Perceptual compensation for reverberation in human listeners and machines

This thesis explores compensation for reverberation in human listeners and machines. Late reverberation is typically understood as a distortion which degrades intelligibility. Recent research, however, shows that late reverberation is not always detrimental to human speech perception. At times, prolonged exposure to reverberation can provide a helpful acoustic context which improves identification of reverberant speech sounds. The physiology underpinning our robustness to reverberation has not yet been elucidated, but is speculated in this thesis to include efferent processes which have previously been shown to improve discrimination of noisy speech. These efferent pathways descend from higher auditory centres, effectively recalibrating the encoding of sound in the cochlea. Moreover, this thesis proposes that efferent-inspired computational models based on psychoacoustic principles may also improve performance for machine listening systems in reverberant environments. A candidate model for perceptual compensation for reverberation is proposed in which efferent suppression derives from the level of reverberation detected in the simulated auditory nerve response. The model simulates human performance in a phoneme-continuum identification task under a range of reverberant conditions, where a synthetically controlled test-word and its surrounding context phrase are independently reverberated. Addressing questions which arose from the model, a series of perceptual experiments used naturally spoken speech materials to investigate aspects of the psychoacoustic mechanism underpinning compensation. These experiments demonstrate a monaural compensation mechanism that is influenced by both the preceding context (which need not be intelligible speech) and by the test-word itself, and which depends on the time-direction of reverberation. Compensation was shown to act rapidly (within a second or so), indicating a monaural mechanism that is likely to be effective in everyday listening. Finally, the implications of these findings for the future development of computational models of auditory perception are considered

Talking in Time: the development of a self-administered Conversation Analysis based training programme for cochlear implant users

Objectives: Training software to facilitate participation in conversations where overlapping talk is common was to be developed with the involvement of Cochlear implant (CI) users. Methods: Examples of common types of overlap were extracted from a recorded corpus of 3.5 hours of British English conversation. In eight meetings, an expert panel of five CI users tried out ideas for a computer-based training programme addressing difficulties in turn-taking. Results: Based on feedback from the panel, a training programme was devised. The first module consists of introductory videos. The three remaining modules, implemented in interactive software, focus on non-overlapped turn-taking, competitive overlaps and accidental overlaps. Discussion: The development process is considered in light of feedback from panel members and from an end of project dissemination event. Benefits, limitations and challenges of the present approach to user involvement and to the design of self-administered communication training programmes are discussed. Conclusion: The project was characterized by two innovative features: the involvement of service users not only at its outset and conclusion but throughout its course; and the exclusive use of naturally occurring conversational speech in the training programme. While both present practical challenges, the project has demonstrated the potential for ecologically valid speech rehabilitation training

Perception of isolated chords: Examining frequency of occurrence, instrumental timbre, acoustic descriptors and musical training

This study investigated the perception of isolated chords using a combination of experimental manipulation and exploratory analysis. Twelve types of chord (five triads and seven tetrads) were presented in two instrumental timbres (piano and organ) to listeners who rated the chords for consonance, pleasantness, stability and relaxation. Listener ratings varied by chord, by timbre, and according to musical expertise, and revealed that musicians distinguished consonance from the other variables in a way that other listeners did not. To further explain the data, a principal component analysis and linear regression examined three potential predictors of the listener ratings. First, each chord’s frequency of occurrence was obtained by counting its appearances in selected works of music. Second, listeners rated their familiarity with the instrumental timbre in which the chord was played. Third, chords were described using a set of acoustic features derived using the Timbre Toolbox and MIR Toolbox. Results of the study indicated that listeners’ ratings of both consonance and stability were influenced by the degree of musical training and knowledge of tonal hierarchy. Listeners’ ratings of pleasantness and relaxation, on the other hand, depended more on the instrumental timbre and other acoustic descriptions of the chord