scholarly journals Constraints on computational models of auditory scene analysis, as derived from human perception.

1995 ◽  
Vol 16 (3) ◽  
pp. 133-136
Author(s):  
Albert S. Bregman
Keyword(s):  
Computational Models ◽  
Human Perception ◽  
Auditory Scene Analysis ◽  
Scene Analysis ◽  
Auditory Scene

scholarly journals Computational Models of Auditory Scene Analysis: A Review

2016 ◽  
Vol 10 ◽  
Author(s):  
Beáta T. Szabó ◽  
Susan L. Denham ◽  
István Winkler
Keyword(s):  
Computational Models ◽  
Auditory Scene Analysis ◽  
Scene Analysis ◽  
Auditory Scene

scholarly journals Time is of the essence for auditory scene analysis

eLife ◽  
2013 ◽  
Vol 2 ◽  
Author(s):  
Andrew R Dykstra ◽  
Alexander Gutschalk
Keyword(s):  
Computational Models ◽  
Acoustic Signals ◽  
Auditory Scene Analysis ◽  
Scene Analysis ◽  
Auditory Scene

Using computational models and stimuli that resemble natural acoustic signals, auditory scientists explore how we segregate competing streams of sound.

Cortical Representations Sensitive to the Number of Perceived Auditory Objects Emerge between 2 and 4 Months of Age: Electrophysiological Evidence

2015 ◽  
Vol 27 (5) ◽  
pp. 1060-1067 ◽  
Author(s):  
Nicole A. Folland ◽  
Blake E. Butler ◽  
Jennifer E. Payne ◽  
Laurel J. Trainor
Keyword(s):  
Fundamental Frequency ◽  
Human Perception ◽  
Presentation Rate ◽  
Auditory Scene Analysis ◽  
Scene Analysis ◽  
Sound Waves ◽  
Older Children ◽  
Auditory Scene ◽  
Eeg Recordings ◽  
And Performance

Sound waves emitted by two or more simultaneous sources reach the ear as one complex waveform. Auditory scene analysis involves parsing a complex waveform into separate perceptual representations of the sound sources [Bregman, A. S. Auditory scene analysis: The perceptual organization of sounds. London: MIT Press, 1990]. Harmonicity provides an important cue for auditory scene analysis. Normally, harmonics at integer multiples of a fundamental frequency are perceived as one sound with a pitch corresponding to the fundamental frequency. However, when one harmonic in such a complex, pitch-evoking sound is sufficiently mistuned, that harmonic emerges from the complex tone and is perceived as a separate auditory object. Previous work has shown that the percept of two objects is indexed in both children and adults by the object-related negativity component of the ERP derived from EEG recordings [Alain, C., Arnott, S. T., & Picton, T. W. Bottom–up and top–down influences on auditory scene analysis: Evidence from event-related brain potentials. Journal of Experimental Psychology: Human Perception and Performance, 27, 1072–1089, 2001]. Here we examine the emergence of object-related responses to an 8% harmonic mistuning in infants between 2 and 12 months of age. Two-month-old infants showed no significant object-related response. However, in 4- to 12-month-old infants, a significant frontally positive component was present, and by 8–12 months, a significant frontocentral object-related negativity was present, similar to that seen in older children and adults. This is in accordance with previous research demonstrating that infants younger than 4 months of age do not integrate harmonic information to perceive pitch when the fundamental is missing [He, C., Hotson, L., & Trainor, L. J. Maturation of cortical mismatch mismatch responses to occasional pitch change in early infancy: Effects of presentation rate and magnitude of change. Neuropsychologia, 47, 218–229, 2009]. The results indicate that the ability to use harmonic information to segregate simultaneous sounds emerges at the cortical level between 2 and 4 months of age.

Attention effects on auditory scene analysis: insights from event-related brain potentials

2014 ◽  
Vol 78 (3) ◽  
pp. 361-378 ◽  
Author(s):  
Mona Isabel Spielmann ◽  
Erich Schröger ◽  
Sonja A. Kotz ◽  
Alexandra Bendixen
Keyword(s):  
Auditory Scene Analysis ◽  
Scene Analysis ◽  
Brain Potentials ◽  
Auditory Scene
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