Adaptation reveals automatic pitch-shift detectors

2014 ◽  
Vol 135 (4) ◽  
pp. 2189-2189
Author(s):  
Samuel R. Mathias ◽  
Barbara Shinn-Cunningham ◽  
Christophe Micheyl ◽  
Andrew J. Oxenham
Keyword(s):  
Pitch Shift

The physical bases of the psychophysical pitch-shift effects

2014 ◽  
Vol 2 ◽  
pp. 429-432
Author(s):  
Florian Gomez ◽  
Ruedi Stoop
Keyword(s):  
Pitch Shift

Neural correlates of the pitch of complex tones. II. Pitch shift, pitch ambiguity, phase invariance, pitch circularity, rate pitch, and the dominance region for pitch

1996 ◽  
Vol 76 (3) ◽  
pp. 1717-1734 ◽  
Author(s):  
P. A. Cariani ◽  
B. Delgutte
Keyword(s):  
Auditory Nerve ◽  
Modulation Frequency ◽  
Low Frequency ◽  
Neural Correlates ◽  
Nerve Fibers ◽  
Fundamental Period ◽  
Complex Tones ◽  
Auditory Nerve Fibers ◽  
High Pass ◽  
Pitch Shift

1. The neural correlates of low pitches produced by complex tones were studied by analyzing temporal discharge patterns of auditory nerve fibers in Dial-anesthetized cats. In the previous paper it was observed that, for harmonic stimuli, the most frequent interspike interval present in the population of auditory nerve fibers always corresponded to the perceived pitch (predominant interval hypothesis). The fraction of these most frequent intervals relative to the total number of intervals qualitatively corresponded to strength (salience) of the low pitches that are heard. 2. This paper addresses the neural correlates of stimuli that produce more complex patterns of pitch judgments, such as shifts in pitch and multiple pitches. Correlates of pitch shift and pitch ambiguity were investigated with the use of harmonic and inharmonic amplitude-modulated (AM) tones varying either in carrier frequency or modulation frequency. Pitches estimated from the pooled interval distributions showed shifts corresponding to "the first effect of pitch shift" (de Boer's rule) that is observed psychophysically. Pooled interval distributions in response to inharmonic stimulus segments showed multiple maxima corresponding to the multiple pitches heard by human listeners (pitch ambiguity). 3. AM and quasi-frequency-modulated tones with low carrier frequencies produce very similar patterns of pitch judgments, despite great differences in their phase spectra and waveform envelopes. Pitches estimated from pooled interval distributions were remarkably similar for the two kinds of stimuli, consistent with the psychophysically observed phase invariance of pitches produced by sets of low-frequency components. 4. Trains of clicks having uniform and alternating polarities were used to investigate the relation between pitches associated with periodicity and those associated with click rate. For unipolar click trains, where periodicity and rate coincide, physiologically estimated pitches closely follow the fundamental period. This corresponds to the pitch at the fundamental frequency (F0) that is heard. For alternating click trains, where rate and periodicity do not coincide, physiologically estimated pitches always closely followed the fundamental period. Although these pitch estimates corresponded to periodicity pitches that are heard for F0s > 150 Hz, they did not correspond to the rate pitches that are heard for F0s < 150 Hz. The predominant interval hypothesis thus failed to predict rate pitch. 5. When alternating-polarity click trains are high-pass filtered, rate pitches are strengthened and can also be heard at F0s > 150 Hz. Pitches for high-pass-filtered alternating click trains were estimated from pooled responses of fibers with characteristic frequencies (CFs) > 2 kHz. Roughly equal numbers of intervals at 1/rate and 1/F0 were found for all F0s studied, from 80 to 160 Hz, producing pitch estimates consistent with the rate pitches that are heard after high-pass filtering. The existence region for rate pitch also coincided with the presence of clear periodicities related to the click rate in pooled peristimulus time histograms. These periodicities were strongest for ensembles of fibers with CFs > 2 kHz, where there is widespread synchrony of discharges across many fibers. 6. The "dominance region for pitch" was studied with the use of two harmonic complexes consisting of harmonics 3-5 of one F0 and harmonics 6-12 of another fundamental 20% higher in frequency. When the complexes were presented individually, pitch estimates were always close to the fundamental of the complex. When the complexes were presented concurrently, pitch estimates always followed the fundamental of harmonics 3-5 for F0s of 150-480 Hz. For F0s of 125-150 Hz, pitch estimates followed one or the other fundamental, and for F0s < 125 Hz, pitch estimates followed the fundamental of harmonics 6-12. (ABSTRACT TRUNCATED)

Physiological correlates of the perceptual pitch shift for sounds with similar waveform autocorrelation

2004 ◽  
Vol 5 (1) ◽  
pp. 1-6 ◽  
Author(s):  
Daniel Pressnitzer ◽  
Alain de Cheveigné ◽  
Ian M. Winter
Keyword(s):  
Pitch Shift

scholarly journals Perceptual pitch shift for sounds with similar waveform autocorrelation

2002 ◽  
Vol 3 (1) ◽  
pp. 1-6 ◽  
Author(s):  
Daniel Pressnitzer ◽  
Alain de Cheveigné ◽  
Ian M. Winter
Keyword(s):  
Pitch Shift

scholarly journals Contralateral and Ipsilateral Pitch Shift in the Presence of Wide‐Band White or Pink Noise

1971 ◽  
Vol 50 (1A) ◽  
pp. 108-108
Author(s):  
John D. Lovell ◽  
Edward C. Carterette ◽  
A. Barnebey
Keyword(s):  
Wide Band ◽  
Pink Noise ◽  
Pitch Shift

scholarly journals Dynamics of Self-monitoring and Error Detection in Speech Production: Evidence from Mental Imagery and MEG

2015 ◽  
Vol 27 (2) ◽  
pp. 352-364 ◽  
Author(s):  
Xing Tian ◽  
David Poeppel
Keyword(s):  
Speech Production ◽  
Mental Imagery ◽  
Error Detection ◽  
Auditory Feedback ◽  
Spectral Difference ◽  
Self Monitoring ◽  
Onset Delay ◽  
Nonmonotonic Function ◽  
Four Levels ◽  
Pitch Shift

A critical subroutine of self-monitoring during speech production is to detect any deviance between expected and actual auditory feedback. Here we investigated the associated neural dynamics using MEG recording in mental-imagery-of-speech paradigms. Participants covertly articulated the vowel /a/; their own (individually recorded) speech was played back, with parametric manipulation using four levels of pitch shift, crossed with four levels of onset delay. A nonmonotonic function was observed in early auditory responses when the onset delay was shorter than 100 msec: Suppression was observed for normal playback, but enhancement for pitch-shifted playback; however, the magnitude of enhancement decreased at the largest level of pitch shift that was out of pitch range for normal conversion, as suggested in two behavioral experiments. No difference was observed among different types of playback when the onset delay was longer than 100 msec. These results suggest that the prediction suppresses the response to normal feedback, which mediates source monitoring. When auditory feedback does not match the prediction, an “error term” is generated, which underlies deviance detection. We argue that, based on the observed nonmonotonic function, a frequency window (addressing spectral difference) and a time window (constraining temporal difference) jointly regulate the comparison between prediction and feedback in speech.

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