Metrics for pitch collections

Models of the perceived distance between pairs of pitch collections are a core component of broader models of the perception of tonality as a whole. Numerous different distance measures have been proposed, including voice-leading, psychoacoustic, and pitch and interval class distances; but, so far, there has been no attempt to bind these different measures into a single mathematical framework, nor to incorporate the uncertain or probabilistic nature of pitch perception (whereby tones with similar frequencies may, or may not, be heard as having the same pitch). To achieve these aims, we embed pitch collections in novel multi-way expectation arrays, and show how metrics between such arrays can model the perceived dissimilarity of the pitch collections they embed. By modeling the uncertainties of human pitch perception, expectation arrays indicate the expected number of tones, ordered pairs of tones, ordered triples of tones and so forth, that are heard as having any given pitch, dyad of pitches, triad of pitches, and so forth. The pitches can be either absolute or relative (in which case the arrays are invariant with respect to transposition). We provide a number of examples that show how the metrics accord well with musical intuition, and suggest some ways in which this work may be developed

The relation between pitch and gestures in a story-telling task

Anecdotal evidence suggests that both pitch range and gestures contribute to the perception of speakers\u2019 liveliness in speech. However, the relation between speakers\u2019 pitch range and gestures has received little attention. It is possible that variations in pitch range might be accompanied by variations in gestures, and vice versa. In second language speech, the relation between pitch range and gestures might also be affected by speakers\u2019 difficulty in speaking the L2. In this pilot study we compare global pitch range and gesture rate in the speech of 3 native Italian speakers, telling the same story once in Italian and twice in English as part of an in-class oral presentation task. The hypothesis tested is that contextual factors, such as speakers\u2019 nervousness with the task, cause speakers to use narrow pitch range and limited gestures; a greater ease with the task, due to its repetition, cause speakers to use a wider pitch range and more gestures. This experimental hypothesis is partially confirmed by the results of this study

Nonlinear Dynamics of the Perceived Pitch of Complex Sounds

We apply results from nonlinear dynamics to an old problem in acoustical physics: the mechanism of the perception of the pitch of sounds, especially the sounds known as complex tones that are important for music and speech intelligibility

Pitch-Responsive Cortical Regions in Congenital Amusia

Congenital amusia is a lifelong deficit in music perception thought to reflect an underlying impairment in the perception and memory of pitch. The neural basis of amusic impairments is actively debated. Some prior studies have suggested that amusia stems from impaired connectivity between auditory and frontal cortex. However, it remains possible that impairments in pitch coding within auditory cortex also contribute to the disorder, in part because prior studies have not measured responses from the cortical regions most implicated in pitch perception in normal individuals. We addressed this question by measuring fMRI responses in 11 subjects with amusia and 11 age- and education-matched controls to a stimulus contrast that reliably identifies pitch-responsive regions in normal individuals: harmonic tones versus frequency-matched noise. Our findings demonstrate that amusic individuals with a substantial pitch perception deficit exhibit clusters of pitch-responsive voxels that are comparable in extent, selectivity, and anatomical location to those of control participants. We discuss possible explanations for why amusics might be impaired at perceiving pitch relations despite exhibiting normal fMRI responses to pitch in their auditory cortex: (1) individual neurons within the pitch-responsive region might exhibit abnormal tuning or temporal coding not detectable with fMRI, (2) anatomical tracts that link pitch-responsive regions to other brain areas (e.g., frontal cortex) might be altered, and (3) cortical regions outside of pitch-responsive cortex might be abnormal. The ability to identify pitch-responsive regions in individual amusic subjects will make it possible to ask more precise questions about their role in amusia in future work. SIGNIFICANCE STATEMENT The neural causes of congenital amusia, a lifelong deficit in pitch and music perception, are not fully understood. We tested the hypothesis that amusia is due to abnormalities in brain regions that respond selectively to sounds with a pitch in normal listeners. Surprisingly, amusic individuals exhibited pitch-responsive regions that were similar to normal-hearing controls in extent, selectivity, and anatomical location. We discuss how our results inform current debates on the neural basis of amusia and how the ability to identify pitch-responsive regions in amusic subjects will make it possible to ask more precise questions about their role in amusic deficits

Single prosodic phrase sentences

A series of production and perception experiments investigating the prosody and well-formedness of special sentences, called Wide Focus Partial Fronting (WFPF), which consist of only one prosodic phrase and a unique initial accented argument, are reported on here. The results help us to decide between different models of German prosody. The absence of pitch height difference on the accent of the sentence speaks in favor of a relative model of prosody, in which accents are scaled relative to each other, and against models in which pitch accents are scaled in an absolute way. The results also speak for a model in which syntax, but not information structure, influences the prosodic phrasing. Finally, perception experiments show that the prosodic structure of sentences with a marked word order needs to be presented for grammaticality judgments. Presentation of written material only is not enough, and falsifies the results

A Spectral Network Model of Pitch Perception

A model of pitch perception, called the Spatial Pitch Network or SPINET model, is developed and analyzed. The model neurally instantiates ideas front the spectral pitch modeling literature and joins them to basic neural network signal processing designs to simulate a broader range of perceptual pitch data than previous spectral models. The components of the model arc interpreted as peripheral mechanical and neural processing stages, which arc capable of being incorporated into a larger network architecture for separating multiple sound sources in the environment. The core of the new model transforms a spectral representation of an acoustic source into a spatial distribution of pitch strengths. The SPINET model uses a weighted "harmonic sieve" whereby the strength of activation of a given pitch depends upon a weighted sum of narrow regions around the harmonics of the nominal pitch value, and higher harmonics contribute less to a pitch than lower ones. Suitably chosen harmonic weighting functions enable computer simulations of pitch perception data involving mistuned components, shifted harmonics, and various types of continuous spectra including rippled noise. It is shown how the weighting functions produce the dominance region, how they lead to octave shifts of pitch in response to ambiguous stimuli, and how they lead to a pitch region in response to the octave-spaced Shepard tone complexes and Deutsch tritones without the use of attentional mechanisms to limit pitch choices. An on-center off-surround network in the model helps to produce noise suppression, partial masking and edge pitch. Finally, it is shown how peripheral filtering and short term energy measurements produce a model pitch estimate that is sensitive to certain component phase relationships.Air Force Office of Scientific Research (F49620-92-J-0225); American Society for Engineering Educatio

Intrinsic Pitch in Opening and Closing Diphthongs of German

Perception experiments using rising and falling F0 slopes in 4 German word-final opening and closing diphthongs show that closing/opening diphthongs support the perception of falling/ rising pitch movements. The latter effect is suggested to be enhanced when the initial close vowel quality is retracted and rounded. Hence, the current knowledge of the relationship between intrinsic pitch and vowel quality seems transferable to diphthongs. The estimated intrinsic pitch values of +- 1.5 % are better explained by a psychoacoustic pitch-shift than by a pro-cess of speech perception compensating for intrinsic F0. 1. Research Questions This paper addresses two questions. The first one is, if and in what way intrinsic pitch (as opposed to intrinsic F0) occurs in opening and closing diphthongs of German. If intrinsic pitc

Pitch perception and production in congenital amusia: evidence from Cantonese speakers

This study investigated pitch perception and production in speech and music in individuals with congenital amusia (a disorder of musical pitch processing) who are native speakers of Cantonese, a tone language with a highly complex tonal system. Sixteen Cantonese-speaking congenital amusics and 16 controls performed a set of lexical tone perception, production, singing, and psychophysical pitch threshold tasks. Their tone production accuracy and singing proficiency were subsequently judged by independent listeners, and subjected to acoustic analyses. Relative to controls, amusics showed impaired discrimination of lexical tones in both speech and non-speech conditions. They also received lower ratings for singing proficiency, producing larger pitch interval deviations and making more pitch interval errors compared to controls. Demonstrating higher pitch direction identification thresholds than controls for both speech syllables and piano tones, amusics nevertheless produced native lexical tones with comparable pitch heights/contours and intelligibility as controls. Significant correlations were found between pitch threshold and lexical tone perception, music perception and production, but not between lexical tone perception and production for amusics. These findings provide further evidence that congenital amusia is domain-general language-independent pitch-processing deficit that is associated with severely impaired music perception and production, mildly impaired speech perception, and largely intact speech production

Suprasegmental speech perception, working memory and reading comprehension in Cantonese-English bilingual children

This study set out to examine (a) lexical tone and stress perception by bilingual and monolingual children, (b) interrelationships between lexical pitches perception, general acoustic mechanism and working memory, and (c) the association between lexical tone awareness and Chinese text reading comprehension. Experiment 1 tested and compared the perception of Cantonese lexical tones, English lexical stress and nonlinguistic pitch between Cantonese-English bilingual and English monolingual children. The relationships between linguistic pitch perception, non-linguistic pitch perception and working memory were also examined among Cantonese-English bilingual children. Experiment 2 explored the relationship between Cantonese tone awareness and Chinese text reading comprehension skills. Results of this study illustrate differential performances in tone perception but similar performances in stress perception between bilinguals and monolinguals. In addition, inter-correlations were found between linguistic pitches perception, general acoustic mechanism, working memory and reading comprehension. These findings provide new insight to native and non-native perception of lexical pitches, and demonstrate an important link that exists between lexical tone awareness and reading comprehension.published_or_final_versionSpeech and Hearing SciencesBachelorBachelor of Science in Speech and Hearing Science