Invariance in pitch perception

Information in speech and music is often conveyed through changes in fundamental frequency (f0), the perceptual correlate of which is known as "pitch". One challenge of extracting this information is that such sounds can also vary in their spectral content due to the filtering imposed by a vocal tract or instrument body. Pitch is envisioned as invariant to spectral shape, potentially providing a solution to this challenge, but the extent and nature of this invariance remain poorly understood. We examined the extent to which human pitch judgments are invariant to spectral differences between natural sounds. Listeners performed up/down and interval discrimination tasks with spoken vowels, instrument notes, or synthetic tones, synthesized to be either harmonic or inharmonic (lacking a well-defined f0). Listeners were worse at discriminating pitch across different vowel and instrument sounds compared to when vowels/instruments were the same, being biased by differences in the spectral centroids of the sounds being compared. However, there was no interaction between this effect and that of inharmonicity. In addition, this bias decreased when sounds were separated by short delays. This finding suggests that the representation of a sound's pitch is itself unbiased, but that pitch comparisons between sounds are influenced by changes in timbre, the effect of which weakens over time. Pitch representations thus appears to be relatively invariant to spectral shape. But relative pitch judgments are not, even when spectral shape variation is naturalistic, and when such judgments are based on representations of the f0.

Neural Measures of Pitch Processing in EEG Responses to Running Speech

Linearized encoding models are increasingly employed to model cortical responses to running speech. Recent extensions to subcortical responses suggest clinical perspectives, potentially complementing auditory brainstem responses (ABRs) or frequency-following responses (FFRs) that are current clinical standards. However, while it is well-known that the auditory brainstem responds both to transient amplitude variations and the stimulus periodicity that gives rise to pitch, these features co-vary in running speech. Here, we discuss challenges in disentangling the features that drive the subcortical response to running speech. Cortical and subcortical electroencephalographic (EEG) responses to running speech from 19 normal-hearing listeners (12 female) were analyzed. Using forward regression models, we confirm that responses to the rectified broadband speech signal yield temporal response functions consistent with wave V of the ABR, as shown in previous work. Peak latency and amplitude of the speech-evoked brainstem response were correlated with standard click-evoked ABRs recorded at the vertex electrode (Cz). Similar responses could be obtained using the fundamental frequency (F0) of the speech signal as model predictor. However, simulations indicated that dissociating responses to temporal fine structure at the F0 from broadband amplitude variations is not possible given the high co-variance of the features and the poor signal-to-noise ratio (SNR) of subcortical EEG responses. In cortex, both simulations and data replicated previous findings indicating that envelope tracking on frontal electrodes can be dissociated from responses to slow variations in F0 (relative pitch). Yet, no association between subcortical F0-tracking and cortical responses to relative pitch could be detected. These results indicate that while subcortical speech responses are comparable to click-evoked ABRs, dissociating pitch-related processing in the auditory brainstem may be challenging with natural speech stimuli.

Analysis and Implementation of Thermal Heat Exchanger Tube Performance with Helically Pierced Twisted Tape Inserts Using ANFIS Model

The present work used ANFIS, an adaptive neuro-fuzzy inference system modeling to analyze the effect of the variable parameters of helically pierced twisted tape inserts on the Nusselt number, friction factor, and thermo-hydraulic heat exchanger tube performance. The experimental data utilized for ANFIS modeling considered a diameter ratio ranging from 0.57 to 0.80, a relative pitch ratio ranging from 0.046 to 0.107, a perforation index ranging from 5% to 20% as variable twisted tape parameters and flow parameters. The Reynolds number varies from 4000 to 30000. The analysis showed that the maximum thermo-hydraulic performance was obtained at a diameter ratio of 0.65, a relative pitch ratio of 0.085, and a perforation index equal to 10%. The result predicts that the ANFIS model and experimental results are in good agreement as they have only ±0.53% deviations.

The effect of bio-banding on academy soccer player passing networks: Implications of relative pitch size

The primary aims of this study were to examine the effects of bio-banding players on passing networks created during 4v4 small-sided games (SSGs), while also examining the interaction of pitch size using passing network analysis compared to a coach-based scoring system of player performance. Using a repeated measures design, 32 players from two English Championship soccer clubs contested mixed maturity and bio-banded SSGs. Each week, a different pitch size was used: Week 1) small (36.1 m2 per player); week 2) medium (72.0 m2 per player); week 3) large (108.8 m2 per player); and week 4) expansive (144.50 m2 per player). All players contested 12 maturity (mis)matched and 12 mixed maturity SSGs. Technical-tactical outcome measures were collected automatically using a foot-mounted device containing an inertial measurement unit (IMU) and the Game Technical Scoring Chart (GTSC) was used to subjectively quantify the technical performance of players. Passing data collected from the IMUs were used to construct passing networks. Mixed effect models were used with statistical inferences made using generalized likelihood ratio tests, accompanied by Cohen’s local f2 to quantify the effect magnitude of each independent variable (game type, pitch size and maturation). Consistent trends were identified with mean values for all passing network and coach-based scoring metrics indicating better performance and more effective collective behaviours for early compared with late maturation players. Network metrics established differences (f2 = 0.00 to 0.05) primarily for early maturation players indicating that they became more integral to passing and team dynamics when playing in a mixed-maturation team. However, coach-based scoring was unable to identify differences across bio-banding game types (f2 = 0.00 to 0.02). Pitch size had the largest effect on metrics captured at the team level (f2 = 0.24 to 0.27) with smaller pitch areas leading to increased technical actions. The results of this study suggest that the use of passing networks may provide additional insight into the effects of interventions such as bio-banding and that the number of early-maturing players should be considered when using mixed-maturity playing formats to help to minimize late-maturing players over-relying on their early-maturing counterparts during match-play.

Perception and learning of relative pitch by musicians using the vibrotactile mode

This study investigated the perception and learning of relative pitch using vibrotactile stimuli by musicians with and without a hearing impairment. Notes from C3 to B4 were presented to the fingertip and forefoot. Pre- and post-training tests in which 420 pairs of notes were presented randomly were carried out without any feedback to participants. After the pre-training test, 16 short training sessions were carried out over six weeks with 72 pairs of notes per session and participants told whether their answers were correct. For amateur and professional musicians with normal hearing and professional musicians with a severe or profound hearing loss, larger pitch intervals were easier to identify correctly than smaller intervals. Musicians with normal hearing had a high success rate for relative pitch discrimination as shown by pre- and post-training tests, and when using the fingertips, there was no significant difference between amateur and professional musicians. After training, median scores on the tests in which stimuli were presented to the fingertip and forefoot were >70% for intervals of 3–12 semitones. Training sessions reduced the variability in the responses of amateur and professional musicians with normal hearing and improved their overall ability. There was no significant difference between the relative pitch discrimination abilities between one and 11 semitones, as shown by the pre-training test, of professional musicians with and without a severe/profound hearing loss. These findings indicate that there is potential for vibration to be used to facilitate group musical performance and music education in schools for the deaf.

A Kinematic Analysis Method of Double Roller Tripod Joints Based on the Principle of Conjugate Surfaces

To systematically investigate the contact constraint relationships and the influences of fit clearances on the kinematic performances of a double roller tripod joint (DRTJ), a method for the kinematic analysis of DRTJs is proposed based on the principle of conjugate surfaces. In the proposed method, the constraint relations between rollers and tracks as well as between rollers and trunnions are firstly derived based on the principle of conjugate surfaces. Then, according to the constructed constraint relationships, the kinematic analysis model of a DRTJ considering the influences of fit clearances is established. Next, the effectiveness of the proposed method is validated by measuring the relative displacements and angles between rollers and tracks via experiment. Finally, kinematic analyses are carried out and the main results show that the relative pitch angle between rollers and tracks are always kept as zeroes under any working condition by designing the shapes of rollers' outer surfaces to be semi-toroid. The fit clearances have little influence on the kinematic performances of the DRTJ, thus proper fit clearances between rollers and tracks as well as between rollers and trunnions can be designed to improve the lubricating conditions of the DRTJ.

Does Tuning Influence Aesthetic Judgments of Music? Investigating the Generalizability of Absolute Intonation Ability

Listening to music is an enjoyable activity for most individuals, yet the musical factors that relate to aesthetic experiences are not completely understood. In the present paper, we investigate whether the absolute tuning of music implicitly influences listener evaluations of music, as well as whether listeners can explicitly categorize musical sounds as “in tune” versus “out of tune” based on conventional tuning standards. In Experiment 1, participants rated unfamiliar musical excerpts, which were either tuned conventionally or unconventionally, in terms of liking, interest, and unusualness. In Experiment 2, participants were asked to explicitly judge whether several types of musical sounds (isolated notes, chords, scales, and short excerpts) were “in tune” or “out of tune.” The results suggest that the absolute tuning of music has no influence on listener evaluations of music (Experiment 1), and these null results are likely caused, in part, by an inability for listeners to explicitly differentiate in-tune from out-of-tune musical excerpts (Experiment 2). Interestingly, listeners in Experiment 2 showed robust above-chance performance in classifying musical sounds as “in tune” versus “out of tune” when the to-be-judged sounds did not contain relative pitch changes (i.e., isolated notes and chords), replicating prior work on absolute intonation for simple sounds. Taken together, the results suggest that most listeners possess some form of absolute intonation, but this ability has limited generalizability to more ecologically valid musical contexts and does not appear to influence aesthetic judgments of music.

Change detection of auditory tonal patterns defined by absolute versus relative pitch information. A combined behavioural and EEG study

The human auditory system often relies on relative pitch information to extract and identify auditory objects; such as when the same melody is played in different keys. The current study investigated the mental chronometry underlying the active discrimination of unfamiliar melodic six-tone patterns by measuring behavioural performance and event-related potentials (ERPs). In a roving standard paradigm, such patterns were either repeated identically within a stimulus train, carrying absolute frequency information about the pattern, or shifted in pitch (transposed) between repetitions, so only relative pitch information was available to extract the pattern identity. Results showed that participants were able to use relative pitch to detect when a new melodic pattern occurred. Though in the absence of absolute pitch sensitivity significantly decreased and behavioural reaction time to pattern changes increased. Mismatch-Negativity (MMN), an ERP indicator of auditory deviance detection, was elicited at approximately 206 ms after stimulus onset at frontocentral electrodes, even when only relative pitch was available to inform pattern discrimination. A P3a was elicited in both conditions, comparable in amplitude and latency. Increased latencies but no differences in amplitudes of N2b, and P3b suggest that processing at higher levels is affected when, in the absence of absolute pitch cues, relative pitch has to be extracted to inform pattern discrimination. Interestingly, the response delay of approximately 70 ms on the behavioural level, already fully manifests at the level of N2b. This is in accordance with recent findings on implicit auditory learning processes and suggests that in the absence of absolute pitch cues a slowing of target selection rather than a slowing of the auditory pattern change detection process causes the deterioration in behavioural performance.

Song Is More Memorable Than Speech Prosody: Discrete Pitches Aid Auditory Working Memory

Vocal music and spoken language both have important roles in human communication, but it is unclear why these two different modes of vocal communication exist. Although similar, speech and song differ in certain design features. One interesting difference is in the pitch intonation contour, which consists of discrete tones in song, vs. gliding intonation contours in speech. Here, we investigated whether vocal phrases consisting of discrete pitches (song-like) or gliding pitches (speech-like) are remembered better, conducting three studies implementing auditory same-different tasks at three levels of difficulty. We tested two hypotheses: that discrete pitch contours aid auditory memory, independent of musical experience (“song memory advantage hypothesis”), or that the higher everyday experience perceiving and producing speech make speech intonation easier to remember (“experience advantage hypothesis”). We used closely matched stimuli, controlling for rhythm and timbre, and we included a stimulus intermediate between song-like and speech-like pitch contours (with partially gliding and partially discrete pitches). We also assessed participants' musicality to evaluate experience-dependent effects. We found that song-like vocal phrases are remembered better than speech-like vocal phrases, and that intermediate vocal phrases evoked a similar advantage to song-like vocal phrases. Participants with more musical experience were better in remembering all three types of vocal phrases. The precise roles of absolute and relative pitch perception and the influence of top-down vs. bottom-up processing should be clarified in future studies. However, our results suggest that one potential reason for the emergence of discrete pitch–a feature that characterises music across cultures–might be that it enhances auditory memory.