The perception of concurrent sound objects in harmonic complexes impairs gap detection.

Detecting a brief silent interval (i.e., a gap) is more difficult when listeners perceive two concurrent sounds rather than one in a sound containing a mistuned harmonic in otherwise in-tune harmonics. This impairment in gap detection may reflect the interaction of low-level encoding or the division of attention between two sound objects, both of which could interfere with signal detection. To distinguish between these two alternatives, we compared ERPs during active and passive listening with complex harmonic tones that could include a gap, a mistuned harmonic, both features, or neither. During active listening, participants indicated whether they heard a gap irrespective of mistuning. During passive listening, participants watched a subtitled muted movie of their choice while the same sounds were presented. Gap detection was impaired when the complex sounds included a mistuned harmonic that popped out as a separate object. The ERP analysis revealed an early gap-related activity that was little affected by mistuning during the active or passive listening condition. However, during active listening, there was a marked decrease in the late positive wave that was thought to index attention and response-related processes. These results suggest that the limitation in detecting the gap is related to attentional processing, possibly divided attention induced by the concurrent sound objects, rather than deficits in preattentional sensory encoding.

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Temporal-Gap Detection by Cochlear Prosthesis Users

Journal of Speech Language and Hearing Research ◽

10.1044/jshr.3204.849 ◽

1989 ◽

Vol 32 (4) ◽

pp. 849-856 ◽

Cited By ~ 12

Author(s):

John P. Preece ◽

Richard S. Tyler

Keyword(s):

Magnitude Estimation ◽

Stimulus Level ◽

Electrode Placement ◽

Frequency Effect ◽

Gap Detection ◽

Cochlear Prosthesis ◽

Sensation Level

Minimum-detectable gaps for sinusoidal stimuli were measured for three users of a multi electrode cochlear prosthesis as functions of stimulus level, frequency, and electrode place within the cochlea. Stimulus level was scaled by sensation level and by growth-of-loudness functions generated for each condition by direct magnitude estimation. Minimum-detectable gaps decreased with increase in either sensation level or loudness, up to a plateau. When compared at equal sensation levels, the minimum-detectable gaps decreased with frequency increases. The frequency effect on minimum-detectable gaps is reduced if the data are considered at equal loudness. Comparison across place of stimulation within the cochlea showed minimum-detectable gaps to be shorter for more basal electrode placement at low stimulus levels. No differences in minimum-detectable gap as a function of place were found at higher stimulus levels.

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Faculty Opinions recommendation of Middle latency auditory-evoked fields reflect psychoacoustic gap detection thresholds in human listeners.

Faculty Opinions – Post-Publication Peer Review of the Biomedical Literature ◽

10.3410/f.1021702.247647 ◽

2004 ◽

Author(s):

John Middlebrooks

Keyword(s):

Gap Detection ◽

Detection Thresholds ◽

Auditory Evoked Fields ◽

Evoked Fields ◽

Middle Latency

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Faculty Opinions recommendation of Traffic gap detection for pedestrians with low vision.

Faculty Opinions – Post-Publication Peer Review of the Biomedical Literature ◽

10.3410/f.9993957.10730055 ◽

2011 ◽

Author(s):

Roy G Cole ◽

Rebecca Marinoff

Keyword(s):

Low Vision ◽

Gap Detection

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Contemplating Compilations

10.1093/oxfordhb/9780190244705.013.6 ◽

2017 ◽

Author(s):

Joseph Pate ◽

Brian Kumm

Keyword(s):

Music Making ◽

Van Manen ◽

The World ◽

The Creation ◽

Pass Through ◽

Sound Objects ◽

Meaningful Experiences ◽

The Voice ◽

Max Van Manen

Through this chapter the crafting of compilations is explored as an act, art, and expression of music making, illuminating the listeners’ and compilers’ positions as cocreators of meaning, function, and purpose. Music becomes repositioned and repurposed as found or sound objects that pass through Gaston Bachelard’s triptych of resonance, repercussion, and reverberations, a process of music speaking to so as to speak for individuals’ deeply personal and significantly meaningful experiences. The chapter addresses the question, “What motivates someone to partake in this personally meaningful, vulnerable, and artistic endeavor?” Using Josef Pieper’s conceptions of leisure as celebration, an orientation toward the wonderful, and an act of affirmation, the chapter concludes that the creation and crafting of compilations (e.g., mix tape) affords poetic spaces for connection, enchantment, felt-aliveness, or what Max van Manen called an “incantative, evocative speaking, a primal telling, [whose] aim [is] to involve the voice in an original singing of the world.”

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