Across-frequency interference effects in fundamental frequency discrimination: questioning evidence for two pitch mechanisms

Fundamental-frequency discrimination based on temporal-envelope cues: Effects of bandwidth and interference

Both music and speech perception rely on hearing out one pitch in the presence of others. Pitch discrimination of narrowband sounds based only on temporal-envelope cues is rendered nearly impossible by introducing interferers in both normal-hearing listeners and cochlear-implant (CI) users. This study tested whether performance improves in normal-hearing listeners if the target is presented over a broad spectral region. The results indicate that performance is still strongly affected by spectrally remote interferers, despite increases in bandwidth, suggesting that envelope-based pitch is unlikely to allow CI users to perceive pitch when multiple harmonic sounds are presented at once.

Diversity in pitch perception revealed by task dependence

Pitch conveys critical information in speech, music, and other natural sounds, and is conventionally defined as the perceptual correlate of a sound's fundamental frequency (F0). Although pitch is widely assumed to be subserved by a single F0 estimation process, real-world pitch tasks vary enormously, raising the possibility of underlying mechanistic diversity. To probe pitch mechanisms we conducted a battery of pitch-related music and speech tasks using conventional harmonic sounds and inharmonic sounds whose frequencies lack a common F0. Some pitch-related abilities - those relying on musical interval or voice recognition - were strongly impaired by inharmonicity, suggesting a reliance on F0. However, other tasks, including those dependent on pitch contours in speech and music, were unaffected by inharmonicity, suggesting a mechanism that tracks the frequency spectrum rather than the F0. The results suggest that pitch perception is mediated by several different mechanisms, only some of which conform to traditional notions of pitch.

Congenital amusia: a cognitive disorder limited to resolved harmonics and with no peripheral basis

Pitch plays a fundamental role in audition, from speech and music perception to auditory scene analysis. Congenital amusia is a neurogenetic disorder that appears to affect primarily pitch and melody perception. Pitch is normally conveyed by the spectro-temporal fine structure of low harmonics, but some pitch information is available in the temporal envelope produced by the interactions of higher harmonics. Using 10 amusic subjects and 10 matched controls, we tested the hypothesis that amusics suffer exclusively from impaired processing of spectro-temporal fine structure. We also tested whether the inability of amusics to process acoustic temporal fine structure extends beyond pitch by measuring sensitivity to interaural time differences, which also rely on temporal fine structure. Further tests were carried out on basic intensity and spectral resolution. As expected, pitch perception based on spectro-temporal fine structure was impaired in amusics; however, no significant deficits were observed in amusics' ability to perceive the pitch conveyed via temporal-envelope cues. Sensitivity to interaural time differences was also not significantly different between the amusic and control groups, ruling out deficits in the peripheral coding of temporal fine structure. Finally, no significant differences in intensity or spectral resolution were found between the amusic and control groups. The results demonstrate a pitch-specific deficit in fine spectro-temporal information processing in amusia that seems unrelated to temporal or spectral coding in the auditory periphery. These results are consistent with the view that there are distinct mechanisms dedicated to processing resolved and unresolved harmonics in the general population, the former being altered in congenital amusia while the latter is spared.

The role of excitation-pattern, temporal-fine-structure, and envelope cues in the discrimination of complex tones

The discrimination of bandpass-filtered harmonic (H) from inharmonic (I) tones (produced by shifting all components of the H tones upwards by a fixed amount in Hz) could be based on shifts in the pattern of ripples in the excitation pattern (EP) or on changes in the temporal fine structure evoked by the tones. The predictions of two computational EP models were compared with measured performance. One model used auditory filters with bandwidth values specified by Glasberg and Moore [(1990). Hear. Res. 47, 103-138] and one used filters that were twice as sharp. Stimulus variables were passband width, fundamental frequency, harmonic rank (N) of the lowest component within the passband, component phase (cosine or random), signal-to-noise ratio (SNR), and random perturbation in level of each component in the tones. While the EP models correctly predicted the lack of an effect of phase and some of the trends in the data as a function of fundamental frequency and N, neither model predicted the worsening in performance with increasing passband width or the lack of effect of SNR and level perturbation. It is concluded that discrimination of the H and I tones is not based solely on the use of EP cues.

Pitch and plasticity: insights from the pitch matching of chords by musicians with absolute and relative pitch

Absolute pitch (AP) is a form of sound recognition in which musical note names are associated with discrete musical pitch categories. The accuracy of pitch matching by non-AP musicians for chords has recently been shown to depend on stimulus familiarity, pointing to a role of spectral recognition mechanisms in the early stages of pitch processing. Here we show that pitch matching accuracy by AP musicians was also dependent on their familiarity with the chord stimulus. This suggests that the pitch matching abilities of both AP and non-AP musicians for concurrently presented pitches are dependent on initial recognition of the chord. The dual mechanism model of pitch perception previously proposed by the authors suggests that spectral processing associated with sound recognition primes waveform processing to extract stimulus periodicity and refine pitch perception. The findings presented in this paper are consistent with the dual mechanism model of pitch, and in the case of AP musicians, the formation of nominal pitch categories based on both spectral and periodicity information.

The dominant region for the pitch of complex tones with low fundamental frequencies

The dominant region for pitch for complex tones with low fundamental frequency (F0) was investigated. Thresholds for detection of a change in F0 (F0DLs) were measured for a group of harmonics (group B) embedded in a group of fixed non-overlapping harmonics (group A) with the same mean F0. It was assumed that F0DLs would be smallest when the harmonics in group B fell in the dominant region. The rank of the lowest harmonic in group B, N, was varied from 1 to 15. When all components had the same level, F0DLs increased with increasing N, but the increase started at a lower value of N for F0 = 200 Hz than for F0 = 50 or 100 Hz, the opposite of what would be expected if the dominant region corresponds to resolved harmonics. When the component levels followed an equal-loudness contour, F0DLs for F0 = 50 Hz were lowest for N = 1, but overall performance was much worse than for equal-level components, suggesting that the lowest harmonics were masking information from the higher harmonics.

Modulation frequency discrimination with modulated and unmodulated interference in normal hearing and in cochlear-implant users

Differences in fundamental frequency (F0) provide an important cue for segregating simultaneous sounds. Cochlear implants (CIs) transmit F0 information primarily through the periodicity of the temporal envelope of the electrical pulse trains. Successful segregation of sounds with different F0s requires the ability to process multiple F0s simultaneously, but it is unknown whether CI users have this ability. This study measured modulation frequency discrimination thresholds for half-wave rectified sinusoidal envelopes modulated at 115 Hz in CI users and normal-hearing (NH) listeners. The target modulation was presented in isolation or in the presence of an interferer. Discrimination thresholds were strongly affected by the presence of an interferer, even when it was unmodulated and spectrally remote. Interferer modulation increased interference and often led to very high discrimination thresholds, especially when the interfering modulation frequency was lower than that of the target. Introducing a temporal offset between the interferer and the target led to at best modest improvements in performance in CI users and NH listeners. The results suggest no fundamental difference between acoustic and electric hearing in processing single or multiple envelope-based F0s, but confirm that differences in F0 are unlikely to provide a robust cue for perceptual segregation in CI users.

Pitch perception of concurrent harmonic tones with overlapping spectra

Fundamental frequency difference limens (F0DLs) were measured for a target harmonic complex tone with nominal fundamental frequency (F0) of 200 Hz, in the presence and absence of a harmonic masker with overlapping spectrum. The F0 of the masker was 0, ± 3, or ± 6 semitones relative to 200 Hz. The stimuli were bandpass filtered into three regions: 0-1000 Hz (low, L), 1600-2400 Hz (medium, M), and 2800-3600 Hz (high, H), and a background noise was used to mask combination tones and to limit the audibility of components falling on the filter skirts. The components of the target or masker started either in cosine or random phase. Generally, the effect of F0 difference between target and masker was small. For the target alone, F0DLs were larger for random than cosine phase for region H. For the target plus masker, F0DLs were larger when the target had random phase than cosine phase for regions M and H. F0DLs increased with increasing center frequency of the bandpass filter. Modeling using excitation patterns and "summary autocorrelation" and "stabilized auditory image" models suggested that use of temporal fine structure information can account for the small F0DLs obtained when harmonics are barely, if at all, resolved.

Contribution of Resolved and Unresolved Harmonic Regions to Brainstem Speech-Evoked Responses in Quiet and in Background Noise

Speech auditory brainstem responses (speech ABR) reflect activity that is phase-locked to the harmonics of the fundamental frequency (F0) up to at least the first formant (F1). Recent evidence suggests that responses at F0 in the presence of noise are more robust than responses at F1, and are also dissociated in some learning-impaired children. Peripheral auditory processing can be broadly divided into resolved and unresolved harmonic regions. This study investigates the contribution of these two regions to the speech ABR, and their susceptibility to noise. We recorded, in quiet and in background white noise, evoked responses in twelve normal hearing adults in response to three variants of a synthetic vowel: i) Allformants, which contains all first three formants, ii) F1Only, which is dominated by resolved harmonics, and iii) F2&F3Only, which is dominated by unresolved harmonics. There were no statistically significant differences in the response at F0 due to the three variants of the stimulus in quiet, nor did the noise affect this response with the Allformants and F1Only variants. On the other hand, the response at F0 with the F2&F3Only variant was significantly weaker in noise than with the two other variants (p<0.001). With the response at F1, there was no difference with the Allformants and F1Only variants in quiet, but was expectedly weaker with the F2&F3Only variant (p<0.01). The addition of noise significantly weakened the response at F1 with the F1Only variant (p<0.05), but this weakening only tended towards significance with the Allformants variant (p=0.07). The results of this study indicate that resolved and unresolved harmonics are processed in different but interacting pathways that converge in the upper brainstem. The results also support earlier work on the differential susceptibility of responses at F0 and F1 to added noise.

Combination of spectral and binaurally created harmonics in a common central pitch processor

A fundamental attribute of human hearing is the ability to extract a residue pitch from harmonic complex sounds such as those produced by musical instruments and the human voice. However, the neural mechanisms that underlie this processing are unclear, as are the locations of these mechanisms in the auditory pathway. The ability to extract a residue pitch corresponding to the fundamental frequency from individual harmonics, even when the fundamental component is absent, has been demonstrated separately for conventional pitches and for Huggins pitch (HP), a stimulus without monaural pitch information. HP is created by presenting the same wideband noise to both ears, except for a narrowband frequency region where the noise is decorrelated across the two ears. The present study investigated whether residue pitch can be derived by combining a component derived solely from binaural interaction (HP) with a spectral component for which no binaural processing is required. Fifteen listeners indicated which of two sequentially presented sounds was higher in pitch. Each sound consisted of two "harmonics," which independently could be either a spectral or a HP component. Component frequencies were chosen such that the relative pitch judgement revealed whether a residue pitch was heard or not. The results showed that listeners were equally likely to perceive a residue pitch when one component was dichotic and the other was spectral as when the components were both spectral or both dichotic. This suggests that there exists a single mechanism for the derivation of residue pitch from binaurally created components and from spectral components, and that this mechanism operates at or after the level of the dorsal nucleus of the lateral lemniscus (brainstem) or the inferior colliculus (midbrain), which receive inputs from the medial superior olive where temporal information from the two ears is first combined.

Perceptual grouping affects pitch judgments across time and frequency

Pitch, the perceptual correlate of fundamental frequency (F0), plays an important role in speech, music, and animal vocalizations. Changes in F0 over time help define musical melodies and speech prosody, while comparisons of simultaneous F0 are important for musical harmony, and for segregating competing sound sources. This study compared listeners' ability to detect differences in F0 between pairs of sequential or simultaneous tones that were filtered into separate, nonoverlapping spectral regions. The timbre differences induced by filtering led to poor F0 discrimination in the sequential, but not the simultaneous, conditions. Temporal overlap of the two tones was not sufficient to produce good performance; instead performance appeared to depend on the two tones being integrated into the same perceptual object. The results confirm the difficulty of comparing the pitches of sequential sounds with different timbres and suggest that, for simultaneous sounds, pitch differences may be detected through a decrease in perceptual fusion rather than an explicit coding and comparison of the underlying F0s.

Perceptual learning of fundamental frequency discrimination: effects of fundamental frequency, harmonic number, and component phase

Thresholds (F0DLs) were measured for discrimination of the fundamental frequency (F0) of a group of harmonics (group B) embedded in harmonics with a fixed F0. Miyazono and Moore [(2009). Acoust. Sci. & Tech. 30, 383386] found a large training effect for tones with high harmonics in group B, when the harmonics were added in cosine phase. It is shown here that this effect was due to use of a cue related to pitch pulse asynchrony (PPA). When PPA cues were disrupted by introducing a temporal offset between the envelope peaks of the harmonics in group B and the remaining harmonics, F0DLs increased markedly. Perceptual learning was examined using a training stimulus with cosine-phase harmonics, F0 = 50 Hz, and high harmonics in group B, under conditions where PPA was not useful. Learning occurred, and it transferred to other cosine-phase tones, but not to random-phase tones. A similar experiment with F0 = 100 Hz showed a learning effect which transferred to a cosine-phase tone with mainly high unresolved harmonics, but not to cosine-phase tones with low harmonics, and not to random-phase tones. The learning found here appears to be specific to tones for which F0 discrimination is based on distinct peaks in the temporal envelope.

Mistuning detection and onset asynchrony in harmonic complexes in Mongolian gerbils

By applying a Go/NoGo paradigm, thresholds for detecting mistuning of components of a 200 Hz complex were determined in the Mongolian gerbil and compared with thresholds obtained in a previous study with an 800 Hz complex. Frequency difference limens (FDLs) for detecting mistuning decreased with increasing harmonic frequency and harmonic number (0.5% to 0.01% Weber fraction). It was furthermore examined how starting and ending the mistuned component earlier than the remaining complex affects the FDL (duration of all components 400 ms, time shift 30 to 500 ms). Large FDLs that are similar to pure tone FDLs (between 21% and 6.7%) were found for onset asynchronies of 300 ms and more, indicating separate processing of the mistuned component. Small FDLs that are similar to FDLs of the synchronous condition were found if the temporal overlap between the mistuned component and the remaining complex was 100 ms or more. These experimental data in combination with a simulation of processing of the harmonic complexes by the gerbil's peripheral auditory filters led to the conclusion that the phase and amplitude modulations in the filter outputs can provide cues that allow gerbils a sensitive detection of mistuning across a wide range of frequencies.

Combining information across frequency regions in fundamental frequency discrimination

Sensitivity to fundamental frequency (F0) differences was measured for two complex tones, A and B, which had the same F0 but were filtered into two different frequency regions. Tones were presented either alone or together. A signal-detection analysis was used to predict effects of combining F0 information across frequency regions. For 400-ms tones containing only unresolved harmonics, the first experiment showed that performance (in terms of d(')) for the combined presentation was better than for the isolated tones but was not optimal (assuming independent channels and noises) and was independent of the relative timing of pulses in the envelopes of tones A and B (varied by changing the starting phase of components of tone B relative to those of tone A). The nonoptimal performance was shown not to be due to peripheral masking (experiment II), or to listeners paying attention mainly to one frequency region (experiment III), nor was it specific to conditions where all harmonics were unresolved (experiment IV). In contrast, optimal performance in F0 discrimination for combined presentation was observed for 50-ms tones (experiment V). The results may reflect the limited ability of the human auditory system to integrate information simultaneously in the time and the frequency domains.

Pitch, harmonicity and concurrent sound segregation: psychoacoustical and neurophysiological findings

Harmonic complex tones are a particularly important class of sounds found in both speech and music. Although these sounds contain multiple frequency components, they are usually perceived as a coherent whole, with a pitch corresponding to the fundamental frequency (F0). However, when two or more harmonic sounds occur concurrently, e.g., at a cocktail party or in a symphony, the auditory system must separate harmonics and assign them to their respective F0s so that a coherent and veridical representation of the different sounds sources is formed. Here we review both psychophysical and neurophysiological (single-unit and evoked-potential) findings, which provide some insight into how, and how well, the auditory system accomplishes this task. A survey of computational models designed to estimate multiple F0s and segregate concurrent sources is followed by a review of the empirical literature on the perception and neural coding of concurrent harmonic sounds, including vowels, as well as findings obtained using single complex tones with mistuned harmonics.

Pitch discrimination interference between binaural and monaural or diotic pitches

Fundamental frequency (F0) discrimination between two sequentially presented complex (target) tones can be impaired in the presence of an additional complex tone (the interferer) even when filtered into a remote spectral region [Gockel, H., et al. (2004). J. Acoust. Soc. Am. 116, 1092-1104]. This "pitch discrimination interference" (PDI) is greatest when the interferer and target have similar F0s. The present study measured PDI using monaural or diotic complex-tone interferers and "Huggins pitch" or diotic complex-tone targets. The first experiment showed that listeners hear a "complex Huggins pitch" (CHP), approximately corresponding to F0, when multiple phase transitions at harmonics of (but not at) F0 are present. The accuracy of pitch matches to the CHP was similar to that for an equally loud diotic tone complex presented in noise. The second experiment showed that PDI can occur when the target is a CHP while the interferer is a diotic or monaural complex tone. In a third experiment, similar amounts of PDI were observed for CHP targets and for loudness-matched diotic complex-tone targets. Thus, a conventional complex tone and CHP appear to be processed in common at the stage where PDI occurs.

Further examination of pitch discrimination interference between complex tones containing resolved harmonics

Pitch discrimination interference (PDI) is an impairment in fundamental frequency (F0) discrimination between two sequentially presented complex (target) tones produced by another complex tone (the interferer) that is filtered into a remote spectral frequency region. Micheyl and Oxenham [J. Acoust. Soc. Am. 121, 1621-1631 (2007)] reported a modest PDI for target tones and interferers both containing resolved harmonics when the F0 difference between the two target tones (DeltaF0) was small. When the interferer was in a lower spectral region than the target, a much larger PDI was observed when DeltaF0 was large (14%-20%), and, under these conditions, performance in the presence of an interferer was worse than at smaller DeltaF0s. The present study replicated the occurrence of PDI for complex tones containing resolved harmonics for small DeltaF0s. In contrast to Micheyl and Oxenham's findings, performance in the presence of an interferer always increased monotonically with increasing DeltaF0. However, when the interferer was in a lower spectral region than the target (and not vice versa), some subjects needed verbal instructions or modified stimuli to choose the correct cue, indicating an asymmetry in spontaneous obviousness of the correct listening cue across conditions.

Pitch discrimination interference: the role of ear of entry and of octave similarity

Gockel et al. [(2004). J. Acoust. Soc. Am. 116, 1092-1104] reported that discrimination of the fundamental frequency (F0) of two sequentially presented complex tones (the target) was impaired when an additional complex tone (the interferer) was presented simultaneously with and to the same ear as the target, even though the target and interferer were filtered into separate frequency regions. This pitch discrimination interference (PDI) was greatest when the target and interferer had similar F0s. The current study examined the role of relative ear of entry of the target and interferer and whether the dependence of the PDI effect on the relative F0 of target and interferer is based on pitch height (F0 as such) or pitch chroma (the musical note). Sensitivity (d(')) was measured for discrimination of the F0 of a target with a nominal F0 of 88 Hz, bandpass filtered from 1375 to 1875 Hz. The interferer was bandpass filtered from 125 to 625 Hz. The contralateral interferer produced marked PDI, but smaller than for ipsilateral presentation. PDI was not larger when the interferer's F0 was twice the nominal target F0 than when it was a factor of 1.9 or 2.1 higher.

The cocktail party problem: what is it? How can it be solved? And why should animal behaviorists study it?

Animals often use acoustic signals to communicate in groups or social aggregations in which multiple individuals signal within a receiver's hearing range. Consequently, receivers face challenges related to acoustic interference and auditory masking that are not unlike the human cocktail party problem, which refers to the problem of perceiving speech in noisy social settings. Understanding the sensory solutions to the cocktail party problem has been a goal of research on human hearing and speech communication for several decades. Despite a general interest in acoustic signaling in groups, animal behaviorists have devoted comparatively less attention toward understanding how animals solve problems equivalent to the human cocktail party problem. After illustrating how humans and nonhuman animals experience and overcome similar perceptual challenges in cocktail-party-like social environments, this article reviews previous psychophysical and physiological studies of humans and nonhuman animals to describe how the cocktail party problem can be solved. This review also outlines several basic and applied benefits that could result from studies of the cocktail party problem in the context of animal acoustic communication.

Across-frequency pitch discrimination interference between complex tones containing resolved harmonics

Pitch discrimination interference (PDI) refers to an impairment in the ability to discriminate changes in the fundamental frequency (F0) of a target harmonic complex, caused by another harmonic complex (the interferer) presented simultaneously in a remote spectral region. So far, PDI has been demonstrated for target complexes filtered into a higher spectral region than the interferer and containing no peripherally resolved harmonics in their passband. Here, it is shown that PDI also occurs when the target harmonic complex contains resolved harmonics in its passband (experiment 1). PDI was also observed when the target was filtered into a lower spectral region than that of the interferer (experiment 2), revealing that differences in relative harmonic dominance and pitch salience between the simultaneous target and the interferer, as confirmed using pitch matches (experiment 3), do not entirely explain PDI. When the target was in the higher spectral region, and the F0 separation between the target and the interferer was around 7% or 10%, dramatic PDI effects were observed despite the relatively large FO separation between the two sequential targets (14%-20%). Overall, the results suggest that PDI is more general than previously thought, and is not limited to targets consisting only of unresolved harmonics.

Concurrent sound segregation in electric and acoustic hearing

We investigated potential cues to sound segregation by cochlear implant (CI) and normal-hearing (NH) listeners. In each presentation interval of experiment 1a, CI listeners heard a mixture of four pulse trains applied concurrently to separate electrodes, preceded by a "probe" applied to a single electrode. In one of these two intervals, which the subject had to identify, the probe electrode was the same as a "target" electrode in the mixture. The pulse train on the target electrode had a higher level than the others in the mixture. Additionally, it could be presented either with a 200-ms onset delay, at a lower rate, or with an asynchrony produced by delaying each pulse by about 5 ms re those on the nontarget electrodes. Neither the rate difference nor the asynchrony aided performance over and above the level difference alone, but the onset delay produced a modest improvement. Experiment 1b showed that two subjects could perform the task using the onset delay alone, with no level difference. Experiment 2 used a method similar to that of experiment 1, but investigated the onset cue using NH listeners. In one condition, the mixture consisted of harmonics 5 to 40 of a 100-Hz fundamental, with the onset of either harmonics 13 to 17 or 26 to 30 delayed re the rest. Performance was modest in this condition, but could be improved markedly by using stimuli containing a spectral gap between the target and nontarget harmonics. The results suggest that (a) CI users are unlikely to use temporal pitch differences between adjacent channels to separate concurrent sounds, and that (b) they can use onset differences between channels, but the usefulness of this cue will be compromised by the spread of excitation along the nerve-fiber array. This deleterious effect of spread-of-excitation can also impair the use of onset cues by NH listeners.

Detection and F0 discrimination of harmonic complex tones in the presence of competing tones or noise

Normal-hearing listeners' ability to "hear out" the pitch of a target harmonic complex tone (HCT) was tested with simultaneous HCT or noise maskers, all bandpass-filtered into the same spectral region (1200-3600 Hz). Target-to-masker ratios (TMRs) necessary to discriminate fixed fundamental-frequency (F0) differences were measured for target F0s between 100 and 400 Hz. At high F0s (400 Hz), asynchronous gating of masker and signal, presenting the masker in a different F0 range, and reducing the F0 rove of the masker, all resulted in improved performance. At the low F0s (100 Hz), none of these manipulations improved performance significantly. The findings are generally consistent with the idea that the ability to segregate sounds based on cues such as F0 differences and onset/offset asynchronies can be strongly limited by peripheral harmonic resolvability. However, some cases were observed where perceptual segregation appeared possible, even when no peripherally resolved harmonics were present in the mixture of target and masker. A final experiment, comparing TMRs necessary for detection and F0 discrimination, showed that F0 discrimination of the target was possible with noise maskers at only a few decibels above detection threshold, whereas similar performance with HCT maskers was only possible 15-25 dB above detection threshold.

The case of the missing delay lines: synthetic delays obtained by cross-channel phase interaction

Temporal models of pitch and harmonic segregation call for delays of up to 30 ms to cover the full range of existence of musical pitch. To date there is little anatomical or physiological evidence for delays that long. We propose a mechanism by which delays may be synthesized from cross-channel phase interaction. Phases of adjacent cochlear filter channels are shifted by an amount proportional to frequency and then combined as a weighted sum to approximate a delay. Synthetic delays may be used by pitch perception models such as autocorrelation, segregation models such as harmonic cancellation, and binaural processing models to explain sensitivity to large interaural delays. The maximum duration of synthetic delays is limited by the duration of the impulse responses of cochlear filters, itself inversely proportional to cochlear filter bandwidth. Maximum delay is thus frequency dependent. This may explain the fact, puzzling for temporal pitch models such as autocorrelation, that pitch is more salient and easy to discriminate for complex tones that contain resolved partials.

Reduced contribution of a nonsimultaneous mistuned harmonic to residue pitch

Ciocca and Darwin [V. Ciocca and C. J. Darwin, J. Acoust. Soc. Am. 105, 2421-2430 (1999)] reported that the shift in residue pitch caused by mistuning a single harmonic (the fourth out of the first 12) was the same when the mistuned harmonic was presented after the remainder of the complex as when it was simultaneous, even though subjects were asked to ignore the pure-tone percept. The present study tried to replicate this result, and investigated the role of the presence of the nominally mistuned harmonic in the matching sound. Subjects adjusted a "matching" sound so that its pitch equaled that of a subsequent 90-ms complex tone (12 harmonics of a 155-Hz F0), whose mistuned (+/-3%) third harmonic was presented either simultaneously with or after the remaining harmonics. In experiment 1, the matching sound was a harmonic complex whose third harmonic was either present or absent. In experiments 2A and 2B, the target and matching sound had nonoverlapping spectra. Pitch shifts were reduced both when the mistuned component was nonsimultaneous, and when the third harmonic was absent in the matching sound. The results indicate a shorter than originally estimated time window for obligatory integration of nonsimultaneous components into a virtual pitch.

The effect of cross-channel synchrony on the perception of temporal regularity

Temporal models of pitch are based on the assumption that the auditory system measures the time intervals between neural events, and that pitch corresponds to the most common time interval. The current experiments were designed to test whether time intervals are analyzed independently in each peripheral channel, or whether the time-interval analysis in one channel is affected by synchronous activity in other channels. Regular and irregular click trains were filtered into narrow frequency bands to produce target and flanker stimuli. The threshold for discriminating a regular target from an irregular distracter click train was measured in the presence of an irregular masker click train in the target band, as a function of the frequency separation between the target band and a flanker band. The flanker click train was either regular or irregular. The threshold for detecting the regular target was 5-7 dB lower when the flanker was regular. The data indicate that the detection of temporal regularity (and thus, pitch) involves cross-channel processes that can operate over widely separated channels. Model simulations suggest that these cross-channel processes occur after the time-interval extraction stage and that they depend on the similarity, or consistency, of the time-interval patterns in the relevant channels.

Comparing F0 discrimination in sequential and simultaneous conditions

In an influential study, Carlyon and Shackleton [J. Acoust. Soc. Am. 95, 3541-3554 (1994)] measured listeners' performance (d') in fundamental-frequency (F0) discrimination between harmonic complex tones (HCTs) presented simultaneously in different spectral regions and compared their performance with that found in a sequential-comparison task. In this Letter, it is suggested that Carlyon and Shackleton's analysis of the simultaneous-comparison data did not adequately reflect their assumption that listeners were effectively comparing F0's across regions. A reanalysis consistent with this assumption is described. The new results suggest that under the assumption that listeners were effectively comparing F0 across regions, their performance in this task was substantially higher than originally estimated by Carlyon and Shackleton, and in some conditions much higher than expected from the performances measured in a traditional F0-discrimination task with sequential HCTs. Possible explanations for this outcome, as well as alternative interpretations, are proposed.

Pitch discrimination interference: the role of pitch pulse asynchrony

Gockel, Carlyon, and Plack [J. Acoust. Soc. Am. 116, 1092-1104 (2004)] showed that discrimination of the fundamental frequency (F0) of a target tone containing only unresolved harmonics was impaired when an interfering complex tone with fixed F0 was added to the target, but filtered into a lower frequency region. This pitch discrimination interference (PDI) was greater when the interferer contained resolved harmonics than when it contained only unresolved harmonics. Here, it is examined whether this occurred because, when the interferer contained unresolved harmonics, "pitch pulse asynchrony (PPA)" between the target and interferer provided a cue that enhanced performance; this was possible in the earlier experiment because both target and interferer had components added in sine phase. In experiment 1, it was shown that subjects were moderately sensitive to the direction of PPA across frequency regions. In experiments 2 and 3, PPA cues were eliminated by adding the components of the target only, or of both target and interferer, in random phase. For both experiments, an interferer containing resolved harmonics produced more PDI than an interferer containing unresolved harmonics. These results show that PDI is smaller for an interferer with unresolved harmonics even when cues related to PPA are eliminated.