scholarly journals The effect of tone duration on auditory stream formation

1998 ◽  
Vol 60 (5) ◽  
pp. 852-861 ◽  
Author(s):  
Michael W. Beauvois
Keyword(s):  
Tone Duration ◽  
Auditory Stream ◽  
Stream Formation

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

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

Stream Segregation and Peripheral Channeling

1991 ◽  
Vol 9 (2) ◽  
pp. 155-183 ◽  
Author(s):  
William Morris Hartmann ◽  
Douglas Johnson
Keyword(s):  
Elementary Mathematics ◽  
Stream Segregation ◽  
Secondary Effect ◽  
Tone Duration ◽  
Identification Task ◽  
Auditory Periphery ◽  
Auditory Stream ◽  
Auditory Stream Segregation ◽  
Simple Rules ◽  
Different Sources

Two interleaved melodies, with theory tones alternating as ABAB..., can be individually followed and identified if auditory stream segregation takes place. Stream segregation can occur if the tone conditions are favorable, for example, if the tones of the different melodies are in different octaves. Using an interleaved melody identification task, we have measured the extent to which 12 different tone conditions lead to stream segregation. The purpose of the experiment is to discover whether stream segregation is mediated entirely by channeling that is established in the auditory periphery or whether more complicated principles of source grouping are at work. Peripheral channels are defined as either tonotopic (frequency based) or lateral (localized left or right). The data show that peripheral channeling is of paramount importance, suggesting that a set of rather simple rules can predict whether two interleaved melodies will be perceived as segregated or not. The data reveal a secondary effect of tone duration. Otherwise, in the absence of peripheral channeling, the experiments find little or no stream segregation, even in those cases where individual tones should clearly evoke images of different sources. Additional experiments show that interleaved melody identification is made more difficult by a transposition that maximizes the number of melodic crossings, even though the transposition may place the interleaved melodies in different keys. An appendix develops an elementary mathematics of melodic crossings and contacts.

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