Mapping of interactions in the pitch memory store

Not fully remembered, but not forgotten: interfering sounds worsen but do not eliminate the representation of pitch in working memory

Recent research has begun measuring auditory working memory with a continuous adjustment task in which listeners adjust attributes of a sound to match a stimulus presented earlier. This approach captures auditory memory's continuous nature better than standard change detection paradigms that collect binary ("same or different") memory measurements. In two experiments, we assessed the impact of different interference stimuli (multitone complexes vs. white noise vs. silence) on the precision and accuracy of participants' reproductions of pitch from memory. Participants were presented with a target multitone complex stimulus followed by eight successive interference signals. Across trials, these signals alternated between additional multitone complexes, randomly generated white noise samples, or (in Experiment 2) silence. This was followed by a response period where participants adjusted the pitch of a response stimulus using a MIDI touchpad to match the target. Experiment 1 found a significant effect of interference type on performance, with tone interference signals producing the greatest impairments to participants' accuracy and precision compared to white noise. Interestingly, it also found a compression in the participants' responses, with overestimations of low-frequency targets and underestimations for high-frequency targets. Experiment 2 replicated results from Experiment 1, with an additional silence condition showing the best performance, suggesting that non-tonal signals also generate interference. In general, results support a shared resource model of working memory with a limited capacity that can be flexibly allocated to hold items in memory with varying levels of fidelity. Interference does not appear to knock items out of a fixed precision slot, but rather robs a portion of capacity from stored items.

Generalizing across tonal context, timbre, and octave in rapid absolute pitch training

Absolute pitch (AP) is the rare ability to name any musical note without the use of a reference note. Given that genuine AP representations are based on the identification of isolated notes by their tone chroma, they are considered to be invariant to (1) surrounding tonal context, (2) changes in instrumental timbre, and (3) changes in octave register. However, there is considerable variability in the literature in terms of how AP is trained and tested along these dimensions, making recent claims about AP learning difficult to assess. Here, we examined the effect of tonal context on participant success with a single-note identification training paradigm, including how learning generalized to an untested instrument and octave. We found that participants were able to rapidly learn to distinguish C from other notes, with and without feedback and regardless of the tonal context in which C was presented. Participants were also able to partly generalize this skill to an untrained instrument. However, participants displayed the weakest generalization in recognizing C in a higher octave. The results indicate that participants were likely attending to pitch height in addition to pitch chroma - a conjecture that was supported by analyzing the pattern of response errors. These findings highlight the complex nature of note representation in AP, which requires note identification across contexts, going beyond the simple storage of a note fundamental. The importance of standardizing testing that spans both timbre and octave in assessing AP and further implications on past literature and future work are discussed.

Beyond Recognition: Visual Contributions to Verbal Working Memory

PURPOSE

It is well recognized that adding the visual to the acoustic speech signal improves recognition when the acoustic signal is degraded, but how that visual signal affects postrecognition processes is not so well understood. This study was designed to further elucidate the relationships among auditory and visual codes in working memory, a postrecognition process.

DESIGN

In a main experiment, 80 young adults with normal hearing were tested using an immediate serial recall paradigm. Three types of signals were presented (unprocessed speech, vocoded speech, and environmental sounds) in three conditions (audio-only, audio-video with dynamic visual signals, and audio-picture with static visual signals). Three dependent measures were analyzed: (a) magnitude of the recency effect, (b) overall recall accuracy, and (c) response times, to assess cognitive effort. In a follow-up experiment, 30 young adults with normal hearing were tested largely using the same procedures, but with a slight change in order of stimulus presentation.

RESULTS

The main experiment produced three major findings: (a) unprocessed speech evoked a recency effect of consistent magnitude across conditions; vocoded speech evoked a recency effect of similar magnitude to unprocessed speech only with dynamic visual (lipread) signals; environmental sounds never showed a recency effect. (b) Dynamic and static visual signals enhanced overall recall accuracy to a similar extent, and this enhancement was greater for vocoded speech and environmental sounds than for unprocessed speech. (c) All visual signals reduced cognitive load, except for dynamic visual signals with environmental sounds. The follow-up experiment revealed that dynamic visual (lipread) signals exerted their effect on the vocoded stimuli by enhancing phonological quality.

CONCLUSIONS

Acoustic and visual signals can combine to enhance working memory operations, but the source of these effects differs for phonological and nonphonological signals. Nonetheless, visual information can support better postrecognition processes for patients with hearing loss.

Modulating short-term auditory memory with focal transcranial direct current stimulation applied to the supramarginal gyrus

Previous studies have shown that transcranial direct current stimulation (tDCS) can affect performance by decreasing regional excitability in a brain region that contributes to the task of interest. To our knowledge, no research to date has found both enhancing and diminishing effects on performance, depending upon which polarity of the current is applied. The supramarginal gyrus (SMG) is an ideal brain region for testing tDCS effects because it is easy to identify using the 10-20 electroencephalography coordinate system, and results of neuroimaging studies have implicated the left SMG in short-term memory for phonological and nonphonological sounds. In the present study, we found that applying tDCS to the left SMG affected pitch memory in a manner that depended upon the polarity of stimulation: cathodal tDCS had a negative impact on performance whereas anodal tDCS had a positive impact. These effects were significantly different from sham stimulation, which did not influence performance; they were also specific to the left hemisphere - no effect was found when applying cathodal stimulation to the right SMG - and were unique to pitch memory as opposed to memory for visual shapes. Our results provide further evidence that the left SMG is a nodal point for short-term auditory storage and demonstrate the potential of tDCS to influence cognitive performance and to causally examine hypotheses derived from neuroimaging studies.

Time-dependent discrimination advantages for harmonic sounds suggest efficient coding for memory

Perceptual systems have finite memory resources and must store incoming signals in compressed formats. To explore whether representations of a sound's pitch might derive from this need for compression, we compared discrimination of harmonic and inharmonic sounds across delays. In contrast to inharmonic spectra, harmonic spectra can be summarized, and thus compressed, using their fundamental frequency (f0). Participants heard two sounds and judged which was higher. Despite being comparable for sounds presented back-to-back, discrimination was better for harmonic than inharmonic stimuli when sounds were separated in time, implicating memory representations unique to harmonic sounds. Patterns of individual differences (correlations between thresholds in different conditions) indicated that listeners use different representations depending on the time delay between sounds, directly comparing the spectra of temporally adjacent sounds, but transitioning to comparing f0s across delays. The need to store sound in memory appears to determine reliance on f0-based pitch and may explain its importance in music, in which listeners must extract relationships between notes separated in time.

Pspan: A New Tool for Assessing Pitch Temporal Processing and Patterning Capacity

Purpose The purpose of this study was to evaluate whether merging the clinical pitch pattern test procedure with psychoacoustic adaptive methods would create a new tool feasible to capture individual differences in pitch temporal processing and patterning capacity of children and adults. Method Sixty-six individuals, young children (ages 10-12 years, n = 22), older children (ages 13-15 years, n = 23), and adults (ages 18-33 years, n = 21), were recruited and assigned to subgroups based on reported duration (years) of instrumental music instruction. Additional background information was collected in order to assess if the pitch temporal processing and patterning span developed, the Pspan, was sensitive to individual differences across participants. Results The evaluation of the Pspan task as a scale indicated good parallel reliability across runs assessed by Cronbach's alpha, and scores were normally distributed. Between-subjects analysis of variance indicated main effects for both age groups and music groups recruited for the study. A multiple regression analysis with the Pspan scores as the dependent variable found that 3 measures of music instruction, age in years, and paternal education were predictive of enhanced temporal processing and patterning capacity for pitch input. Conclusions The outcomes suggest that the Pspan task is a time-efficient data collection tool that is sensitive to the duration of instrumental music instruction, maturation, and paternal education. In addition, results indicate that the task is sensitive to age-related auditory temporal processing and patterning performance changes during adolescence when children are 10-15 years old.

Resilient memory for melodies: The number of intervening melodies does not influence novel melody recognition

In many memory domains, a decrease in recognition performance between the first and second presentation of an object is observed as the number of intervening items increases. However, this effect is not universal. Within the auditory domain, this form of interference has been demonstrated in word and single-note recognition, but has yet to be substantiated using relatively complex musical material such as a melody. Indeed, it is becoming clear that music shows intriguing properties when it comes to memory. This study investigated how the number of intervening items influences memory for melodies. In Experiments 1, 2 and 3, one melody was presented per trial in a continuous recognition paradigm. After each melody, participants indicated whether they had heard the melody in the experiment before by responding "old" or "new." In Experiment 4, participants rated perceived familiarity for every melody without being told that melodies reoccur. In four experiments using two corpora of music, two different memory tasks, transposed and untransposed melodies and up to 195 intervening melodies, no sign of a disruptive effect from the number of intervening melodies beyond the first was observed. We propose a new "regenerative multiple representations" conjecture to explain why intervening items increase interference in recognition memory for most domains but not music. This conjecture makes several testable predictions and has the potential to strengthen our understanding of domain specificity in human memory, while moving one step closer to explaining the "paradox" that is memory for melody.

A Dynamical Model of Pitch Memory Provides an Improved Basis for Implied Harmony Estimation

Tonal melody can imply vertical harmony through a sequence of tones. Current methods for automatic chord estimation commonly use chroma-based features extracted from audio signals. However, the implied harmony of unaccompanied melodies can be difficult to estimate on the basis of chroma content in the presence of frequent nonchord tones. Here we present a novel approach to automatic chord estimation based on the human perception of pitch sequences. We use cohesion and inhibition between pitches in auditory short-term memory to differentiate chord tones and nonchord tones in tonal melodies. We model short-term pitch memory as a gradient frequency neural network, which is a biologically realistic model of auditory neural processing. The model is a dynamical system consisting of a network of tonotopically tuned nonlinear oscillators driven by audio signals. The oscillators interact with each other through nonlinear resonance and lateral inhibition, and the pattern of oscillatory traces emerging from the interactions is taken as a measure of pitch salience. We test the model with a collection of unaccompanied tonal melodies to evaluate it as a feature extractor for chord estimation. We show that chord tones are selectively enhanced in the response of the model, thereby increasing the accuracy of implied harmony estimation. We also find that, like other existing features for chord estimation, the performance of the model can be improved by using segmented input signals. We discuss possible ways to expand the present model into a full chord estimation system within the dynamical systems framework.

Short-term memory stores organized by information domain

Vision and audition have complementary affinities, with vision excelling in spatial resolution and audition excelling in temporal resolution. Here, we investigated the relationships among the visual and auditory modalities and spatial and temporal short-term memory (STM) using change detection tasks. We created short sequences of visual or auditory items, such that each item within a sequence arose at a unique spatial location at a unique time. On each trial, two successive sequences were presented; subjects attended to either space (the sequence of locations) or time (the sequence of inter item intervals) and reported whether the patterns of locations or intervals were identical. Each subject completed blocks of unimodal trials (both sequences presented in the same modality) and crossmodal trials (Sequence 1 visual, Sequence 2 auditory, or vice versa) for both spatial and temporal tasks. We found a strong interaction between modality and task: Spatial performance was best on unimodal visual trials, whereas temporal performance was best on unimodal auditory trials. The order of modalities on crossmodal trials also mattered, suggesting that perceptual fidelity at encoding is critical to STM. Critically, no cost was attributable to crossmodal comparison: In both tasks, performance on crossmodal trials was as good as or better than on the weaker unimodal trials. STM representations of space and time can guide change detection in either the visual or the auditory modality, suggesting that the temporal or spatial organization of STM may supersede sensory-specific organization.

Auditory short-term memory in the primate auditory cortex

Sounds are fleeting, and assembling the sequence of inputs at the ear into a coherent percept requires auditory memory across various time scales. Auditory short-term memory comprises at least two components: an active ׳working memory' bolstered by rehearsal, and a sensory trace that may be passively retained. Working memory relies on representations recalled from long-term memory, and their rehearsal may require phonological mechanisms unique to humans. The sensory component, passive short-term memory (pSTM), is tractable to study in nonhuman primates, whose brain architecture and behavioral repertoire are comparable to our own. This review discusses recent advances in the behavioral and neurophysiological study of auditory memory with a focus on single-unit recordings from macaque monkeys performing delayed-match-to-sample (DMS) tasks. Monkeys appear to employ pSTM to solve these tasks, as evidenced by the impact of interfering stimuli on memory performance. In several regards, pSTM in monkeys resembles pitch memory in humans, and may engage similar neural mechanisms. Neural correlates of DMS performance have been observed throughout the auditory and prefrontal cortex, defining a network of areas supporting auditory STM with parallels to that supporting visual STM. These correlates include persistent neural firing, or a suppression of firing, during the delay period of the memory task, as well as suppression or (less commonly) enhancement of sensory responses when a sound is repeated as a ׳match' stimulus. Auditory STM is supported by a distributed temporo-frontal network in which sensitivity to stimulus history is an intrinsic feature of auditory processing. This article is part of a Special Issue entitled SI: Auditory working memory.

Nonverbal auditory working memory: Can music indicate the capacity?

Different working memory (WM) mechanisms that underlie words, tones, and timbres have been proposed in previous studies. In this regard, the present study developed a WM test with nonverbal sounds and compared it to the conventional verbal WM test. A total of twenty-five, non-music major, right-handed college students were presented with four different types of sounds (words, syllables, pitches, timbres) that varied from two to eight digits in length. Both accuracy and oxygenated hemoglobin (oxyHb) were measured. The results showed significant effects of number of targets on accuracy and sound type on oxyHb. A further analysis showed prefrontal asymmetry with pitch being processed by the right hemisphere (RH) and timbre by the left hemisphere (LH). These findings suggest a potential for employing musical sounds (i.e., pitch and timbre) as a complementary stimuli for conventional nonverbal WM tests, which can additionally examine its asymmetrical roles in the prefrontal regions.

Difficulties with pitch discrimination influences pitch memory performance: evidence from congenital amusia

Music processing is influenced by pitch perception and memory. Additionally these features interact, with pitch memory performance decreasing as the perceived distance between two pitches decreases. This study examined whether or not the difficulty of pitch discrimination influences pitch retention by testing individuals with congenital amusia. Pitch discrimination difficulty was equated by determining an individual’s threshold with a two down one up staircase procedure and using this to create conditions where two pitches (the standard and the comparison tones) differed by 1x, 2x, and 3x the threshold setting. For comparison with the literature a condition that employed a constant pitch difference of four semitones was also included. The results showed that pitch memory performance improved as the discrimination between the standard and the comparison tones was made easier for both amusic and control groups, and more importantly, that amusics did not show any pitch retention deficits when the discrimination difficulty was equated. In contrast, consistent with previous literature, amusics performed worse than controls when the physical pitch distance was held constant at four semitones. This impaired performance has been interpreted as evidence for pitch memory impairment in the past. However, employing a constant pitch distance always makes the difference closer to the discrimination threshold for the amusic group than for the control group. Therefore, reduced performance in this condition may simply reflect differences in the perceptual difficulty of the discrimination. The findings indicate the importance of equating the discrimination difficulty when investigating memory.

Resource allocation and prioritization in auditory working memory

A prevalent view of working memory (WM) considers it to be capacity-limited, fixed to a set number of items. However, recent shared resource models of WM have challenged this “quantized” account using measures of recall precision. Although this conceptual framework can account for several features of visual WM, it remains to be established whether it also applies to auditory WM.

We used a novel pitch-matching paradigm to probe participants’ memory of pure tones in sequences of varying length, and measured their precision of recall. Crucially, this provides an index of the variability of memory representation around its true value, rather than a binary “yes/no” recall measure typically used in change detection paradigms. We show that precision of auditory WM varies with both memory load and serial order. Moreover, auditory WM resources can be prioritized to cued items, improving precision of recall, but with a concomitant cost to other items, consistent with a resource model account.

Effect of acoustic similarity on short-term auditory memory in the monkey

Recent evidence suggests that the monkey's short-term memory in audition depends on a passively retained sensory trace as opposed to a trace reactivated from long-term memory for use in working memory. Reliance on a passive sensory trace could render memory particularly susceptible to confusion between sounds that are similar in some acoustic dimension. If so, then in delayed matching-to-sample, the monkey's performance should be predicted by the similarity in the salient acoustic dimension between the sample and subsequent test stimulus, even at very short delays. To test this prediction and isolate the acoustic features relevant to short-term memory, we examined the pattern of errors made by two rhesus monkeys performing a serial, auditory delayed match-to-sample task with interstimulus intervals of 1 s. The analysis revealed that false-alarm errors did indeed result from similarity-based confusion between the sample and the subsequent nonmatch stimuli. Manipulation of the stimuli showed that removal of spectral cues was more disruptive to matching behavior than removal of temporal cues. In addition, the effect of acoustic similarity on false-alarm response was stronger at the first nonmatch stimulus than at the second one. This pattern of errors would be expected if the first nonmatch stimulus overwrote the sample's trace, and suggests that the passively retained trace is not only vulnerable to similarity-based confusion but is also highly susceptible to overwriting.

[Working memory for music in patients with mild cognitive impairment and early stage Alzheimer's disease]

A variety of studies demonstrated that some forms of memory for music are spared in dementia, but only few studies have investigated patients with early stages of dementia. In this pilot-study we tested working memory for music in patients with mild cognitive impairment (MCI) and early stage Alzheimer's disease (AD) with a newly created test. The test probed working memory using 7 gradually elongated tone-lines and 6 chords which were each followed by 3 similar items and 1 identical item. The participants of the study, namely 10 patients with MCI, 10 patients with early stage AD and 23 healthy subjects were instructed to select the identical tone-line or chord. Subjects with MCI and early AD showed significantly reduced performance than controls in most of the presented tasks. In recognizing chords MCI- participants surprisingly showed an unimpaired performance. The gradual increase of the impairment during the preclinical phase of AD seems to spare this special ability in MCI.

Do irrelevant sounds impair the maintenance of all characteristics of speech in memory?

Several studies have shown that maintaining in memory some attributes of speech, such as the content or pitch of an interlocutor's message, is markedly reduced in the presence of background sounds made of spectrotemporal variations. However, experimental paradigms showing this interference have only focused on one attribute of speech at a time, and thus differ from real-life situations in which several attributes have to be memorized and maintained simultaneously. It is possible that the interference is even greater in such a case and can occur for a broader range of background sounds. We developed a paradigm in which participants had to maintain the content, pitch and speaker size of auditorily presented speech information and used various auditory distractors to generate interference. We found that only distractors with spectrotemporal variations impaired the detection, which shows that similar interference mechanisms occur whether there are one or more speech attributes to maintain in memory. A high percentage of false alarms was observed with these distractors, suggesting that spectrotemporal variations not only weaken but also modify the information maintained in memory. Lastly, we found that participants were unaware of the interference. These results are similar to those observed in the visual modality.

Monkeys have a limited form of short-term memory in audition

A stimulus trace may be temporarily retained either actively [i.e., in working memory (WM)] or by the weaker mnemonic process we will call passive short-term memory, in which a given stimulus trace is highly susceptible to "overwriting" by a subsequent stimulus. It has been suggested that WM is the more robust process because it exploits long-term memory (i.e., a current stimulus activates a stored representation of that stimulus, which can then be actively maintained). Recent studies have suggested that monkeys may be unable to store acoustic signals in long-term memory, raising the possibility that they may therefore also lack auditory WM. To explore this possibility, we tested rhesus monkeys on a serial delayed match-to-sample (DMS) task using a small set of sounds presented with ~1-s interstimulus delays. Performance was accurate whenever a match or a nonmatch stimulus followed the sample directly, but it fell precipitously if a single nonmatch stimulus intervened between sample and match. The steep drop in accuracy was found to be due not to passive decay of the sample's trace, but to retroactive interference from the intervening nonmatch stimulus. This "overwriting" effect was far greater than that observed previously in serial DMS with visual stimuli. The results, which accord with the notion that WM relies on long-term memory, indicate that monkeys perform serial DMS in audition remarkably poorly and that whatever success they had on this task depended largely, if not entirely, on the retention of stimulus traces in the passive form of short-term memory.

Tuning properties of the auditory frequency-shift detectors

Demany and Ramos [(2005). J. Acoust. Soc. Am. 117, 833-841] found that it is possible to hear an upward or downward pitch change between two successive pure tones differing in frequency even when the first tone is informationally masked by other tones, preventing a conscious perception of its pitch. This provides evidence for the existence of automatic frequency-shift detectors (FSDs) in the auditory system. The present study was intended to estimate the magnitude of the frequency shifts optimally detected by the FSDs. Listeners were presented with sound sequences consisting of (1) a 300-ms or 100-ms random "chord" of synchronous pure tones, separated by constant intervals of either 650 cents or 1000 cents; (2) an interstimulus interval (ISI) varying from 100 to 900 ms; (3) a single pure tone at a variable frequency distance (Delta) from a randomly selected component of the chord. The task was to indicate if the final pure tone was higher or lower than the nearest component of the chord. Irrespective of the chord's properties and of the ISI, performance was best when Delta was equal to about 120 cents (1/10 octave). Therefore, this interval seems to be the frequency shift optimally detected by the FSDs.

Effects of recurrent tonal information on auditory working memory for pitch

This study ascertained the influence of repeating pitch information within an intervening tonal sequence upon the extent of interference for a pitch standard held within auditory working memory as measured by the difference limen for frequency (DLF). Standard and comparison tones were presented to subjects and same/different responses were obtained using a touch screen monitor and the DLF was measured using single interval adjustment matrix (SIAM) procedure [Kaernbach, C., 1990. A single-interval adjustment-matrix (SIAM) procedure for unbiased adaptive testing. J. Acoust. Soc. Am. 88, 2645-2655]. Estimates of the DLF were obtained in a control condition with a silent inter-comparison interval and three conditions containing intervening tones within the temporal gap between the standard and comparison stimuli. The presence of intervening stimuli produced a significant increase in the DLF when the intervening tonal sequence contained tones with pitches that differed from that of the standard (Int condition) as well as when the sequence contained a tone with a pitch identical to that of the comparison (RptCmp condition). Further, the DLFs obtained for RptCmp condition were significantly higher than those measured in the Int condition. The DLFs measured in the condition where the pitch of an intervening tone was identical to the standard were significantly lower than those for the Int and RptCmp condition, but did not differ from the DLFs for the control condition. These results indicate that either a release from or an increase in interference in auditory working memory for pitch can occur dependent upon the frequency relationships between of the standard, comparison, and intervening tones.

Effect of interaural level and phase cues on intervening interference in auditory working memory for loudness

The focus of this study was to gauge the influence of intervening interference on an intensity standard held within auditory working memory through measurement of the just noticeable difference (JND) for intensity. Additionally, the use of interaural phase differences and interaural level differences as spatial cues were employed to identify whether these indicators provided a means for release from interference. A series of tones, both with and without spatial cues, were presented to subjects and responses were obtained using the method of constant stimuli. The JND for intensity was measured in a control condition with a silent inter-comparison interval and three conditions containing intervening tones within the temporal gap between the standard and comparison stimuli. The presence of intervening interference produced a significant increase in the intensity difference needed for discrimination. Further, the provision of spatial cues did not result in a significant release from this interference. These results indicate that a release from interference is not obtained when listeners are required to rely entirely on information used for spatial location (i.e., overall intensity differences and interaural phase/intensity differences) without unique information identifying the sound source to aid in retention of relevant information within auditory working memory.

Memory for product sounds: the effect of sound and label type

The (mnemonic) interactions between auditory, visual, and the semantic systems have been investigated using structurally complex auditory stimuli (i.e., product sounds). Six types of product sounds (air, alarm, cyclic, impact, liquid, mechanical) that vary in spectral-temporal structure were presented in four label type conditions: self-generated text, text, image, and pictogram. A memory paradigm that incorporated free recall, recognition, and matching tasks was employed. The results for the sound type suggest that the amount of spectral-temporal structure in a sound can be indicative for memory performance. Findings related to label type suggest that 'self' creates a strong bias for the retrieval and the recognition of sounds that were self-labeled; the density and the complexity of the visual information (i.e., pictograms) hinders the memory performance ('visual' overshadowing effect); and image labeling has an additive effect on the recall and matching tasks (dual coding). Thus, the findings suggest that the memory performances for product sounds are task-dependent.

Release from interference in auditory working memory for pitch

The purpose of this study was to quantify the effect of interpolated tones upon a pitch standard held within auditory working memory through measurement of the difference limen (just noticeable difference) for frequency and the usefulness of "Where" cues to ameliorate the interference produced by these intervening stimuli. To this end, we measured the degree to which tones, containing identical and disparate localization cues, presented within the retention interval altered differential sensitivity for frequency via the method of constant stimuli. The difference limen for frequency nearly tripled when tones were presented within the retention interval and sound localization cues produced a significant partial release from interference within the short-term pitch store. Interference produced by "Where" cues ranged from 4.0 to 5.2 Hz. These findings indicate that there is a possible integrative use of the "What" and "Where" pathways in forming and maintaining pitch information within the pitch array within auditory working memory.

Auditory short-term memory persistence for tonal signals in a songbird

This paper presents an animal model for studying the persistence of auditory memory for tonal signals. Five European starlings (Sturnus vulgaris) were trained in a Go/NoGo delayed nonmatching-to-sample task to discriminate between a series of identical "sample stimuli" and a single "test stimulus." Frequencies of sample and test stimuli should be classified as being either the same or different. The performance of the birds is measured as the percentage of correct classifications. Three parameters were varied: The delay between sample and test stimuli, the number of sample stimuli presented before the test stimulus, and the salience of the difference between sample and test stimuli. Auditory memory persistence time was estimated as a function of the delay between the last sample stimulus and the test stimulus. The performance of the birds deteriorated with increasing delay before the test stimulus. Increasing the number of sample stimuli in the series of tones presented before the test stimulus improved performance. Performance was also better for more salient differences between sample and test stimuli. The individual auditory memory persistence time varied between 4 and 20 s.

Proactive interference in a two-tone pitch-comparison task without additional interfering tones

Two-tone pitch-comparison tasks typically comprise several successive pairs of successive tones separated by silent intervals. The serial occurrence of such pairs has been associated with degraded task performance, but the nature of this association is not fully understood. Human adult participants were presented with successive pairs of successive tones. The latter, to-be-compared tone of a pair could differ from the former, to-be-remembered tone of 1046.5 Hz by no more than +/-15 Hz (25 cents). The direction of this difference was easier to identify when it was opposite to that of the preceding pair than when being the same. Merely responding accordingly (irrespectively of whether the response was correct or not) was found not to account for this finding. Our study demonstrates proactive interference in a two-tone pitch comparison task as the difficulty to remember when the first tone of the present pair occurred relative to the last tone of the immediately preceding pair.

Working memory as an emergent property of the mind and brain

Cognitive neuroscience research on working memory has been largely motivated by a standard model that arose from the melding of psychological theory with neuroscience data. Among the tenets of this standard model are that working memory functions arise from the operation of specialized systems that act as buffers for the storage and manipulation of information, and that frontal cortex (particularly prefrontal cortex) is a critical neural substrate for these specialized systems. However, the standard model has been a victim of its own success, and can no longer accommodate many of the empirical findings of studies that it has motivated. An alternative is proposed: Working memory functions arise through the coordinated recruitment, via attention, of brain systems that have evolved to accomplish sensory-, representation-, and action-related functions. Evidence from behavioral, neuropsychological, electrophysiological, and neuroimaging studies, from monkeys and humans, is considered, as is the question of how to interpret delay-period activity in the prefrontal cortex.

Different Interference Effects in Musicians and a Control Group

In the present study musicians and normal control subjects performed an S1-S2 pitch comparison task, which included the presentation of intervening tones during the retention interval. The time for encoding and storing the pitch of S1 was varied between 200 and 1,500 ms by changing the pause between the S1 offset and the onset of the intervening tones. Although musicians outperformed the control group with longer pauses after the S1 offset, this advantage was relatively small with shorter pauses. These results suggest that the advantage of musicians in storing auditory information is not solely due to their superior encoding of information but also to improved working memory operations.

Working memory in primate sensory systems

Sensory working memory consists of the short-term storage of sensory stimuli to guide behaviour. There is increasing evidence that elemental sensory dimensions - such as object motion in the visual system or the frequency of a sound in the auditory system - are stored by segregated feature-selective systems that include not only the prefrontal and parietal cortex, but also areas of sensory cortex that carry out relatively early stages of processing. These circuits seem to have a dual function: precise sensory encoding and short-term storage of this information. New results provide insights into how activity in these circuits represents the remembered sensory stimuli.

A nonmusical paradigm for identifying absolute pitch possessors

The ability to identify and reproduce sounds of specific frequencies is remarkable and uncommon. The etiology and defining characteristics of this skill, absolute pitch (AP), have been very controversial. One theory suggests that AP requires a specific type of early musical training and that the ability to encode and remember tones depends on these learned musical associations. An alternate theory argues that AP may be strongly dependent on hereditary factors and relatively independent of musical experience. To date, it has been difficult to test these hypotheses because all previous paradigms for identifying AP have required subjects to employ knowledge of musical nomenclature. As such, these tests are insensitive to the possibility of discovering AP in either nonmusicians or musicians of non-Western training. Based on previous literature in pitch memory, a paradigm is presented that is intended to distinguish between AP possessors and nonpossessors independent of the subjects' musical experience. The efficacy of this method is then tested with 20 classically defined AP possessors and 22 nonpossessors. Data from these groups strongly support the validity of the paradigm. The use of a nonmusical paradigm to identify AP may facilitate research into many aspects of this phenomenon.

Long-term memory for elementary visual percepts: memory psychophysics of context and acquisition effects

In the first phase of each of two experiments, participants learned to associate a set of labels (i.e., consonant-vowel-consonant [CVC]) with a set of line lengths by using a paired-associate learning procedure. In the second phase of each experiment, these learned labels were used as memorial standards in the method of constant stimuli. Psychometric functions and the associated indices of discriminative performance (i.e., Weber fractions [WFs], just noticeable difference, and point of subjective equality) were then obtained for the remembered standards. In Experiment 1, WFs (i.e., the indices of memory precision) obtained with remembered standards were found to be higher (i.e., had poorer discriminability) than were WFs obtained with perceptual standards. In addition, WFs obtained with the remembered standards exhibited serial position effects (i.e., poorer discriminability for central items in the memory ensemble) and systematically varied with set size (i.e., the number of standards in the memory set), but WFs obtained with perceptual standards did not depend on serial position or set size. In Experiment 2, increasing the number of acquisition trials reduced WFs and diminished serial position effects. In addition, WFs did not vary systematically with the "physical" spacing between the standards in memory, but they did with the ordinal spacing. The results are consistent with a noisy analogue representation of remembered magnitudes, whereby central items in a memory ensemble are subject to lateral inhibition and thus reduced discriminability. Finally, presentation order effects, as defined by the classic time-order error, were observed with purely perceptual comparisons but not with comparisons involving a remembered standard. This latter finding is inconsistent with a strong form of the functional equivalence view of perception and memory.

Temporal interval production and short-term memory

Interference with time estimation from concurrent nontemporal processing has been shown to depend on the short-term memory requirements of the concurrent task (Fortin & Breton, 1995; Fortin, Rousseau, Bourque, & Kirouac, 1993). In particular, it has been claimed that active processing of information in short-term memory produces interference, whereas simply maintaining information does not. Here, four experiments are reported in which subjects were trained to produce a 2,500-msec interval and then perform concurrent memory tasks. Interference with timing was demonstrated for concurrent memory tasks involving only maintenance. In one experiment, increasing set size in a pitch memory task systematically lengthened temporal production. Two further experiments suggested that this was due to a specific interaction between the short-term memory requirements of the pitch task and those of temporal production. In the final experiment, subjects performed temporal production while concurrently remembering the durations of a set of tones. Interference with interval production was comparable to that produced by the pitch memory task. Results are discussed in terms of a pacemaker-counter model of temporal processing, in which the counter component is supported by short-term memory.

Right temporal cortex is critical for utilization of melodic contextual cues in a pitch constancy task

Pitch constancy, perceiving the same pitch from tones with differing spectral shapes, requires one to extract the fundamental frequency from two sets of harmonics and compare them. We previously showed this difficult task to be easier when tonal context is present, presumably because the context creates a tonal reference point from which to judge the test tone. The present study assessed the role of the right auditory cortex in using tonal context for pitch judgements. Thirty-six patients with focal brain excisions of the right or left anterior temporal lobe (RT, LT) and 12 matched control participants (NC) made pitch judgements on complex tones that could differ in fundamental frequency and/or spectral shape. This task was performed in isolation and within a melodic context. The RT group showed impairments both on trials in which extraction of pitch from differing spectral shapes was required (different-timbre trials) and when this was not required (same-timbre trials). All groups performed poorly in the isolated condition, but improved with melodic context. Degree of improvement varied in that the LT group performed normally, whereas the RT group was not able to obtain the same amount of facilitation from the melodic context. In particular, melodic context did not facilitate the RT group's performance on different-timbre trials. Excisions within Heschl's gyrus did not affect these results, suggesting that the impairments were due to the removal of the anterior temporal cortex. The results of this study therefore implicate right anterior auditory cortical areas in making pitch judgements relative to tones that were heard previously. We propose that auditory association areas located on the anterior portion of the superior temporal gyrus, an area with connections to frontal regions implicated in working memory, could be involved in holding and integrating tonal information.

Influence of tonal context and timbral variation on perception of pitch

In this study, spectral timbre's effect on pitch perception is examined in varying contexts. In two experiments, subjects detected pitch deviations of tones differing in brightness in an isolated context in which they compared two tones, in a tone-series context in which they judged whether the last tone of a simple sequence was in or out of tune, and in a melodic context in which they determined whether the last note of familiar melodies was in or out of tune. Timbre influenced pitch judgments in all the conditions, but increasing tonal context allowed the subjects to extract pitch information more accurately. This appears to be due to two factors: (1) The presence of extra tones creates a stronger reference point from which to judge pitch, and (2) the melodies' tonal structure gives more cues that facilitate pitch extraction, even in the face of conflicting spectral information.

Similarity, invariance, and musical variation

Perceptual similarity underlies a number of important psychological properties of musical materials, including perceptual invariance under transformation, categorization, recognition, and the sense of familiarity. Mental processes involved in the perception of musical similarity may be an integral part of the functional logic of music composition and thus underly important aspects of musical experience. How much and in what ways can musical materials be varied and still be considered as perceptually related or as belonging to the same category? The notions of musical material, musical variation, perceptual similarity and invariance, and form-bearing dimensions are considered in this light. Recent work on similarity perception has demonstrated that the transformation space for a given musical material is limited by several factors ranging from degree of match of the values of auditory attributes of the events composing the sequences to their relations of various levels of abstraction and to the degree that the transformation respects the grammar of the musical system within which the material was composed. These notions and results are considered in the light of future directions of research, particularly concerning the role of similarity and invariance in the understanding of musical form during listening.

Memory for pitch versus memory for loudness

The decays of pitch traces and loudness traces in short-term auditory memory were compared in forced-choice discrimination experiments. The two stimuli presented on each trial were separated by a variable delay (D); they consisted of pure tones, series of resolved harmonics, or series of unresolved harmonics mixed with lowpass noise. A roving procedure was employed in order to minimize the influence of context coding. During an initial phase of each experiment, frequency and intensity discrimination thresholds [P(C) = 0.80] were measured with an adaptive staircase method while D was fixed at 0.5 s. The corresponding physical differences (in cents or dB) were then constantly presented at four values of D: 0.5, 2, 5, and 10 s. In the case of intensity discrimination, performance (d') markedly decreased when D increased from 0.5 to 2 s, but was not further reduced when D was longer. In the case of frequency discrimination, the decline of performance as a function of D was significantly less abrupt. This divergence suggests that pitch and loudness are processed in separate modules of auditory memory.

Interference effects in short-term memory for timbre

Four experiments investigated memory for timbre using the interpolated-tone paradigm [Deutsch, Science 168, 1604-1605 (1970)], in which participants discriminate pairs of tones (standard and comparison) separated by intervening (interpolated) tones. Interpolated tones varied from the standard tone in spectral similarity (within-dimensional variation), fundamental frequency (cross-dimensional variation), and repetition frequency. While the latter two variables had negligible effects on timbre memory, interference with timbre memory increased with the spectral similarity of the interpolated tones to the standard tone. The findings closely parallel those found for pitch memory, and suggest that memory interference depends on perceptual similarity in both cases.

Memory for the absolute pitch of familiar songs

Four experiments were conducted to examine the ability of people without "perfect pitch" to retain the absolute pitch of familiar tunes. In Experiment 1, participants imagined given tunes, and then hummed their first notes four times either between or within sessions. The variability of these productions was very low. Experiment 2 used a recognition paradigm, with results similar to those in Experiment 1 for musicians, but with some additional variability shown for unselected subjects. In Experiment 3, subjects rated the suitability of various pitches to start familiar tunes. Previously given preferred notes were rated high, as were notes three or four semitones distant from the preferred notes, but not notes one or two semitones distant. In Experiment 4, subjects mentally transformed the pitches of familiar tunes to the highest and lowest levels possible. These experiments suggest some retention of the absolute pitch of tunes despite a paucity of verbal or visual cues for the pitch.

Generality of interference by tonal stimuli in recognition memory for pitch

An investigation was made into the disruptive effects on pitch recognition produced by tones taken from beyond the octave from which the standard (S) and comparison (C) tones were taken. Pitch recognition was required after a retention interval during which eight other tones were played. Errors were compared for sequences in which the interpolated tones were taken from the same octave as were the S and C tones; in which they were taken from the octave above; in which they were taken from the octave below; and in which half of the intervening tones were taken from the octave above and the other half from the octave below, the order of choice of octave within the sequence being random. Large disruptive effects were produced by interpolated tones drawn from the higher and lower octaves, though these effects were slightly less than those produced by tones drawn from the same octave. The greatest disruptive effect occurred when the intervening tones in any one sequence were drawn from both the higher and the lower octaves. The implications of these findings are discussed.