The octave illusion is a compelling perceptual phenomenon that arises when each ear is presented with an alternating sequence of tones separated by one octave, but with the high-and the low-frequency tones in different ears (Figure 1). The majority of listeners are unable to accurately describe these stimuli and, instead, report a high pitch in one ear alternating with a low pitch in the opposite ear. Deutsch (1974) noted that, when presented with these stimuli via headphones, most listeners heard the higher pitch toward the right and the lower pitch toward the left. This trend was particularly salient for righthanded listeners, but not for left-handed listeners. Deutsch (1974) suggested that this handedness effect indexed the lateralization of the higher pitch "toward the side producing the most effective input to the dominant hemisphere" (p. 308).The unique and influential suppression model of this phenomenon was later proposed by Deutsch and Roll (1976). From an analysis of subjective reports, the authors suggested that the octave illusion arises from a high-frequency dominance for sound localization, combined with ear dominance for pitch in which the dominant ear "exercises a steady suppression on the other [ear], so that only the frequencies arriving at one ear are heard" (p. 24). According to this theory, the interplay of ear dominance for pitch and high-frequency dominance for localization results in conflict when the high-frequency tone is presented to the nondominant ear. Under this condition, Deutsch and Roll suggested that listeners perceive the pitch presented to their dominant ear but localize this percept in the opposite ear. The authors thus concluded that the octave illusion reveals separate neural mechanisms governing the what and where of auditory perception, which may be placed in conflict under appropriate conditions. Deutsch (1978, 1980a, 1988) later included a third tenet to the suppression model, suggesting that this unique division of object-and location-based auditory mechanisms was facilitated by sequential interactions between the tones-specifically, the repeated alternation of the same frequencies between the ears.A recent study by Chambers, Mattingley, and Moss (2002) has challenged the validity of the suppression model. From a psychophysical investigation, their results suggest instead that (1) the pitch variation during the octave illusion may arise from established mechanisms of harmonic fusion, (2) the high-frequency dominance for localization proposed by the suppression model regularly fails to emerge, and (3) both the pitch differences between alternate dichotic octaves 1 and the apparent lateralization of single dichotic octaves can occur indepen- The octave illusion is elicited by a sequence of tones presented to each ear that continuously alternate in frequency by one octave, but with high and low frequencies always in different ears. The percept for most listeners is a high pitch in one ear, alternating with a low pitch in the other ear. The influential suppression model o...