scholarly journals Temporal coherence versus harmonicity in auditory stream formation

2013 ◽  
Vol 133 (3) ◽  
pp. EL188-EL194 ◽  
Author(s):  
Christophe Micheyl ◽  
Heather Kreft ◽  
Shihab Shamma ◽  
Andrew J. Oxenham
Keyword(s):  
Temporal Coherence ◽  
Auditory Stream ◽  
Stream Formation

A simple grammar of auditory stream formation

1996 ◽  
Vol 100 (4) ◽  
pp. 2681-2681 ◽  
Author(s):  
Yoshitaka Nakajima ◽  
Takayuki Sasaki
Keyword(s):  
Auditory Stream ◽  
Stream Formation

Apparent Motion in Music?

1994 ◽  
Vol 11 (4) ◽  
pp. 335-370 ◽  
Author(s):  
Robert O. Gjerdingen
Keyword(s):  
Apparent Motion ◽  
Temporal Coherence ◽  
Stream Segregation ◽  
Auditory Stream ◽  
Auditory Stream Segregation ◽  
One Dimensional ◽  
Continuous Movement ◽  
Recent Advances ◽  
Starting Point

A great deal of the motion perceived in music is apparent rather than real. On the piano, for example, no continuous movement in frequency occurs between two sequentially sounded tones. Though a listener may perceive a movement from the first tone to the second, each tone merely begins and ends at its stationary position on the frequency continuum. Recent advances in the modeling of apparent- motion effects in vision provide a starting point for the modeling of the strong apparent- motion effects in music. An adaptation of the Grossberg- Rudd model of apparent motion in vision, when given input representing the strengths of pitch sensations positioned along a one- dimensional frequency continuum, can simulate important musical phenomena of auditory stream segregation, van Noorden's melodic- fission/ temporal- coherence boundaries, various Gestalt effects, aspects of dynamic attending, and Narmour's predicted categorical distinction between musical intervals implying a continuation and those implying a reversal of direction.

scholarly journals Properties of auditory stream formation

2012 ◽  
Vol 367 (1591) ◽  
pp. 919-931 ◽  
Author(s):  
Brian C. J. Moore ◽  
Hedwig E. Gockel
Keyword(s):  
Temporal Pattern ◽  
Sudden Change ◽  
Phase Spectrum ◽  
Stream Segregation ◽  
Multiple Streams ◽  
Auditory Stream ◽  
Peripheral Auditory System ◽  
Stream Formation ◽  
Over Time ◽  
Frequency Phase

A sequence of sounds may be heard as coming from a single source (called fusion or coherence) or from two or more sources (called fission or stream segregation). Each perceived source is called a ‘stream’. When the differences between successive sounds are very large, fission nearly always occurs, whereas when the differences are very small, fusion nearly always occurs. When the differences are intermediate in size, the percept often ‘flips’ between one stream and multiple streams, a property called ‘bistability’. The flips do not generally occur regularly in time. The tendency to hear two streams builds up over time, but can be partially or completely reset by a sudden change in the properties of the sequence or by switches in attention. Stream formation depends partly on the extent to which successive sounds excite different ‘channels’ in the peripheral auditory system. However, other factors can play a strong role; multiple streams may be heard when successive sounds are presented to the same ear and have essentially identical excitation patterns in the cochlea. Differences between successive sounds in temporal envelope, fundamental frequency, phase spectrum and lateralization can all induce a percept of multiple streams. Regularities in the temporal pattern of elements within a stream can help in stabilizing that stream.

Predictive cues for auditory stream formation in humans and monkeys

2020 ◽  
Vol 51 (5) ◽  
pp. 1254-1264
Author(s):  
Nikolaos C. Aggelopoulos ◽  
Susann Deike ◽  
Elena Selezneva ◽  
Henning Scheich ◽  
André Brechmann ◽  
...  
Keyword(s):  
Auditory Stream ◽  
Stream Formation
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