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Voices arguably occupy a superior role in auditory processing. Specifically, studies have reported that singing voices are processed faster and more accurately and possess greater salience in musical scenes compared to instrumental sounds. However, the underlying acoustic features of this superiority and the generality of these effects remain unclear. This study investigates the impact of frequency micro-modulations (FMM) and the influence of interfering sounds on sound recognition. Thirty young participants, half with musical training, engage in three sound recognition experiments featuring short vocal and instrumental sounds in a go/no-go task. Accuracy and reaction times are measured for sounds from recorded samples and excerpts of popular music. Each sound is presented in separate versions with and without FMM, in isolation or accompanied by a piano. Recognition varies across sound categories, but no general vocal superiority emerges and no effects of FMM. When presented together with interfering sounds, all sounds exhibit degradation in recognition. However, whereas /a/ sounds stand out by showing a distinct robustness to interference (i.e., less degradation of recognition), /u/ sounds lack this robustness. Acoustical analysis implies that recognition differences can be explained by spectral similarities. Together, these results challenge the notion of general vocal superiority in auditory perception. [ABSTRACT FROM AUTHOR]

Chronic exposure to loud sound leads to noise-induced hearing loss. This is especially common in collegiate-level musicians. Existing methods for estimating exposure typically do not consider genre- or instrument-specific variability in soundscape/spectral characteristics. We measured sound exposure levels (SELs) across instruments, bands, and genres at a university music school. We found (1) considerable variability in SELs across instruments and bands, (2) that Jazz musicians are consistently exposed to the highest sound levels, and (3) that spectral features of music differ between instrument type and genre, and based on room size. These findings highlight the need for tailored guidelines that moderate the implementation of hearing conservation initiatives for collegiate musicians. [ABSTRACT FROM AUTHOR]

Soundscape research on indoor environments is emerging as a topic to be addressed for the design of supportive, healthier, and more comfortable spaces. Only a few studies so far addressed the context of educational buildings, mainly focusing on high schools and universities. This pilot study uses questionnaires based on pictorial scales to investigate the indoor soundscape of classrooms for primary school children (n = 130; 8–10 years old). Perceived loudness and the affective dimensions of pleasantness and arousal were explored. Besides the actual soundscape, the children's ideal soundscape was investigated as well. The results of the study indicate that the most frequent sounds in classrooms are generated by the students themselves (voices, movements) followed by the traffic. The urban context of the school modulates the children's perception when windows are open to ensure natural ventilation. Pleasantness is associated with students' age, perceived loudness, and frequency of children's voices in nearby classrooms. The frequency of hearing indoor sounds (children's voices) and sirens affects students' arousal. Our results indicate that children at school are mostly exposed to unpleasant sounds, whereas their preferred ones are music and nature-related ones. The findings have implications for the design of positive and inclusive learning environments. [ABSTRACT FROM AUTHOR]

This study investigated the effect of musicianship on the perceptual integrality of tones and segmental information in non-native speech perception. We tested 112 Cantonese musicians, Cantonese non-musicians, English musicians, and English non-musicians with a modified Thai tone AX discrimination task. In the tone discrimination task, the control block only contained tonal variations, whereas the orthogonal block contained both tonal and task-irrelevant segmental variations. Relative to their own performance in the control block, the Cantonese listeners showed decreased sensitivity index (d′) and increased response time in the orthogonal block, reflecting integral perception of tones and segmental information. By contrast, the English listeners performed similarly across the two blocks, indicating independent perception. Bayesian analysis revealed that the Cantonese musicians and the Cantonese non-musicians perceived Thai tones and segmental information equally integrally. Moreover, the English musicians and the English non-musicians showed similar degrees of independent perception. Based on the above results, musicianship does not seem to influence tone-segmental perceptual integrality. While musicianship apparently enhances tone sensitivity, not all musical advantages are transferrable to the language domain. [ABSTRACT FROM AUTHOR]

Cochlear implants (CIs) can partially restore speech perception to relatively high levels in listeners with moderate to profound hearing loss. However, for most CI listeners, the perception and enjoyment of music remains notably poor. Since a number of technical and physiological restrictions of current implant designs cannot be easily overcome, a number of preprocessing methods for music signals have been proposed recently. They aim to emphasize the leading voice and rhythmic elements and to reduce their spectral complexity. In this study, CI listeners evaluated five remixing approaches in comparison to unprocessed signals. To identify potential explaining factors of CI preference ratings, different signal quality criteria of the processed signals were additionally assessed by normal-hearing listeners. Additional factors were investigated based on instrumental signal-level features. For three preprocessing methods, a significant improvement over the unprocessed reference was found. Especially, two deep neural network-based remix strategies proved to enhance music perception in CI listeners. These strategies provide remixes of the respective harmonic and percussive signal components of the four source stems "vocals," "bass," "drums," and "other accompaniment." Moreover, the results demonstrate that CI listeners prefer an attenuation of sustained components of drum source signals. [ABSTRACT FROM AUTHOR]

The consensus in piano tuning philosophy explains the stretched tuning scale by the inharmonicity of piano strings. This study aimed to examine how variable inharmonicity influences the result of the piano tuning process, compare the tuning curves of aurally tuned pianos with the curves derived from subjective octave enlargement experiments, and evaluate whether the pitches of inharmonic or harmonic versions of the same tone are perceived differently. In addition, the influence of strings of other piano keys on the measured inharmonicity of a single piano string was investigated. The inharmonicity of all individual strings was measured on a Steinway D grand piano. Variable inharmonicity was implemented by additive synthesis with frequency-adjusted sinusoidal partials. Fifteen piano tuners and 18 orchestra musicians participated in the experiments. The results indicate that the inharmonic piano tones produced a keyboard tuning curve similar to the Railsback curve and differed significantly from the harmonic counterpart. The inharmonic tuning curve was reminiscent of the subjective octave enlargement curve. Inharmonic tone pitches were perceived to be higher than harmonic tones up to C ♯ 7. The covibrating strings of the other keys did not exhibit any meaningful effect on the measured inharmonicity of a single string of the played key. [ABSTRACT FROM AUTHOR]

While cochlear implants (CIs) have proven to restore speech perception to a remarkable extent, access to music remains difficult for most CI users. In this work, a methodology for the design of deep learning-based signal preprocessing strategies that simplify music signals and emphasize rhythmic information is proposed. It combines harmonic/percussive source separation and deep neural network (DNN) based source separation in a versatile source mixture model. Two different neural network architectures were assessed with regard to their applicability for this task. The method was evaluated with instrumental measures and in two listening experiments for both network architectures and six mixing presets. Normal-hearing subjects rated the signal quality of the processed signals compared to the original both with and without a vocoder which provides an approximation of the auditory perception in CI listeners. Four combinations of remix models and DNNs have been selected for an evaluation with vocoded signals and were all rated significantly better in comparison to the unprocessed signal. In particular, the two best-performing remix networks are promising candidates for further evaluation in CI listeners. [ABSTRACT FROM AUTHOR]

Sound & Music is an introductory musical acoustics course designed from the ground up using Physics Education Research techniques. The onset of the COVID-19 pandemic forced changes in the curriculum that essentially were reactionary in scope. This was a universal problem that opened up discussions with other educators. Although it had existed previously, the idea of "flipping" a class became a popular concept during the pandemic. Pedagogies applied to an introductory acoustics course are examined as to what they meant in the context of the pandemic. This paper will look at the structure and format of the course pre-pandemic as well as discuss excerpts from three different hands-on activities that were each designed using Physics Education Research techniques. It will then look at how these were altered to be used during the pandemic era as well as other challenges that were overcome during this time, summarizing what changes worked and what did not. [ABSTRACT FROM AUTHOR]

This study investigates the dynamic auditory perception in large sequential public spaces for listeners in motion with a stationary primary sound source. Virtual soundwalks, involving four music and voice sources and validated with in situ soundwalks, were conducted in an exhibition space. The perception differences between the approaching and receding sound sources were explored, and three major effects were found. The rising sound received a higher rating in each room with a greater perceived change in the loudness than the falling sound despite equal changes in both levels (approach effect). The difference was greater for the room connected to the source room. The loudness in the room connected to the source room receives a sharp drop (plummet effect) for the receding sound source, which was larger for music than for voice. The effect of the background sound impairing the perceptual priority of rising sound was profound in the receiving rooms. The loudness patterns could not be extended to other perceptual attributes, including reverberation. An increasing symmetry of the overall perception between the different sound source types was observed (convergence effect) either by the approaching or receding sound sources. The overall asymmetry of the directional aspects occurring with the noise and voice was not as distinguishable as with music. [ABSTRACT FROM AUTHOR]

The frequency-domain Prony method (FDPM) [Ando, IEEE Trans. Signal Process. 68, 3461–3470 (2020)] provides a novel and exact short-time, frequency-decomposed scheme for autoregressive model identification and sinusoidal parameter estimation with a superior statistical performance. By using it as localized estimation elements, we construct the time–frequency representation (TFR) of signals as the frequency-reassigned map of the damped sinusoidal parameters of their components. The FDPM for both single and multiple sinusoids is based on a small number of windowless Fourier coefficients of sampled sequence. Thus, a unified and flexible construction of resolution and decomposition structures including linear and log-linear frequency arrays and their combination is possible, and dense analysis along the time axis can be implemented without a significant increase in computational cost. Conditions for constructing the frequency-variant arrays are formulated. Two cooperative behaviors in the TFR are considered to find stable traces of frequencies and rapidly time-varying incidences and components. Several experiments are shown to confirm extended features and performances of the proposed TFR using musical, speech, and natural sound signals. [ABSTRACT FROM AUTHOR]

This study explores the effects of native prosodic system and segmental context on the perception of Cantonese tones by Mandarin and Japanese listeners. In Experiment 1, 13 Mandarin and 13 Japanese subjects took part in a two-alternative forced-choice discrimination test of Cantonese tones in different segmental contexts (familiar vs unfamiliar). In Experiment 2, 20 Mandarin listeners participated in a perceptual assimilation task that examined the cross-language perceptual similarity between Mandarin and Cantonese tones. Results showed that Mandarin listeners were comparable to Japanese counterparts in discriminability, but the former attended more to pitch contour differences while the latter were more sensitive to pitch height. Moreover, the effect of segmental context was significant exclusively in the Mandarin group, whereas the Japanese group performed stably across syllables in discriminating Cantonese tones. It seemed that unfamiliar context rendered lower perceptual similarity, which further hindered corresponding discrimination by the Mandarin group. In addition, segmental effects were mainly observed in the assimilation patterns of category goodness or uncategorized-categorized. These findings suggested that non-native tone perception could be modulated by listeners' native prosodic structures in a finer way. [ABSTRACT FROM AUTHOR]

We investigate whether acoustic cue weightings are transferred from the native language to the second language [research question 1 (RQ1)], how cue weightings change with increasing second-language proficiency (RQ2), and whether individual cues are used independently or together in the second language (RQ3). Vowel reduction is a strong cue to lexical stress in English but not Dutch. Native English listeners and Dutch second-language learners of English completed a cue-weighting stress perception experiment. Participants heard sentence-final pitch-accented auditory stimuli and identified them as DEsert (initial stress) or deSSERT (final stress). The stimuli were manipulated in seven steps from initial to final stress, manipulating two dimensions at a time: vowel quality and pitch, vowel quality and duration, and pitch and duration (other dimensions neutralized). Dutch listeners relied less on vowel quality and more on pitch than English listeners, with Dutch listeners' sensitivity to vowel quality increasing with English proficiency but their sensitivity to pitch not varying with proficiency; Dutch listeners evidenced similar or weaker reliance on duration than did English listeners, and their sensitivity to duration increased with proficiency; and Dutch listeners' use of pitch and duration were positively related. These results provide general support for a cue-based transfer approach to the perception of lexical stress. [ABSTRACT FROM AUTHOR]

An experiment is reported, showing that short-term memory for pitch in absolute pitch (AP) possessors, while substantially more accurate than in AP nonpossessors, is also subject to illusory conjunctions of pitch and time and so can be distorted or enhanced by a single tone embedded in a sequence of six other tones. Both AP possessors and AP nonpossessors performed a short-term memory task. A test tone was presented, then a sequence of six intervening tones, and then a probe tone. The test and probe tones either were identical in pitch or differed by a semitone. The AP nonpossessors judged whether the test and probe tones were the same or different, and the AP possessors identified the test and probe tones by name. In some conditions, a tone of identical pitch to the probe tone or an octave removed from this tone was included in the intervening sequence. In both the AP possessors and AP nonpossessors, this illusion-producing tone increased judgments that the test and probe tones were identical. These results accord with a model of the system underlying short-term memory for pitch proposed earlier and show that this system is bidimensional in nature, involving both pitch height and pitch class. [ABSTRACT FROM AUTHOR]

Listeners appear able to extract a residue pitch from high-frequency harmonics for which phase locking to the temporal fine structure is weak or absent. The present study investigated musical interval perception for high-frequency harmonic complex tones using the same stimuli as Lau, Mehta, and Oxenham [J. Neurosci. 37, 9013–9021 (2017)]. Nine young musically trained listeners with especially good high-frequency hearing adjusted various musical intervals using harmonic complex tones containing harmonics 6–10. The reference notes had fundamental frequencies (F0s) of 280 or 1400 Hz. Interval matches were possible, albeit markedly worse, even when all harmonic frequencies were above the presumed limit of phase locking. Matches showed significantly larger systematic errors and higher variability, and subjects required more trials to finish a match for the high than for the low F0. Additional absolute pitch judgments from one subject with absolute pitch, for complex tones containing harmonics 1–5 or 6–10 with a wide range of F0s, were perfect when the lowest frequency component was below about 7 kHz, but at least 50% of responses were incorrect when it was 8 kHz or higher. The results are discussed in terms of the possible effects of phase-locking information and familiarity with high-frequency stimuli on pitch. [ABSTRACT FROM AUTHOR]

Contrary to studies on speech learning of consonants and vowels, the issue of individual variability is less well understood in the learning of lexical tones. Whereas existing studies have focused on contour-tone learning (Mandarin) by listeners without experience of a tonal language, this study addressed a research gap by investigating the perceptual learning of level-tone contrasts (Cantonese) by learners with experience of a contour-tone system (Mandarin). Critically, we sought to answer the question of how Mandarin listeners' initial perception and learning of Cantonese level-tones are affected by their musical and pitch aptitude. Mandarin-speaking participants completed a pretest, training, and a posttest in the level-tone discrimination and identification (ID) tasks. They were assessed in musical aptitude and speech and nonspeech pitch thresholds before training. The results revealed a significant training effect in the ID task but not in the discrimination task. Importantly, the regression analyses showed an advantage of higher musical and pitch aptitude in perceiving Cantonese level-tone categories. The results explained part of the level-tone learning variability in speakers of a contour-tone system. The finding implies that prior experience of a tonal language does not necessarily override the advantage of listeners' musical and pitch aptitude. [ABSTRACT FROM AUTHOR]

Many studies have reported a musical advantage in perceiving lexical tones among non-native listeners, but it is unclear whether this advantage also applies to native listeners, who are likely to show ceiling-like performance and thus mask any potential musical advantage. The ongoing tone merging phenomenon in Hong Kong Cantonese provides a unique opportunity to investigate this as merging tone pairs are reported to be difficult to differentiate even among native listeners. In the present study, native Cantonese musicians and non-musicians were compared based on discrimination and identification of merging Cantonese tone pairs to determine whether a musical advantage in perception will be observed, and if so, whether this is seen on the phonetic and/or phonological level. The tonal space of the subjects' lexical tone production was also compared. Results indicated that the musicians outperformed the non-musicians on the two perceptual tasks, as indexed by a higher accuracy and faster reaction time, particularly on the most difficult tone pair. In the production task, however, there was no group difference in various indices of tonal space. Taken together, musical experience appears to facilitate native listeners' perception, but not production, of lexical tones, which partially supports a music-to-language transfer effect. [ABSTRACT FROM AUTHOR]

Lau et al. [J. Neurosci. 37, 9013–9021 (2017)] showed that discrimination of the fundamental frequency (F0) of complex tones with components in a high-frequency region was better than predicted from the optimal combination of information from the individual harmonics. The predictions depend on the assumption that psychometric functions for frequency discrimination have a slope of 1 at high frequencies. This was tested by measuring psychometric functions for F0 discrimination and frequency discrimination. Difference limens for F0 (F0DLs) and difference limens for frequency for each frequency component were also measured. Complex tones contained harmonics 6–10 and had F0s of 280 or 1400 Hz. Thresholds were measured using 210-ms tones presented diotically in diotic thresholdequalizing noise (TEN), and 1000-ms tones presented diotically in dichotic TEN. The slopes of the psychometric functions were close to 1 for all frequencies and F0s. The ratio of predicted to observed F0DLs was around 1 or smaller for both F0s, i.e., not super-optimal, and was significantly smaller for the low than for the high F0. The results are consistent with the idea that place information alone can convey pitch, but pitch is more salient when phase-locking information is available. [ABSTRACT FROM AUTHOR]

Timbre dissimilarity of orchestral sounds is well-known to be multidimensional, with attack time and spectral centroid representing its two most robust acoustical correlates. The centroid dimension is traditionally considered as reflecting timbral brightness. However, the question of whether multiple continuous acoustical and/or categorical cues influence brightness perception has not been addressed comprehensively. A triangulation approach was used to examine the dimensionality of timbral brightness, its robustness across different psychoacoustical contexts, and relation to perception of the sounds' source-cause. Listeners compared 14 acoustic instrument sounds in three distinct tasks that collected general dissimilarity, brightness dissimilarity, and direct multi-stimulus brightness ratings. Results confirmed that brightness is a robust unitary auditory dimension, with direct ratings recovering the centroid dimension of general dissimilarity. When a two-dimensional space of brightness dissimilarity was considered, its second dimension correlated with the attack-time dimension of general dissimilarity, which was interpreted as reflecting a potential infiltration of the latter into brightness dissimilarity. Dissimilarity data were further modeled using partial least-squares regression with audio descriptors as predictors. Adding predictors derived from instrument family and the type of resonator and excitation did not improve the model fit, indicating that brightness perception is underpinned primarily by acoustical rather than source-cause cues. [ABSTRACT FROM AUTHOR]

The effect of instrument timbre (e.g., piano, trumpet, organ, and violin) on musical emotion recognition was tested in normal-hearing (NH) listeners and cochlear implant (CI) users. NH performance was best with the piano, and did not change when melodies were normalized with a fixed tempo. CI performance was significantly better with the piano and trumpet than with the violin and organ when both tempo and mode cues were preserved, but not for the tempo-normalized melodies. The sharper temporal onsets of piano and trumpet may enhance CI users' perception of tempo cues important for musical emotion recognition. [ABSTRACT FROM AUTHOR]

This paper presents three experiments on the integration of speaker gender cues in Cantonese tone perception. Experiment 1 compared tone identification of F0-matched stimuli between different gender voices and showed that listeners tended to hear lower tones for stimuli with female-sounding voices and higher tones for stimuli with male-sounding voices. Experiment 2 investigated whether a similar voice gender normalization effect would occur in pitch perception. The results showed that unlike tone categorization shifting with voice gender systematically, voice gender interfered with pitch perception in listener-specific ways. In particular, musicians who were not affected by voice gender in pitch perception still showed a tone boundary shift induced by voice gender. Experiment 3 evaluated the influence of non-voice gender cues on tone identification with the guises of gendered names. The result shows that gendered names barely induced any shift on their own as guises of an identical set of gender-ambiguous stimuli; however, gendered names enhanced the shift when patterned with gender-prototypical voices of their gender. These findings support an additional phonological normalization process on top of psychoacoustic sensation. They also suggest that speaker normalization involves fine-grained processing of rich social cues conveyed by acoustic signals rather than merely abstract social labels. [ABSTRACT FROM AUTHOR]

This study used the Musical Ear Test [Wallentin, Nielsen, Friis-Olivarius, Vuust, and Vuust (2010). Learn. Indiv. Diff. 20, 188–196] to compare musical aptitude of native Japanese and Chinese speakers. Although the two groups had similar overall accuracy, they showed significant differences in subtest performance. Specifically, the Chinese speakers outperformed the Japanese counterparts on the melody subtest, but the reverse was observed on the rhythm subtest. Within-group comparisons revealed that Chinese speakers performed better on the melody subtest than the rhythm subtest, while Japanese speakers showed an opposite trend. These results indicate that native language pitch and durational patterns of the listener can have a profound effect on the perception of music melody and rhythm, respectively, reflecting language-to-music transfer of learning. [ABSTRACT FROM AUTHOR]

The standard autocorrelation model of pitch perception posits that the pitch of a stimulus can be predicted from the first major peak of a summary autocorrelation function (SACF) after the zero-delay peak. Models based on this theory are capable of predicting a wide range of pitch phenomena. There are, however, a number of cases where the approach fails. Two examples are noise edge pitch (NEP) and the pitch induced by the mistuning of a single component of an otherwise harmonic stimulus. Hartmann, Cariani, and Colburn [(2019). J. Acoust. Soc. Am. 145, 1993–2008] recently proposed the use of multiple SACF peaks in the estimation process. This enables prediction of the NEP but suppresses the shift associated with a mistuned harmonic. A functional model is developed that can predict both of these pitch phenomena. The multiple-peak framework is extended with a non-standard peak-selection method that associates a delay time to a given peak in a manner that takes into account the entire shape of the bump surrounding the peak. This effectively shifts the peak location slightly for non-harmonic stimuli. A possible physiological mechanism that could induce such peak shifting is discussed, and the model is tested against existing psychophysical data. [ABSTRACT FROM AUTHOR]

Pitch perception involves the processing of multidimensional acoustic cues, and listeners can exhibit different cue integration strategies in interpreting pitch. This study aims to examine whether musicality and language experience have effects on listeners' pitch perception strategies. Both Mandarin and English listeners were recruited to participate in two experiments: (1) a pitch classification experiment that tested their relative reliance on f0 and spectral cues, and (2) the Montreal Battery of Evaluation of Musical Abilities that objectively quantified their musical aptitude as continuous musicality scores. Overall, the results show a strong musicality effect: Listeners with higher musicality scores relied more on f0 in pitch perception, while listeners with lower musicality scores were more likely to attend to spectral cues. However, there were no effects of language experience on musicality scores or cue integration strategies in pitch perception. These results suggest that less musical or even amusic subjects may not suffer impairment in linguistic pitch processing due to the multidimensional nature of pitch cues. [ABSTRACT FROM AUTHOR]

Two experiments explored how pitch influences perception of vowel duration as a cue to voicing in light of (1) psychoacoustic interactions between pitch and duration and (2) predicted compensatory effects based on the patterning of pitch and duration in the accentual/prominence-marking system of English. Listeners categorized a "coat"–"code" vowel duration continuum with pitch height on the vowel manipulated. In experiment 1 the expected psychoacoustic effect was observed. In experiment 2 the continuum was altered, highlighting pitch as a prosodic property, resulting in predicted compensatory effects. Results thus indicate prosodic patterns can mediate the perception of durational cues in isolated words. [ABSTRACT FROM AUTHOR]

Monaural noise edge pitch (NEP) is evoked by a broadband noise with a sharp falling edge in the power spectrum. The pitch is heard near the spectral edge frequency but shifted slightly into the frequency region of the noise. Thus, the pitch of a lowpass (LP) noise is matched by a pure tone typically 2%–5% below the edge, whereas the pitch of highpass (HP) noise is matched a comparable amount above the edge. Musically trained listeners can recognize musical intervals between NEPs. The pitches can be understood from a temporal pattern-matching model of pitch perception based on the peaks of a simplified autocorrelation function. The pitch shifts arise from limits on the autocorrelation window duration. An alternative place-theory approach explains the pitch shifts as the result of lateral inhibition. Psychophysical experiments using edge frequencies of 100 Hz and below find that LP-noise pitches exist but HP-noise pitches do not. The result is consistent with a temporal analysis in tonotopic regions outside the noise band. LP and HP experiments with high-frequency edges find that pitch tends to disappear as the edge frequency approaches 5000 Hz, as expected from a timing theory, though exceptional listeners can go an octave higher. [ABSTRACT FROM AUTHOR]

Both music and speech perception rely on hearing out one pitch in the presence of others. Pitch discrimination of narrowband sounds based only on temporal-envelope cues is rendered nearly impossible by introducing interferers in both normal-hearing listeners and cochlear-implant (CI) users. This study tested whether performance improves in normal-hearing listeners if the target is presented over a broad spectral region. The results indicate that performance is still strongly affected by spectrally remote interferers, despite increases in bandwidth, suggesting that envelope-based pitch is unlikely to allow CI users to perceive pitch when multiple harmonic sounds are presented at once. [ABSTRACT FROM AUTHOR]

Long-term musical training is widely reported to enhance music pitch perception. However, it remains unclear whether tone language experience influences the effect of long-term musical training on musical pitch perception. The present study addressed this question by testing 30 Cantonese and 30 non-tonal language speakers, each divided equally into musician and non-musician groups, on pitch height and pitch interval discrimination. Musicians outperformed non-musicians among non-tonal language speakers, but not among Cantonese speakers on the pitch height discrimination task. However, musicians outperformed non-musicians among Cantonese speakers, but not among non-tonal language speakers on the pitch interval discrimination task. These results suggest that the effect of long-term musical training on musical pitch perception is shaped by tone language experience and varies across different pitch perception tasks. [ABSTRACT FROM AUTHOR]

The speech-to-song (STS) illusion is a phenomenon in which some spoken utterances perceptually transform to song after repetition [Deutsch, Henthorn, and Lapidis (2011). J. Acoust. Soc. Am. 129, 2245-2252]. Tierney, Dick, Deutsch, and Sereno [(2013). Cereb. Cortex. 23, 249-254] developed a set of stimuli where half tend to transform to perceived song with repetition and half do not. Those that transform and those that do not can be understood to induce a musical or linguistic mode of listening, respectively. By comparing performance on perceptual tasks related to transforming and non-transforming utterances, the current study examines whether the musical mode of listening entails higher sensitivity to temporal regularity and better absolute pitch (AP) memory compared to the linguistic mode. In experiment 1, inter-stimulus intervals within STS trials were steady, slightly variable, or highly variable. Participants reported how temporally regular utterance entrances were. In experiment 2, participants performed an AP memory task after a blocked STS exposure phase. Utterances identically matching those used in the exposure phase were targets among transposed distractors in the test phase. Results indicate that listeners exhibit heightened awareness of temporal manipulations but reduced awareness of AP manipulations to transforming utterances. This methodology establishes a framework for implicitly differentiating musical from linguistic perception. [ABSTRACT FROM AUTHOR]

Cello bowing requires a very fine control of the musicians' gestures to ensure the quality of the perceived sound. When the interaction between the bow hair and the string is optimal, the sound is perceived as broad and round. On the other hand, when the gestural control becomes more approximate, the sound quality deteriorates and often becomes harsh, shrill, and quavering. In this study, such a timbre degradation, often described by French cellists as harshness (décharnement), is investigated from both signal and perceptual perspectives. Harsh sounds were obtained from experienced cellists subjected to a postural constraint. A signal approach based on Gabor masks enabled us to capture the main dissimilarities between round and harsh sounds. Two complementary methods perceptually validated these signal features: First, a predictive regression model of the perceived harshness was built from sound continua obtained by a morphing technique. Next, the signal structures identified by the model were validated within a perceptual timbre space, obtained by multidimensional scaling analysis on pairs of synthesized stimuli controlled in harshness. The results revealed that the perceived harshness was due to a combination between a more chaotic harmonic behavior, a formantic emergence, and a weaker attack slope. [ABSTRACT FROM AUTHOR]

Absolute pitch is the unusual ability to recognize a pitch without an external reference. The current view is that both environmental and genetic factors are involved in the acquisition of the trait. In the present study, 127 adult musicians were subjected to a musical tone identification test. Subjects were university music students and volunteers who responded to a newspaper article. The test consisted of the identification of 40 piano and 40 pure tones. Subjects were classified in three categories according to their pitch naming ability: absolute pitch (AP), high accuracy of tone identification (HA), and non-absolute pitch (non-AP). Both the percentage of correct responses and the mean absolute deviation showed a statistically significant variation between categories. A very clear pattern of higher accuracy for white than for black key notes was observed for the HA and the non-AP groups. Meanwhile, the AP group had an almost perfect pitch naming accuracy for both kinds of tones. Each category presented a very different pattern of deviation around the correct response. The age at the beginning of musical training did not differ between categories. The distribution of pitch identification ability in this study suggests a complex inheritance of the trait. [ABSTRACT FROM AUTHOR]

Congenital amusia is a neuro-developmental disorder that may affect the processing of both music pitch and lexical tone. In the present study, the just-noticeable differences (JNDs) of tone pitch contour change were examined for three groups of Mandarin-native listeners: amusics with (tone agnosics) and without lexical tone difficulties (pure amusics), and matched controls. Tone agnosics showed significantly larger JNDs than normal controls, while pure amusics performed comparably with the controls. These results suggest that only those amusics with behavioral lexical tone deficits might be psychophysically impaired in pitch contour discrimination. [ABSTRACT FROM AUTHOR]

Absolute pitch (AP) is defined as the ability to label a musical note without the aid of a reference note. Despite the large amounts of acoustic variability encountered in music, AP listeners generally experience perceptual constancy for different exemplars within note categories (e.g., recognizing that a C played on a tuba belongs to the same category as a C played on a piccolo). The present studies investigate whether AP possessors are sensitive to context variability along acoustic dimensions that are not inherently linked to the typical definition of a note category. In a speeded target recognition task, AP participants heard a sequence of notes and pressed a button whenever they heard a designated target note. Within a trial the sequence of notes was either blocked according to note-irrelevant variation or contained a mix of different instruments (Experiment 1), amplitude levels (Experiment 2), or octaves (Experiment 3). Compared to the blocked trials, participants were significantly slower to respond in the mixed-instrument and mixed-octave trials, but not the mixedamplitude trials. Importantly, this performance difference could not be solely attributed to initial performance differences between instruments, amplitudes, or octaves. These results suggest that AP note identification is contextually sensitive. [ABSTRACT FROM AUTHOR]

A system is proposed in which rhythmic representations are used to model the perception of tempo in music. The system can be understood as a five-layered model, where representations are transformed into higher-level abstractions in each layer. First, source separation is applied (Audio Level), onsets are detected (Onset Level), and interonset relationships are analyzed (Interonset Level). Then, several high-level representations of rhythm are computed (Rhythm Level). The periodicity of the music is modeled by the cepstroid vector--the periodicity of an interonset interval (IOI)-histogram. The pulse strength for plausible beat length candidates is defined by computing the magnitudes in different IOI histograms. The speed of the music is modeled as a continuous function on the basis of the idea that such a function corresponds to the underlying perceptual phenomena, and it seems to effectively reduce octave errors. By combining the rhythmic representations in a logistic regression framework, the tempo of the music is finally computed (Tempo Level). The results are the highest reported in a formal benchmarking test (2006-2013), with a P-Score of 0.857. Furthermore, the highest results so far are reported for two widely adopted test sets, with an Acc1 of 77.3% and 93.0% for the Songs and Ballroom datasets. [ABSTRACT FROM AUTHOR]

This paper reports a large-scale direct-test study of absolute pitch (AP) in students at the Shanghai Conservatory of Music. Overall note-naming scores were very high, with high scores correlating positively with early onset of musical training. Students who had begun training at age ≤5 yr scored 83% correct not allowing for semitone errors and 90% correct allowing for semitone errors. Performance levels were higher for white key pitches than for black key pitches. This effect was greater for orchestral performers than for pianists, indicating that it cannot be attributed to early training on the piano. Rather, accuracy in identifying notes of different names (C, C#, D, etc.) correlated with their frequency of occurrence in a large sample of music taken from the Western tonal repertoire. There was also an effect of pitch range, so that performance on tones in the two-octave range beginning on Middle C was higher than on tones in the octave below Middle C. In addition, semitone errors tended to be on the sharp side. The evidence also ran counter to the hypothesis, previously advanced by others, that the note A plays a special role in pitch identification judgments. [ABSTRACT FROM AUTHOR]

Oxenham et al. [Proc. Nat. Acad. Sci. 101, 1421-1425 (2004)] reported that listeners cannot derive a 'missing fundamental' from three transposed tones having high carrier frequencies and harmonically related low-frequency modulators. This finding was attributed to complex pitch perception requiring correct tonotopic representation but could have been due to the very high modulator rate difference limens (DLs) observed for individual transposed tones. Experiments 1 and 2 showed that much lower DLs could be obtained for bandpass-filtered pulse trains than for transposed tones with repetition rates of 100 or 300 pps; however, DLs were still larger than for low-frequency pure tones. Experiment 3 presented three pulse trains filtered between 1375 and 1875, 3900 and 5400, and 7800 and 10 800 Hz simultaneously with a pink-noise background. Listeners could not compare the 'missing fundamental' of a stimulus in which the pulse rates were, respectively, 150, 225, and 300 pps, to one where all pulse trains had a rate of 75 pps, even though they could compare a 150 + 225 + 300 Hz complex tone to a 75-Hz pure tone. Hence although filtered pulse trains can produce fairly good pitch perception of simple stimuli having low repetition rates and high-frequency spectral content, no evidence that such stimuli enable complex pitch perception in the absence of a place-rate match was found. [ABSTRACT FROM AUTHOR]

A hallmark of complex pitch perception is that the pitch of a harmonic complex is the same whether or not the fundamental frequency is present. By 7 months, infants appear to discriminate on the basis of the pitch of the missing fundamental (MF). Although electrophysiological cortical responses to MF pitch changes have been recorded in infants younger than 7 months, no psychophysical studies have been published. This study investigated the ability of 3- and 4-month-olds to perceive the pitch of MF harmonic complexes based on fundamentals of 160 Hz and 200 Hz using an observer-based method. In experiment I, to demonstrate MF pitch discrimination, 3- and 4-month-olds were required to ignore spectral changes in complexes with the same fundamental and to respond only when the fundamental changed. In experiment II, a 60-260 Hz noise was presented with complexes to mask combination tones at the fundamental frequency. In experiment III, complexes were bandpass filtered with a -12 dB/octave slope to limit use of spectral edge cues and presented with a pink noise to mask all distortion products. Nearly all infants tested categorized complexes by MF pitch in these experiments, suggesting perception of the missing fundamental at 3 months. [ABSTRACT FROM AUTHOR]

Fundamental frequency difference limens (F0DLs) were measured for a target harmonic complex tone with nominal fundamental frequency (F0) of 200 Hz, in the presence and absence of a harmonic masker with overlapping spectrum. The F0 of the masker was 0, ±3, or ±6 semitones relative to 200 Hz. The stimuli were bandpass filtered into three regions: 0-1000 Hz (low, L), 1600-2400 Hz (medium, M), and 2800-3600 Hz (high, H), and a background noise was used to mask combination tones and to limit the audibility of components falling on the filter skirts. The components of the target or masker started either in cosine or random phase. Generally, the effect of F0 difference between target and masker was small. For the target alone, F0DLs were larger for random than cosine phase for region H. For the target plus masker, F0DLs were larger when the target had random phase than cosine phase for regions M and H. F0DLs increased with increasing center frequency of the bandpass filter. Modeling using excitation patterns and 'summary autocorrelation' and 'stabilized auditory image' models suggested that use of temporal fine structure information can account for the small F0DLs obtained when harmonics are barely, if at all, resolved. [ABSTRACT FROM AUTHOR]

Congenital amusia is a lifelong disorder of music processing that has been ascribed to impaired pitch perception and memory. The present study tested a large group of amusics (n = 17) and provided evidence that their pitch deficit affects pitch processing in speech to a lesser extent: Fine-grained pitch discrimination was better in spoken syllables than in acoustically matched tones. Unlike amusics, control participants performed fine-grained pitch discrimination better for musical material than for verbal material. These findings suggest that pitch extraction can be influenced by the nature of the material (music vs speech), and that amusics' pitch deficit is not restricted to musical material, but extends to segmented speech events. [ABSTRACT FROM AUTHOR]

Pitch intervals are central to most musical systems, which utilize pitch at the expense of other acoustic dimensions. It seemed plausible that pitch might uniquely permit precise perception of the interval separating two sounds, as this could help explain its importance in music. To explore this notion, a simple discrimination task was used to measure the precision of interval perception for the auditory dimensions of pitch, brightness, and loudness. Interval thresholds were then expressed in units of just-noticeable differences for each dimension, to enable comparison across dimensions. Contrary to expectation, when expressed in these common units, interval acuity was actually worse for pitch than for loudness or brightness. This likely indicates that the perceptual dimension of pitch is unusual not for interval perception per se, but rather for the basic frequency resolution it supports. The ubiquity of pitch in music may be due in part to this fine-grained basic resolution. [ABSTRACT FROM AUTHOR]

Highly and moderately skilled choral singers listened to a perfect fifth reference, with the instruction to complement the fifth such that a major triad resulted. The fifth was suddenly and unexpectedly shifted in pitch, and the singers’ task was to shift the fundamental frequency of the sung tone accordingly. The F0 curves during the transitions often showed two phases, an initial quick and large change followed by a slower and smaller change, apparently intended to fine-tune voice F0 to complement the fifth. Anesthetizing the vocal folds of moderately skilled singers tended to delay the reaction. The means of the response times varied in the range 197– 259 ms depending on direction and size of the pitch shifts, as well as on skill and anesthetization. [ABSTRACT FROM AUTHOR]

Congenital amusia is a musical disorder characterized by impaired pitch perception. To examine to what extent this perceptual pitch deficit may compromise singing, 11 amusic individuals and 11 matched controls were asked to sing a familiar tune with lyrics and on the syllable /la/. Acoustical analysis of sung renditions yielded measures of pitch accuracy (e.g., number of pitch errors) and time accuracy (e.g., number of time errors). The results revealed that 9 out of 11 amusics were poor singers, mostly on the pitch dimension. Poor singers made an anomalously high number of pitch interval and contour errors, produced pitch intervals largely deviating from the score, and lacked pitch stability; however, more than half of the amusics sang in-time. Amusics’ variability in singing proficiency was related to their residual pitch perceptual ability. Thus, their singing deficiency might be a consequence of their perceptual deficit. Nevertheless, there were notable exceptions. Two amusic individuals, despite their impoverished perception, sang proficiently. The latter findings are consistent with the existence of separate neural pathways for auditory perception and action. [ABSTRACT FROM AUTHOR]

This study examined Mandarin tone identification by 36 English-speaking musicians and 36 nonmusicians and musical note identification by the musicians. In the Mandarin task, participants were given a brief tutorial on Mandarin tones and identified the tones of the syllable sa produced by 32 speakers. The stimuli included intact syllables and acoustically modified syllables with limited F0 information. Acoustic analyses showed considerable overlap in F0 range among the tones due to the presence of multiple speakers. Despite no prior experience with Mandarin, the musicians identified intact tones at 68% and silent-center tones at 54% correct, both exceeding chance (25%). The musicians also outperformed the nonmusicians, who identified intact tones at 44% and silent-center tones at 36% correct. These results indicate musical training facilitated lexical tone identification, although the facilitation varied as a function of tone and the type of acoustic input. In the music task, the musicians listened to synthesized musical notes of three timbres and identified the notes without a reference pitch. Average identification accuracy was at chance level even when multiple semitone errors were allowed. Since none of the musicians possessed absolute pitch, the role of absolute pitch in Mandarin tone identification remains inconclusive. [ABSTRACT FROM AUTHOR]

Musically untrained participants in five age groups (5-, 6-, 8-, and 11-year-olds, and adults) heard sequences of three 1 s piano tones in which the first and third tones were identical (A5, or 880 Hz) but the middle tone was displaced upward or downward in pitch. Their task was to identify whether the middle tone was higher or lower than the other two tones. In experiment 1, 5-year-olds successfully identified upward and downward shifts of 4, 2, 1, 0.5, and 0.3 semitones. In experiment 2, older children (6-, 8-, and 11-year-olds) and adults successfully identified the same shifts as well as a smaller shift (0.1 semitone). For all age groups, performance accuracy decreased as the size of the shift decreased. Performance improved from 5 to 8 years of age, reaching adult levels at 8 years. [ABSTRACT FROM AUTHOR]

Performing styles as well as recording styles have changed considerably within the 20th century. To what extent do the age of a recording, the unfamiliarity with performing style, and the quality of a reproduction of a recording systematically influence how we perceive performances on record? Four exploratory experiments were run to formulate an answer to this question. Each experiment examined a different aspect of the perception of performance, including judgments of quality, perceived emotion, and dynamics. Fragments from Die junge Nonne sung by famous singers from the start, middle, and second half of the 20th century were presented in a noisy and clean version to musically trained participants. The results show independence of perception of emotional activity from recording date, strong dependence of perceived quality and emotional impact on recording date, and only limited effects of reproduction quality. Standards have clearly changed, which influence judgments of quality and age. Additionally, changes restrict the communication between early recorded performers and modern listeners to some extent as shown by systematically smaller variations in communicated dynamics and emotional valence for older recordings. [ABSTRACT FROM AUTHOR]

A study was conducted with the goal of quantifying auditory attributes that underlie listener preference for multichannel reproduced sound. Short musical excerpts were presented in mono, stereo, and several multichannel formats to a panel of 40 selected listeners. Scaling of auditory attributes, as well as overall preference, was based on consistency tests of binary paired-comparison judgments and on modeling the choice frequencies using probabilistic choice models. As a result, the preferences of nonexpert listeners could be measured reliably at a ratio scale level. Principal components derived from the quantified attributes predict overall preference well. The findings allow for some generalizations within musical program genres regarding the perception of and preference for certain spatial reproduction modes, but for limited generalizations across selections from different musical genres. [ABSTRACT FROM AUTHOR]