moreover, as inharmonicity detection is asymmetric for NH listeners but apparently becomes symmetric in case of cochlear damage, it may be that listeners with cochlear damage do not detect inharmonicity in the same manner as NH listeners do. In some circumstances, inharmonicity can be detected on the basis of "beat" cues available in single frequency channels; however, the subjects tested here were unlikely to use cues of this type.

Pitch priming in sequences of two sounds.

Frequency discrimination limens (FDLs) were measured for pairs of stimuli differing from each other with respect to pitch salience. One of the two stimuli to be compared within a trial was a pure tone of at least 100 ms, evoking a salient pitch, while the other stimulus consisted of only eight sinusoidal cycles (experiment 1), or was a noise band with a Gaussian spectral envelope, evoking a weak pitch corresponding to the peak frequency (experiment 2). From trial to trial, frequency was varied randomly and widely. In both experiments, the FDLs were lower, by an average factor of about 3, when the stimulus with the more salient pitch preceded the other stimulus than vice versa. Evidence is presented against an interpretation of this temporal asymmetry in terms of memory limitations. It is suggested that the asymmetry reflects a pitch-priming effect. In two additional experiments, both of the stimuli to be compared within a trial were very short tone bursts or noise bands; perceptually, they differed only with respect to pitch height. Performance was markedly better than in experiments 1 and 2, and was not improved when the two stimuli were preceded by a 300-ms tone intended to produce pitch priming.

Harmonic fusion and pitch affinity: Is there a direct link?

Simultaneous pure tones approximately one octave apart tend to be fused perceptually and to evoke a single pitch sensation. Besides, sequentially presented pure tones show a subjective "affinity" or similarity in pitch when their frequency ratio is close to one octave. The aim of the study reported here was to determine if these two perceptual phenomena are directly related. Each stimulus was a triplet of simultaneous or successive pure tones forming frequency ratios varying across stimuli between 0.96 and 1.04 octaves. The tones were presented at a low sensation level (15 dB) within broadband threshold-equalizing noise, in order to prevent them from interacting in the cochlea when they were simultaneous. A large set of stimulus comparisons made by 18 listeners indicated that: (1) when the tones were simultaneous, maximal fusion was obtained for a mean frequency ratio deviating by less than 0.2% from one octave, and fusion decreased less rapidly above this frequency ratio than below it; (2) when the tones were presented successively, maximal pitch affinity was obtained for a mean frequency ratio significantly larger than one octave, and pitch affinity decreased more rapidly above this frequency ratio than below it. The differences between the results obtained for simultaneous and successive tones suggest that harmonic fusion and pitch affinity are unrelated phenomena.

Auditory attention is divisible: segregated tone streams can be tracked simultaneously.

Can auditory attention be split? We addressed this question using rapid sequences of tones alternating in frequency between 2 remote registers. In these rapid sequences, consecutive tones could not be perceptually linked; the tones were instead inevitably segregated into 2 concurrent melodic streams. Listeners had to determine if the 2 melodies interleaved in a sequence were exact transpositions of each other or not. This task could be performed successfully. More crucially, performance was better when each component tone of 1 melody was immediately transposed in the other melody than when component i of 1 melody was a transposition of component i-1 of the other melody. Nevertheless, because the melodies were segregated, listeners were unable to determine which was the leading melody when 2 interleaved melodies were immediate transpositions of each other. Our results are inconsistent with the hypothesis that listeners compared concurrent melodic streams using a memory-based serial-processing strategy. It instead appears that listeners were able to track such streams in parallel. Therefore, attention can be split between concurrent sensory streams even when the physical entities making up these streams do not overlap in time.

A late-emerging auditory deficit in autism.

OBJECTIVE: Individuals with autism spectrum disorders (ASD) show enhanced perceptual and memory abilities in the domain of pitch, but also perceptual deficits in other auditory domains. The present study investigated their skills with respect to "echoic memory," a form of short-term sensory memory intimately tied to auditory perception, using a developmental perspective. METHOD: We tested 23 high-functioning participants with ASD and 26 typically developing (TD) participants, distributed in two age groups (children vs. young adults; mean ages: ∼11 and ∼21 years). By means of an adaptive psychophysical procedure, we measured the longest period for which periodic (i.e., repeated) noise could be reliably discriminated from nonperiodic (i.e., plain random) noise. On each experimental trial, a single noise sample was presented to the participant, who had to classify this sound as periodic or nonperiodic. RESULTS: The TD adults performed, on average, much better than the other three groups, who performed similarly overall. As a function of practice, the measured thresholds improved for the TD participants, but did not change for the ASD participants. Thresholds were not correlated to performance in a test assessing verbal memory. The variance of the participants' response biases was larger among the ASD participants than among the TD participants. CONCLUSION: The results mainly suggest that echoic memory takes a long time to fully develop in TD humans, and that this development stops prematurely in persons with ASD.

The auditory enhancement effect is not reflected in the 80-Hz auditory steady-state response.

The perceptual salience of a target tone presented in a multitone background is increased by the presentation of a precursor sound consisting of the multitone background alone. It has been proposed that this "enhancement" phenomenon results from an effective amplification of the neural response to the target tone. In this study, we tested this hypothesis in humans, by comparing the auditory steady-state response (ASSR) to a target tone that was enhanced by a precursor sound with the ASSR to a target tone that was not enhanced. In order to record neural responses originating in the brainstem, the ASSR was elicited by amplitude modulating the target tone at a frequency close to 80 Hz. The results did not show evidence of an amplified neural response to enhanced tones. In a control condition, we measured the ASSR to a target tone that, instead of being perceptually enhanced by a precursor sound, was acoustically increased in level. This level increase matched the magnitude of enhancement estimated psychophysically with a forward masking paradigm in a previous experimental phase. We found that the ASSR to the tone acoustically increased in level was significantly greater than the ASSR to the tone enhanced by the precursor sound. Overall, our results suggest that the enhancement effect cannot be explained by an amplified neural response at the level of the brainstem. However, an alternative possibility is that brainstem neurons with enhanced responses do not contribute to the scalp-recorded ASSR.

No Need for Templates in the Auditory Enhancement Effect.

The audibility of a target tone in a multitone background masker is enhanced by the presentation of a precursor sound consisting of the masker alone. There is evidence that precursor-induced neural adaptation plays a role in this perceptual enhancement. However, the precursor may also be strategically used by listeners as a spectral template of the following masker to better segregate it from the target. In the present study, we tested this hypothesis by measuring the audibility of a target tone in a multitone masker after the presentation of precursors which, in some conditions, were made dissimilar to the masker by gating their components asynchronously. The precursor and the following sound were presented either to the same ear or to opposite ears. In either case, we found no significant difference in the amount of enhancement produced by synchronous and asynchronous precursors. In a second experiment, listeners had to judge whether a synchronous multitone complex contained exactly the same tones as a preceding precursor complex or had one tone less. In this experiment, listeners performed significantly better with synchronous than with asynchronous precursors, showing that asynchronous precursors were poorer perceptual templates of the synchronous multitone complexes. Overall, our findings indicate that precursor-induced auditory enhancement cannot be fully explained by the strategic use of the precursor as a template of the following masker. Our results are consistent with an explanation of enhancement based on selective neural adaptation taking place at a central locus of the auditory system.

Assessing the possible role of frequency-shift detectors in the ability to hear out partials in complex tones.

The possible role of frequency-shift detectors (FSDs) was assessed for a task measuring the ability to hear out individual "inner" partials in a chord with seven partials uniformly spaced on the ERBN-number (Cam) scale. In each of the two intervals in a trial, a pure-tone probe was followed by a chord. In one randomly selected interval, the frequency of the probe was the same as that of a partial in the chord. In the other interval, the probe was mistuned upwards or downwards from the "target" partial. The task was to indicate the interval in which the probe coincided with the target. In the "symmetric" condition, the frequency of the mistuned probe was midway in Cams between that of two partials in the chord. This should have led to approximately symmetric activation of the up-FSDs and down-FSDs, such that differential activation provided a minimal cue. In the "asymmetric" condition, the mistuned probe was much closer in frequency to one partial in the chord than to the next closest partial. This should have led to differential activation of the up-FSDs and down-FSDs, providing a strong discrimination cue. Performance was predicted to be better in the asymmetric than in the symmetric condition. The results were consistent with this prediction except when the probe was mistuned above the sixth (second highest) partial in the chord. To explain this, it is argued that activation of FSDs depends both on the size of the frequency shift between successive components and on the pitch strength of each component.

Enhancement of increments in spectral amplitude: further evidence for a mechanism based on central adaptation.

The threshold for detecting a tone in a multitone masker is lower when the masker-plus-signal stimulus is preceded by a copy of the masker. One potential explanation of this "enhancement" phenomenon is that the -precursor stimulus acts as a "template" of the subsequent masker, thus helping listeners to segregate the signal from the masker. To assess this idea, we measured enhancement for precursors that were perceptually similar to the masker and for precursors that were made dissimilar to the masker by gating their components asynchronously. We found that the two types of precursor produced similar amounts of enhancement. This was true not only when the precursor and the subsequent test stimulus were presented to the same ear but also when they were presented to opposite ears. In a second experiment, we checked that the precursors with asynchronously gated components were perceptually poor templates of the subsequent maskers. Listeners now had to discriminate between test stimuli -containing the same components as the precursor and test stimuli containing all but one of the precursor components. We found that in this experimental situation, where enhancement could play no role, gating the precursor components asynchronously disrupted performance. Overall, our results are inconsistent with the hypothesis that precursors producing enhancement are beneficial because they are used as perceptual templates of the masker. Our results are instead consistent with an -explanation of enhancement based on selective neural adaptation taking place at a central locus of the auditory system.

Auditory stream segregation for alternating and synchronous tones.

Sound sequences, such as music, are usually organized perceptually into concurrent "streams." The mechanisms underlying this "auditory streaming" phenomenon are not completely known. The present study sought to test the hypothesis that synchrony limits listeners' ability to separate sound streams. To test this hypothesis, both perceptual-organization judgments and performance measures were used. In Experiment 1, listeners indicated whether they perceived sequences of alternating or synchronous tones as a single stream or as two streams. In Experiments 2 and 3, listeners detected rare changes in the intensity of "target" tones at one frequency in the presence of synchronous or asynchronous random-intensity "distractor" tones at another frequency. The results of these experiments showed that, for large frequency separations between the tones, the probability of perceiving two streams was lower on average for synchronous than for alternating tones, and that sensitivity to intensity changes in the target sequence was greater for asynchronous than for synchronous distractors. Overall, these results are consistent with the hypothesis that synchrony limits listeners' ability to form separate streams and/or to attend selectively to certain sounds in the presence of other sounds, even when the target and distractor sounds are well separated from each other in frequency.

The perceptual enhancement of tones by frequency shifts.

In a chord of pure tones with a flat spectral profile, one tone can be perceptually enhanced relative to the other tones by the previous presentation of a slightly different chord. "Intensity enhancement" (IE) is obtained when the component tones of the two chords have the same frequencies, but in the first chord the target of enhancement is attenuated relative to the other tones. "Frequency enhancement" (FE) is obtained when both chords have a flat spectral profile, but the target of enhancement shifts in frequency from the first to the second chord. We report here an experiment in which IE and FE were measured using a task requiring the listener to indicate whether or not the second chord included a tone identical to a subsequent probe tone. The results showed that a global attenuation of the first chord relative to the second chord disrupted IE more than FE. This suggests that the mechanisms of IE and FE are not the same. In accordance with this suggestion, computations of the auditory excitation patterns produced by the chords indicate that the mechanism of IE is not sufficient to explain FE for small frequency shifts.

What is a melody? On the relationship between pitch and brightness of timbre.

Previous studies showed that the perceptual processing of sound sequences is more efficient when the sounds vary in pitch than when they vary in loudness. We show here that sequences of sounds varying in brightness of timbre are processed with the same efficiency as pitch sequences. The sounds used consisted of two simultaneous pure tones one octave apart, and the listeners' task was to make same/different judgments on pairs of sequences varying in length (one, two, or four sounds). In one condition, brightness of timbre was varied within the sequences by changing the relative level of the two pure tones. In other conditions, pitch was varied by changing fundamental frequency, or loudness was varied by changing the overall level. In all conditions, only two possible sounds could be used in a given sequence, and these two sounds were equally discriminable. When sequence length increased from one to four, discrimination performance decreased substantially for loudness sequences, but to a smaller extent for brightness sequences and pitch sequences. In the latter two conditions, sequence length had a similar effect on performance. These results suggest that the processes dedicated to pitch and brightness analysis, when probed with a sequence-discrimination task, share unexpected similarities.

Auditory discrimination of frequency ratios: the octave singularity.

Sensitivity to frequency ratios is essential for the perceptual processing of complex sounds and the appreciation of music. This study assessed the effect of ratio simplicity on ratio discrimination for pure tones presented either simultaneously or sequentially. Each stimulus consisted of four 100-ms pure tones, equally spaced in terms of frequency ratio and presented at a low intensity to limit interactions in the auditory periphery. Listeners had to discriminate between a reference frequency ratio of 0.97 octave (about 1.96:1) and target frequency ratios, which were larger than the reference. In the simultaneous condition, the obtained psychometric functions were nonmonotonic: as the target frequency ratio increased from 0.98 octave to 1.04 octaves, discrimination performance initially increased, then decreased, and then increased again; performance was better when the target was exactly one octave (2:1) than when the target was slightly larger. In the sequential condition, by contrast, the psychometric functions were monotonic and there was no effect of frequency ratio simplicity. A control experiment verified that the non-monotonicity observed in the simultaneous condition did not originate from peripheral interactions between the tones. Our results indicate that simultaneous octaves are recognized as "special" frequency intervals by a mechanism that is insensitive to the sign (positive or negative) of deviations from the octave, whereas this is apparently not the case for sequential octaves.

Auditory enhancement of increments in spectral amplitude stems from more than one source.

A component of a test sound consisting of simultaneous pure tones perceptually "pops out" if the test sound is preceded by a copy of itself with that component attenuated. Although this "enhancement" effect was initially thought to be purely monaural, it is also observable when the test sound and the precursor sound are presented contralaterally (i.e., to opposite ears). In experiment 1, we assessed the magnitude of ipsilateral and contralateral enhancement as a function of the time interval between the precursor and test sounds (10, 100, or 600 ms). The test sound, randomly transposed in frequency from trial to trial, was followed by a probe tone, either matched or mismatched in frequency to the test sound component which was the target of enhancement. Listeners' ability to discriminate matched probes from mismatched probes was taken as an index of enhancement magnitude. The results showed that enhancement decays more rapidly for ipsilateral than for contralateral precursors, suggesting that ipsilateral enhancement and contralateral enhancement stem from at least partly different sources. It could be hypothesized that, in experiment 1, contralateral precursors were effective only because they provided attentional cues about the target tone frequency. In experiment 2, this hypothesis was tested by presenting the probe tone before the precursor sound rather than after the test sound. Although the probe tone was then serving as a frequency cue, contralateral precursors were again found to produce enhancement. This indicates that contralateral enhancement cannot be explained by cuing alone and is a genuine sensory phenomenon.