On the role of spatial and temporal cues in the perception of the pitch of complex tones

1978 ◽  
Vol 64 (3) ◽  
pp. 764 ◽  
Author(s):  
Kengo Ohgushi
Keyword(s):  
Temporal Cues ◽  
Complex Tones

scholarly journals The role of excitation-pattern cues in the detection of frequency shifts in bandpass-filtered complex tones

2015 ◽  
Vol 137 (5) ◽  
pp. 2687-2697 ◽  
Author(s):  
Frederic Marmel ◽  
Christopher J. Plack ◽  
Kathryn Hopkins ◽  
Robert P. Carlyon ◽  
Hedwig E. Gockel ◽  
...  
Keyword(s):  
Frequency Shifts ◽  
Complex Tones ◽  
Excitation Pattern

scholarly journals Temporal cues and the attentional blink: A further examination of the role of expectancy in sequential object perception

2014 ◽  
Vol 76 (8) ◽  
pp. 2212-2220 ◽  
Author(s):  
Troy A. W. Visser ◽  
Matthew F. Tang ◽  
David R. Badcock ◽  
James T. Enns
Keyword(s):  
Attentional Blink ◽  
Object Perception ◽  
Temporal Cues

scholarly journals Skipping a Beat: Heartbeat-Evoked Potentials Reflect Predictions during Interoceptive-Exteroceptive Integration

2020 ◽  
Vol 1 (1) ◽  
Author(s):  
Leah Banellis ◽  
Damian Cruse
Keyword(s):  
Predictive Coding ◽  
Auditory Stimuli ◽  
Prediction Errors ◽  
Self Awareness ◽  
Early Effect ◽  
Temporal Cues ◽  
Heartbeat Evoked Potential ◽  
External Signals ◽  
Potential Tool

Abstract Several theories propose that emotions and self-awareness arise from the integration of internal and external signals and their respective precision-weighted expectations. Supporting these mechanisms, research indicates that the brain uses temporal cues from cardiac signals to predict auditory stimuli and that these predictions and their prediction errors can be observed in the scalp heartbeat-evoked potential (HEP). We investigated the effect of precision modulations on these cross-modal predictive mechanisms, via attention and interoceptive ability. We presented auditory sequences at short (perceived synchronous) or long (perceived asynchronous) cardio-audio delays, with half of the trials including an omission. Participants attended to the cardio-audio synchronicity of the tones (internal attention) or the auditory stimuli alone (external attention). Comparing HEPs during omissions allowed for the observation of pure predictive signals, without contaminating auditory input. We observed an early effect of cardio-audio delay, reflecting a difference in heartbeat-driven expectations. We also observed a larger positivity to the omissions of sounds perceived as synchronous than to the omissions of sounds perceived as asynchronous when attending internally only, consistent with the role of attentional precision for enhancing predictions. These results provide support for attentionally modulated cross-modal predictive coding and suggest a potential tool for investigating its role in emotion and self-awareness.

Recognizing one?s own clapping: The role of temporal cues

2004 ◽  
Vol 69 (1-2) ◽  
pp. 147-156 ◽  
Author(s):  
R�diger Flach ◽  
G�nther Knoblich ◽  
Wolfgang Prinz
Keyword(s):  
Temporal Cues

Role of spectral and temporal cues in restoring missing speech information

2010 ◽  
Vol 128 (5) ◽  
pp. EL294-EL299 ◽  
Author(s):  
Gaëtan Gilbert ◽  
Christian Lorenzi
Keyword(s):  
Temporal Cues ◽  
Speech Information

scholarly journals Preconceptual Spectral and Temporal Cues as a Source of Meaning in Speech and Music

2019 ◽  
Vol 9 (3) ◽  
pp. 53 ◽  
Author(s):  
Mark Reybrouck ◽  
Piotr Podlipniak
Keyword(s):  
Multisensory Processing ◽  
Special Focus ◽  
Acoustic Features ◽  
Parts Of Speech ◽  
Speech Prosody ◽  
Temporal Cues ◽  
The Face ◽  
The Relationship ◽  
The Voice

This paper explores the importance of preconceptual meaning in speech and music, stressing the role of affective vocalizations as a common ancestral instrument in communicative interactions. Speech and music are sensory rich stimuli, both at the level of production and perception, which involve different body channels, mainly the face and the voice. However, this bimodal approach has been challenged as being too restrictive. A broader conception argues for an action-oriented embodied approach that stresses the reciprocity between multisensory processing and articulatory-motor routines. There is, however, a distinction between language and music, with the latter being largely unable to function referentially. Contrary to the centrifugal tendency of language to direct the attention of the receiver away from the text or speech proper, music is centripetal in directing the listener’s attention to the auditory material itself. Sound, therefore, can be considered as the meeting point between speech and music and the question can be raised as to the shared components between the interpretation of sound in the domain of speech and music. In order to answer these questions, this paper elaborates on the following topics: (i) The relationship between speech and music with a special focus on early vocalizations in humans and non-human primates; (ii) the transition from sound to meaning in speech and music; (iii) the role of emotion and affect in early sound processing; (iv) vocalizations and nonverbal affect burst in communicative sound comprehension; and (v) the acoustic features of affective sound with a special emphasis on temporal and spectrographic cues as parts of speech prosody and musical expressiveness.

The role of visual, spatial, and temporal cues in attenuating verbal overshadowing

2002 ◽  
Vol 16 (8) ◽  
pp. 947-961 ◽  
Author(s):  
Lara Pelizzon ◽  
Maria A. Brandimonte ◽  
Riccardo Luccio
Keyword(s):  
Visual Spatial ◽  
Verbal Overshadowing ◽  
Temporal Cues

Asymmetry of masking between complex tones and noise: The role of temporal structure and peripheral compression

2002 ◽  
Vol 111 (6) ◽  
pp. 2759-2770 ◽  
Author(s):  
Hedwig Gockel ◽  
Brian C. J. Moore ◽  
Roy D. Patterson
Keyword(s):  
Temporal Structure ◽  
Complex Tones ◽  
Peripheral Compression
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