Concurrent vowel identification. II. Effects of phase, harmonicity, and task

Cheveigné, Alain de; McAdams, Stephen; Marin, Cécile

doi:10.1121/1.419476

Cited by 68 publications

(50 citation statements)

References 24 publications

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“…There are short temporal dips, as long as the fundamental period, in within-channel temporal envelopes that may allow listeners a better target-to-masker ratio (TMR) at these specific times, which is facilitated by cochlear compression (Kohlrausch and Sander, 1995;Carlyon and Datta, 1997). However, various forms of this phase hypothesis have been examined and seem implausible (de Cheveign e et al, 1997b;de Cheveign e, 1999). Second, harmonic complexes have spectral dips that allow a better TMR at center frequencies located in between resolved partials.…”

Section: Energetic Maskingmentioning

confidence: 99%

Voice segregation by difference in fundamental frequency: Effect of masker type

Deroche

Culling

2013

The Journal of the Acoustical Society of America

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Speech reception thresholds were measured for a voice against two different maskers: Either two concurrent voices with the same fundamental frequency (F0) or a harmonic complex with the same long-term excitation pattern and broadband temporal envelope as the masking sentences (speech-modulated buzz). All sources had steady F0s. A difference in F0 of 2 or 8 semitones provided a 5-dB benefit for buzz maskers, whereas it provided a 3-and 8-dB benefit, respectively, for masking sentences. Whether intelligibility of a voice increases abruptly with small DF0s or gradually toward larger DF0s seems to depend on the nature of the masker.

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Section: Energetic Maskingmentioning

confidence: 99%

Voice segregation by difference in fundamental frequency: Effect of masker type

Deroche

Culling

2013

The Journal of the Acoustical Society of America

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“…Further, the whispered constituent of a voiced/whispered vowel pair was identi®ed signi®cantly more accurately than when both vowels were whispered, but the voiced component was no more intelligible than when both vowels were voiced and on the same f 0 (Lea, 1992). · Identi®cation performance varies with the harmonicity or inharmonicity of vowel pair constituents (de Cheveign e et al, 1997b). An inharmonic target vowel presented 15 dB below a harmonic masker vowel was signi®cantly better identi®ed than a harmonic target behind a stronger inharmonic masker.…”

Section: Listenersmentioning

confidence: 99%

The auditory organization of speech and other sources in listeners and computational models

Cooke

Ellis

2001

Speech Communication

155

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Speech is typically perceived against a background of other sounds. Listeners are adept at extracting target sources from the acoustic mixture reaching the ears. The auditory scene analysis (ASA) account holds that this feat is the result of a two-stage process. In the ®rst-stage, sound is decomposed into collections of fragments in several dimensions. Subsequent processes of perceptual organization reassemble these fragments, based on cues indicating common source of origin which are interpreted in the light of prior experience. In this way, the decomposed auditory scene is processed to extract coherent evidence for one or more sources. Auditory scene analysis in listeners has been studied for several decades and recent years have seen a steady accumulation of computational models of perceptual organization. The purpose of this review is to describe the evidence for the nature of auditory organization in listeners and to explore the computational models which have been motivated by such evidence. The primary focus is on speech rather than on sources such as polyphonic music or non-speech ambient backgrounds, although all these domains are equally amenable to auditory organization. The review includes a discussion of the relationship between auditory scene analysis and alternative approaches to sound source segregation. Ó

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“…Its importance stems from its role in perceiving the prosody of speech, melody of music, and in organizing the acoustic environment into different sources (Summerfield and Assmann, 1990;de Cheveingne et al, 1995). It is generally appreciated that the term "pitch" refers to many distinct percepts (de Cheveingne, 1998;Moore, 1989): They include "spectral pitch" evoked by single tones, "repetition pitch" associated with very slow click trains, or the envelope of amplitude modulated noise and tones, and "periodicity pitch" (also known as virtual, residue, and missing fundamental pitch) evoked by low order, spectrally resolved harmonic tone complexes.…”

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confidence: 99%

The case of the missing pitch templates: How harmonic templates emerge in the early auditory system

Shamma

Klein²

2000

The Journal of the Acoustical Society of America

185

160

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ISR develops, applies and teaches advanced methodologies of design and analysis to solve complex, hierarchical, heterogeneous and dynamic problems of engineering technology and systems for industry and government. ISR is a permanent institute of the University of Maryland AbstractPeriodicity pitch is the most salient and important of all pitch percepts. Psychoacoustical models of this percept have long postulated the existence of internalized harmonic templates against which incoming resolved spectra can be compared, and pitch determined according to the best matching templates (Goldstein, 1973a). However, it has been a mystery where and how such harmonic templates can come about. Here we present a biologically plausible model for how such templates can form in the early stages of the auditory system. The model demonstrates that any broadband stimulus such as noise or random click trains, suffices for generating the templates, and that there is no need for any delay-lines, oscillators, or other neural temporal structures. The model consists of two key stages: cochlear filtering followed by coincidence detection. The cochlear stage provides responses analogous to those seen on the auditory-nerve and cochlear nucleus. Specifically, it performs moderately sharp frequency analysis via a filter-bank with tonotopically ordered center frequencies (CFs); the rectified and phase-locked filter responses are further enhanced temporally to resemble the synchronized responses of cells in the cochlear nucleus. The second stage is a matrix of coincidence detectors that compute the average pair-wise instantaneous correlation (or product) between responses from all CFs across the channels. Model simulations show that for any broadband stimulus, high coincidences occur between cochlear channels that are exactly harmonic distances apart. Accumulating coincidences over time results in the formation of harmonic templates for all fundamental frequencies in the phase-locking frequency range. The model explains the critical role played by three subtle but important factors in cochlear function: the nonlinear transformations following the filtering stage; the rapid phase-shifts of the traveling wave near its resonance; and the spectral resolution of the cochlear filters. Finally, we discuss the physiological correlates and location of such a process and its resulting templates.PACS 43.66.Ba, 43.66.Jh.

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Concurrent vowel identification. II. Effects of phase, harmonicity, and task

Cited by 68 publications

References 24 publications

Voice segregation by difference in fundamental frequency: Effect of masker type

Voice segregation by difference in fundamental frequency: Effect of masker type

The auditory organization of speech and other sources in listeners and computational models

The case of the missing pitch templates: How harmonic templates emerge in the early auditory system

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