Re: Autocorrelation-like representations and mechanisms (Bob Carlyon )


Subject: Re: Autocorrelation-like representations and mechanisms
From:    Bob Carlyon  <bob.carlyon(at)MRC-CBU.CAM.AC.UK>
Date:    Wed, 5 Mar 2003 10:46:39 +0000

--=====================_4469947==_.ALT Content-Type: text/plain; charset="us-ascii"; format=flowed Hi Peter, just a minor quibble, when you say: The interesting ARO poster by Rebecca Watkinson and Chris Plack that was mentioned involved transient phase-shifts that reminded me a great deal of Kubovy's demonstrations of popping out by transiently phase-shifted harmonics (when they are perceptually separated from the rest of the harmonic complex, presumably they don't contribute to the F0 pitch of the complex). (my italics) Brian Moore's work shows that when a harmonic is mistuned by 3-8% it pops out of the complex but still contributes to its pitch. Similarly, a harmonic turned on say 40 ms before the rest of a complex may pop out, but still contribute to the pitch. Even a harmonic played to the opposite ear contributes more or less fully to the pitch, but it's easy to hear it out a a separate tone. The point is that grouping obeys different rules depending on the task in hand; it is not "all or none". For a review of this issue, see (plug, plug) C.J. Darwin and R.P. Carlyon (1995). "Auditory Grouping". In Handbook of Perception and Cognition, Volume 6: Hearing, edited by B.C.J. Moore. Academic, Orlando, Florida, pp 387-424. bob --=====================_4469947==_.ALT Content-Type: text/html; charset="us-ascii" <html> Hi Peter,<br><br> just a minor quibble, when you say:<br><br> The interesting ARO poster by Rebecca Watkinson and Chris <br> Plack that was mentioned involved transient phase-shifts that reminded <br> me a great deal of Kubovy's demonstrations of popping out by <br> transiently phase-shifted harmonics <i>(when they are perceptually <br> separated from the rest of the harmonic complex, presumably they don't <br> contribute to the F0 pitch of the complex). <br><br> </i>(my italics) <br><br> Brian Moore's work shows that when a harmonic is mistuned by 3-8% it pops out of the complex but still contributes to its pitch. Similarly, a harmonic turned on say 40 ms before the rest of a complex may pop out, but still contribute to the pitch. Even a harmonic played to the opposite ear contributes more or less fully to the pitch, but it's easy to hear it out a a separate tone. The point is that grouping obeys different rules depending on the task in hand; it is not &quot;all or none&quot;.<br><br> For a review of this issue, see (plug, plug)<br><br> <font face="Times, Times" size=4><b>C.J. Darwin and R.P. Carlyon</b> <b>(1995). </b>&quot;Auditory Grouping&quot;. In <u>Handbook of Perception and Cognition, Volume 6: Hearing</u>, edited by B.C.J. Moore. Academic, Orlando, Florida, pp 387-424.<br><br> bob<br> </font></html> --=====================_4469947==_.ALT--


This message came from the mail archive
http://www.auditory.org/postings/2003/
maintained by:
DAn Ellis <dpwe@ee.columbia.edu>
Electrical Engineering Dept., Columbia University