The lower limit of melodic pitch.

An objective melody task was used to determine the lower limit of melodic pitch (LLMP) for harmonic complex tones. The LLMP was defined operationally as the repetition rate below which listeners could no longer recognize that one of the notes in a four-note, chromatic melody had changed by a semitone. In the first experiment, the stimuli were broadband tones with all their components in cosine phase, and the LLMP was found to be around 30 Hz. In the second experiment, the tones were filtered into bands about 1 kHz in width to determine the influence of frequency region on the LLMP. The results showed that whenever there was energy present below 800 Hz, the LLMP was still around 30 Hz. When the energy was limited to higher-frequency regions, however, the LLMP increased progressively, up to 270 Hz when the energy was restricted to the region above 3.2 kHz. In the third experiment, the phase relationship between spectral components was altered to determine whether the shape of the waveform affects the LLMP. When the envelope peak factor was reduced using the Schroeder phase relationship, the LLMP was not affected. When a secondary peak was introduced into the envelope of the stimuli by alternating the phase of successive components between two fixed values, there was a substantial reduction in the LLMP, for stimuli containing low-frequency energy. A computational auditory model that extracts pitch information with autocorrelation can reproduce all of the observed effects, provided the contribution of longer time intervals is progressively reduced by a linear weighting function that limits the mechanism to time intervals of less than about 33 ms.

[1]  R. Ritsma Existence Region of the Tonal Residue. I , 1962 .

[2]  N. Guttman,et al.  Lower limits of pitch and musical pitch. , 1962, Journal of Speech and Hearing Research.

[3]  B. L. Cardozo,et al.  Pitch of the Residue , 1962 .

[4]  Bela Julesz,et al.  Lower Limits of Auditory Periodicity Analysis , 1963 .

[5]  R. Plomp Pitch of complex tones. , 1966, The Journal of the Acoustical Society of America.

[6]  J. L. Goldstein Auditory nonlinearity. , 1967, The Journal of the Acoustical Society of America.

[7]  Comments on “Interaction of the Auditory and Visual Sensory Modalities” [J. Acoust. Soc. Am. 41, 1–6 (1967)] , 1967 .

[8]  A. M. Mimpen,et al.  The ear as a frequency analyzer. II. , 1964, The Journal of the Acoustical Society of America.

[9]  R. G. Crowder,et al.  Precategorical acoustic storage (PAS) , 1969 .

[10]  G. Smoorenburg Pitch perception of two-frequency stimuli. , 1970, The Journal of the Acoustical Society of America.

[11]  Manfred R. Schroeder,et al.  Synthesis of low-peak-factor signals and binary sequences with low autocorrelation (Corresp.) , 1970, IEEE Trans. Inf. Theory.

[12]  W. Dowling,et al.  Contour, interval, and pitch recognition in memory for melodies. , 1971, The Journal of the Acoustical Society of America.

[13]  H. Levitt Transformed up-down methods in psychoacoustics. , 1971, The Journal of the Acoustical Society of America.

[14]  J. L. Goldstein,et al.  The Central Origin of the Pitch of Complex Tones: Evidence from Musical Interval Recognition , 1972 .

[15]  S. S. Stevens Frequency Analysis and Periodicity Detection in Hearing. , 1972 .

[16]  B. Moore Some Experiments Relating to the Perception of Complex Tones , 1973, The Quarterly journal of experimental psychology.

[17]  J. L. Goldstein An optimum processor theory for the central formation of the pitch of complex tones. , 1973, The Journal of the Acoustical Society of America.

[18]  R. Patterson The effects of relative phase and the number of components on residue pitch. , 1973, Journal of the Acoustical Society of America.

[19]  R. J. Ritsma,et al.  Frequency Selectivity and the Tonal Residue , 1974 .

[20]  E. de Boer,et al.  On the “Residue” and Auditory Pitch Perception , 1976 .

[21]  B. Moore An Introduction to the Psychology of Hearing , 1977 .

[22]  J. L. Goldstein,et al.  Verification of the optimal probabilistic basis of aural processing in pitch of complex tones. , 1978, The Journal of the Acoustical Society of America.

[23]  B C Moore,et al.  Tune Recognition with Reduced Pitch and Interval Information , 1979, The Quarterly journal of experimental psychology.

[24]  J A Bashford,et al.  Perception of acoustic iterance: Pitch and infrapitch , 1981, Perception & psychophysics.

[25]  J. L. Goldstein,et al.  A central spectrum model: a synthesis of auditory-nerve timing and place cues in monaural communication of frequency spectrum. , 1983, The Journal of the Acoustical Society of America.

[26]  R. Peters,et al.  Threshold Duration for Melodic Pitch , 1983 .

[27]  M R Schroeder,et al.  Phase effects in masking related to dispersion in the inner ear. , 1986, The Journal of the Acoustical Society of America.

[28]  R. Patterson,et al.  A pulse ribbon model of monaural phase perception. , 1987, The Journal of the Acoustical Society of America.

[29]  J. Smurzyński,et al.  Pitch identification and discrimination for complex tones with many harmonics , 1990 .

[30]  Brian R Glasberg,et al.  Derivation of auditory filter shapes from notched-noise data , 1990, Hearing Research.

[31]  R. Meddis,et al.  Virtual pitch and phase sensitivity of a computer model of the auditory periphery. II: Phase sensitivity , 1991 .

[32]  Neil A. Macmillan,et al.  Detection Theory: A User's Guide , 1991 .

[33]  Ray Meddis,et al.  Virtual pitch and phase sensitivity of a computer model of the auditory periphery , 1991 .

[34]  L. Demany,et al.  Dissociation of pitch from timbre in auditory short-term memory. , 1991, The Journal of the Acoustical Society of America.

[35]  D. McFarland,et al.  Aspects of short-term acoustic recognition memory: modality and serial position effects. , 1992, Audiology : official organ of the International Society of Audiology.

[36]  R Meddis,et al.  Modeling the identification of concurrent vowels with different fundamental frequencies. , 1992, The Journal of the Acoustical Society of America.

[37]  L. Demany,et al.  Further evidence for an autonomous processing of pitch in auditory short-term memory. , 1993, The Journal of the Acoustical Society of America.

[38]  R. Carlyon,et al.  Comparing the fundamental frequencies of resolved and unresolved harmonics: Evidence for two pitch mechanisms? , 1994 .

[39]  R. Carlyon,et al.  The role of resolved and unresolved harmonics in pitch perception and frequency modulation discrimination. , 1994, The Journal of the Acoustical Society of America.

[40]  Christopher J. Plack,et al.  Differences in frequency modulation detection and fundamental frequency discrimination between complex tones consisting of resolved and unresolved harmonics , 1995 .

[41]  S Grossberg,et al.  A spectral network model of pitch perception. , 1995, The Journal of the Acoustical Society of America.

[42]  A. Cohen,et al.  Identification of microtonal melodies: Effects of scale-step size, serial order, and training , 1995, Perception & psychophysics.

[43]  W A Yost,et al.  A time domain description for the pitch strength of iterated rippled noise. , 1996, The Journal of the Acoustical Society of America.

[44]  R. Meddis,et al.  A unitary model of pitch perception. , 1997, The Journal of the Acoustical Society of America.

[45]  Robert P. Carlyon,et al.  The effects of two temporal cues on pitch judgments , 1997 .

[46]  C Kaernbach,et al.  Psychophysical evidence against the autocorrelation theory of auditory temporal processing. , 1998, The Journal of the Acoustical Society of America.

[47]  R D Patterson,et al.  Temporal dynamics of pitch strength in regular interval noises. , 1998, The Journal of the Acoustical Society of America.

[48]  R. Carlyon Comments on "A unitary model of pitch perception" [J. Acoust. Soc. Am. 102, 1811-1820 (1997)]. , 1998, The Journal of the Acoustical Society of America.

[49]  Richard S. J. Frackowiak,et al.  Analysis of temporal structure in sound by the human brain , 1998, Nature Neuroscience.

[50]  L. Demany,et al.  Memory for pitch versus memory for loudness. , 1999, The Journal of the Acoustical Society of America.

[51]  R. Patterson,et al.  The lower limit of pitch as determined by rate discrimination. , 2000, The Journal of the Acoustical Society of America.