An important aspect of auditory scene analysis is sequential grouping of sounds that are similar to one another in preference to sounds that follow one another. This grouping problem is captured by stream segregation tasks with alternating distinct sounds. We examined human auditory cortex activity with low noise fMRI in a stream segregation experiment relying on timbre differences of alternating harmonic tones (organ-like and trumpet-like). We found that stream segregation performance in comparison to monitoring a non-separable control stream increased activation exclusively in left auditory cortex and particularly in posterior areas. Our results suggest that left auditory cortex is selectively involved in this complex sequential task although the available cue for sequential grouping was timbre, usually attributed to right hemisphere analysis.

The build-up of auditory stream segregation refers to the notion that sequences of alternating A and B sounds initially tend to be heard as a single stream, but with time appear to split into separate streams. The central assumption in the analysis of this phenomenon is that streaming sequences are perceived as one stream at the beginning by default. In the present study, we test the validity of this assumption and document its impact on the apparent build-up phenomenon. Human listeners were presented with ABAB sequences, where A and B were harmonic tone complexes of seven different fundamental frequency separations (Δf) ranging from 2 to 14 semitones. Subjects had to indicate, as promptly as possible, their initial percept of the sequences, as either “one stream” or “two streams,” and any changes thereof during the sequences. We found that subjects did not generally indicate a one-stream percept at the beginning of streaming sequences. Instead, the first perceptual decision depended on Δf, with the probability of a one-stream percept decreasing, and that of a two-stream percept increasing, with increasing Δf. Furthermore, subjects required some time to make and report a decision on their perceptual organization. Taking this time into account, the resulting time courses of two-stream probabilities differ markedly from those suggested by the conventional analysis. A build-up-like increase in two-stream probability was found only for the Δf of six semitones. At the other Δf conditions no or only minor increases in two-stream probability occurred. These results shed new light on the build-up of stream segregation and its possible neural correlates.

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This study provides evidence that monkeys are rhythm sensitive. We composed isochronous tone sequences consisting of repeating triplets of two short tones and one long tone which humans perceive as repeating triplets of two weak and one strong beat. This regular sequence was compared to an irregular sequence with the same number of randomly arranged short and long tones with no such beat structure. To search for indication of rhythm sensitivity we employed an oddball paradigm in which occasional duration deviants were introduced in the sequences. In a pilot study on humans we showed that subjects more easily detected these deviants when they occurred in a regular sequence. In the monkeys we searched for spontaneous behaviors the animals executed concomitant with the deviants. We found that monkeys more frequently exhibited changes of gaze and facial expressions to the deviants when they occurred in the regular sequence compared to the irregular sequence. In addition we recorded neuronal firing and local field potentials from 175 sites of the primary auditory cortex during sequence presentation. We found that both types of neuronal signals differentiated regular from irregular sequences. Both signals were stronger in regular sequences and occurred after the onset of the long tones, i.e., at the position of the strong beat. Local field potential responses were also significantly larger for the durational deviants in regular sequences, yet in a later time window. We speculate that these temporal pattern-selective mechanisms with a focus on strong beats and their deviants underlie the perception of rhythm in the chosen sequences.