Teologija na tržištu

One task intended to measure sensitivity to temporal fine structure (TFS) involves the discrimination of a harmonic complex tone from a tone in which all harmonics are shifted upwards by the same amount in hertz. Both tones are passed through a fixed bandpass filter centered on the high harmonics to reduce the availability of excitation-pattern cues and a background noise is used to mask combination tones. The role of frequency selectivity in this "TFS1" task was investigated by varying level. Experiment 1 showed that listeners performed more poorly at a high level than at a low level. Experiment 2 included intermediate levels and showed that performance deteriorated for levels above about 57 dB sound pressure level. Experiment 3 estimated the magnitude of excitation-pattern cues from the variation in forward masking of a pure tone as a function of frequency shift in the complex tones. There was negligible variation, except for the lowest level used. The results indicate that the changes in excitation level at threshold for the TFS1 task would be too small to be usable. The results are consistent with the TFS1 task being performed using TFS cues, and with frequency selectivity having an indirect effect on performance via its influence on TFS cues. (C) 2015 Acoustical Society of America

Musical expectations within chord sequences: Facilitation due to tonal stability without closure effects

Musical priming studies have shown that musical event processing is facilitated for the tonally related, stable tonic (chord, tone) in comparison with less-related, less stable events. However, target events have always been in the final position of the musical sequences, position at which the tonic is the most expected event as it brings closure. Priming data thus contain a confound between tonal stability and end-sequence wrap-up processes, comparable with those reported for sentence processing. To investigate musical expectations without this confound, our study omitted the advantage of the tonic linked to the final position and placed related and less-related targets at various positions within 8-chord sequences. To indicate to-be-processed targets, visual information was synchronized with the presentation of each chord. Data showed higher accuracy and faster correct response times for stable tonic over less-stable dominant targets. The here introduced musical priming paradigm contributes to our understanding of listeners’ knowledge about tonal hierarchy and provides a new tool for testing musical integration and event processing in musical materials

Priming in melody perception : tracking down the strength of cognitive expectations

The musical priming paradigm has shown facilitated processing for tonally related over less-related targets. However, the congruence between tonal relatedness and the psychoacoustical properties of music challenges cognitive interpretations of the involved processes. Our goal was to show that cognitive expectations (based on listeners' tonal knowledge) elicit tonal priming in melodies independently of sensory components (e.g., spectral overlap). A first priming experiment minimized sensory components by manipulating tonal relatedness with a single note change in the melodies. Processing was facilitated for related over less-related target tones, but an auditory short-term memory model succeeded in simulating this effect, thus suggesting a sensory-based explanation. When the same melodies were played with pure tones (instead of piano tones), the sensory model failed to differentiate between related and less-related targets, while listeners' data continued to show a tonal relatedness effect (Experiment 2). The tonal priming effect observed here thus provides strong evidence for the influence of listeners' tonal knowledge on music processing. The overall findings point out the need for controlled musical material (and notably beyond tone repetition) to study cognitive components in music perception