The 1.06 frequency ratio in the cochlea: evidence and outlook for a natural musical semitone

Subjectively preferred octave size is resolved at the late stages of cerebral auditory processing

Human listeners prefer octave intervals slightly above the exact 2:1 frequency ratio. To study the neural underpinnings of this subjective preference, called the octave enlargement phenomenon, we compared neural responses between exact, slightly enlarged, oversized, and compressed octaves (or their multiples). The first experiment (n = 20) focused on the N1 and P2 event-related potentials (ERPs) elicited in EEG 50-250 ms after the second tone onset during passive listening of one-octave intervals. In the second experiment (n = 20) applying four-octave intervals, musician participants actively rated the different octave types as 'low', 'good' and 'high'. The preferred slightly enlarged octave was individually determined prior to the second experiment. In both experiments, N1-P2 peak-to-peak amplitudes attenuated for the exact and slightly enlarged octave intervals compared with compressed and oversized intervals, suggesting overlapping neural representations of tones an octave (or its multiples) apart. While there were no differences between the N1-P2 amplitudes to the exact and preferred enlarged octaves, ERP amplitudes differed after 500 ms from onset of the second tone of the pair. In the multivariate pattern analysis (MVPA) of the second experiment, the different octave types were distinguishable (spatial classification across electroencephalography [EEG] channels) 200 ms after second tone onset. Temporal classification within channels suggested two separate discrimination processes peaking around 300 and 700 ms. These findings appear to be related to active listening, as no multivariate results were found in the first, passive listening experiment. The present results suggest that the subjectively preferred octave size is resolved at the late stages of auditory processing.

Effect of Realistic Test Conditions on Perception of Speech, Music, and Binaural Cues in Normal-Hearing Listeners

PURPOSE

The purpose of this study was to determine the feasibility of online testing in a quiet room for three auditory perception experiments in normal-hearing listeners: speech, music, and binaural cue.

METHOD

Under Experiment 1, sentence perception was measured using fixed signal-to-noise ratios (SNRs: +10 dB, 0 dB, and -10 dB) and using adaptive speech reception threshold (SRT) procedures. The correct scores were compared between quiet room and soundproof booth listening environments. Experiment 2 was designed to compare melodic contour identification between the two listening environments. Melodic contour identification was assessed with 1, 2, and 4 semitone spacings. Under Experiment 3, interaural level difference (ILD) and interaural time differences (ITD) were measured as a function of carrier frequency. For both measures, two modulated tones (400-ms duration and 100-Hz modulation rate) were sequentially presented through headphones to both ears, and subjects were asked to indicate whether the sound moved to the left or right ear. The measured ITD and ILD were then compared between the two listening environments.

RESULTS

There were no significant differences in any outcome measures (SNR- and SRT-based speech perception, melodic contour identification, and ITD/ILD) between the two listening environments.

CONCLUSIONS

These results suggest that normal-hearing listeners may not require a controlled listening environment in any of the three auditory assessments. As comparable data can be obtained via the online testing tool, using the online auditory experiments is recommended.

Octave stretching phenomenon with complex tones of orchestral instruments

For decades, the phenomenon of subjectively enlarged octaves has been investigated using sinusoidal and synthesized complex tones. The present study elaborates the topic with samples of real orchestra instruments in successive tone listening experiments. Compared to previous research, this study also included a substantially larger number of subjects (N = 36). Examined instrument tones were categorized into five groups based on their acoustic principles. In addition, each group was assessed at three dynamic levels (pp-mf-ff). Collected data were analyzed with tuning stretch curves by applying generalized additive models in the manner of the Railsback curve used to characterize piano tuning. Although the tuning curve modeled for the orchestra instruments was observed to differ slightly from the Railsback curve and typical Steinway D grand piano tuning (Steinway, New York), the stretching trends were qualitatively similar. Deviation from a mathematical equal-tempered scale was prominent. According to statistical analyses, dynamics or musical background of the participant did not affect results significantly, but some instrument groups exhibited differences in the curve extremities. In conclusion, the stretched scale is natural for a human listener and should be used as a reference scale in tuning machines instead of the mathematical equal-tempered scale.

Cochlear impulse responses resolved into sets of gammatones: the case for beating of closely spaced local resonances

Gammatones have had a long history in auditory studies, and recent theoretical work suggests they may play an important role in cochlear mechanics as well. Following this lead, the present paper takes five examples of basilar membrane impulse responses and uses a curve-fitting algorithm to decompose them into a number of discrete gammatones. The limits of this ‘sum of gammatones’ (SOG) method to accurately represent the impulse response waveforms were tested and it was found that at least two and up to six gammatones could be isolated from each example. Their frequencies were stable and largely independent of stimulus parameters. The gammatones typically formed a regular series in which the frequency ratio between successive members was about 1.1. Adding together the first few gammatones in a set produced beating-like waveforms which mimicked waxing and waning, and the instantaneous frequencies of the waveforms were also well reproduced, providing an explanation for frequency glides. Consideration was also given to the impulse response of a pair of elastically coupled masses—the basis of two-degree-of-freedom models comprised of coupled basilar and tectorial membranes—and the resulting waveform was similar to a pair of beating gammatones, perhaps explaining why the SOG method seems to work well in describing cochlear impulse responses. A major limitation of the SOG method is that it cannot distinguish a waveform resulting from an actual physical resonance from one derived from overfitting, but taken together the method points to the presence of a series of closely spaced local resonances in the cochlea.