Perceptual hysteresis in the judgment of auditory pitch shift

Distinct dynamic connectivity profiles promote enhanced conscious perception of auditory stimuli

The neuroscience of consciousness aims to identify neural markers that distinguish brain dynamics in healthy individuals from those in unconscious conditions. Recent research has revealed that specific brain connectivity patterns correlate with conscious states and diminish with loss of consciousness. However, the contribution of these patterns to shaping conscious processing remains unclear. Our study investigates the functional significance of these neural dynamics by examining their impact on participants' ability to process external information during wakefulness. Using fMRI recordings during an auditory detection task and rest, we show that ongoing dynamics are underpinned by brain patterns consistent with those identified in previous research. Detection of auditory stimuli at threshold is specifically improved when the connectivity pattern at stimulus presentation corresponds to patterns characteristic of conscious states. Conversely, the occurrence of these conscious state-associated patterns increases after detection, indicating a mutual influence between ongoing brain dynamics and conscious perception. Our findings suggest that certain brain configurations are more favorable to the conscious processing of external stimuli. Targeting these favorable patterns in patients with consciousness disorders may help identify windows of greater receptivity to the external world, guiding personalized treatments.

Toward Understanding of the Social Hysteresis: Insights From Agent-Based Modeling

Hysteresis has been used to understand various social phenomena, such as political polarization, the persistence of the vaccination-compliance problem, or the delayed response of employees in a firm to wage incentives. The aim of this article is to show the insights that can be gained from using agent-based models (ABMs) to study hysteresis. To build up an intuition about hysteresis, we start with an illustrative example from physics that demonstrates how hysteresis manifests as collective memory. Next, we present examples of hysteresis in psychology and social systems. We then present two simple ABMs of binary decisions-the Ising model and the q-voter model-to explain how hysteresis can be observed in ABMs. Specifically, we show that hysteresis can result from the influence of various external factors present in social systems, such as organizational polices, governmental laws, or mass media campaigns, as well as internal noise associated with random changes in agent decisions. Finally, we clarify the relationship between several closely related concepts such as order-disorder transitions or bifurcation, and we conclude the article with a discussion of the advantages of ABMs.

Decoding contextual influences on auditory perception from primary auditory cortex

Perception can be highly dependent on stimulus context, but whether and how sensory areas encode the context remains uncertain. We used an ambiguous auditory stimulus - a tritone pair - to investigate the neural activity associated with a preceding contextual stimulus that strongly influenced the tritone pair's perception: either as an ascending or a descending step in pitch. We recorded single-unit responses from a population of auditory cortical cells in awake ferrets listening to the tritone pairs preceded by the contextual stimulus. We find that the responses adapt locally to the contextual stimulus, consistent with human MEG recordings from the auditory cortex under the same conditions. Decoding the population responses demonstrates that pitch-change selective cells are able to predict well the context-sensitive percept of the tritone pairs. Conversely, decoding the distances between the pitch representations predicts the opposite of the percept. The various percepts can be readily captured and explained by a neural model of cortical activity based on populations of adapting, pitch and pitch-direction selective cells, aligned with the neurophysiological responses. Together, these decoding and model results suggest that contextual influences on perception may well be already encoded at the level of the primary sensory cortices, reflecting basic neural response properties commonly found in these areas.

In-channel cancellation: A model of early auditory processing

A model of early auditory processing is proposed in which each peripheral channel is processed by a delay-and-subtract cancellation filter, tuned independently for each channel with a criterion of minimum power. For a channel dominated by a pure tone or a resolved partial of a complex tone, the optimal delay is its period. For a channel responding to harmonically related partials, the optimal delay is their common fundamental period. Each peripheral channel is thus split into two subchannels-one that is cancellation-filtered and the other that is not. Perception can involve either or both, depending on the task. The model is illustrated by applying it to the masking asymmetry between pure tones and narrowband noise: a noise target masked by a tone is more easily detectable than a tone target masked by noise. The model is one of a wider class of models, monaural or binaural, that cancel irrelevant stimulus dimensions to attain invariance to competing sources. Similar to occlusion in the visual domain, cancellation yields sensory evidence that is incomplete, thus requiring Bayesian inference of an internal model of the world along the lines of Helmholtz's doctrine of unconscious inference.

Continuous dynamics in behavior reveal interactions between perceptual warping in categorization and speech-in-noise perception

Introduction

Spoken language comprehension requires listeners map continuous features of the speech signal to discrete category labels. Categories are however malleable to surrounding context and stimulus precedence; listeners' percept can dynamically shift depending on the sequencing of adjacent stimuli resulting in a warping of the heard phonetic category. Here, we investigated whether such perceptual warping-which amplify categorical hearing-might alter speech processing in noise-degraded listening scenarios.

Methods

We measured continuous dynamics in perception and category judgments of an acoustic-phonetic vowel gradient via mouse tracking. Tokens were presented in serial vs. random orders to induce more/less perceptual warping while listeners categorized continua in clean and noise conditions.

Results

Listeners' responses were faster and their mouse trajectories closer to the ultimate behavioral selection (marked visually on the screen) in serial vs. random order, suggesting increased perceptual attraction to category exemplars. Interestingly, order effects emerged earlier and persisted later in the trial time course when categorizing speech in noise.

Discussion

These data describe interactions between perceptual warping in categorization and speech-in-noise perception: warping strengthens the behavioral attraction to relevant speech categories, making listeners more decisive (though not necessarily more accurate) in their decisions of both clean and noise-degraded speech.

A unitary model of auditory frequency change perception

Changes in the frequency content of sounds over time are arguably the most basic form of information about the behavior of sound-emitting objects. In perceptual studies, such changes have mostly been investigated separately, as aspects of either pitch or timbre. Here, we propose a unitary account of "up" and "down" subjective judgments of frequency change, based on a model combining auditory correlates of acoustic cues in a sound-specific and listener-specific manner. To do so, we introduce a generalized version of so-called Shepard tones, allowing symmetric manipulations of spectral information on a fine scale, usually associated to pitch (spectral fine structure, SFS), and on a coarse scale, usually associated timbre (spectral envelope, SE). In a series of behavioral experiments, listeners reported "up" or "down" shifts across pairs of generalized Shepard tones that differed in SFS, in SE, or in both. We observed the classic properties of Shepard tones for either SFS or SE shifts: subjective judgements followed the smallest log-frequency change direction, with cases of ambiguity and circularity. Interestingly, when both SFS and SE changes were applied concurrently (synergistically or antagonistically), we observed a trade-off between cues. Listeners were encouraged to report when they perceived "both" directions of change concurrently, but this rarely happened, suggesting a unitary percept. A computational model could accurately fit the behavioral data by combining different cues reflecting frequency changes after auditory filtering. The model revealed that cue weighting depended on the nature of the sound. When presented with harmonic sounds, listeners put more weight on SFS-related cues, whereas inharmonic sounds led to more weight on SE-related cues. Moreover, these stimulus-based factors were modulated by inter-individual differences, revealing variability across listeners in the detailed recipe for "up" and "down" judgments. We argue that frequency changes are tracked perceptually via the adaptive combination of a diverse set of cues, in a manner that is in fact similar to the derivation of other basic auditory dimensions such as spatial location.

Reliable estimation of internal oscillator properties from a novel, fast-paced tapping paradigm

Rhythmic structure in speech, music, and other auditory signals helps us track, anticipate, and understand the sounds in our environment. The dynamic attending framework proposes that biological systems possess internal rhythms, generated via oscillatory mechanisms, that synchronize with (entrain to) rhythms in the external world. Here, we focused on two properties of internal oscillators: preferred rate, the default rate of an oscillator in the absence of any input, and flexibility, the oscillator's ability to adapt to changes in external rhythmic context. We aimed to develop methods that can reliably estimate preferred rate and flexibility on an individual basis. The experiment was a synchronization-continuation finger tapping paradigm with a unique design: the stimulus rates were finely sampled over a wide range of rates and were presented only once. Individuals tapped their finger to 5-event isochronous stimulus sequences and continued the rhythm at the same pace. Preferred rate was estimated by assessing the best-performance conditions where the difference between the stimulus rate and continuation tapping rate (tempo-matching error) was minimum. The results revealed harmonically related, multiple preferred rates for each individual. We maximized the differences in stimulus rate between consecutive trials to challenge individuals' flexibility, which was then estimated by how much tempo-matching errors in synchronization tapping increase with this manipulation. Both measures showed test-retest reliability. The findings demonstrate the influence of properties of the auditory context on rhythmic entrainment, and have implications for development of methods that can improve attentional synchronization and hearing.

Rule-based and stimulus-based cues bias auditory decisions via different computational and physiological mechanisms

Expectations, such as those arising from either learned rules or recent stimulus regularities, can bias subsequent auditory perception in diverse ways. However, it is not well understood if and how these diverse effects depend on the source of the expectations. Further, it is unknown whether different sources of bias use the same or different computational and physiological mechanisms. We examined how rule-based and stimulus-based expectations influenced behavior and pupil-linked arousal, a marker of certain forms of expectation-based processing, of human subjects performing an auditory frequency-discrimination task. Rule-based cues consistently biased choices and response times (RTs) toward the more-probable stimulus. In contrast, stimulus-based cues had a complex combination of effects, including choice and RT biases toward and away from the frequency of recently presented stimuli. These different behavioral patterns also had: 1) distinct computational signatures, including different modulations of key components of a novel form of a drift-diffusion decision model and 2) distinct physiological signatures, including substantial bias-dependent modulations of pupil size in response to rule-based but not stimulus-based cues. These results imply that different sources of expectations can modulate auditory processing via distinct mechanisms: one that uses arousal-linked, rule-based information and another that uses arousal-independent, stimulus-based information to bias the speed and accuracy of auditory perceptual decisions.

Prior information about upcoming stimuli can bias our perception of those stimuli. Whether different sources of prior information bias perception in similar or distinct ways is not well understood. We compared the influence of two kinds of prior information on tone-frequency discrimination: rule-based cues, in the form of explicit information about the most-likely identity of the upcoming tone; and stimulus-based cues, in the form of sequences of tones presented before the to-be-discriminated tone. Although both types of prior information biased auditory decision-making, they demonstrated distinct behavioral, computational, and physiological signatures. Our results suggest that the brain processes prior information in a form-specific manner rather than utilizing a general-purpose prior. Such form-specific processing has implications for understanding decision biases real-world contexts, in which prior information comes from many different sources and modalities.

PAMPAS: A PsychoAcoustical Method for the Perceptual Analysis of multidimensional Sonification

The sonification of data to communicate information to a user is a relatively new approach that established itself around the 1990s. To date, many researchers have designed their individual sonification from scratch. There are no standards in sonification design and evaluation. But researchers and practitioners have formulated several requirements and established several methods. There is a wide consensus that psychoacocustics could play an important role in the sonification design and evaluation phase. But this requires a) an adaption of psychoacoustic methods to the signal types of sonification and b) a preparation of the sonification for the psychoacoustic experiment procedure. In this method paper, we present a PsychoAcoustical Method for the Perceptual Analysis of multidimensional Sonification (PAMPAS) dedicated to the researchers of sonification. A well-defined and well-established, efficient, reliable, and replicable just noticeable difference (JND) experiment using the maximum likelihood procedure (MLP) serves as the basis to achieve perceptual linearity of parameter mapping during the sonification design stage and to identify and quantify perceptual effects during the sonification evaluation stage, namely the perceptual resolution, hysteresis effects and perceptual interferences. The experiment results are scores from standardized data space and a standardized procedure. These scores can serve to compare multiple sonification designs of a single researcher or even among different research groups. This method can supplement other sonification designs and evaluation methods from a perceptual viewpoint.

Recurrent processing improves occluded object recognition and gives rise to perceptual hysteresis

Over the past decades, object recognition has been predominantly studied and modelled as a feedforward process. This notion was supported by the fast response times in psychophysical and neurophysiological experiments and the recent success of deep feedforward neural networks for object recognition. Recently, however, this prevalent view has shifted and recurrent connectivity in the brain is now believed to contribute significantly to object recognition — especially under challenging conditions, including the recognition of partially occluded objects. Moreover, recurrent dynamics might be the key to understanding perceptual phenomena such as perceptual hysteresis. In this work we investigate if and how artificial neural networks can benefit from recurrent connections. We systematically compare architectures comprised of bottom-up, lateral, and top-down connections. To evaluate the impact of recurrent connections for occluded object recognition, we introduce three stereoscopic occluded object datasets, which span the range from classifying partially occluded hand-written digits to recognizing three-dimensional objects. We find that recurrent architectures perform significantly better than parameter-matched feedforward models. An analysis of the hidden representation of the models suggests that occluders are progressively discounted in later time steps of processing. We demonstrate that feedback can correct the initial misclassifications over time and that the recurrent dynamics lead to perceptual hysteresis. Overall, our results emphasize the importance of recurrent feedback for object recognition in difficult situations.

Propagation and update of auditory perceptual priors through alpha and theta rhythms

To maintain a continuous and coherent percept over time, the brain makes use of past sensory information to anticipate forthcoming stimuli. We recently showed that auditory experience of the immediate past is propagated through ear-specific reverberations, manifested as rhythmic fluctuations of decision bias at alpha frequencies. Here, we apply the same time-resolved behavioural method to investigate how perceptual performance changes over time under conditions of stimulus expectation and to examine the effect of unexpected events on behaviour. As in our previous study, participants were required to discriminate the ear-of-origin of a brief monaural pure tone embedded in uncorrelated dichotic white noise. We manipulated stimulus expectation by increasing the target probability in one ear to 80%. Consistent with our earlier findings, performance did not remain constant across trials, but varied rhythmically with delay from noise onset. Specifically, decision bias showed a similar oscillation at ~9 Hz, which depended on ear congruency between successive targets. This suggests rhythmic communication of auditory perceptual history occurs early and is not readily influenced by top-down expectations. In addition, we report a novel observation specific to infrequent, unexpected stimuli that gave rise to oscillations in accuracy at ~7.6 Hz one trial after the target occurred in the non-anticipated ear. This new behavioural oscillation may reflect a mechanism for updating the sensory representation once a prediction error has been detected.

Perceptual variability: Implications for learning and generalization

The generalization of learned behavior has been extensively investigated, but accounting for variance in generalized responding remains a challenge. Based on recent advances, we demonstrate that the inclusion of perceptual measures in generalization research may lead to a better understanding of both intra- and interindividual differences in generalization. We explore various ways through which perceptual variability can influence generalized responding. We investigate its impact on the ability to discriminate between stimuli and how similarity between stimuli may be variable, rather than fixed, because of it. Subsequently, we argue that perceptual variations can yield different learning experiences and that interindividual differences in generalized responding may be understood from this perspective. Finally, we point to the role of memory and decision-making within this context. Throughout this paper, we argue that accounting for perception in current generalization protocols will improve the precision of obtained generalization gradients and the ability to infer latent mechanisms. This can inspire future attempts to use generalization gradients as a (clinical) predictor or to relate them to individual traits and neural correlates and, ultimately, may lead to new theoretical and clinical insights.

Feeling the Beat (and Seeing It, Too): Vibrotactile, Visual, and Bimodal Rate Discrimination

Beats are among the basic units of perceptual experience. Produced by regular, intermittent stimulation, beats are most commonly associated with audition, but the experience of a beat can result from stimulation in other modalities as well. We studied the robustness of visual, vibrotactile, and bimodal signals as sources of beat perception. Subjects attempted to discriminate between pulse trains delivered at 3 Hz or at 6 Hz. To investigate signal robustness, we intentionally degraded signals on two-thirds of the trials using temporal-domain noise. On these trials, inter-pulse intervals (IPIs) were stochastic, perturbed independently from the nominal IPI by random samples from zero-mean Gaussian distributions with different variances. These perturbations produced directional changes in the IPIs, which either increased or decreased the likelihood of confusing the two pulse rates. In addition to affording an assay of signal robustness, this paradigm made it possible to gauge how subjects' judgments were influenced by successive IPIs. Logistic regression revealed a strong primacy effect: subjects' decisions were disproportionately influenced by a trial's initial IPIs. Response times and parameter estimates from drift-diffusion modeling showed that information accumulates more rapidly with bimodal stimulation than with either unimodal stimulus alone. Analysis of error rates within each condition suggested consistently optimal decision making, even with increased IPI variability. Finally, beat information delivered by vibrotactile signals proved just as robust as information conveyed by visual signals, confirming vibrotactile stimulation's potential as a communication channel.

Auditory Perceptual History Is Propagated through Alpha Oscillations

Perception is a proactive, “predictive” process, in which the brain relies, at least in part, on accumulated experience to make best guesses about the world to test against sensory data, updating the guesses as new experience is acquired. Using novel behavioral methods, the present study demonstrates the role of alpha rhythms in communicating past perceptual experience. Participants were required to discriminate the ear of origin of brief sinusoidal tones that were presented monaurally at random times within a burst of uncorrelated dichotic white noise masks. Performance was not constant but varied with delay after noise onset in an oscillatory manner at about 9 Hz (alpha rhythm). Importantly, oscillations occurred only for trials preceded by a target tone to the same ear, either on the previous trial or two trials back. These results suggest that communication of perceptual history generates neural oscillations within specific perceptual circuits, strongly implicating behavioral oscillations in predictive perception and with formation of working memory.

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We demonstrate the role of alpha rhythms in the propagation of perceptual history

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Auditory decisions were rhythmically biased by stimuli presented 1 or 2 trials back

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Bias oscillated at ∼9 Hz only when successive stimuli occurred in the same ear

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Alpha is strongly implicated in predictive perception and working memory formation

Decay of internal reference information in duration discrimination: Intertrial interval modulates the Type B effect

Psychophysical evidence suggests that human perception of a stimulus is assimilated towards previous stimuli. The internal reference model (IRM) explains such assimilation through an internal reference (IR), which integrates past and present stimulus representations and thus might be conceived as a form of perceptual memory. In this study, we investigated whether the IR decays with time, as previously shown for perceptual memory representations in general. One specific prediction of IRM is higher discrimination sensitivity when a constant standard precedes rather than follows a variable comparison in a two-alternative forced-choice (2AFC) discrimination task. Furthermore, the magnitude of this so-called negative Type B effect should decrease with decreasing weighting of past stimulus information in the integration process. Therefore, decay of the IR should result in a reduced Type B effect. To examine this prediction, we carried out a 2AFC duration discrimination experiment with a short (1,600 ms) and a long (3,200 ms) intertrial interval (ITI). As expected, a reduced negative Type B effect was observed at the long compared with the short ITI, consistent with the idea that humans rely on the immediate past when evaluating current sensory input, however, less so when the IR incorporating the perceptual short-term memory representation of these past stimuli has already decayed.

Pitch Class and Envelope Effects in the Tritone Paradox Are Mediated by Differently Pronounced Frequency Preference Regions

Shepard tones (octave complex tones) are well defined in pitch chroma but are ambiguous in pitch height. Pitch direction judgments of Shepard tones depend on the clockwise distance of the pitch classes on the pitch class circle, indicating the proximity principle in auditory perception. The tritone paradox emerges when two Shepard tones that form a tritone interval are presented successively. In this case, no proximity cue is available and judgments depend on the first tone and vary from person to person. A common explanation for the tritone paradox is the assumption of a specific pitch class comparison mechanism based on a pitch class template that is differently orientated from person to person. In contrast, psychoacoustic approaches (e.g., the Terhardt virtual pitch theory) explain it with common pitch-processing mechanisms. The present paper proposes a probabilistic threshold model, which estimates Shepard tone pitch height by a probabilistic fundamental frequency extraction. In the first processing stage, only those frequency components whose amplitudes are above specific randomly distributed threshold values are selected for further processing, and whose expected values are determined by a threshold function. The lowest of these nonfiltered components is dedicated to the pitch height. The model is designed for tone pairs and provides occurrence probabilities for descending judgments. In a pitch-matching pretest, 12 Shepard tones (generated under a cosine envelope centered at 261 Hz) were compared to pure tones, whose frequencies were adjusted by an up-down staircase method. Matched frequencies corresponded to frequency components but were ambiguous in octave position. In order to test the model, Shepard tones were generated under six cosine envelopes centered over a wide frequency range (65.41, 261, 370, 440, 523.25, 1244.51 Hz). The model predicted pitch class effects and envelope effects. Steep threshold functions caused pronounced pitch class, whereas flat threshold functions caused pronounced envelope effects. The model provides an alternative explanation to the pitch class template theory and serves as a psychoacoustic framework for the perception of Shepard tones.

Auditory Perception: Laurel and Yanny Together at Last

An auditory illusion caught the world's attention recently. For the same noisy speech utterance, different people reported hearing either 'Laurel' or 'Yanny'. The dichotomy highlights how perceptions are inferences from inherently ambiguous sensory information, even though ambiguity is often unnoticed.

Timbral Shepard-illusion reveals ambiguity and context sensitivity of brightness perception

Recent research has described strong effects of prior context on the perception of ambiguous pitch shifts of Shepard tones [Chambers, Akram, Adam, Pelofi, Sahani, Shamma, and Pressnitzer (2017). Nat. Commun. 8, 15027]. Here, similar effects are demonstrated for brightness shift judgments of harmonic complexes with cyclic spectral envelope components and fixed fundamental frequency. It is shown that frequency shifts of the envelopes are perceived as systematic shifts of brightness. Analogous to the work of Chambers et al., the perceptual ambiguity of half-octave shifts resolves with the presentation of prior context tones. These results constitute a context effect for the perceptual processing of spectral envelope shifts and indicate so-far unknown commonalities between pitch and timbre perception.

Sequential dependencies in pitch judgments

Studies that measure pitch discrimination relate a subject's response on each trial to the stimuli presented on that trial, but there is evidence that behavior depends also on earlier stimulation. Here, listeners heard a sequence of tones and reported after each tone whether it was higher or lower in pitch than the previous tone. Frequencies were determined by an adaptive staircase targeting 75% correct, with interleaved tracks to ensure independence between consecutive frequency changes. Responses for this specific task were predicted by a model that took into account the frequency interval on the current trial, as well as the interval and response on the previous trial. This model was superior to simpler models. The dependence on the previous interval was positive (assimilative) for all subjects, consistent with persistence of the sensory trace. The dependence on the previous response was either positive or negative, depending on the subject, consistent with a subject-specific suboptimal response strategy. It is argued that a full stimulus + response model is necessary to account for effects of stimulus history and obtain an accurate estimate of sensory noise.

Effect of Context on the Contribution of Individual Harmonics to Residue Pitch

There is evidence that the contribution of a given harmonic in a complex tone to residue pitch is influenced by the accuracy with which the frequency of that harmonic is encoded. The present study investigated whether listeners adjust the weights assigned to individual harmonics based on acquired knowledge of the reliability of the frequency estimates of those harmonics. In a two-interval forced-choice task, seven listeners indicated which of two 12-harmonic complex tones had the higher overall pitch. In context trials (60 % of all trials), the fundamental frequency (F0) was 200 Hz in one interval and 200 + ΔF0 Hz in the other. In different (blocked) conditions, either the 3rd or the 4th harmonic (plus the 7th, 9th, and 12th harmonics), were replaced by narrowband noises that were identical in the two intervals. Feedback was provided. In randomly interspersed test trials (40 % of all trials), the fundamental frequency was 200 + ΔF0/2 Hz in both intervals; in the second interval, either the third or the fourth harmonic was shifted slightly up or down in frequency with equal probability. There were no narrowband noises. Feedback was not provided. The results showed that substitution of a harmonic by noise in context trials reduced the contribution of that harmonic to pitch judgements in the test trials by a small but significant amount. This is consistent with the notion that listeners give smaller weight to a harmonic or frequency region when they have learned that this frequency region does not provide reliable information for a given task.

Prior context in audition informs binding and shapes simple features

A perceptual phenomenon is reported, whereby prior acoustic context has a large, rapid and long-lasting effect on a basic auditory judgement. Pairs of tones were devised to include ambiguous transitions between frequency components, such that listeners were equally likely to report an upward or downward 'pitch' shift between tones. We show that presenting context tones before the ambiguous pair almost fully determines the perceived direction of shift. The context effect generalizes to a wide range of temporal and spectral scales, encompassing the characteristics of most realistic auditory scenes. Magnetoencephalographic recordings show that a relative reduction in neural responsivity is correlated to the behavioural effect. Finally, a computational model reproduces behavioural results, by implementing a simple constraint of continuity for binding successive sounds in a probabilistic manner. Contextual processing, mediated by ubiquitous neural mechanisms such as adaptation, may be crucial to track complex sound sources over time.

On the relation between pitch and level

Pitch is the perceptual dimension along which musical notes are ordered from low to high. It is often described as the perceptual correlate of the periodicity of the sound's waveform. Previous reports have shown that pitch can depend slightly on sound level. We wanted to verify that these observations reflect genuine changes in perceived pitch, and were not due to procedural factors or confusion between dimensions of pitch and level. We first conducted a systematic pitch matching task and confirmed that the pitch of low frequency pure tones, but not complex tones, decreases by an amount equivalent to a change in frequency of more than half a semitone when level increases. We then showed that the structure of pitch shifts is anti-symmetric and transitive, as expected for changes in pitch. We also observed shifts in the same direction (although smaller) in an interval matching task. Finally, we observed that musicians are more precise in pitch matching tasks than non-musicians but show the same average shifts with level. These combined experiments confirm that the pitch of low frequency pure tones depends weakly but systematically on level. These observations pose a challenge to current theories of pitch.

Interindividual variability in auditory scene analysis revealed by confidence judgements

Because musicians are trained to discern sounds within complex acoustic scenes, such as an orchestra playing, it has been hypothesized that musicianship improves general auditory scene analysis abilities. Here, we compared musicians and non-musicians in a behavioural paradigm using ambiguous stimuli, combining performance, reaction times and confidence measures. We used 'Shepard tones', for which listeners may report either an upward or a downward pitch shift for the same ambiguous tone pair. Musicians and non-musicians performed similarly on the pitch-shift direction task. In particular, both groups were at chance for the ambiguous case. However, groups differed in their reaction times and judgements of confidence. Musicians responded to the ambiguous case with long reaction times and low confidence, whereas non-musicians responded with fast reaction times and maximal confidence. In a subsequent experiment, non-musicians displayed reduced confidence for the ambiguous case when pure-tone components of the Shepard complex were made easier to discern. The results suggest an effect of musical training on scene analysis: we speculate that musicians were more likely to discern components within complex auditory scenes, perhaps because of enhanced attentional resolution, and thus discovered the ambiguity. For untrained listeners, stimulus ambiguity was not available to perceptual awareness.This article is part of the themed issue 'Auditory and visual scene analysis'.

Pitch priming in sequences of two sounds

Frequency discrimination limens (FDLs) were measured for pairs of stimuli differing from each other with respect to pitch salience. One of the two stimuli to be compared within a trial was a pure tone of at least 100 ms, evoking a salient pitch, while the other stimulus consisted of only eight sinusoidal cycles (experiment 1), or was a noise band with a Gaussian spectral envelope, evoking a weak pitch corresponding to the peak frequency (experiment 2). From trial to trial, frequency was varied randomly and widely. In both experiments, the FDLs were lower, by an average factor of about 3, when the stimulus with the more salient pitch preceded the other stimulus than vice versa. Evidence is presented against an interpretation of this temporal asymmetry in terms of memory limitations. It is suggested that the asymmetry reflects a pitch-priming effect. In two additional experiments, both of the stimuli to be compared within a trial were very short tone bursts or noise bands; perceptually, they differed only with respect to pitch height. Performance was markedly better than in experiments 1 and 2, and was not improved when the two stimuli were preceded by a 300-ms tone intended to produce pitch priming.

A neuronal network model for context-dependence of pitch change perception

Many natural stimuli have perceptual ambiguities that can be cognitively resolved by the surrounding context. In audition, preceding context can bias the perception of speech and non-speech stimuli. Here, we develop a neuronal network model that can account for how context affects the perception of pitch change between a pair of successive complex tones. We focus especially on an ambiguous comparison—listeners experience opposite percepts (either ascending or descending) for an ambiguous tone pair depending on the spectral location of preceding context tones. We developed a recurrent, firing-rate network model, which detects frequency-change-direction of successively played stimuli and successfully accounts for the context-dependent perception demonstrated in behavioral experiments. The model consists of two tonotopically organized, excitatory populations, E_up and E_down, that respond preferentially to ascending or descending stimuli in pitch, respectively. These preferences are generated by an inhibitory population that provides inhibition asymmetric in frequency to the two populations; context dependence arises from slow facilitation of inhibition. We show that contextual influence depends on the spectral distribution of preceding tones and the tuning width of inhibitory neurons. Further, we demonstrate, using phase-space analysis, how the facilitated inhibition from previous stimuli and the waning inhibition from the just-preceding tone shape the competition between the E_up and E_down populations. In sum, our model accounts for contextual influences on the pitch change perception of an ambiguous tone pair by introducing a novel decoding strategy based on direction-selective units. The model's network architecture and slow facilitating inhibition emerge as predictions of neuronal mechanisms for these perceptual dynamics. Since the model structure does not depend on the specific stimuli, we show that it generalizes to other contextual effects and stimulus types.