Skip to main content
Mijn bibliotheek
Shop
Nieuws Boeken Tijdschriften Toetsvragen Web-tv Video Audio
Tips voor Mijn BSL
Inloggen

Welkom bij THIM Hogeschool voor Fysiotherapie & Bohn Stafleu van Loghum

THIM Hogeschool voor Fysiotherapie heeft ervoor gezorgd dat je Mijn BSL eenvoudig en snel kunt raadplegen. Je kunt je links eenvoudig registreren. Met deze gegevens kun je thuis, of waar ook ter wereld toegang krijgen tot Mijn BSL. Heb je een vraag, neem dan contact op met helpdesk@thim.nl.

» Andere revante producten voor THIM studenten en medewerkers.

Registreer

Om ook buiten de locaties van THIM, thuis bijvoorbeeld, van Mijn BSL gebruik te kunnen maken, moet je jezelf eenmalig registreren. Dit kan alleen vanaf een computer op een van de locaties van THIM.

Eenmaal geregistreerd kun je thuis of waar ook ter wereld onbeperkt toegang krijgen tot Mijn BSL.

Login

Als u al geregistreerd bent, hoeft u alleen maar in te loggen om onbeperkt toegang te krijgen tot Mijn BSL.

Inloggen
Top
Psychological Research
Gepubliceerd in:

01-09-2010 | Original Article

Context sensitivity and invariance in perception of octave-ambiguous tones

Auteurs: Bruno H. Repp, Jacqueline M. Thompson

Gepubliceerd in: Psychological Research | Uitgave 5/2010

Log in om toegang te krijgen
share
DELEN

Deel dit onderdeel of sectie (kopieer de link)

  • Optie A:
    Klik op de rechtermuisknop op de link en selecteer de optie “linkadres kopiëren”
  • Optie B:
    Deel de link per e-mail
    Link delen
publish
Publiceer nu

Abstract

Three experiments investigated the influence of unambiguous (UA) context tones on the perception of octave-ambiguous (OA) tones. In Experiment 1, pairs of OA tones spanning a tritone interval were preceded by pairs of UA tones instantiating a rising or falling interval between the same pitch classes. Despite the inherent ambiguity of OA tritone pairs, most participants showed little or no priming when judging the OA tritone as rising or falling. In Experiments 2 and 3, participants compared the pitch heights of single OA and UA tones representing either the same pitch class or being a tritone apart. These judgments were strongly influenced by the pitch range of the UA tones, but only slightly by the spectral center of the OA tones. Thus, the perceived pitch height of single OA tones is context sensitive, but the perceived relative pitch height of two OA tones, as described in previous research on the “tritone paradox,” is largely invariant in UA tone contexts.
volgende artikel Attentional blink magnitude is predicted by the ability to keep irrelevant material out of working memory
Voetnoten
1
Experiments 1 and 2 had two sub-experiments each. The chronological sequence of experiments was 1A, 2A, 3, 2B, 1B.
 
2
We used musicians as participants because they happened to be readily available, being regular research participants in rhythm and timing experiments in BHR’s lab.
 
3
Although we are not concerned here with effects of linguistic background, we might mention that the group was very heterogeneous in that respect: It included native speakers of Cantonese (2), Mandarin (1), Korean (1), German (1), and British English (1), as well as native speakers of American or Canadian English with Chinese, Indian, or partially British parents; only two participants had a purely American linguistic background.
 
4
Both authors also had shown positive priming in an earlier pilot run.
 
5
One participant (JMT) gave predominantly “falling” responses, whereas two (Ce, Cl1) gave predominantly “rising” responses. Such strong biases towards one or another response are rarely found in the tritone paradox. By intervening between successive OA pairs, the UA pairs may have reduced sequential context effects among OA pairs and thereby disrupted the perceptual calibration that usually occurs during exposure to a set of OA tones.
 
6
Although only one participant (Cl2) was a native speaker of British English, the average pattern curiously resembles that found previously with Southern British listeners (Deutsch, 1991) and also with a linguistically heterogeneous group of students in Canada (Dawe et al., 1998).
 
7
Linguistic backgrounds were now as follows: Mandarin (2), Cantonese (1), Korean (1), German (1), British (2), American (3).
 
8
A few responses that failed to register were also treated as “not sure” responses.
 
9
It could also be argued that we did not give participants an opportunity to report high-frequency matches because the fundamental frequency range of our comparison tones extended only to about 1,000 Hz. However, the fact that no UA tone with a fundamental frequency between 500 and 1,000 Hz was ever chosen as a match for an OA tone makes it seem unlikely that even higher tones would have been selected if they had been available as choices.
 
Literatuur
Blake, R., & Logothetis, N. K. (2002). Visual competition. Nature Reviews Neuroscience, 3, 13–21.CrossRefPubMed
Braun, J., & Pastukhov, A. (2007). Further differences between positive and negative priming in the perception of ambiguous patterns. Journal of Vision, 7(9), 368 [abstract].
Cohen, M. A., Grossberg, S., & Wyse, L. L. (1995). A spectral network model of pitch perception. Journal of the Acoustical Society of America, 98, 862–879.CrossRefPubMed
Dawe, L. A., Platt, J. R., & Welsh, E. (1998). Spectral-motion aftereffects and the tritone paradox among Canadian subjects. Perception & Psychophysics, 60, 209–220.
Deutsch, D. (1986). A musical paradox. Music Perception, 3, 275–280.
Deutsch, D. (1987). The tritone paradox—effects of spectral variables. Perception & Psychophysics, 41, 563–575.
Deutsch, D. (1991). The tritone paradox: An influence of language on music perception. Music Perception, 8, 335–347.
Deutsch, D. (1994). The tritone paradox: Some further geographical correlates. Music Perception, 12, 125–136.
Deutsch, D., Henthorn, T., & Dolson, M. (2004). Speech patterns heard early in life influence later perception of the tritone paradox. Music Perception, 21, 357–372.CrossRef
Deutsch, D., Kuyper, W. L., & Fisher, Y. (1987). The tritone paradox: Its presence and form of distribution in a general population. Music Perception, 5, 79–92.
Fisher, N. I. (1993). Statistical analysis of circular data. New York: Cambridge University Press.
Giangrande, J. (1998). The tritone paradox: Effects of pitch class and position of the spectral envelope. Music Perception, 15, 253–264.
Giangrande, J., Tuller, B., & Kelso, J. A. S. (2002). Perceptual dynamics of circular pitch. Music Perception, 20, 241–262.CrossRef
Houtsma, A. J. M., & Fleuren, J. F. M. (1991). Analytic and synthetic pitch of two-tone complexes. Journal of the Acoustical Society of America, 90, 1674–1676.CrossRefPubMed
Kanai, R., & Verstraten, F. A. J. (2005). Perceptual manifestations of fast neural plasticity: Motion priming, rapid motion aftereffect and perceptual sensitization. Vision Research, 45, 3109–3116.CrossRefPubMed
Kraus, N., & Banai, K. (2007). Auditory-processing malleability: Focus on language and music. Current Directions in Psychological Science, 16, 105–110.CrossRef
Krumhansl, C. L., & Iversen, P. (1992). Perceptual interactions between musical pitch and timbre. Journal of Experimental Psychology: Human Perception and Performance, 18, 739–751.CrossRefPubMed
Leopold, D. A., & Logothetis, N. K. (1999). Multistable phenomena: changing views in perception. Trends in Cognitive Science, 3, 254–264.CrossRef
Luo, F., Wang, Q., Kashani, A., & Yan, J. (2008). Corticofugal modulation of initial sound processing in the brain. Journal of Neuroscience, 28, 11615–11621.CrossRefPubMed
Pearson, J., & Clifford, C. W. G. (2005). Mechanisms selectively engaged in rivalry: normal vision habituates, rivalrous vision primes. Vision Research, 45, 707–714.CrossRefPubMed
Pitt, M. A. (1994). Perception of pitch and timbre by musically trained and untrained listeners. Journal of Experimental Psychology: Human Perception and Performance, 20, 976–986.CrossRefPubMed
Preisler, A. (1993). The influence of spectral composition of complex tones and of musical experience on the perceptibility of virtual pitch. Perception & Psychophysics, 54, 589–603.
Pressnitzer, D., & Hupé, J. M. (2006). Temporal dynamics of auditory and visual bistability reveal common principles of perceptual organization. Current Biology, 16, 1351–1357.CrossRefPubMed
Ragozzine, F. (2001). The tritone paradox and perception of single octave-related complexes. Music Perception, 19, 155–168.CrossRef
Ragozzine, F., & Deutsch, D. (1994). A regional difference in perception of the tritone paradox within the United States. Music Perception, 12, 213–226.
Repp, B. H. (1994). The tritone paradox and the pitch range of the speaking voice: A dubious connection. Music Perception, 12, 227–255.
Repp, B. H. (1997). Spectral envelope and context effects in the tritone paradox. Perception, 26, 645–665.CrossRefPubMed
Schouten, J., Ritsma, R., & Cardozo, B. (1962). Pitch of the residue. Journal of the Acoustical Society of America, 34, 1418–1424.CrossRef
Seither-Preisler, A., Johnson, L., Krumbholz, K., Nobbe, A., Patterson, R., Seither, S., et al. (2007). Tone sequences with conflicting fundamental pitch and timbre changes are heard differently by musicians and nonmusicians. Journal of Experimental Psychology: Human Perception and Performance, 33, 743–751.CrossRefPubMed
Shepard, R. (1964). Circularity in judgments of relative pitch. Journal of the Acoustical Society of America, 36, 2346–2353.CrossRef
Shepard, R. N. (1983). Demonstrations of circular components of pitch. Journal of the Audio Engineering Society, 31, 641–649.
Sterzer, P., Kleinschmidt, A., & Rees, G. (2009). The neural bases of multistable perception. Trends in Cognitive Science, 13, 310–318.CrossRef
Sterzer, P., & Rees, G. (2008). A neural basis for percept stabilization in binocular rivalry. Journal of Cognitive Neuroscience, 20, 389–399.CrossRefPubMed
Terhardt, E. (1991). Music perception and sensory information acquisition: Relationships and low-level analogies. Music Perception, 8, 217–240.
Terhardt, E., Stoll, G., Schermbach, R., & Parncutt, R. (1986). Tonhöhenmehrdeutigkeit, Tonverwandtschaft und Identifikation von Sukzessivintervallen [Pitch ambiguity, pitch relatedness, and identification of successive intervals]. Acustica, 61, 57–66.
Terhardt, E., Stoll, G., & Seewann, M. (1982a). Pitch of complex signals according to virtual-pitch theory: Tests, examples, and predictions. Journal of the Acoustical Society of America, 71, 671–678.CrossRef
Terhardt, E., Stoll, G., & Seewann, M. (1982b). Algorithm for extraction of pitch and pitch salience from complex tonal signals. Journal of the Acoustical Society of America, 71, 679–688.CrossRef
Metagegevens
Titel
Context sensitivity and invariance in perception of octave-ambiguous tones
Auteurs
Bruno H. Repp
Jacqueline M. Thompson
Publicatiedatum
01-09-2010
Uitgeverij
Springer-Verlag
Gepubliceerd in
Psychological Research / Uitgave 5/2010
Print ISSN: 0340-0727
Elektronisch ISSN: 1430-2772
DOI
https://doi.org/10.1007/s00426-009-0264-9

Andere artikelen Uitgave 5/2010

Attentional blink magnitude is predicted by the ability to keep irrelevant material out of working memory

  • Original Article

Energetic effects of stimulus intensity on prolonged simple reaction-time performance

  • Original Article

Influence of stimulus–response assignment on the joint-action correspondence effect

  • Original Article

Cue-switch costs in task-switching: cue priming or control processes?

  • Original Article

Switch costs and the operand-recognition paradigm

  • Original Article

Action plans produce separate Simon effects for picking up and transporting objects

  • Original Article