Many sound sources can only be recognised from the pattern of sounds they emit, and not from the individual sound events that make up their emission sequences. Auditory scene analysis addresses the difficult task of interpreting the sound world in terms of an unknown number of discrete sound sources (causes) with possibly overlapping signals, and therefore of associating each event with the appropriate source. There are potentially many different ways in which incoming events can be assigned to different causes, which means that the auditory system has to choose between them. This problem has been studied for many years using the auditory streaming paradigm, and recently it has become apparent that instead of making one fixed perceptual decision, given sufficient time, auditory perception switches back and forth between the alternatives—a phenomenon known as perceptual bi- or multi-stability. We propose a new model of auditory scene analysis at the core of which is a process that seeks to discover predictable patterns in the ongoing sound sequence. Representations of predictable fragments are created on the fly, and are maintained, strengthened or weakened on the basis of their predictive success, and conflict with other representations. Auditory perceptual organisation emerges spontaneously from the nature of the competition between these representations. We present detailed comparisons between the model simulations and data from an auditory streaming experiment, and show that the model accounts for many important findings, including: the emergence of, and switching between, alternative organisations; the influence of stimulus parameters on perceptual dominance, switching rate and perceptual phase durations; and the build-up of auditory streaming. The principal contribution of the model is to show that a two-stage process of pattern discovery and competition between incompatible patterns can account for both the contents (perceptual organisations) and the dynamics of human perception in auditory streaming.

Predictive accounts of perception have received increasing attention in the past 20 years. Detecting violations of auditory regularities, as reflected by the Mismatch Negativity (MMN) auditory event-related potential, is amongst the phenomena seamlessly fitting this approach. Largely based on the MMN literature, we propose a psychological conceptual framework called the Auditory Event Representation System (AERS), which is based on the assumption that auditory regularity violation detection and the formation of auditory perceptual objects are based on the same predictive regularity representations. Based on this notion, a computational model of auditory stream segregation, called CHAINS, has been developed. In CHAINS, the auditory sensory event representation of each incoming sound is considered for being the continuation of likely combinations of the preceding sounds in the sequence, thus providing alternative interpretations of the auditory input. Detecting repeating patterns allows predicting upcoming sound events, thus providing a test and potential support for the corresponding interpretation. Alternative interpretations continuously compete for perceptual dominance. In this paper, we briefly describe AERS and deduce some general constraints from this conceptual model. We then go on to illustrate how these constraints are computationally specified in CHAINS.

Sound sources often emit trains of discrete sounds, such as a series of footsteps. Previously, two different principles have been suggested for how the human auditory system binds discrete sounds together into perceptual units. The feature similarity principle is based on linking sounds with similar characteristics over time. The predictability principle is based on linking sounds that follow each other in a predictable manner. The present study compared the effects of these two principles. Participants were presented with tone sequences and instructed to continuously indicate whether they perceived a single coherent sequence or two concurrent streams of sound. We investigated the influence of separate manipulations of similarity and predictability on these perceptual reports. Both grouping principles affected perception of the tone sequences, albeit with different characteristics. In particular, results suggest that whereas predictability is only analyzed for the currently perceived sound organization, feature similarity is also analyzed for alternative groupings of sound. Moreover, changing similarity or predictability within an ongoing sound sequence led to markedly different dynamic effects. Taken together, these results provide evidence for different roles of similarity and predictability in auditory scene analysis, suggesting that forming auditory stream representations and competition between alternatives rely on partly different processes.

We tested whether incoming sounds are processed differently depending on how the preceding sound sequence has been interpreted by the brain. Sequences of a regularly repeating three-tone pattern, the perceived organization of which spontaneously switched back and forth between two alternative interpretations, were delivered to listeners. Occasionally, a regular tone was exchanged for a slightly or moderately lower one (deviants). The electroencephalogram (EEG) was recorded while listeners continuously marked their perception of the sound sequence. We found that for both the regular and the deviant tones, the early exogenous P1 and N1 amplitudes varied together with the perceived sound organization. Percept-dependent effects on the late endogenous N2 and P3a amplitudes were only found for deviant tones. These results suggest that the perceived sound organization affects sound processing both by modulating what information is extracted from incoming sounds as well as by influencing how deviant sound events are evaluated for further processing.

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The human auditory system is capable of grouping sounds originating from different sound sources into coherent auditory streams, a process termed auditory stream segregation. Several cues can influence auditory stream segregation, but the full set of cues and the way in which they are integrated is still unknown. In the current study, we tested whether auditory motion can serve as a cue for segregating sequences of tones. Our hypothesis was that, following the principle of common fate, sounds emitted by sources moving together in space along similar trajectories will be more likely to be grouped into a single auditory stream, while sounds emitted by independently moving sources will more often be heard as two streams. Stimuli were derived from sound recordings in which the sound source motion was induced by walking humans. Although the results showed a clear effect of spatial separation, auditory motion had a negligible influence on stream segregation. Hence, auditory motion may not be used as a primitive cue in auditory stream segregation.

An audio-visual experiment using moving sound sources was designed to investigate whether the analysis of auditory scenes is modulated by synchronous presentation of visual information. Listeners were presented with an alternating sequence of two pure tones delivered by two separate sound sources. In different conditions, the two sound sources were either stationary or moving on random trajectories around the listener. Both the sounds and the movement trajectories were derived from recordings in which two humans were moving with loudspeakers attached to their heads. Visualized movement trajectories modeled by a computer animation were presented together with the sounds. In the main experiment, behavioral reports on sound organization were collected from young healthy volunteers. The proportion and stability of the different sound organizations were compared between the conditions in which the visualized trajectories matched the movement of the sound sources and when the two were independent of each other. The results corroborate earlier findings that separation of sound sources in space promotes segregation. However, no additional effect of auditory movement per se on the perceptual organization of sounds was obtained. Surprisingly, the presentation of movement-congruent visual cues did not strengthen the effects of spatial separation on segregating auditory streams. Our findings are consistent with the view that bistability in the auditory modality can occur independently from other modalities.

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