Dimensional interaction between color and pitch.

In three experiments I investigated the nature of cross–modal dimensional interaction by testing speeded classification of the synesthetically corresponding dimensions of color (white–black) and pitch (high–low). Experiment 1 showed significant Garner interference when these dimensions were varied orthogonally—redundancy gain for positively correlated dimensions and redundancy loss for negatively correlated dimensions. Attributes from synesthetically congruent stimuli were classified faster than attributes from incongruent stimuli (a congruity effect). Experiment 2 tested a perceptual explanation of this interaction (i.e., that color and pitch are configural dimensions) by using Pomerantz's (1986) diagnostic (comparison of selective and divided attention performance). The configurality hypothesis received little support. Experiment 3 examined the effect of optional processes on color and pitch classification. The results suggest that partly strategic and partly mandatory components may constitute overall performance. Three alternative explanations of the color–pitch interaction—perceptual, semantic, and response based—are evaluated in the context of the present results. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Primacy of dimensions in color perception.

Used a procedure called selective/individual rotation to investigate the role of dimensions in the perception of color. Ss performed either selective-attention or divided-attention tasks to paired dimensions created from each of 3 orientations of axes in color space: 0°, 22.5°, and 45°. The authors evaluated a Euclidean hypothesis, namely, that speeded classification of interacting dimensions is invariant to rigid rotation of stimulus axes. All experiments obtained evidence against this Euclidean hypothesis. Exps 1–4 showed that selective attention was best at the orientation corresponding to saturation and brightness, suggesting primacy of these dimensions. The results were replicated with the pairs hue–saturation (Exp 7) and hue–brightness (Exp 8). The authors conclude that interacting dimensions can be primary and that dimensional primacy characterizes much of perceptual experience. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Multidimensional scaling of synthetic musical timbre: Perception of spectral and temporal characteristics.

Investigated the perceptual correlates of acoustic parameters involved in musical timbre by examining judgements of timbre dissimilarity. Nine synthetic sounds were created, derived from crossing 3 levels of spectral and temporal parameters (number of harmonics and rise time). Two separate conditions were tested, 1 using single tones, the other using short melodies. 15 musically untrained 20–47 yr olds were presented with pairs of stimuli and judged dissimilarity on an 8-point scale. The spatial configuration resulting from multidimensional analysis of the data was best fit by a 3 dimensional model, with the 1st 2 dimensions accounting for most of the variance. The perceptual space derived from the analysis indicates that these 2 orthogonal dimensions corresponded closely to the spectral and temporal differences inherent to the stimuli. Similar results were obtained with both melodies and single tones. A 2nd experiment replicated the findings despite the introduction of random loudness variation. It is concluded that even musically unselected subjects are sensitive to spectral and temporal information in musical tones, and are able to use them independently in making perceptual judgements of musical timbre. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

The Doppler illusion: The influence of dynamic intensity change on perceived pitch.

Four studies illustrate a new auditory illusion associated with the Doppler effect and demonstrate a new influence of dynamic intensity change on perceived pitch. Experiment 1 confirmed the existence of a popular belief that the pitch of a moving sound source rises as the source approaches. Because there is no corresponding rise in frequency, the authors refer to the perceived pitch rise as the Doppler illusion. Experiment 2 confirmed that the effect occurs perceptually, so the belief in a "naive principle" of physics has a perceptual basis. Experiment 3 confirmed the effect does not occur under matched static conditions. Experiment 4 showed that the influence of dynamic intensity change on perceived pitch occurs outside the realm of Doppler stimuli. The findings support a dynamic dimensional interaction of pitch and loudness, with marked differences in the perception of pitch and loudness under static and dynamic conditions. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Auditory stream segregation by musical timbre: Effects of static and dynamic acoustic attributes.

Two experiments examined the influence of timbre on auditory stream segregation. In Experiment 1, listeners heard sequences of orchestral tones equated for pitch and loudness, and they rated how strongly the instruments segregated. Multidimensional scaling analyses of these ratings revealed that segregation was based on the static and dynamic acoustic attributes that influenced similarity judgments in a previous experiment (P. Iverson & C. L. Krumhansl, 1993). In Experiment 2, listeners heard interleaved melodies and tried to recognize the melodies played by a target timbre. The results extended the findings of Experiment 1 to tones varying in pitch. Auditory stream segregation appears to be influenced by gross differences in static spectra and by dynamic attributes, including attack duration and spectral flux. These findings support a Gestalt explanation of stream segregation and provide evidence against a peripheral channel model. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

On cross-modal similarity: The perceptual structure of pitch, loudness, and brightness.

Examined how pitch and loudness correspond to brightness. In Experiment 1, 16 Ss identified which of 2 lights more resembled each of 16 tones; in Experiment 2, 8 of the same 16 Ss rated the similarity of lights to lights, tones to tones, and lights to tones. (1) Pitch and loudness both contributed to cross-modal similarity, but for most Ss pitch contributed more. (2) Individuals differed as to whether pitch or loudness contributed more; these differences were consistent across matching and similarity scaling. (3) Cross-modal similarity depended largely on relative stimulus values. (4) Multidimensional scaling revealed 2 perceptual dimensions, loudness and pitch, with brightness common to both. A simple quantitative model can describe the cross-modal comparisons, compatible with the view that perceptual similarity may be characterized through a malleable spatial representation that is multimodal as well as multidimensional. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Processing integral dimensions: The whole view.

In the traditional view, integral dimensions are said to be processed as unitary wholes and only occasionally analyzed. Converging operations establish that (1) pitch and loudness and (2) hue, saturation, and brightness are true psychological dimensions and yet constitute integral dimensions in just this sense. Recent challenges provided by R. D. Melara et al (see record 1994-08285-001) are shown to be based on narrow and faulty interpretations of evidence for privileged axes. They are also undermined by strong evidence of the holistic processing of pitch and loudness and of the dimensions of color that emerge within both their own data and the larger literature. The traditional view, including the strong claim that integrality entails mandatory holistic processing, continues to fare very well as an account of a substantial and varied set of findings. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Generalized auditory same-different discrimination by pigeons.

Three pigeons were trained in a successive same/different (S/D) procedure using compound auditory stimuli (pitch/timbre combinations). Using a go/no-go procedure, pigeons successfully learned to discriminate between sequences of either all same (AAAA...or BBBB...) or all different (ABCD...) sequences consisting of 12 sounds. Both pitch and timbre were subsequently established as controlling dimensions. Transfer tests with novel stimuli revealed a generalized basis for the discrimination (novel pitch/timbre combinations, novel pitches, novel instruments, and complex natural & man-made sounds). These results indicate for the first time that pigeons can learn generalized same/different discriminations in a nondominant modality. When combined with earlier visual results, they support a qualitative similarity among birds and primates in their capacity to judge this type of fundamental stimulus relation across different modalities. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

The processing of duration and intensity cues to prominence

This paper presents results from two experiments designed to show how duration and intensity are processed during speech perception. Duration and intensity are two physical dimensions which are known to interact psychoacoustically in the perception of both length (a term that will be used for perceived duration) and loudness. The first experiment, a selective attention task, shows that length and loudness are processed as a unit [integrally, in the terms of Garner, The Processing of Information and Structure (Erlbaum, Potomac, MD, 1974)], but that the integrality is asymmetric: Extracting length information appears to be easier than extracting loudness information. The results of the first experiment make the prediction that listeners would not use loudness by itself in making prominence judgments, since the extraction of loudness in the presence of duration variation appears to require a (relatively) high processing load. The second experiment, a traditional trading relation experiment in which duration and intensity were varied orthogonally, appears to bear out this prediction. Listeners' responses were predicted from computed measures of length and loudness in a linear multiple regression analysis. Results show a negligible independent contribution of loudness to listeners' responses. Listeners' behavior is best predicted by computed measures of length.     

Pitch and time, tonality and meter: How do musical dimensions combine?

The authors examined how the structural attributes of tonality and meter influence musical pitch–time relations. Listeners heard a musical context followed by probe events that varied in pitch class and temporal position. Tonal and metric hierarchies contributed additively to the goodness-of-fit of probes, with pitch class exerting a stronger influence than temporal position (Experiment 1), even when listeners attempted to ignore pitch (Experiment 2). Speeded classification tasks confirmed this asymmetry. Temporal classification was biased by tonal stability (Experiment 3), but pitch classification was unaffected by temporal position (Experiment 4). Experiments 5 and 6 ruled out explanations based on the presence of pitch classes and temporal positions in the context, unequal stimulus quantity, and discriminability. The authors discuss how typical Western music biases attention toward pitch and distinguish between dimensional discriminability and salience. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Dimensional interactions in language processing: Investigating directions and levels of crosstalk.

In this article we evaluate current models of language processing by testing speeded classification of stimuli comprising one linguistic and one nonlinguistic dimension. Garner interference obtains if subjects are slower to classify attributes on one dimension when an irrelevant dimension is varied orthogonally than when the irrelevant dimension is held constant. With certain linguistic–nonlinguistic pairings (e.g., Experiment 1: the words high and low spoken either loudly or softly), significant Garner interference obtained when either dimension was classified; this indicated two-directional crosstalk. With other pairings (e.g., Experiment 3: spoken vowels and loudness), only the nonlinguistic dimension (e.g., loudness) displayed interference, suggesting unidirectional crosstalk downstream from a phonemic/graphemic level of analysis. Collectively, these results indicate the interaction can occur either within or across levels of information processing, being directed toward either more advanced or more primitive processes. Although poorly explained by all current models of language processing, our results are strikingly inconsistent with models that posit autonomy among levels of processing. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

The role of spectral and dynamic cues in imagery for musical timbre.

The musical quality of timbre is based on both spectral and dynamic acoustic cues. Four 2-part experiments examined whether these properties are represented in the mental image of a musical timbre. Exp 1 established that imagery occurs for timbre variations within a single musical instrument, using plucked and bowed tones from a cello. Exps 2 and 3 used synthetic stimuli that varied in either spectral or dynamic properties only, to investigate imagery with strict acoustic control over the stimuli. Exp 4 explored whether the dimension of loudness is stored in an auditory image. Spectral properties appear to play a much larger role than dynamic properties in imagery for musical timbre. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Repetition priming in music.

The authors explore priming effects of pitch repetition in music in 3 experiments. Musically untrained participants heard a short melody and sang the last pitch of the melody as quickly as possible. Each experiment manipulated (a) whether or not the tone to be sung (target) was heard earlier in the melody (primed) and (b) the prime-target distance (measured in events). Experiment 1 used variable-length melodies, whereas Experiments 2 and 3 used fixed-length melodies. Experiment 3 changed the timbre of the target tone. In all experiments, fast-responding participants produced repeated tones faster than nonrepeated tones, and this repetition benefit decreased as prime-target distances increased. All participants produced expected tonic endings faster than less expected nontonic endings. Repetition and tonal priming effects are compared with harmonic priming effects in music and with repetition priming effects in language. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

Interaction between synesthetically corresponding dimensions.

This article presents findings of cross-sensory dimensional interaction for the visual dimension of vertical position and the auditory dimension of pitch. Subjects were simultaneously presented with attributes from both dimensions and performed speeded classification of one dimension. There were four task conditions. The irrelevant dimension was varied orthogonally or held constant, and attributes were always synesthetically congruent or always synesthetically incongruent. Subjects displayed reaction time (RT) interference when the second dimension varied orthogonally (a failure of selective attention). In addition, redundancy gain was asymmetric. Reaction time facilitation was only present when attributes were synesthetically congruent. Negatively correlated redundancy (incongruence) yielded neither facilitation nor interference. Interaction was unaffected by changes in the spatial origin of signals (Experiment 3) and was still evident when signals were temporally separated (Experiment 4). Several explanations for these results are considered. It is argued that these results may represent a new form of dimensional interaction. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Invariance of perceptual spaces and perceptual separability of stimulus dimensions

This article reports an extension of a paradigm for studying processing of perceptual dimensions. The paradigm is the complete identification task with a feature-complete factorial design (FCFD) of stimuli providing data for multidimensional signal detection analyses. The extension uses blocks of trials with subsets of the FCFD stimulus set, allowing estimation of various d's for inferring perceptual separability (PS) of dimensions and for disambiguating stimulus configurations when PS fails. Results of 4 experiments found the following: PS of arc curvature and line orientation in a discrimination task (Experiment 1), increasing PS failure in detection of horizontal and vertical lines (Experiment 2a), 45 degrees and 135 degrees (Experiment 2b), and 50 degrees and 60 degrees oblique lines (Experiment 2c). In each experiment, corresponding d's remained equivalent across blocks with different stimulus subsets.     

Dynamic frequency change influences loudness perception: A central, analytic process.

Three experiments showed that dynamic frequency change influenced loudness. Listeners heard tones that had concurrent frequency and intensity change and tracked loudness while ignoring pitch. Dynamic frequency change significantly influenced loudness. A control experiment showed that the effect depended on dynamic change and was opposite that predicted by static equal loudness contours. In a 3rd experiment, listeners heard white noise intensity change in one ear and harmonic frequency change in the other and tracked the loudness of the noise while ignoring the harmonic tone. Findings suggest that the dynamic interaction of pitch and loudness occurs centrally in the auditory system; is an analytic process; has evolved to take advantage of naturally occurring covariation of frequency and intensity; and reflects a shortcoming of traditional static models of loudness perception in a dynamic natural setting. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Equal loudness contours derived from comparisons of sensory differences.

Determined whether stimuli differing in both frequency and intensity can be compared with respect to loudness alone or if comparisons need to be based on pitch dissimilarity, using the author and undergraduates. Ss were asked to report which of 2 pairs of tones presented sequentially had the greater loudness difference for a possible 17,995 combinations. Results indicate that loudness is an analyzable dimension of tonal experience and is separable from pitch. (French abstract) (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Loudness change in response to dynamic acoustic intensity.

Three experiments investigate psychological, methodological, and domain-specific characteristics of loudness change in response to sounds that continuously increase in intensity (up-ramps), relative to sounds that decrease (down-ramps). Timbre (vowel, violin), layer (monotone, chord), and duration (1.8 s, 3.6 s) were manipulated in Experiment 1. Participants judged global loudness change between pairs of spectrally identical up-ramps and down-ramps. It was hypothesized that loudness change is overestimated in up-ramps, relative to down-ramps, using simple speech and musical stimuli. The hypothesis was supported and the proportion of up-ramp overestimation increased with stimulus duration. Experiment 2 investigated recency and a bias for end-levels by presenting paired dynamic stimuli with equivalent end-levels and steady-state controls. Experiment 3 used single stimulus presentations, removing artifacts associated with paired stimuli. Perceptual overestimation of loudness change is influenced by (1) intensity region of the dynamic stimulus; (2) differences in stimulus end-level; (3) order in which paired items are presented; and (4) duration of each item. When methodological artifacts are controlled, overestimation of loudness change in response to up-ramps remains. The relative influence of cognitive and sensory mechanisms is discussed. (PsycINFO Database Record (c) 2010 APA, all rights reserved)