Dynamic Pitch Perception for Complex Tones of Periodic Spectral Patterns

1991 ◽  
Vol 8 (3) ◽  
pp. 291-314 ◽  
Author(s):  
Yoshitaka Nakajima ◽  
Hiroyuki Minami ◽  
Takashi Tsumura ◽  
Hiroshi Kunisaki ◽  
Shigeki Ohnishi ◽  
...  
Keyword(s):  
Paired Comparison ◽  
Fixed Ratio ◽  
Pitch Perception ◽  
The Other ◽  
Complex Tones ◽  
Logarithmic Frequency ◽  
Human Ear ◽  
Spectral Patterns ◽  
Pitch Movement

Pitch circularity as found in Shepard tones was examined by using complex tones that had various degrees of exactness in their spectral periodicities on the logarithmic frequency dimension. This dimension was divided into periods of 1400 cents by tone components, and each period was subdivided into two parts of a fixed ratio of 700:700, 600:800, 550:850, 500:900, 450:950, 400:1000, or 0:1400. Subjects made paired comparison judgments for pitch. When the subdividing ratio was 0: 1400 or 400:1000, the subjects responded to the spectral periodicity of 1400 cents, and, when the ratio was 700:700 or 600:800, they responded to the periodicity of 700 cents. Some seemingly intermediate cases between these two extremes or some qualitatively different cases were obtained in the other conditions. As we have asserted before, the human ear appears to detect a global pitch movement when some tone components move in the same direction by similar degrees on the logarithmic frequency dimension.

Dynamic Pitch Perception for Complex Tones Derived from Major Triads

1988 ◽  
Vol 6 (1) ◽  
pp. 1-20 ◽  
Author(s):  
Yoshitaka Nakajima ◽  
Takashi Tsumura ◽  
Seiichi Matsuura ◽  
Hiroyuki Minami ◽  
Ryunen Teranishi
Keyword(s):  
Paired Comparison ◽  
Complex Tone ◽  
Spectral Envelope ◽  
Spectral Components ◽  
Complex Tones ◽  
Group A ◽  
New Type ◽  
Logarithmic Frequency ◽  
Human Ear ◽  
Pitch Movement

A new type of complex tone that demonstrates pitch circularity is described. For such tones, the spectral envelope is trapezoidal on the coordinates of logarithmic frequency and logarithmic amplitude, and remains constant. The components of each tone form a major triad within each octave. The component frequencies were increased by steps of 1/10 octave from tone to tone, until the first tone was obtained again. According to our paired comparison experiments for pitch, which were analyzed using the multidimensional scaling technique, two kinds of pitch circularities appear. One group of subjects shows a pitch circularity corresponding to the exact spectral periodicity of an octave, and the other group a circularity corresponding to the roughly viewed spectral periodicity of 1/3 octave. The human ear seems to detect a global pitch movement when some spectral components move in the same direction by similar degrees on the logarithmic frequency dimension.

scholarly journals Dislocation/Twin/Interface Interactions during Deformation of PST TiAl Single Crystals, an AFM Study

2002 ◽  
Vol 753 ◽  
Author(s):  
Yali Chen ◽  
David P. Pope ◽  
Vaclav Vitek
Keyword(s):  
Displacement Vector ◽  
Fixed Ratio ◽  
The Other ◽  
Deformation Bands ◽  
Twin Interface ◽  
Complex Deformation ◽  
Deformation Processes ◽  
The Individual ◽  
Macroscopic Displacement ◽  
Total Shear

ABSTRACTPST TiAl crystals oriented such that the deformation axis lies in the (111) interfacial planes have been deformed in compression. This deformation produces so-called “channeled flow” in which the strain perpendicular to the (111) interfaces is zero, while the other two strains are equal and opposite in sign. Thus the sample simply shortens axially and spreads laterally in the channels defined by the (111) interfacial planes. We have examined the fine structure of deformation bands on the free surface of these deformed samples using AFM to see how the deformation processes interact with the boundaries. By measuring the offset angle at the surface we have been able to show that not only is the macroscopic displacement vector parallel to the lamellar boundaries, but the total shear vector in each layer is also parallel to the lamellar boundaries. However these deformation bands have very different characters, requiring complex deformation processes at the boundaries in order to satisfy this requirement. Some consist of either just super dislocations or just ordinary dislocations with Burgers vectors lying in the interface. But others consist of a special combination of twinning and ordinary dislocations in fixed ratio, such that the net shear vector also lies in the boundary, even though the individual twinning and dislocation shear directions are inclined to it. This results in deformation that is homogeneous and completely ‘channeled’ inside each lamella with no shear vector perpendicular to the lamellar boundaries. We have also shown that the cooperative twinning and slip is homogeneous on the nano-scale, i.e., the twinning and slip occurs in the same volume of material.

Pitch perception of complex tones within and across ears and frequency regions

2005 ◽  
pp. 126-135 ◽  
Author(s):  
Andrew J. Oxenham ◽  
Joshua G. Bernstein ◽  
Christophe Micheyl
Keyword(s):  
Pitch Perception ◽  
Complex Tones

Rabbits use both spectral and temporal cues to discriminate the fundamental frequency of harmonic complexes with missing fundamentals

2021 ◽  
Author(s):  
Joseph D Wagner ◽  
Alice Gelman ◽  
Kenneth E. Hancock ◽  
Yoojin Chung ◽  
Bertrand Delgutte
Keyword(s):  
Fundamental Frequency ◽  
Human Performance ◽  
Spectral Composition ◽  
Pitch Perception ◽  
Wide Frequency Range ◽  
Spatial Gradient ◽  
Harmonic Complex ◽  
Complex Tones ◽  
Behavioral Paradigm ◽  
Animal Vocalizations

The pitch of harmonic complex tones (HCT) common in speech, music and animal vocalizations plays a key role in the perceptual organization of sound. Unraveling the neural mechanisms of pitch perception requires animal models but little is known about complex pitch perception by animals, and some species appear to use different pitch mechanisms than humans. Here, we tested rabbits' ability to discriminate the fundamental frequency (F0) of HCTs with missing fundamentals using a behavioral paradigm inspired by foraging behavior in which rabbits learned to harness a spatial gradient in F0 to find the location of a virtual target within a room for a food reward. Rabbits were initially trained to discriminate HCTs with F0s in the range 400-800 Hz and with harmonics covering a wide frequency range (800-16,000 Hz), and then tested with stimuli differing either in spectral composition to test the role of harmonic resolvability (Experiment 1), or in F0 range (Experiment 2), or both F0 and spectral content (Experiment 3). Together, these experiments show that rabbits can discriminate HCTs over a wide F0 range (200-1600 Hz) encompassing the range of conspecific vocalizations, and can use either the spectral pattern of harmonics resolved by the cochlea for higher F0s or temporal envelope cues resulting from interaction between unresolved harmonics for lower F0s. The qualitative similarity of these results to human performance supports using rabbits as an animal model for studies of pitch mechanisms providing species differences in cochlear frequency selectivity and F0 range of vocalizations are taken into account.

scholarly journals The intonation of the Icelandic other-initiated repair expressions Ha ‘Huh’ and Hvað segirðu/Hvað sagðirðu ‘What do/did you say’

2015 ◽  
Vol 38 (2) ◽  
pp. 189-219 ◽  
Author(s):  
Nicole Dehé
Keyword(s):  
Pitch Accent ◽  
The Other ◽  
Pitch Movement

It has been shown in the literature that cross-linguistically, the other-initiated repair element ‘huh’ is typically realised with rising intonation. Icelandic has exceptional status in this respect in that it has falling intonation with Ha [haː] ‘huh’. The literature claims that it is language-specific interrogative prosody that accounts for this exceptional status of Icelandic. More specifically, it argues that falling intonation is the default for questions in Icelandic and that the other-initiated repair interjection shares its intonational features with interrogatives. The aim of this paper is twofold. First, using map-task data, it confirms previous results for the intonation of Icelandic Ha, and in addition shows that its more complex relative Hvað segirðu/Hvað sagðirðu ‘What do/did you say?’ is realised with falling intonation as well. Both expressions are realised with an H* pitch accent followed by downward pitch movement to L%. Secondly, the paper argues, for a number of reasons, against the assumption that question prosody is enough to account for the Icelandic pattern, and it suggests instead that Ha and Hvað segirðu/Hvað sagðirðu are in fact not specifically marked in intonation, but are realised with a combination of pitch accent and boundary tone found across utterance types in Icelandic.

Embodied Collaboration Support System for 3D Shape Evaluation by Using Network Virtual Reality

2007 ◽  
Author(s):  
Masashi Okubo ◽  
Tomio Watanabe
Keyword(s):  
Virtual Reality ◽  
Support System ◽  
Paired Comparison ◽  
Real Space ◽  
Virtual Space ◽  
Magnetic Sensors ◽  
The Other ◽  
Back Side ◽  
3D Shape ◽  
Collaboration Support

In this paper, a collaboration support system for 3D shape evaluation by using network virtual reality is proposed on the basis of both studies in 3D shape evaluation and communication support in virtual space. Collaboration mainly consists of two tasks; one is each partner’s task that is performed by the individual, the other is communication with each other. Both of them are very important objectives for all the collaboration support system. The proposed system provides the two viewpoints for each task. One is the viewpoint of back side of user’s own avatar for the smooth communication. The other is that of avatar’s eye for 3D shape evaluation. Switching the viewpoints satisfies the task conditions for 3D shape evaluation and communication. The system basically consists of PC, HMD and sensors, and users can share the embodied interaction by observing interaction between their avatars in virtual space. However, the HMD and magnetic sensors, which are put on the users, would restrict the nonverbal communication. Then, we have tried to compensate the loss of nodding of partner’s avatar by introducing the speech-driven embodied interactive actor InterActor. Sensory evaluation by paired comparison of 3D shapes in the collaborative situation in virtual space and in real space and the questionnaire are performed. The result demonstrates the effectiveness of InterActor’s nodding in the collaborative situation.

Differentiation of Response Characteristics during Multiple Fixed Ratio Extinction

1964 ◽  
Vol 15 (2) ◽  
pp. 495-502 ◽  
Author(s):  
Jeremy D. Birch
Keyword(s):  
Rhesus Monkey ◽  
Relative Frequency ◽  
Fixed Ratio ◽  
The Other ◽  
Response Characteristics ◽  
First Response ◽  
Lever Pressing

Multiple Fixed Ratio Extinction force and displacement data for lever pressing were obtained from a rhesus monkey restrained in a primate chair. Two basic behaviors were defined: responses, which were reinforced, and errors, which were not. When a Fixed Ratio 4 baseline was used and the reinforced force or displacement band was shifted, relative frequency force and displacement distributions shifted in the same direction. Under force-specific or displacement-specific reinforcement the number of errors preceding the first response of the fixed ratio was always larger than the number preceding any of the other responses. It appeared that S discriminated the response requirements, and that the procedure can be used to study such discrimination in detail.

Comparison of Operant-Rate and Paired-Comparison Methods of Measuring Reinforcer Preferences in Monkeys

1966 ◽  
Vol 18 (2) ◽  
pp. 435-439 ◽  
Author(s):  
F. Robert Treichler ◽  
Barbara Hann ◽  
Susan L. Donaldson
Keyword(s):  
Rhesus Monkeys ◽  
Paired Comparison ◽  
The Other ◽  
Paired Comparisons ◽  
Comparison Methods

Five rhesus monkeys were tested under two methods of meassuring reinforcer preference, one a paired-comparison and the other an operant-rate technique. Most animals failed to learn the discriminations necessary for paired-comparisons but showed significant and reliable differences in preference for the commodities evaluated by the operant-rate technique. It was concluded that either method, when appropriately designed, may yield useful results.

Left ear advantage in pitch perception of complex tones without energy at the fundamental frequency

1996 ◽  
Vol 34 (2) ◽  
pp. 153-157 ◽  
Author(s):  
Claude Paquette ◽  
Michelle Bourassa ◽  
Isabelle Peretz
Keyword(s):  
Fundamental Frequency ◽  
Pitch Perception ◽  
Complex Tones ◽  
Ear Advantage
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