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Pitch:
From basic mechanisms to context effects
Daniel Pressnitzer
Laboratoire des Systèmes Perceptifs, CNRS & Département d’études cognitives, Ecole normale supérieure
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Introduction
ANSI definition That auditory attribute of sound according to which sounds can be ordered on a scale from low to high
Perceptual “dimension”: many to one
Separate from other auditory dimensions
Related to acoustic periodicity
What is pitch?
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Introduction
Speech intonation
Information about the sound source
Music
Auditory scene analysis
What is pitch for?
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Introduction
Bach, Musical Offering (1747)
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Acoustics of periodic sounds
Models of pitch
Neural and psychophysical data
Pitch shifts
Context effects
Pitch: from basics to context effects
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Acoustics of periodic sounds
Models of pitch
Neural and psychophysical data
Pitch shifts
Context effects
Pitch: from basics to context effects
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Acoustics of periodic sounds
A periodic sound… repeats itself after some time
Special case: the sine wave
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Acoustics of periodic sounds
Fourier’s theorem: All sounds can be decomposed into a sum of sine waves
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Acoustics of periodic sounds
Periodic sounds: harmonic relationship between sine waves
Why? Physics of standing waves
http://resource.isvr.soton.ac.uk/
F0 2F0 3F0 4F0
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Acoustics of periodic sounds
Periodic sounds: harmonic relationship between sine waves
Why? Physics of standing waves
http://resource.isvr.soton.ac.uk/
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Acoustics of periodic sounds
Periodic sounds common because of physics of sound sources
In the frequency domain: F0, 2*F0, 3*F0, etc
Important ecological feature?
Summary
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Acoustics of periodic sounds
Models of pitch
Neural and psychophysical data
Pitch shifts
Context effects
Pitch: from basics to context effects
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Models of pitch
The task at hand
Stimulus Tonotopic coding Phase locking
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Models of pitch
Fine structure
Excitation pattern
Envelope
Which cue(s) for pitch?
Periodicity cues
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Models of pitch
The place model
Place of excitation -> pitch
Seems obvious for pure tone
Complex tones: F0
Missing fundamental? H. Helmholtz
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Models of pitch
The time model
Period between time intervals -> pitch
The fundamental is not “missing” anymore
But low-rank harmonics dominate pitch W. Rutherford
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Models of pitch
The pattern-matching approach
Fit a harmonic template to the observed excitation pattern
Goldstein, 1973; Terhardt, 1974; Srulovicz & Goldstein, 1983
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Models of pitch
The autocorrelation approach
Compute the most common time-interval across channels
Licklider, 1951; Meddis & O’Mard, 1997
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Models of pitch
Many cues to periodicity after peripheral transduction
Competing models along time/place continuum
No consensus
Summary
de Cheveigné, A. (2005). Pitch perception models.
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Acoustics of periodic sounds
Models of pitch
Neural and psychophysical data
Pitch shifts
Context effects
Pitch: from basics to context effects
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Neural data
Auditory periphery
Place cue is level dependent (e.g. Robbles & Ruggero, 2000)
Robust timing cues in autocorrelation (Cariani & Delgutte, 1996)
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Neural data
Extracting timing cues
Conversion to first order code (Winter et al., 2001)
Further conversion to rate code (Meddis & O’Mard., 2006)
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Neural data
A pitch center in the brain?
Lateral Heschl’s gyrus a candidate (Patterson et al., 2002; Krumbholz et al. 2003)
But seems stimulus-dependent (Hall & Plack, 2009)
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Neural data
Timing cues in the periphery sufficient for pitch
No single pitch map for a range of stimuli yet
Summary
Schnupp, King, Nelken, 2010. Auditory Neuroscience. MIT Press
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Psychophysical data
To characterize pitch perception in normal human listeners
To pit one model against another
A large literature
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Psychophysical data
Difference limen for pure tones
Exceedingly good for trained subjects: 0.2% (1 semitone, 6%)
But variable and effect of training (Ahissar, 2006; Micheyl et al., 2006)
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Psychophysical data
Difference limen for complex tones
Effect of harmonic rank
Cochlear resolution vs time-limited interval extraction Bernstein & Oxenham, 2003
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Psychophysical data
Existence region: lower limit
Most sounds that produce pitch contain a temporal regularity
Not all temporal regularities produce pitch
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Psychophysical data
Lower Limit of Melodic Pitch
Objective melody task
Pressnitzer, Patterson & Krumbholz, 2001
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Psychophysical data
Lower Limit of Melodic Pitch
LLMP of about 30Hz for broadband case
Influence of spectral region and phase
Accounted by a modified autocorrelation model
*
Fc
F0
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Psychophysical data
Existence region: upper limit
Oxenham et al., 2011
Melodic pitch beyond the hypothesized limit of phase locking
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Psychophysical data
Memory for pitch
Semal & Demany, 1991; Clément et al., 1999
Evidence for a robust pitch memory-store
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Psychophysical data
Accurate discrimination (0.2%)
Large existence region (8 octaves)
Robust memory
Summary
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Acoustics of periodic sounds
Models of pitch
Neural and psychophysical data
Pitch sequences
Context effects
Pitch: from basics to context effects
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Pitch shifts
Melody and intonation are pitch sequences
Two ways to compute pitch shifts: compare absolute values, or encode the pitch shift
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Pitch shifts
Discrimination vs identification
Johnsrude et al., 2000; Semal & Demany, 2006
Pitch discrimination differs from shift-direction identification
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Pitch shifts
Frequency-shift detectors
Demany & Ramos; Demany et al., 2011
Pitch-shift easier to judge than present/absent
Automatic encoding of frequency shifts?
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Pitch shifts
Sequence processing
Δ adjusted to equate discriminability between elements
Cousineau et al., 2009, 2010a, 2010b
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Pitch shifts
Pitch-sequence advantage for normal-hearing listeners
No pitch-sequence advantage for implant users
Additional cue for pitch sequences, not available to CI
Frequency Intensity
d’
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Pitch shifts
Pitch and frequency-shift could be encoded in parallel
Sequence processing not fully predicted by discrimination
Summary
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Acoustics of periodic sounds
Models of pitch
Neural and psychophysical data
Beyond the standard definition
Context effects
Pitch: from basics to context effects
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Context
You will hear a sequence of tones, a short pause, and then two final tones. Does the pitch go up or down between the two final tones?
Sequence B Sequence A
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Context
Sequence of Shepard tones (Shepard, JASA 1964)
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Context
Perceived pitch shift
1 oct.
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Context
Perceived pitch shift
Ambiguous pitch shift for half-octave step
1 oct.
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Context
Context tone
Context tone biases perception in a “assimilative” manner
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Context
Context tones
Build-up: perception can be almost fully determined by context
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Context
Online experiment
Context effect for poor performers on pitch comparisons
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Time-course
How long does it take?
Bias observed for a 20-ms long context
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Time-course
How much does it last?
Bias persists for over 30s
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Random spectra
Something to do with Shepard tones?
Generalisation to random spectra, limited by resolvability
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Random spectra: demo
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Context
Direction of large “pitch” shifts is biased by context
Bias is: - fast - long-lasting - probably based on tonotopy
Chambers & Pressnitzer, 2014 Chambers, Pelofi, Shamma & Pressnitzer, in prep.
Summary
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Pitch: from basics to context effects
Periodicity informs about sound sources
Perceived as pitch, but encoding could be multi-facet
Interaction with context
It’s not pitch, it’s what you do with it that counts
Overall summary