Musical timbre analysis

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Wideband inhibition modulates the effect of onset asynchrony as a grouping cue

Onset asynchrony is arguably the most powerful grouping cue for the separation of temporally overlapping sounds (see Bregman 1990). A component that begins only 30–50 ms before the others makes a greatly reduced contribution to the timbre of a complex tone, or to the phonetic quality of a vowel (e.g. Darwin 1984). This effect of onset asynchrony does not necessarily imply a cognitive grouping process; instead it may result from peripheral adaptation in the response to the leading component in the few tens of milliseconds before the other components begin (e.g., Westerman and Smith 1984). However, two findings suggest that the effect of onset asynchrony cannot be explained entirely by peripheral adaptation. First, though the effect is smaller, the contribution of a component to the phonetic quality of a short-duration vowel is reduced when it ends after the other components (Darwin and Sutherland 1984; Roberts and Moore 1991).

Auditory stream segregation of tone sequences in cochlear implant listeners

Previous claims that auditory stream segregation occurs in cochlear implant listeners are based on limited evidence. In experiment 1, eight listeners heard tones presented in a 30-s repeating ABA-sequence, with frequencies matching the centre frequencies of the implant's 22 electrodes. Tone A always stimulated electrode 11 (centre of the array); tone B stimulated one of the others. Tone repetition times (TRTs) from 50 to 200 ms were used. Listeners reported when they heard one or two streams. The proportion of time that each sequence was reported as segregated was consistently greater with increased electrode separation. However, TRT had no significant effect, and the perceptual reversals typical of normal-hearing listeners rarely occurred. The results may reflect channel discrimination rather than stream segregation. In experiment 2, six listeners performed a pitch-ranking task using tone pairs (reference = electrode 11). Listeners reported which tone was higher in pitch (or brighter in timbre) and their confidence in the pitch judgement. Similarities were observed in the individual pattern of results for reported segregation and pitch discrimination. Many implant listeners may show little or no sign of automatic stream segregation owing to the reduced perceptual space within which sounds can differ from one another. © 2006 Elsevier B.V. All rights reserved.

Spectral pattern, grouping, and the pitches of complex tones and their components

Harmonically related components are typically heard as a unified entity with a rich timbre and a pitch corresponding to the fundamental frequency. Mistuning a component generally has four consequences: (i) the global pitch of the complex shifts in the same direction as the mistuning; (ii) the component makes a reduced contribution to global pitch; (iii) the component is heard out as a separate sound with a pure timbre; (iv) its pitch differs from that of a pure tone of equal frequency in a small but systematic way. Local interactions between neighbouring components cannot explain these effects; instead they are usually explained in terms of the global operation of a single harmonic-template mechanism. However, several observations indicate that separate mechanisms govern the selection of spectral components for perceptual fusion and for the computation of global pitch. First, an increase in mistuning causes a harmonic to be heard out before it begins to be excluded from the computation of global pitch. Second, a single even harmonic added to an odd-harmonic complex is typically more salient than its odd neighbours. Third, the mistuning of a component in frequency-shifted stimuli, or stimuli with a moderate spectral stretch, results in changes in salience and component pitch like those seen for harmonic stimuli. Fourth, the global pitch of frequency-shifted stimuli is predicted well by the weighted fit of a harmonic template, but, with the exception of the lowest component, the fusion of individual partials for shifted stimuli is best predicted by the common pattern of spectral spacing. Fifth, our sensitivity to spectral pattern is surprisingly resistant to random variations in component spacing induced by applying mistunings to several harmonics at once. These findings are evaluated in the context of an autocorrelogram model of the proposed pitch/grouping dissociation. © S. Hirzel Verlag · EAA.

Asynchrony and the grouping of vowel components:captor tones revisited

Asynchrony is an important grouping cue for separating sound mixtures. A harmonic incremented in level makes a reduced contribution to vowel timbre when it begins before the other components. This contribution can be partly restored by adding a captor tone in synchrony with, and one octave above, the leading portion of the incremented harmonic [Darwin and Sutherland, Q. J. Exp. Psychol. A 36, 193-208 (1984)]. The captor is too remote to evoke adaptation in peripheral channels tuned to the incremented harmonic, and so the restoration effect is usually attributed to the grouping of the leading portion with the captor. However, results are presented that contradict this interpretation. Captor efficacy does not depend on a common onset, or harmonic relations, with the leading component. Rather, captor efficacy is influenced by frequency separation, and extends to about 1.5 oct above the leading component. Below this cutoff, the captor effect is equivalent to attenuating the leading portion of the incremented harmonic by about 6 dB. These results indicate that high-level grouping does not govern the captor effect. Instead, it is proposed that the partial restoration of the contribution of an asynchronous component to vowel timbre depends on broadband inhibition within the central auditory system. © 2006 Acoustical Society of America.