onset and offset
DESCRIPTION
Onset and offset. Sounds that stop and start at different times tend to be produced by different sources. Onset asynchrony have also higher level effects. - PowerPoint PPT PresentationTRANSCRIPT
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1A.Diederich– International University Bremen – USC – MMM – Spring 2005
Onset and offset
Sounds that stop and start at different times tend to be produced by different sources.
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2A.Diederich– International University Bremen – USC – MMM – Spring 2005
Onset asynchrony have also higher level effects
– Listeners were presented with a two-tone complex in alternation with a third tone. Bregman and Pinker (1978) studied the effects of onset-offset asynchrony between the simultaneous tones.
– As the degree of onset asynchrony increased, the timbre of the complex tone was judged to be purer, and it became more probable that one of the tones in the complex would form a melodic stream with the third one.
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3A.Diederich– International University Bremen – USC – MMM – Spring 2005
– When two complex tones are played together, they are perceptually more distinct when their onsets are asynchronous than when they begin to sound at the same time.
– Larger amounts of asynchrony should produce even better and more reliable separation of voices.
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4A.Diederich– International University Bremen – USC – MMM – Spring 2005
– Hypothesis: Compositional practice would exploit this effect – at least in polyphonic music where it is intended that the individual voices should be distinctively heard.
– An analysis of J.S.Bach's 15 two-part inventions showed this for 11 of these inventions (Huron, 1993).
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5A.Diederich– International University Bremen – USC – MMM – Spring 2005
Location
Sounds created by a particular source usually come from one position in space or from a slowly changing location.
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6A.Diederich– International University Bremen – USC – MMM – Spring 2005
Sound localization
– Goldstein, pp. 375 – 385
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7A.Diederich– International University Bremen – USC – MMM – Spring 2005
Sound localization
– Participant's ability to localize sound.
– The asterisks are the actual sound locations, and the circles are the participant's estimates of their location.
– Longer lines connecting the asterisks and circles indicate less accurate locations.
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8A.Diederich– International University Bremen – USC – MMM – Spring 2005
1. The azimuth (horizontal) coordinate specifies localizations that vary from left to right (right to left) relative to the listener
2. The elevation (vertical) coordinate specifies localization that are up and down relative to the listener
3. The distance coordinate specifies how far the sound source is from the listener
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9A.Diederich– International University Bremen – USC – MMM – Spring 2005
Information for azimuth
Interaural time difference
Interaural level difference
Phase difference
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10A.Diederich– International University Bremen – USC – MMM – Spring 2005
Interaural time differences
The difference between the time taken by the sound to travel to the two ears when starting from azimuth other than 0 and 180 degrees; a cue to the direction of a lower-frequency sound source.
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11A.Diederich– International University Bremen – USC – MMM – Spring 2005
Maximal difference:600 s
Difference threshold:10 s
The principle behind interaural time difference
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12A.Diederich– International University Bremen – USC – MMM – Spring 2005
Cone of confusion
The difference in pathlength between the stimulus and the listener’s two ears is the same everywhere on the surface of this cone.The timing differences betweenthe ears therefore remains thesame, and, assuming that thehead is perfectly spherical, theintensity differences do notchange either. Solution: Move your head
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13A.Diederich– International University Bremen – USC – MMM – Spring 2005
Interaural intensity (sound pressure level) difference
A difference in sound intensity at the two ears caused by the presence of a sound shadow (created by the head); cue to localization of higher-frequency sounds.
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14A.Diederich– International University Bremen – USC – MMM – Spring 2005
The principle behind interaural level difference
Low-frequency tones arenot affected by the listener's head
High-frequency tones are affected by the presenceof the listener's head, andthe result is an acoustic"shadow" that decreasesthe intensity of the tonereaching the listener'sfar ear.
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15A.Diederich– International University Bremen – USC – MMM – Spring 2005
70 dB SPL 2 m from center of head
– The difference in intensity between the two ears for a 70 dB SPL tone of different frequencies located ate different places around the head.
– The tones were located 2m from the center of the head.
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16A.Diederich– International University Bremen – USC – MMM – Spring 2005
Phase difference
The difference in the phase of a sound wave between the two ears caused by the different distances the sound wave has to travel to reach each ear; cue to localization of lower-frequency sounds.
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17A.Diederich– International University Bremen – USC – MMM – Spring 2005
Information for Elevation
Spectral cues (Head related transfer function; HRTF):The difference between the sound from the source and the sound actually enteringthe ears.
The head and pinnae
decreases the intensity
of some frequencies
and enhance others.
Sound presented at three different locations
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18A.Diederich– International University Bremen – USC – MMM – Spring 2005
The auditory system does not use localization cues as primary basis for grouping, but instead uses them only when other supporting cues are present.
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19A.Diederich– International University Bremen – USC – MMM – Spring 2005
Precedence effect
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20A.Diederich– International University Bremen – USC – MMM – Spring 2005
Fusion
Precedence effect Echo
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21A.Diederich– International University Bremen – USC – MMM – Spring 2005
Experience
– Interleaved melodies (see above)
– When participants were told the names of the songs, they were able to hear the melody to which they were paying attention.
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22A.Diederich– International University Bremen – USC – MMM – Spring 2005
Auditory scene
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23A.Diederich– International University Bremen – USC – MMM – Spring 2005
Grouping of multiple tone sequences in space
– Do we form linkages between tones that are similar in pitch, loudness, or in timbre?
– Alternatively, do we invoke spatial location as a prominent grouping cue?
– All these factors are involved in grouping, but they interact in complex ways.
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24A.Diederich– International University Bremen – USC – MMM – Spring 2005
Scale illusion or melodic channeling
The participants listened to the scales through earphones that presented successive notes from a major scale with successive tones alternating from ear to ear. The scale is played simultaneously in both ascending and descending form. The sequence is played repeatedly without pause.
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25A.Diederich– International University Bremen – USC – MMM – Spring 2005
– A melody corresponding to the higher tones is heard as coming from one ear (in right-handers, generally the one on the right), with a melody corresponding to the lower tones as coming from the other earphone.
– Earphone positions reversed ! apparent locations of the higher and lower tones often remain fixed
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26A.Diederich– International University Bremen – USC – MMM – Spring 2005
Grouping by pitch proximity is so powerful that not only are the tones organized melodically in accordance with this principle, but they are frequently reorganized in space to conform with this principle also .
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27A.Diederich– International University Bremen – USC – MMM – Spring 2005
Chromatic illusion
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28A.Diederich– International University Bremen – USC – MMM – Spring 2005
Variation of the experiment
– loudspeakers– differences in timbre
– Moderate differences in timbre did not alter the basic effect (new tone quality was heard, but it appeared to be coming simultaneously from both speakers).
– Substantial differences in timbre (e.g., piano, saxophone) ! timbre was used as a basis for grouping
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29A.Diederich– International University Bremen – USC – MMM – Spring 2005
Such effects occur when listening to live music in concert halls
Tchaikokvsky's Sixth Symphony(The Pathetique)Even true with the orchestraarranged in 19th century fashion
Rachmaninoff's Second Suite forTwo Pianos
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30A.Diederich– International University Bremen – USC – MMM – Spring 2005
The perceptual tendency to form melodic streams based on overall pitch range is reflected in the avoidance of part crossing in polyphonic music, e.g., Bach.
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31A.Diederich– International University Bremen – USC – MMM – Spring 2005
What happens when temporal disparities are introduced?
– When the tones arrive at the two ears simultaneously they are organized sequentially on the basis of pitch proximity.
– When the tones at the two ears are clearly separated in time they are grouped on the basis of spatial location.
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32A.Diederich– International University Bremen – USC – MMM – Spring 2005
High tones – right-handedness
– Musically trained participants were presented with simultaneous sequences, one to each ear, and they transcribed them to musical notation.
– high-right/low-left chords; low-right/high-left/chords– Notate the tones that were presented to one ear, ignore those presented
to the other
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33A.Diederich– International University Bremen – USC – MMM – Spring 2005
Result
– Attention to right ear– more higher than lower tones were notated correctly– more higher tones than lower ones intruded from the
left ear into their notation
– Attention to left ear– notated correctly virtually the same number of higher
and of lower tones, with a marginal advantage to the lower ones
– more lower tones than higher ones intruded from the right ear into their notations
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34A.Diederich– International University Bremen – USC – MMM – Spring 2005
Seating plan for the Chicago Symphony, as viewed from the orchestra
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35A.Diederich– International University Bremen – USC – MMM – Spring 2005
Paradox
– From the performer's point of view, instruments with higher registers are to the right and those with lower registers are to the left
– From the audience's point of view, instruments with higher registers tend to be to the left, and those with lower registers, to the right.
– Instruments with low registers, which are to the audience's right, should be less well perceived and localized.
– No solution to the problem