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Summary: Auditory after-effects
As promised, here is the bibliography of references people suggested,
prompted by my question:
> I'm looking for any and all references regarding psychophysical
> studies of auditory after-effects (in the same line as color or
> motion after-effects in vision).
>
> I vaguely remember reading an article abstract recently which
> dealt with this, but can't locate the precise reference. Searches
> of SCI, PsycLit, Medline, etc. have yielded nothing, probably
> because the reference is too recent.
I had several pointers to the vast literature on adaptation, which is
much to broad to list here. I will therefore only those on ``auditory
after-effects,'' excluding the speech literature for brevity's sake.
The references are listed in BibTeX format.
Many thanks to:
Uwe Baumann, Max Cynader, Bob Carlyon, Laurent Demany, Kip Keller,
Lonce LaMar Wyse, Bruno Repp, Kourosh Saberi, Zhengjin Shu
If I get significantly more responses, I'll add them to my bibliography
and make it available for FTP. Otherwise, this is it. Thanks to all.
--david ascher
The article I was referring to in my posting is:
@Article{Shu93,
author = "Z. J. Shu and N. V. Swindale and M. S. Cynader",
title = "Spectral motion produces an auditory after-effect",
journal = "Nature",
year = "1993",
volume = "364",
pages = "721--723",
}
But I also got pointers to:
@Article{CioccaSub,
author = "Ciocca and Darwin",
title = "(submitted for publication)",
}
@Article{Darwin92,
author = "Darwin and Ciocca",
title = "",
journal = "Journal of the Acoustical Society of America",
year = "1992",
volume = "91",
pages = "3381--3390",
}
@InProceedings{Fastl86,
author = "H. Fastl",
title = "Auditory after-images produced by complex tones with
a spectral gap",
note = "paper B2-5",
year = "1986",
organization = "Proceedings of the 12th International Congress on Acoustics",
address = "Toronto",
}
@Article{Gardner80,
author = "R. B. Gardner and J. P. Wilson",
title = "Evidence for direction-specific channels in the
processing of frequency modulation",
journal = "Journal of the Acoustical Society of America",
year = "1980",
volume = "66",
pages = "704--709",
}
@Article{Grantham79,
author = "D. W. Grantham",
title = "Auditory motion aftereffects",
journal = "Perception and Psychophysics",
year = "1979",
volume = "26",
pages = "403--408",
}
@Article{Grantham89,
author = "D. W. Grantham",
title = "Motion aftereffects with horizontally moving sound
sources in the free field",
journal = "Perception and Psychophysics",
year = "1989",
volume = "45",
pages = "129--136",
}
@Article{Grantham92,
author = "D. W. Grantham",
title = "Adaptation to auditory motion in the free field:
Effect of prior exposure to motion on motion detectability",
journal = "Perception and Psychophysics",
year = "1992",
volume = "52",
pages = "144--150",
}
@Article{Kay72,
author = "R.H. Kay and D. R. Matthews",
title = "",
journal = "Journal of Physiology",
year = "1972",
volume = "225",
pages = "657--677",
}
@Article{Kay82,
author = "R. H. Kay",
title = "",
journal = "Physiological Review",
year = "1982",
volume = "62",
pages = "894--975",
}
@PhdThesis{Krump93,
author = "Gerhard Krump",
title = "Beschreibung des akustischen Nachtones mit Hilfe
von Mithorschwellenmustern (Describing the auditory after-effect
with masking-patterns)",
school = "Technical University Munich",
year = "1993",
address = "Munich, Germany",
note = "See References section for further references",
}
@Article{Regan79,
author = "D. Regan and B. W. Tansley",
title = "Selective adaptation to frequency modulated tones:
evidence for an information processing channel
selectively sensitive to frequency changes",
journal = "Journal of the Acoustical Society of America",
year = "1979",
volume = "65",
pages = "1249--1257",
}
@Article{Summerfiedl84,
author = "Q. Summerfield and M. Haggard and J. Foster and S. Gray",
title = "Perceiving vowels from uniform spectra: Phonetic
exploration of an auditory aftereffect",
journal = "Perception and Psychophysics",
year = "1984",
volume = "35",
pages = "203--213",
}
@Article{Summerfield87,
author = "Q. Summerfield and A. Sidwell and T. Nelson",
title = "Auditory enhancement of changes in spectral amplitude",
journal = "Journal of the Acoustical Society of America",
year = "87",
volume = "81",
pages = "700-708",
}
@InCollection{Wilson70,
author = "J. P. Wilson",
title = "Frequency analysis and psychophysics of hearing",
booktitle = "Frequency Analysis and Periodicity Detection in Hearing",
publisher = "Sijhtoff",
year = "1970",
editor = "Promp and Smoorenburg",
address = "Leiden, Netherlands",
}
@Article{Wilson92,
author = "J. P. Wilson and E. J. Crampin and N. Cann",
title = "",
journal = "N. Brit. J. Audiol.",
year = "1992",
volume = "26",
pages = "188",
}
@Article{Zwicker64,
author = "Zwicker",
title = " ``Negative Afterimage'' in hearing ",
journal = "Journal of the Acoustical Society of America",
year = "1964",
volume = "36",
pages = "2413--2415",
}
@Book{Zwicker90,
author = "Zwicker and Fastl",
title = "Psychoacoustics -- Facts and models",
publisher = "Springer Verlag",
year = "1990",
note = "p. 117 ff",
}
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Dear List and Listless friends,
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Date: Thu, 18 Nov 1993 11:25:30 -0800
Reply-To: "Edward M. Burns" <pwa@U.WASHINGTON.EDU>
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From: "Edward M. Burns" <pwa@U.WASHINGTON.EDU>
Subject: reply to McAdams
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It has come to my attention that I have been dissed on this bb by Steve
McAdams, to wit:
< Why should a judgment of "the pitch went up or it went down" be any
more "subjective" than the kinds of judgments one uses in pitch
discrimination tasks where the subject has to choose between . . .
"the pitch went up or it went down"!!! The only difference is in
the stimulus (in one case some physical parameter actually went up
or down, and in the other up or down has no physical sense, being
physically ambiguous, which does NOT mean that people don't reliably
hear it as going up or down (though of course David Green and Ed Burns
and Neil Viemeister don't which makes members of the hardcore psycho-
acoustics community afraid to admit they DO!). Just because there is
a "right or wrong" answer doesn't make the response any more "objective".
At any rate, since we all seem to be interested in "perception" we are
all interested in relation between measures of "subjective" experience
and measures of "objective" stimulation.>
While I am of course flattered to be included with Green and Viemeister as
one of the PCIs (psychoacoustical correctness intimidators), McAdams' aside is
basically one-over correct as regards my position. Has he ever actually read
any of my papers? 95% of the pitch-related experiments use either musical
interval recognition, or the oh-so unPC pitch-matching, and none are in d'-
speak (well, OK, the latest one is, but it's not out yet, so you can't count
it). Furthermore, I have often stated in print that my operational definition
of pitch involves the ability to carry melodic information, and that 2IFC
"objective" paradigms (e.g. frequency discrimination) give essentially zero
information on "pitch" as you don't know what cues the S actually uses. Of
course I do have a problem with 2IFC "up or down" procedures for pitch,
whether objective or subjective, but that's another story. So, over to you
Dr. McAdams.
Ed Burns (psychoacoustician with attitude).