Re: [AUDITORY] Maximum temporal window for pattern recognition and the perception of redundancy (Justin London )

Subject: Re: [AUDITORY] Maximum temporal window for pattern recognition and the perception of redundancy From: Justin London <jlondon@xxxxxxxx> Date: Sun, 5 Feb 2017 09:10:22 -0600 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY> --Apple-Mail=_B1B81458-9AE2-4625-AD78-E87285066A18 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=utf-8 Dear Dario & List=E2=80=94 A belated addendum to Guy Madison & Leon Van Noorden=E2=80=99s posts. = Re your first question, the study of the limit for coherence of = successive melodic tones goes back a long way, to Stevens (1886) and = Woodrow (1932). Related to perceptual studies are many studies of = sensorimotor synchronization (i.e., tapping), which have tended to = confirm Leon=E2=80=99s 2-second limit for coherence (i.e., when = synchronization cues, such as a metronome, are slower that 2 seconds, = one no longer anticipates the cue, and the responses are a series of = reaction-times to each cue). But see Repp & Doggett (2007) for some = countervailing evidence to the two-second limit. Your second question, as others have mentioned, engages long-standing = issues in discussions of musical form (especially the =E2=80=9Csonata = form=E2=80=9D of classical music compositions in the 18th and 19th = centuries). There is great/ongoing debate as to how sensitive listeners = are to various aspects of recurrence (i.e., changes in tonality, = re-ordering of elements within a section), and the extent to which local = vs. global cues are used by listeners in their apprehension of musical = form. Nick Cook did some work on this, as did Lalitte and Bignand = (2006). In a very different kind of musical context, music based on = large scale processes (i.e., =E2=80=9Cloops=E2=80=9D as Peter Lennox has = mention) may be a good thing to look at=E2=80=94and Gamelan music might = provide a useful repertory of examples (and possible stimuli-!). Best, Justin London Repp, B. H. and R. Doggett (2007). "Tapping to a very slow beat: A = comparison of musicians and nonmusicians." Music Perception 24(4): = 367-376. Stevens, L. T. (1886). "On the Time Sense." Mind 11(43): 393-404. Woodrow, H. (1932). "The Effect of Rate of Sequence Upon the Accuracy of = Syncrhonization." Journal of Experimental Psychology 15(4): 357-379. Lalitte, P. and E. Bigand (2006). "Music in the moment? Revisiting the = effect of large scale structures." Perceptual and Motor Skills 103(3): = 811-828. > On Feb 5, 2017, at 1:22 AM, PIerre DIVENYI = <pdivenyi@xxxxxxxx> wrote: >=20 > Dear Dario, >=20 > Somewhat in line with Peter Lennox' comment might be the findings of = old experiments on the discrimination of 10-tone sequences of 400 ms by = Watson and his colleagues in the 1970's and '80's, and those of the = identification of the temporal order of 3 brief tones, in isolation or = in a longer sequnce, by Divenyi and Hirsh, also in the 1970's (papers = mostly published in JASA and P&P). While the total duration of these = sequences is shorter than that of the sounds of your interest, those = studies investigated the effect of parametric changes on various = dimensions and, to the extent that the findings could be extrapolated to = longer sounds, they could point to sources of variability that Peter = refers to. >=20 > Pierre >=20 > Sent from my iPad >=20 > On Feb 3, 2017, at 05:07, Peter Lennox <P.Lennox@xxxxxxxx = <mailto:P.Lennox@xxxxxxxx>> wrote: >=20 >> I=E2=80=99m struggling to understand how one could talk about the = maximum temporal window independently of discussion of the dimensions of = =E2=80=98interrelatedness=E2=80=99. Your example of a sequence of = different pitches (though you don=E2=80=99t mention timbre/harmonic = content, or envelope structure) presumes differences in the frequency = domain, but similarity in other respects, is that right? >> So your findings might, for argument=E2=80=99s sake, vary according = to the degree of interrelatedness (or at least, the degree of = =E2=80=98similarity=E2=80=99 along several dimensions). >> Similarly, if similarity were very high (i.e. identical =E2=80=93 a = loop) =E2=80=93 the maximum temporal window might actually be the = maximum possible under any circumstances, speculatively. >> In that context (=E2=80=98looping=E2=80=99), my students, in an = exercise to synthesise 10 minute spatial soundscapes (in ambisonics) = often try to get away with looping some ambient background material of, = say 2 mins. After repeated listening of the whole piece, by the third = time, the loops are very noticeable, to me (and much to the students=E2=80= =99 surprise). But that=E2=80=99s because particular features are = identical, the listener is accustomed to hearing loops (even expecting = them) and probably various other factors. >> Whether this sheds any light on interrelated-but-not-identical, = I=E2=80=99ve no idea. But it=E2=80=99s not very compatible with the = =E2=80=98tape recorder=E2=80=99 metaphor, and is more akin to an example = of Cocktail Party Effect. >> Regards >> ppl >> =20 >> Dr. Peter Lennox >> Senior Lecturer in Perception >> College of Arts >> University of Derby, UK >> e: p.lennox@xxxxxxxx <mailto:p.lennox@xxxxxxxx> >> t: 01332 593155 >> https://derby.academia.edu/peterlennox = <https://derby.academia.edu/peterlennox> >> https://www.researchgate.net/profile/Peter_Lennox = <https://www.researchgate.net/profile/Peter_Lennox> >> =20 >> From: AUDITORY - Research in Auditory Perception = [mailto:AUDITORY@xxxxxxxx <mailto:AUDITORY@xxxxxxxx>] On = Behalf Of Dario Sanfilippo >> Sent: 01 February 2017 14:40 >> To: AUDITORY@xxxxxxxx <mailto:AUDITORY@xxxxxxxx> >> Subject: Maximum temporal window for pattern recognition and the = perception of redundancy >> =20 >> Hello, dear list. >> =20 >> I would like to ask you a couple of questions and I will be very = grateful if you could help me. It would be great to be pointed out to = specific publications, thank you so much in advance for that. >> =20 >> The first question is on the maximum temporal window for the = recognition of patterns in long-term audio events. Generally speaking, = what is the largest (temporal) distance between audio events so that we = can still process such events as interrelated? As an example, let's = assume to have a sequence of different pitches equally spaced in time; = what is the largest possible distance between them to still be able to = perceive a melody? >> =20 >> The second question is on the perception of redundancy in relatively = complex (i.e., dynamical equilibrium) long-term audio events. As an = example, think of the sound of the sea: its internal structure is never = the same although it keeps a strong identity from a global point of = view. I believe that this is highly dependent on both the cultural = background of the listener as well as the degree of complexity of the = audio event itself, but is there any study which tries to relate the = perception of redundancy (i.e., the moment in which the listener's = attention drops) with a specific temporal window? And is there a = connection or similarity between this window and the one described in my = first question? >> =20 >> Thank you and best wishes. >>=20 >> Dario >>=20 >>=20 >> The University of Derby has a published policy regarding email and = reserves the right to monitor email traffic.=20 >> If you believe this was sent to you in error, please reply to the = sender and let them know. >>=20 >> Key University contacts: http://www.derby.ac.uk/its/contacts/ = <http://www.derby.ac.uk/its/contacts/> Justin London jlondon@xxxxxxxx --Apple-Mail=_B1B81458-9AE2-4625-AD78-E87285066A18 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=utf-8 <html><head><meta http-equiv=3D"Content-Type" content=3D"text/html = charset=3Dutf-8"></head><body style=3D"word-wrap: break-word; = -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" = class=3D"">Dear Dario & List=E2=80=94<div class=3D""><br = class=3D""></div><div class=3D"">A belated addendum to Guy Madison & = Leon Van Noorden=E2=80=99s posts.  Re your first question, the = study of the limit for coherence of successive melodic tones goes back a = long way, to Stevens (1886) and Woodrow (1932).  Related to = perceptual studies are many studies of sensorimotor synchronization = (i.e., tapping), which have tended to confirm Leon=E2=80=99s 2-second = limit for coherence (i.e., when synchronization cues, such as a = metronome, are slower that 2 seconds, one no longer anticipates the cue, = and the responses are a series of reaction-times to each cue).  But = see Repp & Doggett (2007) for some countervailing evidence to the = two-second limit.</div><div class=3D""><br class=3D""></div><div = class=3D"">Your second question, as others have mentioned, engages = long-standing issues in discussions of musical form (especially the = =E2=80=9Csonata form=E2=80=9D of classical music compositions in the = 18th and 19th centuries).  There is great/ongoing debate as to how = sensitive listeners are to various aspects of recurrence (i.e., changes = in tonality, re-ordering of elements within a section), and the extent = to which local vs. global cues are used by listeners in their = apprehension of musical form.  Nick Cook did some work on this, as = did Lalitte and Bignand (2006).  In a very different kind of = musical context, music based on large scale processes (i.e., =E2=80=9Cloop= s=E2=80=9D as Peter Lennox has mention) may be a good thing to look = at=E2=80=94and Gamelan music might provide a useful repertory of = examples (and possible stimuli-!).</div><div class=3D""><br = class=3D""></div><div class=3D"">Best,</div><div class=3D"">Justin = London</div><div class=3D""><br class=3D""></div><div class=3D"">    <p class=3D"MsoNormal"><span style=3D"font-size: = 14pt;" class=3D"">Repp, B. H. and R. Doggett (2007). "Tapping to a very slow beat: A comparison of musicians and nonmusicians." <u class=3D"">Music Perception</u> <b class=3D"">24</b>(4):= 367-376.<o:p class=3D""></o:p></span></p><p class=3D"MsoNormal"><span = style=3D"font-size: 14pt;" class=3D"">Stevens, L. T. (1886). "On the = Time Sense." <u class=3D"">Mind</u> <b class=3D"">11</b>(43): 393-404.<o:p = class=3D""></o:p></span></p><p class=3D"MsoNormal"><span = style=3D"font-size: 19px;" class=3D"">Woodrow, H. (1932). "The Effect of = Rate of Sequence Upon the Accuracy of Syncrhonization." <u class=3D"">Journal of = Experimental Psychology</u> <b class=3D"">15</b>(4): 357-379.<o:p = class=3D""></o:p></span></p><div style=3D"margin: 0px; line-height: = normal;" class=3D""><span style=3D"font-size: 19px;" class=3D"">Lalitte, = P. and E. Bigand (2006). "Music in the moment? Revisiting the effect of = large scale structures." <span style=3D"text-decoration: underline;" = class=3D"">Perceptual and Motor Skills</span> <b class=3D"">103</b>(3): = 811-828.</span></div><div class=3D""><br class=3D""></div> <div><blockquote type=3D"cite" class=3D""><div = class=3D"">On Feb 5, 2017, at 1:22 AM, PIerre DIVENYI <<a = href=3D"mailto:pdivenyi@xxxxxxxx" = class=3D"">pdivenyi@xxxxxxxx</a>> wrote:</div><br = class=3D"Apple-interchange-newline"><div class=3D""><div = style=3D"font-family: Helvetica; font-size: 18px; font-style: normal; = font-variant-caps: normal; font-weight: normal; letter-spacing: normal; = orphans: auto; text-align: start; text-indent: 0px; text-transform: = none; white-space: normal; widows: auto; word-spacing: 0px; = -webkit-text-stroke-width: 0px;" class=3D"">Dear Dario,</div><div = style=3D"font-family: Helvetica; font-size: 18px; font-style: normal; = font-variant-caps: normal; font-weight: normal; letter-spacing: normal; = orphans: auto; text-align: start; text-indent: 0px; text-transform: = none; white-space: normal; widows: auto; word-spacing: 0px; = -webkit-text-stroke-width: 0px;" class=3D""><br class=3D""></div><div = style=3D"font-family: Helvetica; font-size: 18px; font-style: normal; = font-variant-caps: normal; font-weight: normal; letter-spacing: normal; = orphans: auto; text-align: start; text-indent: 0px; text-transform: = none; white-space: normal; widows: auto; word-spacing: 0px; = -webkit-text-stroke-width: 0px;" class=3D"">Somewhat in line with Peter = Lennox' comment might be the findings of old experiments on the = discrimination of 10-tone sequences of 400 ms by Watson and his = colleagues in the 1970's and '80's, and those of the identification of = the temporal order of 3 brief tones, in isolation or in a longer = sequnce, by Divenyi and Hirsh, also in the 1970's (papers mostly = published in JASA and P&P). While the total duration of these = sequences is shorter than that of the sounds of your interest, those = studies investigated the effect of parametric changes on various = dimensions and, to the extent that the findings could be extrapolated to = longer sounds, they could point to sources of variability that Peter = refers to.</div><div style=3D"font-family: Helvetica; font-size: 18px; = font-style: normal; font-variant-caps: normal; font-weight: normal; = letter-spacing: normal; orphans: auto; text-align: start; text-indent: = 0px; text-transform: none; white-space: normal; widows: auto; = word-spacing: 0px; -webkit-text-stroke-width: 0px;" class=3D""><br = class=3D""></div><div style=3D"font-family: Helvetica; font-size: 18px; = font-style: normal; font-variant-caps: normal; font-weight: normal; = letter-spacing: normal; orphans: auto; text-align: start; text-indent: = 0px; text-transform: none; white-space: normal; widows: auto; = word-spacing: 0px; -webkit-text-stroke-width: 0px;" class=3D"">Pierre<br = class=3D""><br class=3D"">Sent from my iPad</div><div = style=3D"font-family: Helvetica; font-size: 18px; font-style: normal; = font-variant-caps: normal; font-weight: normal; letter-spacing: normal; = orphans: auto; text-align: start; text-indent: 0px; text-transform: = none; white-space: normal; widows: auto; word-spacing: 0px; = -webkit-text-stroke-width: 0px;" class=3D""><br class=3D"">On Feb 3, = 2017, at 05:07, Peter Lennox <<a href=3D"mailto:P.Lennox@xxxxxxxx" = style=3D"color: rgb(149, 79, 114); text-decoration: underline;" = class=3D"">P.Lennox@xxxxxxxx</a>> wrote:<br class=3D""><br = class=3D""></div><blockquote type=3D"cite" style=3D"font-family: = Helvetica; font-size: 18px; font-style: normal; font-variant-caps: = normal; font-weight: normal; letter-spacing: normal; orphans: auto; = text-align: start; text-indent: 0px; text-transform: none; white-space: = normal; widows: auto; word-spacing: 0px; -webkit-text-stroke-width: = 0px;" class=3D""><div class=3D""><div class=3D"WordSection1" = style=3D"page: WordSection1;"><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D"">I=E2=80=99m struggling to understand how = one could talk about the maximum temporal window independently of = discussion of the dimensions of =E2=80=98interrelatedness=E2=80=99. Your = example of a sequence of different pitches (though you don=E2=80=99t = mention timbre/harmonic content, or envelope structure) presumes = differences in the frequency domain, but similarity in other respects, = is that right?<o:p class=3D""></o:p></span></div><div style=3D"margin: = 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times New Roman', = serif;" class=3D""><span style=3D"font-size: 11pt; font-family: Calibri, = sans-serif; color: rgb(31, 73, 125);" class=3D"">So your findings might, = for argument=E2=80=99s sake, vary according to the degree of = interrelatedness (or at least, the degree of =E2=80=98similarity=E2=80=99 = along several dimensions).<o:p class=3D""></o:p></span></div><div = style=3D"margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times = New Roman', serif;" class=3D""><span style=3D"font-size: 11pt; = font-family: Calibri, sans-serif; color: rgb(31, 73, 125);" = class=3D"">Similarly, if similarity were very high (i.e. identical =E2=80=93= a loop) =E2=80=93 the maximum temporal window might actually be the = maximum possible under any circumstances, speculatively.<o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D"">In that context (=E2=80=98looping=E2=80=99),= my students, in an exercise to synthesise 10 minute spatial soundscapes = (in ambisonics) often try to get away with looping some ambient = background material of, say 2 mins. After repeated listening of the = whole piece, by the third time, the loops are very noticeable, to me = (and much to the students=E2=80=99 surprise). But that=E2=80=99s because = particular features are identical, the listener is accustomed to hearing = loops (even expecting them) and probably various other factors.<o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D"">Whether this sheds any light on = interrelated-but-not-identical, I=E2=80=99ve no idea. But it=E2=80=99s = not very compatible with the =E2=80=98tape recorder=E2=80=99 metaphor, = and is more akin to an example of Cocktail Party Effect.<o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D"">Regards<o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D"">ppl<o:p class=3D""></o:p></span></div><div = style=3D"margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times = New Roman', serif;" class=3D""><span style=3D"font-size: 11pt; = font-family: Calibri, sans-serif; color: rgb(31, 73, 125);" = class=3D""><o:p class=3D""> </o:p></span></div><div style=3D"margin: = 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times New Roman', = serif;" class=3D""><span style=3D"font-size: 11pt; font-family: Calibri, = sans-serif; color: rgb(31, 73, 125);" class=3D"">Dr. Peter Lennox<o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D"">Senior Lecturer in Perception<o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D"">College of Arts<o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D"">University of Derby, UK<o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D"">e:<span = class=3D"Apple-converted-space"> </span><a = href=3D"mailto:p.lennox@xxxxxxxx" style=3D"color: rgb(149, 79, 114); = text-decoration: underline;" class=3D""><span style=3D"color: blue;" = class=3D"">p.lennox@xxxxxxxx</span></a><o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D"">t: 01332 593155<o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D""><a = href=3D"https://derby.academia.edu/peterlennox" style=3D"color: rgb(149, = 79, 114); text-decoration: underline;" class=3D""><span style=3D"color: = blue;" class=3D"">https://derby.academia.edu/peterlennox</span></a><o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D""><a = href=3D"https://www.researchgate.net/profile/Peter_Lennox" style=3D"color:= rgb(149, 79, 114); text-decoration: underline;" class=3D""><span = style=3D"color: blue;" = class=3D"">https://www.researchgate.net/profile/Peter_Lennox</span></a><o:= p class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 11pt; font-family: Calibri, sans-serif; color: = rgb(31, 73, 125);" class=3D""><o:p = class=3D""> </o:p></span></div><div style=3D"margin: 0cm 0cm = 0.0001pt; font-size: 12pt; font-family: 'Times New Roman', serif;" = class=3D""><b class=3D""><span lang=3D"EN-US" style=3D"font-size: 11pt; = font-family: Calibri, sans-serif;" class=3D"">From:</span></b><span = lang=3D"EN-US" style=3D"font-size: 11pt; font-family: Calibri, = sans-serif;" class=3D""><span = class=3D"Apple-converted-space"> </span>AUDITORY - Research in = Auditory Perception [<a href=3D"mailto:AUDITORY@xxxxxxxx" = style=3D"color: rgb(149, 79, 114); text-decoration: underline;" = class=3D"">mailto:AUDITORY@xxxxxxxx</a>]<span = class=3D"Apple-converted-space"> </span><b class=3D"">On Behalf = Of<span class=3D"Apple-converted-space"> </span></b>Dario = Sanfilippo<br class=3D""><b class=3D"">Sent:</b><span = class=3D"Apple-converted-space"> </span>01 February 2017 14:40<br = class=3D""><b class=3D"">To:</b><span = class=3D"Apple-converted-space"> </span><a = href=3D"mailto:AUDITORY@xxxxxxxx" style=3D"color: rgb(149, 79, = 114); text-decoration: underline;" = class=3D"">AUDITORY@xxxxxxxx</a><br class=3D""><b = class=3D"">Subject:</b><span = class=3D"Apple-converted-space"> </span>Maximum temporal window for = pattern recognition and the perception of redundancy<o:p = class=3D""></o:p></span></div><div style=3D"margin: 0cm 0cm 0.0001pt; = font-size: 12pt; font-family: 'Times New Roman', serif;" class=3D""><o:p = class=3D""> </o:p></div><div class=3D""><div class=3D""><div = class=3D""><div style=3D"margin: 0cm 0cm 0.0001pt; font-size: 12pt; = font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 9.5pt; font-family: Arial, sans-serif;" = class=3D"">Hello, dear list.<o:p class=3D""></o:p></span></div></div><div = class=3D""><div style=3D"margin: 0cm 0cm 0.0001pt; font-size: 12pt; = font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 9.5pt; font-family: Arial, sans-serif;" = class=3D""><o:p class=3D""> </o:p></span></div></div><div = class=3D""><div style=3D"margin: 0cm 0cm 0.0001pt; font-size: 12pt; = font-family: 'Times New Roman', serif;" class=3D""><span = style=3D"font-size: 9.5pt; font-family: Arial, sans-serif;" class=3D"">I = would like to ask you a couple of questions and I will be very grateful = if you could help me. It would be great to be pointed out to specific = publications, thank you so much in advance for that.<o:p = class=3D""></o:p></span></div></div><div class=3D""><div style=3D"margin: = 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times New Roman', = serif;" class=3D""><span style=3D"font-size: 9.5pt; font-family: Arial, = sans-serif;" class=3D""><o:p = class=3D""> </o:p></span></div></div><div class=3D""><div = style=3D"margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times = New Roman', serif;" class=3D""><span style=3D"font-size: 9.5pt; = font-family: Arial, sans-serif;" class=3D"">The first question is on the = maximum temporal window for the recognition of patterns in long-term = audio events. Generally speaking, what is the largest (temporal) = distance between audio events so that we can still process such events = as interrelated? As an example, let's assume to have a sequence of = different pitches equally spaced in time; what is the largest possible = distance between them to still be able to perceive a melody?<o:p = class=3D""></o:p></span></div></div><div class=3D""><div style=3D"margin: = 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times New Roman', = serif;" class=3D""><span style=3D"font-size: 9.5pt; font-family: Arial, = sans-serif;" class=3D""><o:p = class=3D""> </o:p></span></div></div><div class=3D""><div = style=3D"margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times = New Roman', serif;" class=3D""><span style=3D"font-size: 9.5pt; = font-family: Arial, sans-serif;" class=3D"">The second question is on = the perception of redundancy in relatively complex (i.e., dynamical = equilibrium) long-term audio events. As an example, think of the sound = of the sea: its internal structure is never the same although it keeps a = strong identity from a global point of view. I believe that this is = highly dependent on both the cultural background of the listener as well = as the degree of complexity of the audio event itself, but is there any = study which tries to relate the perception of redundancy (i.e., the = moment in which the listener's attention drops) with a specific temporal = window? And is there a connection or similarity between this window and = the one described in my first question?<o:p = class=3D""></o:p></span></div></div><div class=3D""><div style=3D"margin: = 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times New Roman', = serif;" class=3D""><span style=3D"font-size: 9.5pt; font-family: Arial, = sans-serif;" class=3D""><o:p = class=3D""> </o:p></span></div></div><div class=3D""><div = style=3D"margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times = New Roman', serif;" class=3D""><span style=3D"font-size: 9.5pt; = font-family: Arial, sans-serif;" class=3D"">Thank you and best = wishes.<o:p class=3D""></o:p></span></div></div><div style=3D"margin: = 0cm 0cm 0.0001pt; font-size: 12pt; font-family: 'Times New Roman', = serif;" class=3D""><span style=3D"font-size: 9.5pt; font-family: Arial, = sans-serif;" class=3D""><br clear=3D"all" class=3D""></span><span = style=3D"font-family: Arial, sans-serif;" class=3D""><o:p = class=3D""></o:p></span></div><div class=3D""><div class=3D""><div = class=3D""><div class=3D""><div class=3D""><div style=3D"margin: 0cm 0cm = 0.0001pt; font-size: 12pt; font-family: 'Times New Roman', serif;" = class=3D""><span style=3D"font-size: 9.5pt; font-family: Arial, = sans-serif;" class=3D"">Dario<o:p = class=3D""></o:p></span></div></div></div></div></div></div></div></div></= div><br class=3D""><br class=3D"">The University of Derby has a = published policy regarding email and reserves the right to monitor email = traffic.<span class=3D"Apple-converted-space"> </span><br = class=3D"">If you believe this was sent to you in error, please reply to = the sender and let them know.<br class=3D""><br class=3D"">Key = University contacts:<span class=3D"Apple-converted-space"> </span><a = href=3D"http://www.derby.ac.uk/its/contacts/" style=3D"color: rgb(149, = 79, 114); text-decoration: underline;" = class=3D"">http://www.derby.ac.uk/its/contacts/</a></div></blockquote></di= v></blockquote></div><br class=3D""><div class=3D""> <div class=3D"">Justin London</div><div class=3D""><a = href=3D"mailto:jlondon@xxxxxxxx" = class=3D"">jlondon@xxxxxxxx</a></div><div class=3D""><br = class=3D""></div><br class=3D"Apple-interchange-newline"> </div> <br class=3D""></div></body></html>= --Apple-Mail=_B1B81458-9AE2-4625-AD78-E87285066A18--

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../postings/2017/
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DAn Ellis <dpwe@ee.columbia.edu>
Electrical Engineering Dept., Columbia University