The Ear as a Frequency Analyzer. II

Plomp, R.; Mimpen, A. M.

doi:10.1121/1.1910894

Cited by 137 publications

(67 citation statements)

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“…The upper limit in harmonic number found by Bernstein and Oxenham was markedly higher than found in earlier studies, in which the target harmonic was not pulsed (Plomp, 1964;Plomp and Mimpen, 1968;Soderquist, 1970;Fine and Moore, 1993); these studies generally showed that only the lowest five to eight harmonics could be heard out with 75% or better accuracy. On the other hand, the limit found by Bernstein and Oxenham (2003) corresponds reasonably well with the point above which harmonics produce a less salient pitch, and exhibit other properties (such as phase dependence) that have traditionally been ascribed to unresolved harmonics (Houtsma and Smurzynski, 1990;Shackleton and Carlyon, 1994).…”

Section: Introductioncontrasting

confidence: 65%

“…Partials that can be heard out are often referred to as "resolved," although there are many definitions of what is meant by "resolved" (Moore and Gockel, 2011). The ability to hear out partials depends at least partly on the sharpness of the auditory filters (Plomp, 1964;Plomp and Mimpen, 1968;Moore and Ohgushi, 1993;Moore et al, 2006;Moore and Glasberg, 2011). However, other factors may also play a role.…”

Section: Introductionmentioning

confidence: 99%

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Effects of pulsing of a target tone on the ability to hear it out in different types of complex sounds

Moore

Glasberg

Oxenham

2012

The Journal of the Acoustical Society of America

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Judgments of whether a sinusoidal probe is higher or lower in frequency than the closest partial ("target") in a multi-partial complex are improved when the target is pulsed on and off. These experiments explored the contribution of reduction in perceptual confusion and recovery from adaptation to this effect. In experiment 1, all partials except the target were replaced by noise to reduce perceptual confusion. Performance was much better than when the background was composed of multiple partials. When the level of the target was reduced to avoid ceiling effects, no effect of pulsing the target occurred. In experiment 2, the target and background partials were irregularly and independently amplitude modulated. This gave a large effect of pulsing the target, suggesting that if recovery from adaptation contributes to the effect, amplitude fluctuations do not prevent this. In experiment 3, the background was composed of multiple steady partials, but the target was irregularly amplitude modulated. This gave better performance than when the target was unmodulated and a moderate effect of pulsing the target. It is argued that when the target and background are steady tones, pulsing the target may result both in reduction of perceptual confusion and recovery from adaptation.

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Section: Introductioncontrasting

confidence: 65%

Section: Introductionmentioning

confidence: 99%

Effects of pulsing of a target tone on the ability to hear it out in different types of complex sounds

Moore

Glasberg

Oxenham

2012

The Journal of the Acoustical Society of America

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“…Concerning the pitch of complex tones, most experiments have involved monaural presentation. Plomp (1964) and Plomp and Mimpen (1968) studied the limits of the ear's frequency resolving power and concluded that listeners were able to distinguish the first five to seven harmonics of a complex tone. Smoorenburg (1970) studied pitch perception of complex tones consisting of two components.…”

Section: University Of California San Diegomentioning

confidence: 99%

Separate "what" and "where" decision mechanisms in processing a dichotic tonal sequence.

Deutsch¹,

Roll²

1976

Journal of Experimental Psychology: Human Perception and Perfor

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Right-handed subjects were presented with a dichotic tonal sequence, whose basic pattern consisted of three 800-Hz tones followed by two 400-Hz tones on one channel and simultaneously three 400-Hz tones followed by two 800-Hz tones on the other. All tones were 250 msec in duration and separated by 250-msec pauses. On any given stimulus presentation, most subjects reported the sequence of pitches delivered to one ear and ignored the other. They further tended significantly to report the sequence delivered to the right ear rather than to the left. However, each tone appeared to be localized in the ear receiving the higher frequency, regardless of which ear was followed for pitch and regardless of whether the higher or lower frequency was in fact perceived.When presented with a sensory stimulus, we generate a synthesized percept; for instance, of an object of particular size, shape, color and location, or of a sound of particular pitch, loudness, and duration, emanating from a given point in space. It is generally agreed that the initial stages of this perceptual process involve the abstraction of specific stimulus attributes by highly specialized mechanisms. Indeed, it has even been possible in some cases to demonstrate a gross anatomical separation between pathways relaying information concerning different stimulus attributes. For instance, Schneider (1967) provided strong evidence for an anatomical separation in the visual system between the mechanisms involved in pattern recognition and those involved in object localization. In the case of hearing, Poljak (1926) proposed that the early stages of the auditory pathway involve a ventral route, subserving localization and orientation functions, and a dorsal route, subserving discriminatory functions.

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“…A harmonic template mechanism can only function with resolved harmonics. In humans, the first five to eight harmonics of a complex tone are resolved (Plomp, 1964;Plomp and Mimpen, 1968; but see Bernstein and Oxenham, 2003). Evidence for the existence of harmonic template neurons suitable for extracting pitch is still lacking in the central auditory system (including auditory cortex).…”

Section: Introductionmentioning

confidence: 99%

Dual-Pitch Processing Mechanisms in Primate Auditory Cortex

2012

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Pitch, our perception of how high or low a sound is on a musical scale, is a fundamental perceptual attribute of sounds and is important for both music and speech. After more than a century of research, the exact mechanisms used by the auditory system to extract pitch are still being debated. Theoretically, pitch can be computed using either spectral or temporal acoustic features of a sound. We have investigated how cues derived from the temporal envelope and spectrum of an acoustic signal are used for pitch extraction in the common marmoset (Callithrix jacchus), a vocal primate species, by measuring pitch discrimination behaviorally and examining pitch-selective neuronal responses in auditory cortex. We find that pitch is extracted by marmosets using temporal envelope cues for lower pitch sounds composed of higher-order harmonics, whereas spectral cues are used for higher pitch sounds with lower-order harmonics. Our data support dual-pitch processing mechanisms, originally proposed by psychophysicists based on human studies, whereby pitch is extracted using a combination of temporal envelope and spectral cues.

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The Ear as a Frequency Analyzer. II

Cited by 137 publications

References 0 publications

Effects of pulsing of a target tone on the ability to hear it out in different types of complex sounds

Effects of pulsing of a target tone on the ability to hear it out in different types of complex sounds

Separate "what" and "where" decision mechanisms in processing a dichotic tonal sequence.

Dual-Pitch Processing Mechanisms in Primate Auditory Cortex

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