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.

Estimation of Vehicle Attitude, Acceleration, and Angular Velocity Using Convolutional Neural Network and Dual Extended Kalman Filter

The acceleration of a vehicle is important information in vehicle states. The vehicle acceleration is measured by an inertial measurement unit (IMU). However, gravity affects the IMU when there is a transition in vehicle attitude; thus, the IMU produces an incorrect signal output. Therefore, vehicle attitude information is essential for obtaining correct acceleration information. This paper proposes a convolutional neural network (CNN) for attitude estimation. Using sequential data of a vehicle’s chassis sensor signal, the roll and pitch angles of a vehicle can be estimated without using a high-cost sensor such as a global positioning system or a six-dimensional IMU. This paper also proposes a dual-extended Kalman filter (DEKF), which can accurately estimate acceleration/angular velocity based on the estimated roll/pitch information. The proposed method is validated by real-car experiment data and CarSim, a vehicle simulator. It accurately estimates the attitude estimation with limited sensors, and the exact acceleration/angular velocity is estimated considering the roll and pitch angle with de-noising effect. In addition, the DEKF can improve the modeling accuracy and can estimate the roll and pitch rates.

Human and Computation-based Music Representation for Gamelan Music

A public database containing representative data of karawitan traditional music is needed as a resource for researchers who study computer music and karawitan. To establish this database, a text-based pitch model for music representation that is both human and computer-based was first investigated. A new model of musical representation that can be read by humans and computers is proposed to support music and computer research on karawitan also known as gamelan music. The model is expected to serve as the initial effort to establish a public database of karawitan music representation data. The proposed model was inspired by Helmholtz Notation and Scientific Pitch Notation and well-established, text-based pitch representation systems. The model was developed not only for pitch number, high or low or middle pitch information (octave information), but for musical elements found in gamelan sheet music pieces that include pitch value and legato signs. The model was named Gendhing Scientific Pitch Notation (GSPN). Ghending is a Javanese word that means “song”. The GSPN model was designed to represent music by formulating musical elements from a sheet music piece. Furthermore, the model can automatically be converted to other music representation formats. In the experiment, data in the GSPN format was implemented to automatically convert sheet music to a binary code with localist representation technique.

Cross-Modal Correspondence Between Speech Sound and Visual Shape Influencing Perceptual Representation of Shape: the Role of Articulation and Pitch

Cross-modal correspondence is the tendency to systematically map stimulus features across sensory modalities. The current study explored cross-modal correspondence between speech sound and shape (Experiment 1), and whether such association can influence shape representation (Experiment 2). For the purpose of closely examining the role of the two factors — articulation and pitch — combined in speech acoustics, we generated two sets of 25 vowel stimuli — pitch-varying and pitch-constant sets. Both sets were generated by manipulating articulation — frontness and height of the tongue body’s positions — but differed in terms of whether pitch varied among the sounds within the same set. In Experiment 1, participants made a forced choice between a round and a spiky shape to indicate the shape better associated with each sound. Results showed that shape choice was modulated according to both articulation and pitch, and we therefore concluded that both factors play significant roles in sound–shape correspondence. In Experiment 2, participants reported their subjective experience of shape accompanied by vowel sounds by adjusting an ambiguous shape in the response display. We found that sound–shape correspondence exerts an effect on shape representation by modulating audiovisual interaction, but only in the case of pitch-varying sounds. Therefore, pitch information within vowel acoustics plays the leading role in sound–shape correspondence influencing shape representation. Taken together, our results suggest the importance of teasing apart the roles of articulation and pitch for understanding sound–shape correspondence.

Pitch Range in Discourse, for female RHD participants

This paper conducts a cross sectional study on 4 Bangla speaking RHD (right hemisphere of the brain damaged) participants at the level of discourse (controlled conversation, in lines of narrated stories being retold by the participants), along with 4 age and gender matched controls. We looked at the pitch range in discourse, for these participants. Pitch range is the difference between the highest pitch and lowest pitch points used in the course of a discourse. The ability to modulate the pitch of voice is attributed to the right hemisphere of the brain and damage to it causes inhibitions in the ability to modulate the minimum and maximum pitch. This is important because we convey a lot of information through the use of pitch. Loss of information in speech, in terms of pitch information is very common among stroke patients, if there is damage to the right brain. The loss of pitch information in voice is manifested in a manner such that individuals without training or resources and tools would find it difficult to understand RHD issues.

Non-spatial features reduce the reliance on sustained spatial auditory attention

Top-down spatial attention is effective at selecting a target sound from a mixture. However, non-spatial features often distinguish sources in addition to location. This study explores whether redundant non-spatial features are used to maintain selective auditory attention for a spatially defined target. We recorded electroencephalography (EEG) while subjects focused attention on one of three simultaneous melodies. In one experiment, subjects (n = 17) were given an auditory cue indicating both the location and pitch of the target melody. In a second experiment (n = 17 subjects), the cue only indicated target location, and we compared two conditions: one in which the pitch separation of competing melodies was large, and one in which this separation was small. In both experiments, responses evoked by onsets of events in sound streams were modulated equally as strong by attention, suggesting that the target stimuli were correctly selected regardless of the cue or pitch information available. In all cases, parietal alpha was lateralized following the cue, but prior to melody onset, indicating that subjects always initially focused attention in space. During the stimulus presentation, however, this lateralization weakened when pitch cues were strong, suggesting that strong pitch cues reduced reliance on sustained spatial attention. These results demonstrate that once a well-defined target stream at a known location is selected, top-down spatial attention is unnecessary to filter out a segregated competing stream.

The Acquisition of Mandarin Tonal Processes by Children With Cochlear Implants

Purpose Children with cochlear implants (CIs) face challenges in acquiring tonal languages, as CIs do not efficiently code pitch information. Mandarin is a tonal language with lexical tones and tonal processes such as neutral tone and tone sandhi, exhibiting contextually conditioned tonal realizations. Previous studies suggest that early implantation and long CI experience facilitate the acquisition of lexical tones by children with CIs. However, there is lack of acoustic evidence on children's tonal productions demonstrating that this is the case, and it is unclear whether and how children with CIs are able to acquire contextual tones. This study therefore examined the acoustic realization of both lexical tones and contextual tones as produced by children fitted with CIs, exploring the potential effects of age at implantation and length of CI experience on their acquisition of the Mandarin tonal system. Method Seventy-two Mandarin-learning preschoolers with CIs, varying in age at implantation (13–42 months) and length of CI experience (2–49 months), and 44 normal hearing 3-year-old controls were recruited. Tonal productions were elicited from both groups using picture-naming tasks and acoustically compared. Results Only the early implanted group (i.e., implanted before the age of 2 years) produced normal-like lexical tones and generally had contextual tones approximating those of the normal-hearing children. The other children, including those with longer CI experience, did not have typical tonal productions; their pitch patterns for lexical tones tended to be flatter, and contextual tone productions were unchanged across tonal contexts. Conclusion Children with CIs face challenges in acquiring Mandarin tones, but early implantation may help them to develop normal-like lexical tone categories, which further facilitates their implementation of contextual tones. Supplemental Material https://doi.org/10.23641/asha.8038889

Stages of Notational Development

This chapter examines the research on invented music-notation systems, comparing the music notations generated by children with invented spellings, as well as describing the role that music training plays in shaping children’s notations of their own compositions. It also explores the role of developing notations in a creative community of practice. Further, the chapter outlines five developmental stages, beginning with the child who creates notations with no sound-symbol correspondence and moving through to notations showing the musical units, notations depicting limited rhythm and pitch information, and regulated but nonstandardized notations and ending with standardized music notation. The chapter is filled with examples from children to show how notations are developed, including a case study of a single child progressing through all of the developmental phases.

Long-term pitch memory for music recordings is related to auditory working memory precision

Most individuals have reliable long-term memories for the pitch of familiar music recordings. This pitch memory (1) appears to be normally distributed in the population, (2) does not depend on explicit musical training and (3) only seems to be weakly related to differences in listening frequency estimates. The present experiment was designed to assess whether individual differences in auditory working memory could explain variance in long-term pitch memory for music recordings. In Experiment 1, participants first completed a musical note adjustment task that has been previously used to assess working memory of musical pitch. Afterward, participants were asked to judge the pitch of well-known music recordings, which either had or had not been shifted in pitch. We found that performance on the pitch working memory task was significantly related to performance in the pitch memory task using well-known recordings, even when controlling for overall musical experience and familiarity with each recording. In Experiment 2, we replicated these findings in a separate group of participants while additionally controlling for fluid intelligence and non-pitch-based components of auditory working memory. In Experiment 3, we demonstrated that participants could not accurately judge the pitch of unfamiliar recordings, suggesting that our method of pitch shifting did not result in unwanted acoustic cues that could have aided participants in Experiments 1 and 2. These results, taken together, suggest that the ability to maintain pitch information in working memory might lead to more accurate long-term pitch memory.