Search results for "Psychoacoustic"
showing 10 items of 49 documents
Factors limiting performance in a multitone intensity-discrimination task: disentangling non-optimal decision weights and increased internal noise.
2013
To identify factors limiting performance in multitone intensity discrimination, we presented sequences of five pure tones alternating in level between loud (85 dB SPL) and soft (30, 55, or 80 dB SPL). In the "overall-intensity task", listeners detected a level increment on all of the five tones. In the "masking task", the level increment was imposed only on the soft tones, rendering the soft tones targets and loud tones task-irrelevant maskers. Decision weights quantifying the importance of the five tone levels for the decision were estimated using methods of molecular psychophysics. Compatible with previous studies, listeners placed higher weights on the loud tones than on the soft tones i…
Temporal expectation and spectral expectation operate in distinct fashion on neuronal populations
2013
The formation of temporal expectation (i.e., the prediction of ‘when’) is of prime importance to sensory processing. It can modulate sensory processing at early processing stages probably via the entrainment of low-frequency neuronal oscillations in the brain. However, sensory predictions involve not only temporal expectation but also spectral expectation (i.e., the prediction of ‘what’). Here we investigated how temporal expectation may interrelate with spectral expectation by explicitly setting up temporal expectation and spectral expectation in a target detection task. We found that temporal expectation and spectral expectation interacted on reaction time (RT). RT was shorter when target…
A comparison of the temporal weighting of annoyance and loudness
2009
The influence of single temporal portions of a sound on global annoyance and loudness judgments was measured using perceptual weight analysis. The stimuli were 900-ms noise samples randomly changing in level every 100 ms. For loudness judgments, Pedersen and Ellermeier [J. Acoust. Soc. Am. 123, 963-972 (2008)] found that listeners attach greater weight to the beginning and ending than to the middle of a stimulus. Qualitatively similar weights were expected for annoyance. Annoyance and loudness judgments were obtained from 12 listeners in a two-interval forced-choice task. The results demonstrated a primacy effect for the temporal weighting of both annoyance and loudness. However, a signific…
Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians.
2011
The combined influence of tempo and mode on emotional responses to music was studied by crossing 7 changes in mode with 3 changes in tempo. Twenty-four musicians aged 19 to 25 years (12 males and 12 females) and 24 nonmusicians aged 17 to 25 years (12 males and 12 females) were required to perform two tasks: 1) listening to different musical excerpts, and 2) associating an emotion to them such as happiness, serenity, fear, anger, or sadness. ANOVA showed that increasing the tempo strongly affected the arousal (F(2,116) = 268.62, mean square error (MSE) = 0.6676, P < 0.001) and, to a lesser extent, the valence of emotional responses (F(6,348) = 8.71, MSE = 0.6196, P < 0.001). Changes in mode…
The "ticktock" of our internal clock: direct brain evidence of subjective accents in isochronous sequences.
2003
The phenomenon commonly known as subjective accenting refers to the fact that identical sound events within purely isochronous sequences are perceived as unequal. Although subjective accenting has been extensively explored using behavioral methods, no physiological evidence has ever been provided for it. In the present study, we tested the notion that these perceived irregularities are related to the dynamic deployment of attention. We disrupted listeners' expectancies in different positions of auditory equitone sequences and measured their responses through brain event-related potentials (ERPs). Significant differences in a late parietal (P3-like) ERP component were found between the resp…
Categorization of Extremely Brief Auditory Stimuli: Domain-Specific or Domain-General Processes?
2011
The present study investigated the minimum amount of auditory stimulation that allows differentiation of spoken voices, instrumental music, and environmental sounds. Three new findings were reported. 1) All stimuli were categorized above chance level with 50 ms-segments. 2) When a peak-level normalization was applied, music and voices started to be accurately categorized with 20 ms-segments. When the root-mean-square (RMS) energy of the stimuli was equalized, voice stimuli were better recognized than music and environmental sounds. 3) Further psychoacoustical analyses suggest that the categorization of extremely brief auditory stimuli depends on the variability of their spectral envelope in…
Data from: Individual differences in selective attention predict speech identification at a cocktail party
2017
Listeners with normal hearing show considerable individual differences in speech understanding when competing speakers are present, as in a crowded restaurant. Here, we show that one source of this variance are individual differences in the ability to focus selective attention on a target stimulus in the presence of distractors. In 50 young normal-hearing listeners, the performance in tasks measuring auditory and visual selective attention was associated with sentence identification in the presence of spatially separated competing speakers. Together, the measures of selective attention explained a similar proportion of variance as the binaural sensitivity for the acoustic temporal fine stru…
Children's implicit knowledge of harmony in Western music.
2005
Three experiments examined children's knowledge of harmony in Western music. The children heard a series of chords followed by a final, target chord. In Experiment 1, French 6- and 11-year-olds judged whether the target was sung with the vowel /i/ or /u/. In Experiment 2, Australian 8- and 11-year-olds judged whether the target was played on a piano or a trumpet. In Experiment 3, Canadian 8- and 11-year-olds judged whether the target sounded good (i.e. consonant) or bad (dissonant). The target was either the most stable chord in the established musical key (i.e. the tonic, based on do, the first note of the scale) or a less stable chord. Performance was faster (Experiments 1, 2 and 3) and m…
Empirical evidence for musical syntax processing? Computer simulations reveal the contribution of auditory short-term memory
2014
During the last decade, it has been argued that (1) music processing involves syntactic representations similar to those observed in language, and (2) that music and language share similar syntactic-like processes and neural resources. This claim is important for understanding the origin of music and language abilities and, furthermore, it has clinical implications. The Western musical system, however, is rooted in psychoacoustic properties of sound, and this is not the case for linguistic syntax. Accordingly, musical syntax processing could be parsimoniously understood as an emergent property of auditory memory rather than a property of abstract processing similar to linguistic processing.…
Mismatches between objective parameters and measured perception assessment in room acoustics: a holistic approach
2014
Psychoacoustic research in the field of concert halls has revealed that many aspects concerning listening perception have yet to be totally understood. On the one hand, the objective room acoustics of performance spaces are reflected in parameters, some standardized and some not, but these are related to a limited number of perceptual attributes of human response. In general, these objective parameters cannot accurately describe the acoustic details due to their inherent simplification. Under these premises, impulse responses (576 receivers) are measured in 16 concert halls, according to standard procedures, and the perception and satisfaction of the occupants of the rooms are evaluated by …