Subject: Re: harmonic extraction From: James Bashford <bashford@xxxxxxxx> Date: Wed, 25 Mar 2009 09:35:02 -0500 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>--Apple-Mail-1--161018687 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable Dear Xueliang Zhang, I was intrigued by the interchange between you, Yoshitaka =20 Nakajima, and Al Bregman, and did some listening, diotically through =20 headphones, to stimuli consisting of the first 10 harmonics of 100 Hz =20= alternating with the 5 even harmonics of that stimulus (all harmonics =20= were presented at the same level). With on/off times for each complex =20= matched at either 0.5 sec or 1.0 sec (10 ms rise/fall), I hear a fully =20= continous 200-Hz tone that matches the intensity and timbre of the =20 isolated even-harmonic complex. More interesting, however, is that =20 the 10-component =93all-harmonic=94 stimulus, which is heard =20 intermittently, has not only the 100-Hz pitch of that complex but also =20= retains the loudness and timbre of the all-harmonic stimulus as heard =20= when it is presented in isolation. Were the even harmonics of the all-=20= harmonic complex exclusively allocated to support perception of the =20 continuous 200-Hz complex tone -- leaving only the odd-harmonics to =20 support perception of the 100 Hz tone -- we would expect both a =20 reduction in loudness and a clear shift in timbre to the =93hollow=94 =20= quality characteristic of odd-harmonic signals. This suggests that =20 the =93priming=94 or =93capture=94 effect observed with complex tones = provides =20 an example of duplex perception that requires neither a verbal =20 stimulus nor dichotic presentation. As I recall, Al Bregman has =20 previously suggested that such an effect might occur when nonverbal =20 stimulus input is strongly ambiguous. This use of the even-harmonic components to support two =20 simultaneous percepts (that of both the intermittent =93all-harmonic=94 =20= tone and the continuous even-harmonic tone) contrasts sharply with the =20= processing underlying the general phenomenon of illusory continuity =20 that is observed when one sound alternates with a higher-intensity, =20 potential masking sound. The latter effect, which has been called =20 auditory induction (Warren, 1972), occurs with a wide variety of =20 signals, such as tones alternating with other tones, noise alternating =20= with higher intensity noise, or speech interrupted by noise (phonemic =20= restoration). This type of continuity, in which there are no exactly =20= matching components to be found between the alternating signals, does =20= appear to involve subtractive or exclusive allocation. For =20 interrupted tones, noise, or speech, continuity is obtained at the =20 expense of the interrupting signal, which is reduced in loudness by an =20= amount proportional to the extent the illusion (Warren et al., 1994). Warren, R. M., Obusek, C. and Ackroff, J. M. (1972). Auditory =20 induction: Perceptual synthesis of absent sounds. Science, 176, =20 1149-1151. Warren, R. M., Bashford, J. A., Jr., Healy, E. W., and Brubaker, B. S. =20= (1994). Auditory induction: Reciprocal changes in alternating sounds. =20= Perception & Psychophysics, 55, 313-322. James Bashford On Mar 19, 2009, at 5:24 AM, xlzhang wrote: > Dear list, > A pure tone can extract corresponding harmonic from complex sound when > appearing alternatively. I wonder if a harmonic sound can do the =20 > same job? > For example, a complex sound with F0=3D200Hz appears with a complex =20= > sound > with F0=3D100 Hz, can we get a continuous perception for F0=3D200Hz? > Thank you for your answers in advance. > > Xueliang Zhang --Apple-Mail-1--161018687 Content-Type: text/html; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable <html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; = -webkit-line-break: after-white-space; "><p class=3D"MsoNormal"><span = style=3D"font-family: 'Times New Roman'; ">Dear Xueliang = Zhang,<o:p></o:p></span></p><p class=3D"MsoNormal"><span = style=3D"font-family: 'Times New Roman'; = "> <span> </span>I was intrigued by the interchange = between you, Yoshitaka Nakajima, and Al Bregman, and did some listening, = diotically through headphones, to stimuli consisting of the first 10 = harmonics of 100 Hz alternating with the 5 even harmonics of that = stimulus (all harmonics were presented at the same = level).<span> </span>With on/off times for each complex = matched at either 0.5 sec or 1.0 sec (10 ms rise/fall), I hear a fully = continous 200-Hz tone that matches the intensity and timbre of the = isolated even-harmonic complex.<span> </span>More = interesting, however, is that the 10-component =93all-harmonic=94 = stimulus, which is heard intermittently, has not only the 100-Hz pitch = of that complex but also retains the loudness and timbre of the = all-harmonic stimulus as heard when it is presented in = isolation.<span> </span>Were the even harmonics of the = all-harmonic complex exclusively allocated to support perception of the = continuous 200-Hz complex tone -- leaving only the odd-harmonics to = support perception of the 100 Hz tone -- we would expect both a = reduction in loudness and a clear shift in timbre to the =93hollow=94 = quality characteristic of odd-harmonic = signals.<span> </span>This suggests that the =93priming=94 or = =93capture=94 effect observed with complex tones provides an example of = duplex perception that requires neither a verbal stimulus nor dichotic = presentation.<span> </span>As I recall, Al Bregman has = previously suggested that such an effect might occur when nonverbal = stimulus input is strongly ambiguous.</span></p><p = class=3D"MsoNormal"><span style=3D"font-family: 'Times New Roman'; = "> <span> </span>This use of the = even-harmonic components to support two simultaneous percepts (that of = both the intermittent =93all-harmonic=94 tone and the continuous = even-harmonic tone) contrasts sharply with the processing underlying the = general phenomenon of illusory continuity that is observed when one = sound alternates with a higher-intensity, potential masking = sound.<span> </span>The latter effect, which has been called = auditory induction (Warren, 1972), occurs with a wide variety of = signals, such as tones alternating with other tones, noise alternating = with higher intensity noise, or speech interrupted by noise (phonemic = restoration).<span> </span>This type of continuity, in which = there are no exactly matching components to be found between the = alternating signals, does appear to involve subtractive or exclusive = allocation.<span> </span>For interrupted tones, noise, or = speech, continuity is obtained at the expense of the interrupting = signal, which is reduced in loudness by an amount proportional to the = extent the illusion (Warren et al., 1994).</span></p><p = class=3D"MsoNormal"><br></p><p class=3D"MsoNormal"><span = style=3D"font-family: 'Times New Roman'; ">Warren, R. M., Obusek, C. and = Ackroff, J. M. (1972). Auditory induction: Perceptual synthesis of = absent sounds. <u>Science</u>, 176, 1149-1151.</span></p><p = class=3D"MsoNormal"><span style=3D"font-family: 'Times New Roman'; = ">Warren, R. M., Bashford, J. A., Jr., Healy, E. W., and Brubaker, B. S. = (1994). Auditory induction: Reciprocal changes in alternating sounds. = Perception & Psychophysics, 55, 313-322.<o:p></o:p></span></p><div = class=3D"MsoNormal"><span style=3D"font-family: 'Times New Roman'; = "> <o:p></o:p></span></div><div class=3D"MsoNormal"><span = style=3D"font-family: 'Times New Roman'; = "> <o:p></o:p></span></div><div class=3D"MsoNormal"><span = style=3D"font-family: 'Times New Roman'; ">James = Bashford<o:p></o:p></span></div><div class=3D"MsoNormal"><span = style=3D"font-family: 'Times New Roman'; = "> </span></div><div><div>On Mar 19, 2009, at 5:24 AM, xlzhang = wrote:</div><br class=3D"Apple-interchange-newline"><blockquote = type=3D"cite"><div>Dear list,<br>A pure tone can extract corresponding = harmonic from complex sound when<br>appearing alternatively. I wonder if = a harmonic sound can do the same job?<br>For example, a complex sound = with F0=3D200Hz appears with a complex sound<br>with F0=3D100 Hz, can we = get a continuous perception for F0=3D200Hz?<br>Thank you for your = answers in advance.<br><br>Xueliang = Zhang<br></div></blockquote></div><br></body></html>= --Apple-Mail-1--161018687--