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Binaural hearing aids potentially provide binaural cues that can improve the dectability and the spatial separation of multiple sound sources. This paper considers the use of binaural cues and the resultant spatial percepts on listeners' ability to separate simultaneous sound sources. In backgrounds with continuous noise or multiple talkers, the main problem is the detection of individual acoustic components. On the other hand, if a single masking sound is very similar to the target, and both target and masker are spectro-temporally sparse, as is the case with speech, the main problem, at least for listeners with normal hearing, is to decide whether a particular spectro-temporal feature belongs to the target source and to track that source across time. Although the subjective location of a sound source can help in grouping features across time, its effect is most easily observed in the absence of other differences between the sound sources. [ABSTRACT FROM AUTHOR]

Although laughter plays an essential part in emotional vocal communication, little is known about the acoustical correlates that encode different emotional dimensions. In this study we examined the acoustical structure of laughter sounds differing along four emotional dimensions: arousal, dominance, sender's valence, and receiver-directed valence. Correlation of 43 acoustic parameters with individual emotional dimensions revealed that each emotional dimension was associated with a number of vocal cues. Common patterns of cues were found with emotional expression in speech, supporting the hypothesis of a common underlying mechanism for the vocal expression of emotions.

Although listeners are able to decode the underlying emotions embedded in acoustical laughter sounds, little is known about the acoustical cues that differentiate between the emotions. This study investigated the acoustical correlates of laughter expressing four different emotions: joy, tickling, taunting, and schadenfreude. Analysis of 43 acoustic parameters showed that the four emotions could be accurately discriminated on the basis of a small parameter set. Vowel quality contributed only minimally to emotional differentiation whereas prosodic parameters were more effective. Emotions are expressed by similar prosodic parameters in both laughter and speech.

Although laughter is important in human social interaction, its role as a communicative signal is poorly understood. Because laughter is expressed in various emotional contexts, the question arises as to whether different emotions are communicated. In the present study, participants had to appraise 4 types of laughter sounds (joy, tickling, taunting, schadenfreude) either by classifying them according to the underlying emotion or by rating them according to different emotional dimensions. The authors found that emotions in laughter (a) can be classified into different emotional categories, and (b) can have distinctive profiles on W. Wundt's (1905) emotional dimensions. This shows that laughter is a multifaceted social behavior that can adopt various emotional connotations. The findings support the postulated function of laughter in establishing group structure, whereby laughter is used either to include or to exclude individuals from group coherence.

Although most research on the perception of speech has been conducted with speech presented without any competing sounds, we almost always listen to speech against a background of other sounds which we are adept at ignoring. Nevertheless, such additional irrelevant sounds can cause severe problems for speech recognition algorithms and for the hard of hearing as well as posing a challenge to theories of speech perception. A variety of different problems are created by the presence of additional sound sources: detection of features that are partially masked, allocation of detected features to the appropriate sound sources and recognition of sounds on the basis of partial information. The separation of sounds is arousing substantial attention in psychoacoustics and in computer science. An effective solution to the problem of separating sounds would have important practical applications.

Two experiments demonstrate that the perceived durations of sounds as long as 1 sec are influenced by the sounds' amplitude envelopes, extending Schlauch, Ries, and DiGiovanni's (2001) observations on sounds of 200-msec duration. Sounds with a monotonic decay (i.e., damped sounds) are heard as substantially shorter than both steady sounds and those with a monotonic increase of level (i.e., ramped sounds). Neither a reaction time (Experiments 1 and 2) nor a staircase (Experiment 2) procedure supported a sensory explanation for these different subjective durations. The results are compatible with the suggestion of Stecker and Hafter (2000) that listeners exclude part of the tails of damped sounds in the computation of their subjective durations.

Three experiments examine the effect of a difference in fundamental frequency (F0) range between two simultaneous voices on the processing of unattended speech. Previous experiments have only found evidence for the processing of nominally unattended speech when it has consisted of isolated words which could have attracted the listener's attention. A paradigm recently used by Dupoux et al. [J. Exp. Psychol.: Human Percept. Perform. 29(1), 172-184 (2003)] was modified so that participants had to detect a target word belonging to a specific category presented in a rapid list of words in the attended ear. In the unattended ear, concatenated sentences were presented, some containing a repetition prime presented just before a target word. Primes speeded category detection by 25 ms when the two messages were in a difference F0 range. This priming effect was unaffected by whether the target was led to the left or the right ear, but disappeared when there was no F0 range difference between the messages. Finally, it was replicated when participants were compelled to focus on the attended message in order to perform a second task. The results demonstrate that repetition priming can be produced by words in unattended continuous speech provided that there is a difference in F0 range between the voices.

Are the conditions for illusory auditory continuity entirely local in frequency, or are judgments of continuity made on auditory objects? Listeners made continuous/pulsating judgments on a variety of complex tones that repeatedly alternated with a 100- to 500-Hz bandpass noise. A sufficiently quiet complex tone was heard as continuous when all its harmonics fell within the frequency range of the noise. Adding harmonics outside the noise's frequency range substantially reduced the impression of continuity, which was largely restored when these additional components were given a different fundamental frequency. Judgments of auditory continuity thus appear to be based on entire simultaneously grouped objects, rather than being determined solely by local criteria based on individual frequency channels.

Recent results have shown that listeners attending to the quieter of two speech signals in one ear (the target ear) are highly susceptible to interference from normal or time-reversed speech signals presented in the unattended ear. However, speech-shaped noise signals have little impact on the segregation of speech in the opposite ear. This suggests that there is a fundamental difference between the across-ear interference effects of speech and nonspeech signals. In this experiment, the intelligibility and contralateral-ear masking characteristics of three synthetic speech signals with parametrically adjustable speech-like properties were examined: (1) a modulated noise-band (MNB) speech signal composed of fixed-frequency bands of envelope-modulated noise; (2) a modulated sine-band (MSB) speech signal composed of fixed-frequency amplitude-modulated sinewaves; and (3) a "sinewave speech" signal composed of sine waves tracking the first four formants of speech. In all three cases, a systematic decrease in performance in the two-talker target-ear listening task was found as the number of bands in the contralateral speech-like masker increased. These results suggest that speech-like fluctuations in the spectral envelope of a signal play an important role in determining the amount of across-ear interference that a signal will produce in a dichotic cocktail-party listening task.

Two experiments establish constraints on the ability of a common fundamental frequency (F0) to perceptually fuse low-pass filtered and complementary high-pass filtered speech presented to different ears. In experiment 1 the filter cut-off is set at 1 kHz. When the filters are sharp, giving little overlap in frequency between the two sounds, listeners report hearing two sounds even when the sounds at the two ears are on the same F0. Shallower filters give more fusion. In experiment 2, the filters' cut-off frequency is varied together with their slope. Fusion becomes more frequent when the signals at the two ears share low-frequency components. This constraint mirrors the natural filtering by head-shadow of sound sources presented to one side. The mechanisms underlying perceptual fusion may thus be similar to those underlying auditory localization.

Three experiments used the Coordinated Response Measure task to examine the roles that differences in F0 and differences in vocal-tract length have on the ability to attend to one of two simultaneous speech signals. The first experiment asked how increases in the natural F0 difference between two sentences (originally spoken by the same talker) affected listeners' ability to attend to one of the sentences. The second experiment used differences in vocal-tract length, and the third used both F0 and vocal-tract length differences. Differences in F0 greater than 2 semitones produced systematic improvements in performance. Differences in vocal-tract length produced systematic improvements in performance when the ratio of lengths was 1.08 or greater, particularly when the shorter vocal tract belonged to the target talker. Neither of these manipulations produced improvements in performance as great as those produced by a different-sex talker. Systematic changes in both F0 and vocal-tract length that simulated an incremental shift in gender produced substantially larger improvements in performance than did differences in F0 or vocal-tract length alone. In general, shifting one of two utterances spoken by a female voice towards a male voice produces a greater improvement in performance than shifting male towards female. The increase in performance varied with the intonation patterns of individual talkers, being smallest for those talkers who showed most variability in their intonation patterns between different utterances.

The two experiments described here use a formant-matching task to investigate what abstract representations of sound are available to listeners. The first experiment examines how veridically and reliably listeners can adjust the formant frequency of a single-formant sound to match the timbre of a target single-formant sound that has a different bandwidth and either the same or a different fundamental frequency (F0). Comparison with previous results [Dissard and Darwin, J. Acoust. Soc. Am. 106, 960-969 (2000)] shows that (i) for sounds on the same F0, introducing a difference in bandwidth increases the variability of matches regardless of whether the harmonics close to the formant are resolved or unresolved; (ii) for sounds on different F0's, introducing a difference in bandwidth only increases variability for sounds that have unresolved harmonics close to the formant. The second experiment shows that match variability for sounds differing in F0, but with the same bandwidth and with resolved harmonics near the formant peak, is not influenced by the harmonic spacing or by the alignment of harmonics with the formant peak. Overall, these results indicate that match variability increases when the match cannot be made on the basis of the excitation pattern, but match variability does not appear to depend on whether ideal matching performance requires simply interpolation of a spectral envelope or also the extraction of the envelope's peak frequency.

Three experiments explored the resistance to simulated reverberation of various cues for selective attention. Listeners decided which of two simultaneous target words belonged to an attended rather than to a simultaneous unattended sentence. Attended and unattended sentences were spatially separated using interaural time differences (ITDs) of 0, +/-45, +/-91 or +/-181 micros. Experiment 1 used sentences resynthesized on a monotone, with sentence pairs having F0 differences of 0, 1, 2, or 4 semitones. Listeners' weak preference for the target word with the same monotonous F0 as the attended sentence was eliminated by reverberation. Experiment 1 also showed that listeners' ability to use ITD differences was seriously impaired by reverberation although some ability remained for the longest ITD tested. In experiment 2 the sentences were spoken with natural prosody, with sentence stress in different places in the attended and unattended sentences. The overall F0 of each sentence was shifted by a constant amount on a log scale to bring the F0 trajectories of the target words either closer together or further apart. These prosodic manipulations were generally more resistant to reverberation than were the ITD differences. In experiment 3, adding a large difference in vocal-tract size (+/- 15%) to the prosodic cues produced a high level of performance which was very resistant to reverberation. The experiments show that the natural prosody and vocal-tract size differences between talkers that were used retain their efficacy in helping selective attention under conditions of reverberation better than do interaural time differences.

The four experiments reported here measure listeners' accuracy and consistency in adjusting a formant frequency of one- or two-formant complex sounds to match the timbre of a target sound. By presenting the target and the adjustable sound on different fundamental frequencies, listeners are prevented from performing the task by comparing the absolute or relative levels of resolved spectral components. Experiment 1 uses two-formant vowellike sounds. When the two sounds have the same F0, the variability of matches (within-subject standard deviation) for either the first or the second formant is around 1%-3%, which is comparable to existing data on formant frequency discrimination thresholds. With a difference in F0, variability increases to around 8% for first-formant matches, but to only about 4% for second-formant matches. Experiment 2 uses sounds with a single formant at 1100 or 1200 Hz with both sounds on either low or high fundamental frequencies. The increase in variability produced by a difference in F0 is greater for high F0's (where the harmonics close to the formant peak are resolved) than it is for low F0's (where they are unresolved). Listeners also showed systematic errors in their mean matches to sounds with different high F0's. The direction of the systematic errors was towards the most intense harmonic. Experiments 3 and 4 showed that introduction of a vibratolike frequency modulation (FM) on F0 reduces the variability of matches, but does not reduce the systematic error. The experiments demonstrate, for the specific frequencies and FM used, that there is a perceptual cost to interpolating a spectral envelope across resolved harmonics.

The three experiments reported here compare the effectiveness of natural prosodic and vocal-tract size cues at overcoming spatial cues in selective attention. Listeners heard two simultaneous sentences and decided which of two simultaneous target words came from the attended sentence. Experiment 1 used sentences that had natural differences in pitch and in level caused by a change in the location of the main sentence stress. The sentences' pitch contours were moved apart or together in order to separate out effects due to pitch and those due to other prosodic factors such as intensity. Both pitch and the other prosodic factors had an influence on which target word was reported, but the effects were not strong enough to override the spatial difference produced by an interaural time difference of +/- 91 microseconds. In experiment 2, a large (+/- 15%) difference in apparent vocal-tract size between the speakers of the two sentences had an additional and strong effect, which, in conjunction with the original prosodic differences overrode an interaural time difference of +/- 181 microseconds. Experiment 3 showed that vocal-tract size differences of +/- 4% or less had no detectable effect. Overall, the results show that prosodic and vocal-tract size cues can override spatial cues in determining which target word belongs in an attended sentence.

The role of interaural time difference (ITD) in perceptual grouping and selective attention was explored in 3 experiments. Experiment 1 showed that listeners can use small differences in ITD between 2 sentences to say which of 2 short, constant target words was part of the attended sentence, in the absence of talker or fundamental frequency differences. Experiments 2 and 3 showed that listeners do not explicitly track components that share a common ITD. Their inability to segregate a harmonic from a target vowel by a difference in ITD was not substantially changed by the vowel being placed in a sentence context, where the sentence shared the same ITD as the rest of the vowel. The results indicate that in following a particular auditory sound source over time, listeners attend to perceived auditory objects at particular azimuthal positions rather than attend explicitly to those frequency components that share a common ITD.

The integration of nonsimultaneous frequency components into a single virtual pitch was investigated by using a pitch matching task in which a mistuned 4th harmonic (mistuned component) produced pitch shifts in a harmonic series (12 equal-amplitude harmonics of a 155-Hz F0). In experiment 1, the mistuned component could either be simultaneous, stop as the target started (pre-target component), or start as the target stopped (post-target component). Pitch shifts produced by the pre-target components were significantly smaller than those obtained with simultaneous components; in the post-target condition, the size of pitch shifts did not decrease relative to the simultaneous condition. In experiment 2, a silent gap of 20, 40, 80, or 160 ms was introduced between the nonsimultaneous components and the target sound. In the pre-target condition, pitch shifts were reduced to zero for silent gaps of 80 ms or longer; by contrast, a gap of 160 ms was required to eliminate pitch shifts in the post-target condition. The third experiment tested the hypothesis that, when post-target components were presented, the processing of the pitch of the target tone started at the onset of the target, and ended at the gap duration at which pitch shifts decreased to zero. This hypothesis was confirmed by the finding that pitch shifts could not be observed when the target tone had a duration of 410 ms. Taken together, the results of these experiments show that nonsimultaneous components that occur after the onset of the target sound make a larger contribution to the virtual pitch of the target, and over a longer period, than components that precede the onset of the target sound.

The two experiments reported here examine how an inter-aural time difference (ITD) interacts with two other cues, mistuning and onset asynchrony, in reducing the contribution of a single frequency component to the perception of a vowel's identity. Previous experiments have shown that although ITD is generally rather ineffective at segregating a simultaneous harmonic frequency component from a vowel, it can produce some segregation when listeners have already been exposed to the isolated segregated component. A difference in ITD increases segregation overall in experiment 1 where the to-be-segregated component can also have a different onset time from the remainder of the vowel, and experiment 2 shows a similar result when the to-be-segregated component is mistuned. However, segregation by ITD is present just as strongly on trials when there is neither mistuning nor a difference in onset-time as on trials where these additional cues are present. Segregation on trials when there is neither mistuning nor a difference in onset-time is however larger in the present experiment which mixed all conditions together than in similar trials in an earlier experiment that had a blocked design [C.J. Darwin and R.W. Hukin, J. Acoust. Soc. Am. 102, 2316-2324 (1997)]. The results show that segregation by ITD increases when other more potent cues are present in the experiment.

Although our subjective experience of the world is one of discrete sound sources, the individual frequency components that make up these separate sources are spread across the frequency spectrum. Listeners. use various simple cues, including common onset time and harmonicity, to help them achieve this perceptual separation. Our ability to use harmonicity to segregate two simultaneous sound sources is constrained by the frequency resolution of the auditory system, and is much more effective for low-numbered, resolved harmonics than for higher-numbered, unresolved ones. Our ability to use interaural time-differences (ITDs) in perceptual segregation poses a paradox. Although ITDs are the dominant cue for the localization of complex sounds, listeners cannot use ITDs alone to segregate the speech of a single talker from similar simultaneous sounds. Listeners are, however, very good at using ITD to track a particular sound source across time. This difference might reflect two different levels of auditory processing, indicating that listeners attend to grouped auditory objects rather than to those frequencies that share a common ITD.

The five experiments reported here examine the conditions under which sounds differing in their interaural time difference (ITD) are segregated for the purposes of perceiving a vowel's identity. Experiment 1 confirms previous findings that (i) a difference in ITD provides only a very weak cue for segregating a vowel's 500-Hz harmonic from the remainder of an isolated vowel; (ii) embedding the harmonic in a series of 500-Hz tones produces some segregation, which is enhanced if the harmonic and the tones differ in ITD from the rest of the vowel; and (iii) when these latter sounds are presented in the same block as isolated vowels, they facilitate segregation of the harmonic by ITD in the isolated vowels. The subsequent experiments show that this last effect, across-trial facilitation, is only produced by sounds which cue both the frequency and the ITD of the harmonic; either alone is insufficient. We also show that: (i) a single cue tone at the frequency of the harmonic is sufficient to facilitate the use of ITD in grouping; (ii) sequential organization by frequency proximity dominates over sequential organization by ITD when simultaneous sound sources are present; and (iii) the effectiveness of a cue tone can be abolished by capturing it into a synchronous harmonic complex. The experiments clarify the conditions under which ITDs contribute to the segregation of simultaneous sounds.

The lateralization paradigm of Trahiotis and Stern [C. Trahiotis and R. M. Sern, J. Acoust. Soc. Am. 86, 1285-1293 (1989)] was extended to investigate the influence of a spectrally flanking complex on the lateral position of a perturbed harmonic. When a complex tone consisting of harmonics 2 through 8 or 100 Hz was presented with an interaural time difference (ITD) of 1.5 ms, the complex was heard on the leading side (experiment 1). However, when the 500-Hz component had a later onset time than the other components (experiments 1 and 2) or was mistuned (experiment 3), it was perceived to be in a different lateral position to the complex. The complex still maintained a residual influence on the lateralization of the pure tone even for the largest asynchrony used (experiment 4). Experiment 5 confirmed that the lateralizaiton of the tonal complex was consistent with the aggregation of binaural information across frequency. The results suggest that across-frequency integration of interaural-timing information is influenced by onset-asynchrony and harmonicity.

Evidence is presented that sequential auditory grouping constraints apply to the perception of pitch. Experiment 1 shows that the pitch changes produced by mistuning the fourth harmonic of a 90-ms 12-harmonic 155-Hz fundamental complex tone are substantially reduced when the complex is preceded by four 90-ms tones at the same frequency as the mistuned component. Both the pitch changes and their reduction by the tonal sequence precursor remain when the mistuned component and the precursor are presented contralateral to the remaining components. Experiment 2 shows that reducing the level of the same mistuned component reduces the size of the pitch change, but only if the mistuned component is presented ipsilaterally. To the extent that adaptation can be equated with a physical reduction in level, this result provides further evidence against peripheral adaptation playing a significant role in the auditory grouping of harmonics in pitch perception.

When a single harmonic close to the first formant frequency is mistuned by about 8%, that harmonic makes a reduced contribution to the vowel's first formant frequency as measured by a shift in the phoneme boundary along an F1 continuum between /I/ and /epsilon/ [C.J. Darwin and R.B Gardner, J. Acoust. Soc. Am. 79, 838-45 (1986)]. In the present experiments, phoneme boundaries along an /I/-/epsilon/ continuum were measured for vowels differing in F1 whose fourth harmonic (500 Hz) was mistuned by 0, +/- 3, +/- 6, or +/- 9%. All the harmonics of a vowel (including the mistuned one) were given either no FM or coherent FM at a rate of 6 Hz and modulation depth of +/- 5%. The results replicated the previous findings, but found no evidence for coherent FM preventing the segregation of the mistuned harmonic from the vowel.

Previous experiments have shown that when a slightly mistuned harmonic of a complex tone starts more than about 80 msec before the remaining components, it makes a reduced contribution to the pitch of the complex. This contribution decreases to zero by about 300-msec onset asynchrony. In vowel perception, however, analogous experiments have shown that a much shorter asynchrony (around 40 msec) is enough to ensure that a component does not influence a vowel's phonemic category. The three experiments reported here demonstrate that this difference in the utility of onset time as a grouping cue does not arise because of differences in stimulus structure, but rather is due to the perceptual task. They show that the onset asynchrony needed in a pitch-matching experiment to remove the contribution that a mistuned component makes to the pitch of a vowel is the same as that needed to remove the contribution to the pitch of a flat-spectrum complex tone. They further show that a much smaller onset asynchrony is needed to perceptually remove the same harmonic from a vowel for the calculation of vowel quality. The implication of this result for models of auditory grouping is discussed.

It has previously been found that when a single low-numbered harmonic of a complex tone is progressively mistuned, for mistunings up to about 3%, the pitch of the complex changes in the direction of the mistuning but for larger mistunings (by about 8%) the pitch returns to its original value. This result is compatible with the operation of a mechanism such as a graded harmonic sieve, which can reject from the calculation of pitch those frequency components that are implausibly distant from a harmonic frequency. The first experiment shows that the tolerance of such a sieve is increased when all the components of the complex tone (including the mistuned component) share a common pattern of frequency modulation at a rate of 6 Hz. The second experiment shows that the tolerance of the sieve is not increased when the components share a common pattern of amplitude modulation at 17 Hz. The third experiment replicates these findings and further shows that the increase in sieve tolerance for FM, but not for AM, occurs at both 6 and at 17 Hz.

Identification of simultaneous speech sounds, such as pairs of steady-state vowels (double vowels), is more accurate when there is a difference in fundamental frequency (F0). Accuracy of identification for double vowels increases with increasing F0 difference (delta F0) asymptoting above 1 semitone. The experiment described here attempts to distinguish two mechanisms underlying this effect: first, perceptual separation by grouping together harmonic components of a common F0; and, second, exploitation of the fluctuations in the spectral envelope of the composite stimulus that result from beating between unresolved components. The beating is mainly caused by interactions between corresponding harmonics of the two vowels with a small delta F0. Identification accuracy for normal, harmonically excited double vowels was compared with that for double vowels composed from the same components, but whose constituent vowels were excited by a mixture of the two harmonic series. These double vowels were designed to produce similar beating patterns to the normal double vowels. Both harmonically and inharmonically excited constituents improved identification with increasing delta F0, but the increase was larger for harmonically excited vowels. A computational model based upon psychophysical measurements of auditory frequency and temporal resolution correctly predicted an increase in accuracy of identification with increasing delta F0 which was attributable to beating. The results are interpreted in terms of a spectral change cue in the identification of double vowels with delta F0's which complements grouping by F0, and which plays a dominant role for delta F0's smaller than 1 semitone.

When the fundamental frequency (F0) contours of two speakers' voices intersect, the listener is presented with a problem. The listener must decide which of the F0 contours emerging from the intersection is a continuation of which contour entering the intersection: have the F0 contours crossed or merely approached and parted? In the present experiment, subjects listened to two simultaneous diphthong-like sounds with F0 contours that either approached and diverged or crossed over. The task was to report whether the pitches "crossed" or "bounced" away from each other. Despite the changing timbres of the two sounds, the subjects were able to discriminate crossing and bouncing F0s, provided that the timbres of the vowels differed at the moment when their F0s were the same. When the timbres were the same, the subjects could not make the discrimination and tended to hear a bouncing percept. These results are consistent with the idea that listeners use continuity of timbre rather than continuity of F0 movement to disambiguate F0 intersections.

Six experiments explored why the identification of the two members of a pair of diotic, simultaneous, steady-state vowels improves with a difference in fundamental frequency (delta F0). Experiment 1 confirmed earlier reports that a delta F0 improves identification of 200-ms but not 50-ms duration "double vowels"; identification improves up to 1 semitone delta F0 and then asymptotes. In such stimuli, all the formants of a given vowel are excited by the same F0, providing listeners with a potential grouping cue. Subsequent experiments asked whether the improvement in identification with delta F0 for the longer vowels was due to listeners using the consistent F0 within each vowel of a pair to group formants appropriately. Individual vowels were synthesized with a different F0 in the region of the first formant peak from in the region of the higher formant peaks. Such vowels were then paired so that the first formant of one vowel bore the same F0 as the higher formants of the other vowel. These across-formant inconsistencies in F0 did not substantially reduce the previous improvement in identification rates with increasing delta F0's of up to 4 semitones (experiment 2). The subjects' improvement with increasing delta F0 in the inconsistent condition was not produced by identifying vowels on the basis of information in the first-formant or higher-formant regions alone, since stimuli which contained either of these regions in isolation were difficult for subjects to identify. In addition, the inconsistent condition did produce poorer identification for larger delta F0's (experiment 3). The improvement in identification with delta F0 found for the inconsistent stimuli persisted when the delta F0 between vowel pairs was confined to the first formant region (experiment 4) but not when it was confined to the higher formants (experiment 6). The results replicate at different overall presentation levels (experiment 5). The experiments show that at small delta F0's only the first-formant region contributes to improvements in identification accuracy, whereas with larger delta F0's the higher formant region may also contribute. This difference may be related to other results that demonstrate the superiority of resolved rather than unresolved harmonics in coding pitch.

A previous paper by Darwin and Ciocca [J. Acoust. Soc. Am. 91, 3381-3390 (1992)] showed that a slightly mistuned frequency component of a (target) harmonic complex produced smaller pitch shifts in the target if it started 160 ms or more before the other components than if all the components were simultaneous. Three experiments investigated whether this effect of onset asynchrony is due to peripheral adaptation to the leading portion of the mistuned component or to perceptual grouping. The first two experiments showed that the effect of asynchrony could be influenced by grouping mechanisms without changing the amount of adaptation produced by the leading portion of the mistuned component. In the first experiment, the effect of asynchrony was reduced by the presence of an additional (captor) complex which was harmonically related to the mistuned component and synchronous with just its leading portion. In experiment 2, the effect of asynchrony was increased by presenting a captor that was synchronous with the entire mistuned component. This capturing effect was independent of the harmonic relation between the captor and the mistuned component at 40-ms asynchrony; at 160 ms the effect of asynchrony increased further only if the captor and the mistuned component were harmonically related. In the third experiment, the expected amount of adaptation was increased (relative to that produced by a single sine precursor) by presenting several components that were close in frequency to the mistuned component and synchronous with its leading portion.(ABSTRACT TRUNCATED AT 250 WORDS)

Three experiments investigated how the onset asynchrony and ear of presentation of a single mistuned frequency component influence its contribution to the pitch of an otherwise harmonic complex tone. Subjects matched the pitch of the target complex by adjusting the pitch of a second similar but strictly periodic complex tone. When the mistuned component (the 4th harmonic of a 155 Hz fundamental) started 160 ms or more before the remaining harmonics but stopped simultaneously with them, it made a reduced contribution to the pitch of the complex. It made no contribution if it started more than 300 ms before. Pitch shifts and their reduction with onset time were larger for short (90 ms) sounds than for long (410 ms). Pitch shifts were slightly larger when the mistuned component was presented to the same ear as the remaining 11 in-tune harmonics than to the opposite ear. Adding a "captor" complex tone with a fundamental of 200 Hz and a missing 3rd harmonic to the contralateral ear did not augment the effect of onset time, even though the captor was synchronous with the mistuned harmonic, the mistuned component was equal in frequency to the missing 3rd harmonic of the captor complex tone and it was played to the same ear as the captor. The results show that a difference in onset time can prevent a resolved frequency component from contributing to the pitch of a complex tone even though it is present throughout that complex tone.

A series of experiments investigated the effect of phase changes in low-numbered single harmonics in target sounds that were either synthesized steady-state vowels fo periodic signals having only a single formant. A matching procedure was sued in which subjects selected a sound along a continuum differing in first formant frequency in order to get the best match with the target sound; perceptual effects of the phase manipulations in the target were detected as a change in the matched first formant frequency. Stimuli had to contain at least three harmonics to produce the effect, but id did not require a particular starting phase of the components. A suppression phenomenon is discussed, in which phase changes alter the phase-locking characteristics of auditory fibres tuned to low-numbered harmonics.

Speech is normally heard against a background of other sounds, yet our ability to isolate perceptually the speech of a particular talker is poorly understood. The experiments reported here illustrate two different ways in which a listener may decide whether a tone at a harmonic of a vowel's fundamental forms part of the vowel. First, a tone that starts or stops at a different time from a vowel is less likely to be heard as part of that vowel than if it is simultaneous with it; moreover, this effect occurs regardless of whether the tone has been added to a normal vowel, or to a vowel that has already been reduced in energy at the tone's frequency. Second, energy added simultaneously with a vowel, at a harmonic frequency near to the vowel's first formant, may or may not be fully incorporated into the vowel percept, depending on its relation to the first formant: When the additional tone is just below the vowel's first formant frequency, it is less likely to be incorporated than energy that is added at a frequency just above the first formant. Both experiments show that formants may only be estimated after properties of the sound wave have been grouped into different apparent sound sources. The first result illustrates a general auditory mechanism for performing perceptual grouping, while the second result illustrates a mechanism that may use a more specific constraint on vocal-tract transfer functions.

The harmonic sieve has been proposed as a mechanism for excluding extraneous frequency components from the estimate of the pitch of a complex sound. The experiments reported here examine whether a harmonic sieve could also determine whether a particular harmonic contributes to the phonetic quality of a vowel. Mistuning a harmonic in the first formant region of vowels from an /I/-/e/ continuum gave shifts in the phoneme boundary that could be explained by (i) phase effects for small amounts of mistuning and (ii) a harmonic sievelike grouping mechanism for larger amounts of mistuning. Similar grouping criteria to those suggested for pitch may operate for the determination of first formant frequency in voiced speech.

The location of the voicing boundary in the perception of initial stop consonants is shown to vary according to the range of voice-onset times used in a block of trials and according to the order in which blocks covering different ranges are presented. Although these range effects introduce methodological complications into the interpretation of adaptation experiments, they appear to be qualitatively different from adaptation effects and, it is suggested, may provide a metric for assessing the auditory tolerance of phonological categories.

In the three experiments reported here, subjects indicate whether two sequentially presented syllables, differing in the place of articulation of an initial stop consonant, are phonernically the same or not. The first experiment finds faster |ldsame" responses to acoustically identical pairs than to pairs that are phonemically identical but acoustically distinct. provided that the second syllable is presented within 400 msec of the first. This is interpreted as indicating the persistence of a memory which preserves auditory information about within-category distinctions. The third experiment shows that this advantage remains when a tone is interposed between the two syllables, but is removed when a brief vowel is similarly interposed. The second experiment presents the second syllable of each pair dichotically with a noise burst, and shows that the size of the right-ear advantage for this reaction time task is reduced when the result of comparisons based on this auditory memory is compatible with the required phonemic decision, but that the right-ear advantage is increased when auditory comparisons would contradict the phonemic relationship.

Previous experiments on the perception of initial stops differing in voice-onset time have used sounds where the boundary between aspiration and voicing is clearly marked by a variety of acoustic events. In natural speech these events do not always occur at the same moment and there is disagreement among phoneticians as to which mark the onset of voicing. The three experiments described here examine how the phoneme boundary between syllable-initial, prestress /b/ and /p/ is influenced by the way in which voicing starts. In the first experiment the first 30 ms of buzz excitation is played at four different levels relative to the steady state of the vowel and with two different frequency distributions: In the F1-only conditions buzz is confined to the first formant, whereas in the F123 conditions all three formants are excited by buzz. The results reject the hypothesis that voicing is perceived to start when periodic excitation is present in the first formant. The results of the third experiment show also that buzz excitation confined to the fundamental frequency for 30 ms before the onset of full voicing (formant excitation) has little effect on the voicing boundary. The second experiment varies aspiration noise intensity and buzz onset intensity independently. Together with the first experiment it shows that: (1) at all buzz onset levels a change in aspiration intensity moves the boundary by about the 0.43 ms/dB found by Repp [Lang. Speech 27, 173-189 (1979)]; (2) when buzz onsets at levels greater than - 15 dB relative to the final vowel level, changes in buzz onset level again move the /b/-/p/ boundary by the same amount; (3) when buzz onsets at levels less than - 15 dB relative to the vowel, decreasing the buzz onset level gives more /p/- percepts than Repp's ratio predicts. This last result, taken with the results of the first experiment, may reflect a decision based on overall intensity about when voicing has started.

We have recorded the responses of fibers in the cochlear nerve and cells in the cochlear nucleus of the anesthetized guinea pig to synthetic vowels [i], [a], and [u] at 60 and 80 dB SPL. Histograms synchronized to the pitch period of the vowel were constructed, and locking of the discharge to individual harmonics was estimated from these by Fourier transformation. In cochlear nerve fibers from the guinea pig, the responses were similar in all respects to those previously described for the cat. In particular, the average-localized-synchronized-rate functions (ALSR), computed from pooled data, had well-defined peaks corresponding to the formant frequencies of the three vowels at both sound levels. Analysis of the components dominating the discharge could also be used to determine the voice pitch and the frequency of the first formants. We have computed similar population measures over a sample of primarylike cochlear nucleus neurons. In these primarylike cochlear nucleus cell responses, the locking to the higher-frequency formants of the vowels is weaker than in the nerve. This results in a severe degradation of the peaks in the ALSR function at the second and third formant frequencies at least for [i] and [u]. This result is somewhat surprising in light of the reports that primarylike cochlear nucleus cells phaselock, as well as do cochlear nerve fibers.

The ability of an observer to detect variations in size of a geometrical image feature have been investigated using receiver operating characteristic (ROC) analysis. Three types of image were constructed using computer graphics: disc-shaped targets of variable radius, model chest radiographs showing a variable heart diameter and model arterial angiograms with variable vessel width. Five factors were investigated: observer experience, variation of detectability with theoretical signal-to-noise ratio, the prior probability of the presence of an abnormality, viewing distance, and uncertainty in the location of an abnormality. In all but one experiment, excellent agreement was found between measured detectabilities and the predictions of signal detection theory, providing an initial practice session was included for each observer. No significant variation in detectability was found using six different prior probabilities and two different viewing distances, and the reduction in detectability for a four-alternative location task was in good agreement with theoretical predictions. The high statistical efficiencies found for the detection of geometrical signals suggest that the levels of observer "internal" noise arising from decision-making processes during an ROC experiment are very low.

In three experiments, we examined whether energy at the same frequency as one of a vowel's harmonics in the F1 region can be captured by a preceding or following sequence of tones. The position of the /I/-/E/ phoneme boundary along an F1 continuum was used to assess the extent of capture. The first two experiments showed that a sequence of tones at 500 Hz (56-msec duration at 10/sec) can perceptually remove added energy at 500 Hz from a steady vowel (F0 = 125 Hz) that forms part of the sequence. The effect is detectable with one preceding tone, asymptotes with four, and is greater when two tones follow the vowel than when none do. Rising and falling sequences of tones (at 62.5-Hz intervals or at whole-tone intervals) differ in their effect. Falling sequences behave much like constant tones at 500 Hz but with less effect, whereas rising sequences show no evidence of removing the added tone. The second experiment replicated the first and also showed that when the vowel is embedded in a rising or a falling sequence of tones that continue after it, the following tones have no effect. The third experiment suggested that the different effects found with rising versus falling sequences are qualitatively predictable on the basis of the additive effects of their constituent tones rather than by virtue of their contour. The experiments indicated that sequences of repeating tones are much more effective at capturing a harmonic from a vowel than are sequences that follow a simple pattern. This result may reflect the operation of a principle of least commitment in auditory grouping.