A consideration of timbre in broadband harmonic complex tones with different fundamental frequencies and spectral envelopes

1996 ◽  
Vol 100 (4) ◽  
pp. 2751-2751
Author(s):  
Kenji Ozawa ◽  
Yôiti Suzuki ◽  
Toshio Sone
Keyword(s):  
Harmonic Complex ◽  
Fundamental Frequencies ◽  
Complex Tones

Roughness of Two Simultaneous Harmonic Complex Tones On Just-Tempered and Equal-Tempered Scales

2017 ◽  
Vol 35 (2) ◽  
pp. 127-143
Author(s):  
Václav Vencovský ◽  
František Rund
Keyword(s):  
Fundamental Frequency ◽  
Basilar Membrane ◽  
Auditory Periphery ◽  
Harmonic Complex ◽  
Phase Fluctuations ◽  
Fundamental Frequencies ◽  
Spectral Components ◽  
Complex Tones ◽  
Si Model ◽  
Possible Cause

This study is focused on the perceived roughness of two simultaneous harmonic complex tones with ratios between their fundamental frequencies set to create intervals on just-tempered (JT) and equal-tempered (ET) scales. According to roughness theories, ET intervals should produce more roughness. However, previous studies have shown the opposite for intervals in which the lower fundamental frequency of the complex was equal to 261.6 Hz. The aim of this study is to verify and explain these results by using intervals composed of complexes whose spectral components were generated with either a sine starting phase or with a random starting phase. Results of the current study showed the same phenomenon as previous studies. To examine whether the explanation of the phenomenon lies in the function of the peripheral ear, three roughness models based upon this function were used: the Daniel and Weber (1997) model, the synchronization index (SI) model, and the model based on a hydrodynamic cochlear model. For most of the corresponding JT and ET intervals, only the Daniel and Weber (1997) model predicted less roughness in the ET intervals. In addition to this, the intervals were analyzed by a model simulating the auditory periphery. The results showed that a possible cause for the roughness differences may be in the frequencies of fluctuations of the signal in the peripheral ear. For JT intervals the fluctuations in the adjacent places on the simulated basilar membrane had either the same frequency or integer multiples of that frequency and were synchronized. Since a previous study showed that synchronized fluctuations in adjacent auditory filters lead to higher roughness than out of phase fluctuations (Terhardt, 1974), this may cause more roughness across JT and ET intervals.

Pitch Perception of Medium-Rank Harmonic Complex Tones Based on Temporal Analysis

2013 ◽  
Vol 860-863 ◽  
pp. 2924-2928
Author(s):  
Jian Wang ◽  
Tian Guan ◽  
Da Tian Ye
Keyword(s):  
Temporal Analysis ◽  
Peak Height ◽  
Frequency Region ◽  
Complex Tone ◽  
Temporal Fine Structure ◽  
Harmonic Complex ◽  
Structure Information ◽  
Fundamental Frequencies ◽  
Complex Tones ◽  
Phase Combination

Fundamental frequency difference limens were measured for a target harmonic complex tone (HCT) in the absence and presence of a masker HCT, which were filtered into the same bandpass frequency region and were gated on and off synchronously. There were three kinds of nominal fundamental frequencies (F0s) for target (200, 400, and 800 Hz), five kinds of F0 separations between target and masker (0, ±3, and ±6 semitones), and four kinds of phase combinations. Results found significant effects of nominal F0, phase combination, and F0 separation between target and masker. Analysis based on temporal profile proved that the significant effect of nominal F0 could be explained by peak height of target, and that the significant effects of F0 separation and phase combination could be explained by the ratio of temporal peak heights between target and masker. Thus it is suggested that F0 discrimination of medium-rank harmonics probably depends on the use of temporal fine structure information.

scholarly journals Different Modes of Pitch Perception and Learning-Induced Neuronal Plasticity of the Human Auditory Cortex

2002 ◽  
Vol 9 (3) ◽  
pp. 161-175 ◽  
Author(s):  
Michael Schulte ◽  
Arne Knief ◽  
Annemarie Seither-Preisler ◽  
Christo Pantev
Keyword(s):  
Auditory Cortex ◽  
Neuronal Plasticity ◽  
Pitch Perception ◽  
Gamma Band ◽  
Base Line ◽  
Band Frequency ◽  
Harmonic Complex ◽  
Fundamental Frequencies ◽  
Complex Tones ◽  
Virtual Pitch

We designed a melody perception experiment involving eight harmonic complex tones of missing fundamental frequencies (hidden auditory object) to study the short-term neuronal plasticity of the auditory cortex. In this experiment, the fundamental frequencies of the complex tones followed the beginning of the virtual melody of the tune “Frère Jacques”. The harmonics of the complex tones were chosen so that the spectral melody had an inverse contour when compared with the virtual one. Evoked magnetic fields were recorded contralaterally to the ear of stimulation from both hemispheres. After a base line measurement, the subjects were exposed repeatedly to the experimental stimuli for 1 hour a day. All subjects reported a sudden change in the perceived melody, indicating possible reorganization of the cortical processes involved in the virtual pitch formation. After this switch in perception, a second measurement was performed. Cortical sources of the evoked gamma-band activity were significantly stronger and located more medially after a switch in perception. Independent Component Analysis revealed enhanced synchronization in the gamma-band frequency range. Comparing the gamma-band activation of both hemispheres, no laterality effects were observed. The results indicate that the primary auditory cortices are involved in the process of virtual pitch perception and that their function is modifiable by laboratory manipulation.

Rabbits use both spectral and temporal cues to discriminate the fundamental frequency of harmonic complexes with missing fundamentals

2021 ◽  
Author(s):  
Joseph D Wagner ◽  
Alice Gelman ◽  
Kenneth E. Hancock ◽  
Yoojin Chung ◽  
Bertrand Delgutte
Keyword(s):  
Fundamental Frequency ◽  
Human Performance ◽  
Spectral Composition ◽  
Pitch Perception ◽  
Wide Frequency Range ◽  
Spatial Gradient ◽  
Harmonic Complex ◽  
Complex Tones ◽  
Behavioral Paradigm ◽  
Animal Vocalizations

The pitch of harmonic complex tones (HCT) common in speech, music and animal vocalizations plays a key role in the perceptual organization of sound. Unraveling the neural mechanisms of pitch perception requires animal models but little is known about complex pitch perception by animals, and some species appear to use different pitch mechanisms than humans. Here, we tested rabbits' ability to discriminate the fundamental frequency (F0) of HCTs with missing fundamentals using a behavioral paradigm inspired by foraging behavior in which rabbits learned to harness a spatial gradient in F0 to find the location of a virtual target within a room for a food reward. Rabbits were initially trained to discriminate HCTs with F0s in the range 400-800 Hz and with harmonics covering a wide frequency range (800-16,000 Hz), and then tested with stimuli differing either in spectral composition to test the role of harmonic resolvability (Experiment 1), or in F0 range (Experiment 2), or both F0 and spectral content (Experiment 3). Together, these experiments show that rabbits can discriminate HCTs over a wide F0 range (200-1600 Hz) encompassing the range of conspecific vocalizations, and can use either the spectral pattern of harmonics resolved by the cochlea for higher F0s or temporal envelope cues resulting from interaction between unresolved harmonics for lower F0s. The qualitative similarity of these results to human performance supports using rabbits as an animal model for studies of pitch mechanisms providing species differences in cochlear frequency selectivity and F0 range of vocalizations are taken into account.

PERIOD DIFFERENCE LIMENS FOR HARMONIC COMPLEX TONES IN AND BELOW THE PITCH REGION

1999 ◽  
pp. 85-88 ◽  
Author(s):  
KATRIN KRUMBHOLZ ◽  
ROY D. PATTERSON ◽  
DANIEL PRESSNITZER
Keyword(s):  
Harmonic Complex ◽  
Complex Tones

Influence of peripheral resolvability on the perceptual segregation of harmonic complex tones differing in fundamental frequency

2000 ◽  
Vol 108 (1) ◽  
pp. 263-271 ◽  
Author(s):  
Nicolas Grimault ◽  
Christophe Micheyl ◽  
Robert P. Carlyon ◽  
Patrick Arthaud ◽  
Lionel Collet
Keyword(s):  
Fundamental Frequency ◽  
Harmonic Complex ◽  
Complex Tones

Forward masking patterns for harmonic complex tones

1983 ◽  
Vol 73 (5) ◽  
pp. 1682-1685 ◽  
Author(s):  
Brian C. J. Moore ◽  
Brian R. Glasberg
Keyword(s):  
Forward Masking ◽  
Harmonic Complex ◽  
Complex Tones

scholarly journals A function for binaural integration in auditory grouping and segregation in the inferior colliculus

2015 ◽  
Vol 113 (6) ◽  
pp. 1819-1830 ◽  
Author(s):  
Kyle T. Nakamoto ◽  
Trevor M. Shackleton ◽  
David A. Magezi ◽  
Alan R. Palmer
Keyword(s):  
Inferior Colliculus ◽  
Central Nucleus ◽  
Harmonic Complex ◽  
Auditory Grouping ◽  
Sound Segregation ◽  
Fundamental Frequencies ◽  
Complex Stimuli ◽  
Left And Right ◽  
Contralateral Ear ◽  
Contralateral Stimulus

Responses of neurons to binaural, harmonic complex stimuli in urethane-anesthetized guinea pig inferior colliculus (IC) are reported. To assess the binaural integration of harmonicity cues for sound segregation and grouping, responses were measured to harmonic complexes with different fundamental frequencies presented to each ear. Simultaneously gated harmonic stimuli with fundamental frequencies of 125 Hz and 145 Hz were presented to the left and right ears, respectively, and recordings made from 96 neurons with characteristic frequencies >2 kHz in the central nucleus of the IC. Of these units, 70 responded continuously throughout the stimulus and were excited by the stimulus at the contralateral ear. The stimulus at the ipsilateral ear excited (EE: 14%; 10/70), inhibited (EI: 33%; 23/70), or had no significant effect (EO: 53%; 37/70), defined by the effect on firing rate. The neurons phase locked to the temporal envelope at each ear to varying degrees depending on signal level. Many of the cells (predominantly EO) were dominated by the response to the contralateral stimulus. Another group (predominantly EI) synchronized to the contralateral stimulus and were suppressed by the ipsilateral stimulus in a phasic manner. A third group synchronized to the stimuli at both ears (predominantly EE). Finally, a group only responded when the waveform peaks from each ear coincided. We conclude that these groups of neurons represent different “streams” of information but exhibit modifications of the response rather than encoding a feature of the stimulus, like pitch.

Sign in / Sign up

Export Citation Format

Share Document