The Experts below are selected from a list of 303 Experts worldwide ranked by ideXlab platform
Mark Liberman - One of the best experts on this subject based on the ideXlab platform.
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The effect of vocal fry on Pitch Perception
2016 IEEE International Conference on Acoustics Speech and Signal Processing (ICASSP), 2016Co-Authors: Jianjing Kuang, Mark LibermanAbstract:Vocal fry is an aperiodic phonation that is naturally associated with low Pitch production. This study aims to examine whether vocal fry can affect people's Perception of Pitch range. A two-alternative-forced-choice task is used to test whether vocal fry can facilitate the "low Pitch" Perception, and non-fry and fry sounds are played in pairs. The synthetic vocal fry stimuli vary in the f0 range and the ratio of pulse-to-pulse variability. The results show that people generally hear a lower Pitch during vocal fry, and the magnitude of this effect depends on the f0 range as well as the ratio of fry. Heavy fry almost always sounds lower. The finding of this study further supports the hypothesis that voice quality is integrated in Pitch Perception.
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ICASSP - The effect of vocal fry on Pitch Perception
2016 IEEE International Conference on Acoustics Speech and Signal Processing (ICASSP), 2016Co-Authors: Jianjing Kuang, Mark LibermanAbstract:Vocal fry is an aperiodic phonation that is naturally associated with low Pitch production. This study aims to examine whether vocal fry can affect people's Perception of Pitch range. A two-alternative-forced-choice task is used to test whether vocal fry can facilitate the "low Pitch" Perception, and non-fry and fry sounds are played in pairs. The synthetic vocal fry stimuli vary in the f0 range and the ratio of pulse-to-pulse variability. The results show that people generally hear a lower Pitch during vocal fry, and the magnitude of this effect depends on the f0 range as well as the ratio of fry. Heavy fry almost always sounds lower. The finding of this study further supports the hypothesis that voice quality is integrated in Pitch Perception.
Jianjing Kuang - One of the best experts on this subject based on the ideXlab platform.
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the effects of musicality and language background on cue integration in Pitch Perception
Journal of the Acoustical Society of America, 2019Co-Authors: Aletheia Cui, Jianjing KuangAbstract:Pitch Perception involves the processing of multidimensional acoustic cues, and listeners can exhibit different cue integration strategies in interpreting Pitch. This study aims to examine whether musicality and language experience have effects on listeners' Pitch Perception strategies. Both Mandarin and English listeners were recruited to participate in two experiments: (1) a Pitch classification experiment that tested their relative reliance on f0 and spectral cues, and (2) the Montreal Battery of Evaluation of Musical Abilities that objectively quantified their musical aptitude as continuous musicality scores. Overall, the results show a strong musicality effect: Listeners with higher musicality scores relied more on f0 in Pitch Perception, while listeners with lower musicality scores were more likely to attend to spectral cues. However, there were no effects of language experience on musicality scores or cue integration strategies in Pitch Perception. These results suggest that less musical or even amusic subjects may not suffer impairment in linguistic Pitch processing due to the multidimensional nature of Pitch cues.
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the effect of musicality on cue selection in Pitch Perception
Journal of the Acoustical Society of America, 2017Co-Authors: Jianjing KuangAbstract:Our previous experiments (Kuang and Liberman 2015, 2016) have shown that spectral cues have significant effects on Pitch Perception. One striking finding from Kuang et al. (2015) is that there is a great deal of cognitive variation among individuals: musicians are much less affected by the spectral conditions; by contrast, non-musicians heavily rely on spectral cues in Pitch Perception. We hypothesized that this is because musicians are more sensitive to fine f0 difference. Extending from this finding, our present study examines whether the degree of musicality of a given speaker have effects on his/her strategies of perceiving Pitch. The current experiment consists of two parts: musicality tests and Pitch classification test (as in Kuang and Liberman 2016). It is found that the people with higher musicality scores tend to more heavily attend to f0 cues than the people with much lower musicality scores do. This result supports our hypothesis, and has important implications for tone acquisition.
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The effect of vocal fry on Pitch Perception
2016 IEEE International Conference on Acoustics Speech and Signal Processing (ICASSP), 2016Co-Authors: Jianjing Kuang, Mark LibermanAbstract:Vocal fry is an aperiodic phonation that is naturally associated with low Pitch production. This study aims to examine whether vocal fry can affect people's Perception of Pitch range. A two-alternative-forced-choice task is used to test whether vocal fry can facilitate the "low Pitch" Perception, and non-fry and fry sounds are played in pairs. The synthetic vocal fry stimuli vary in the f0 range and the ratio of pulse-to-pulse variability. The results show that people generally hear a lower Pitch during vocal fry, and the magnitude of this effect depends on the f0 range as well as the ratio of fry. Heavy fry almost always sounds lower. The finding of this study further supports the hypothesis that voice quality is integrated in Pitch Perception.
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ICASSP - The effect of vocal fry on Pitch Perception
2016 IEEE International Conference on Acoustics Speech and Signal Processing (ICASSP), 2016Co-Authors: Jianjing Kuang, Mark LibermanAbstract:Vocal fry is an aperiodic phonation that is naturally associated with low Pitch production. This study aims to examine whether vocal fry can affect people's Perception of Pitch range. A two-alternative-forced-choice task is used to test whether vocal fry can facilitate the "low Pitch" Perception, and non-fry and fry sounds are played in pairs. The synthetic vocal fry stimuli vary in the f0 range and the ratio of pulse-to-pulse variability. The results show that people generally hear a lower Pitch during vocal fry, and the magnitude of this effect depends on the f0 range as well as the ratio of fry. Heavy fry almost always sounds lower. The finding of this study further supports the hypothesis that voice quality is integrated in Pitch Perception.
Andrew J. Oxenham - One of the best experts on this subject based on the ideXlab platform.
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Pitch Perception of concurrent high-frequency complex tones
The Journal of the Acoustical Society of America, 2019Co-Authors: Daniel R. Guest, Andrew J. OxenhamAbstract:Accurate Pitch Perception is possible for harmonic complex tones with fundamental frequencies (F0s) in the musical range (e.g., 1.4 kHz) but with all harmonics beyond the putative limits of phase locking. However, it is unknown whether Pitch Perception in more complex scenarios, such as with concurrent complex tones, is possible using these stimuli. To address this question, we measured (1) F0 difference limens (F0DLs) and (2) target-to-masker ratios (TMRs) required to detect a fixed F0 difference in a mixture of complex tones with low F0s (∼280 Hz) or high F0s (∼1400 Hz). The target tones were filtered to ensure that in the high-F0 case, only harmonics beyond the limits of phase locking were present. Pitch Perception was poorer for isolated high-F0 tones than for isolated low-F0 tones and adding a masker complex tone with a geometrically centered F0 impaired performance for both high-F0 and low-F0 tones. The TMRs required to achieve good performance in the presence of two complex tone maskers were higher for high-F0 tones than for low-F0 tones. The results should help determine whether different mechanisms underlie the Perception of combinations of complex tones at low and high frequencies. [Work supported by Grants NIH R01 DC005216 and NSF NRT-UtB1734815.]Accurate Pitch Perception is possible for harmonic complex tones with fundamental frequencies (F0s) in the musical range (e.g., 1.4 kHz) but with all harmonics beyond the putative limits of phase locking. However, it is unknown whether Pitch Perception in more complex scenarios, such as with concurrent complex tones, is possible using these stimuli. To address this question, we measured (1) F0 difference limens (F0DLs) and (2) target-to-masker ratios (TMRs) required to detect a fixed F0 difference in a mixture of complex tones with low F0s (∼280 Hz) or high F0s (∼1400 Hz). The target tones were filtered to ensure that in the high-F0 case, only harmonics beyond the limits of phase locking were present. Pitch Perception was poorer for isolated high-F0 tones than for isolated low-F0 tones and adding a masker complex tone with a geometrically centered F0 impaired performance for both high-F0 and low-F0 tones. The TMRs required to achieve good performance in the presence of two complex tone maskers were higher...
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Auditory deficits in amusia extend beyond poor Pitch Perception
Neuropsychologia, 2017Co-Authors: Kelly L. Whiteford, Andrew J. OxenhamAbstract:Congenital amusia is a music Perception disorder believed to reflect a deficit in fine-grained Pitch Perception and/or short-term or working memory for Pitch. Because most measures of Pitch Perception include memory and segmentation components, it has been difficult to determine the true extent of Pitch processing deficits in amusia. It is also unclear whether Pitch deficits persist at frequencies beyond the range of musical Pitch. To address these questions, experiments were conducted with amusics and matched controls, manipulating both the stimuli and the task demands. First, we assessed Pitch discrimination at low (500Hz and 2000Hz) and high (8000Hz) frequencies using a three-interval forced-choice task. Amusics exhibited deficits even at the highest frequency, which lies beyond the existence region of musical Pitch. Next, we assessed the extent to which frequency coding deficits persist in one- and two-interval frequency-modulation (FM) and amplitude-modulation (AM) detection tasks at 500Hz at slow (fm=4Hz) and fast (fm=20Hz) modulation rates. Amusics still exhibited deficits in one-interval FM detection tasks that should not involve memory or segmentation. Surprisingly, amusics were also impaired on AM detection, which should not involve Pitch processing. Finally, direct comparisons between the detection of continuous and discrete FM demonstrated that amusics suffer deficits in both coding and segmenting Pitch information. Our results reveal auditory deficits in amusia extending beyond Pitch Perception that are subtle when controlling for memory and segmentation, and are likely exacerbated in more complex contexts such as musical listening.
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Complex Pitch Perception via vocoder simulations of cochlear-implant processing
The Journal of the Acoustical Society of America, 2016Co-Authors: Anahita H. Mehta, Andrew J. OxenhamAbstract:Melodic Pitch Perception in cochlear implants (CIs) is limited at least in part by spectral resolution, which in turn is limited by the number of spectral channels as well as interactions between adjacent channels. Future technical improvements may lead to greater numbers of functional channels within CIs; however, the target number of channels required to extract the fundamental frequency from a harmonic sound is not known. The present study used noise-vocoded simulations of CI processing to parametrically study melodic Pitch Perception, with other potential cues, such as temporal-envelope rate and lowest spectral component, removed. The number of spectral channels was parametrically varied, along with the degree of channel interaction. In contrast to earlier studies, preliminary results suggest that 32 channels are not sufficient to elicit the Perception of complex Pitch, even in the absence of any significant channel interactions. Even when Pitch Perception was possible with higher numbers of channels,...
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Pitch Perception and auditory stream segregation: implications for hearing loss and cochlear implants.
Trends in amplification, 2008Co-Authors: Andrew J. OxenhamAbstract:Pitch is important for speech and music Perception, and may also play a crucial role in our ability to segregate sounds that arrive from different sources. This article reviews some basic aspects of Pitch coding in the normal auditory system and explores the implications for Pitch Perception in people with hearing impairments and cochlear implants. Data from normal-hearing listeners suggest that the low-frequency, low-numbered harmonics within complex tones are of prime importance in Pitch Perception and in the perceptual segregation of competing sounds. The poorer frequency selectivity experienced by many hearing-impaired listeners leads to less access to individual harmonics, and the coding schemes currently employed in cochlear implants provide little or no representation of individual harmonics. These deficits in the coding of harmonic sounds may underlie some of the difficulties experienced by people with hearing loss and cochlear implants, and may point to future areas where sound representation in auditory prostheses could be improved.
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Correct tonotopic representation is necessary for complex Pitch Perception
Proceedings of the National Academy of Sciences of the United States of America, 2004Co-Authors: Andrew J. Oxenham, Joshua G. W. Bernstein, Hector PenagosAbstract:The ability to extract a Pitch from complex harmonic sounds, such as human speech, animal vocalizations, and musical instruments, is a fundamental attribute of hearing. Some theories of Pitch rely on the frequency-to-place mapping, or tonotopy, in the inner ear (cochlea), but most current models are based solely on the relative timing of spikes in the auditory nerve. So far, it has proved to be difficult to distinguish between these two possible representations, primarily because temporal and place information usually covary in the cochlea. In this study, “transposed stimuli” were used to dissociate temporal from place information. By presenting the temporal information of low-frequency sinusoids to locations in the cochlea tuned to high frequencies, we found that human subjects displayed poor Pitch Perception for single tones. More importantly, none of the subjects was able to extract the fundamental frequency from multiple low-frequency harmonics presented to high-frequency regions of the cochlea. The experiments demonstrate that tonotopic representation is crucial to complex Pitch Perception and provide a new tool in the search for the neural basis of Pitch.
Taishih Chi - One of the best experts on this subject based on the ideXlab platform.
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a hybrid neural network based on the duplex model of Pitch Perception for singing melody extraction
International Conference on Acoustics Speech and Signal Processing, 2018Co-Authors: Hsin Chou, Mingtso Chen, Taishih ChiAbstract:In this paper, we build up a hybrid neural network (NN) for singing melody extraction from polyphonic music by imitating human Pitch Perception. For human hearing, there are two Pitch Perception models, the spectral model and the temporal model, in accordance with whether harmonics are resolved or not. Here, we first use NNs to implement individual models and evaluate their performance in the task of singing melody extraction. Then, we combine the NNs to constitute the composite NN to simulate the duplex model, which complements the Pitch Perception from unresolved harmonics of the spectral model using the temporal model. Simulation results show the proposed composite NN outperforms other conventional methods in singing melody extraction.
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ICASSP - A Hybrid Neural Network Based on the Duplex Model of Pitch Perception for Singing Melody Extraction
2018 IEEE International Conference on Acoustics Speech and Signal Processing (ICASSP), 2018Co-Authors: Hsin Chou, Mingtso Chen, Taishih ChiAbstract:In this paper, we build up a hybrid neural network (NN) for singing melody extraction from polyphonic music by imitating human Pitch Perception. For human hearing, there are two Pitch Perception models, the spectral model and the temporal model, in accordance with whether harmonics are resolved or not. Here, we first use NNs to implement individual models and evaluate their performance in the task of singing melody extraction. Then, we combine the NNs to constitute the composite NN to simulate the duplex model, which complements the Pitch Perception from unresolved harmonics of the spectral model using the temporal model. Simulation results show the proposed composite NN outperforms other conventional methods in singing melody extraction.
Tao-hsin Tung - One of the best experts on this subject based on the ideXlab platform.
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Contribution of Nonimplanted Ear to Pitch Perception for Prelingually Deafened Cochlear Implant Recipients
Otology & neurotology : official publication of the American Otological Society American Neurotology Society [and] European Academy of Otology and Neu, 2014Co-Authors: Joshua Kuang-chao Chen, Ann Yi Chiun Chuang, Catherine M. Mcmahon, Tao-hsin TungAbstract:IntroductionBimodal stimulation (BMS) has been shown to be beneficial for the performance of Pitch ranking in postlingually deafened adults. However, the contribution of nonimplanted ears to Pitch Perception with respect to duration of hearing aid (HAs) use for prelingually cochlear implantees remai
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Music training improves Pitch Perception in prelingually deafened children with cochlear implants.
Pediatrics, 2010Co-Authors: Joshua Kuang-chao Chen, Ann Yi Chiun Chuang, Catherine M. Mcmahon, Jen-chuen Hsieh, Tao-hsin TungAbstract:OBJECTIVE: The comparatively poor music appreciation in patients with cochlear implants might be ascribed to an inadequate exposure to music; however, the effect of training on music Perception in prelingually deafened children with cochlear implants remains unknown. This study aimed to investigate whether previous musical education improves Pitch Perception ability in these children. METHODS: Twenty-seven children with congenital/prelingual deafness of profound degree were studied. Test stimuli consisted of 2 sequential piano tones, ranging from C (256 Hz) to B (495 Hz). Children were asked to identify the Pitch relationship between the 2 tones (same, higher, or lower). Effects of musical training duration, Pitch-interval size, current age, age of implantation, gender, and type of cochlear implant on accuracy of Pitch Perception were evaluated. RESULTS: The duration of musical training positively correlated with the correct rate of Pitch Perception. Pitch Perception performance was better in children who had a cochlear implant and were older than 6 years than in those who were aged ≤6 years (ie, preschool). Effect of Pitch-interval size was insignificant on Pitch Perception, and there was no correlation between Pitch Perception and the age of implantation, gender, or type of cochlear implant. CONCLUSIONS: Musical training seems to improve Pitch Perception ability in prelingually deafened children with a cochlear implant. Auditory plasticity might play an important role in such enhancement. This suggests that incorporation of a structured training program on music Perception early in life and as part of the postoperative rehabilitation program for prelingually deafened children with cochlear implants would be beneficial. A longitudinal study is needed to show whether improvement of music performance in these children is measurable by use of auditory evoked potentials.