The perception of interleaved melodies

Dowling, W. Jay

doi:10.1016/0010-0285(73)90040-6

Cited by 209 publications

(187 citation statements)

References 9 publications

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“…In the postrecognition task, we found that performance in the maximal separation condition (in fundamental frequency or timbre) remained lower than that obtained in the control condition. This result was also observed by Dowling (1973;Dowling & Fujitani, 1971) and suggests that melody postrecognition does not depend only on the perceptual organization of the composite sequence into two streams. Indeed, to accomplish this task, listeners must not only organize the composite sequence into two distinct streams, but also focus their attention on the target stream, access the properties of the melody (contour, notes, intervals, or rhythm), and store this information in working memory.…”

Section: Discussionsupporting

confidence: 72%

Postrecognition of interleaved melodies as an indirect measure of auditory stream formation.

Bey¹,

McAdams²

2003

Journal of Experimental Psychology: Human Perception and Perfor

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Primitive processes involved in auditory stream formation are measured with an indirect, objective method. A target melody interleaved with a distractor sequence is followed by a probe melody that was identical to the target or differed by 2 notes. Listeners decided whether the probe melody was present or not in the composite sequence. Interleaved melody recognition is not possible when distractor sequences have the same mean frequency and maximum contour crossover with target melodies. Performance increases with mean frequency separation and timbral dissimilarity and is unaffected by the duration of the silent interval between composite sequence and probe melody. The relation between this indirect task measuring the interleaved melody recognition boundary and direct judgments measuring the fission boundary is discussed.

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Section: Discussionsupporting

confidence: 72%

Postrecognition of interleaved melodies as an indirect measure of auditory stream formation.

Bey¹,

McAdams²

2003

Journal of Experimental Psychology: Human Perception and Perfor

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“…The effect does not depend on presentation of the tunes in pure tones as in Deutsch's study. Just as with most effects involving patterns of pitches [as, for example, Miller and Heise's (1950) "trill threshold," see Dowling (1973)], presentation via complex tones does not alter the effect appreciably. The representation of pitch in the nervous system must be abstracted from the auditory stimulus to such a degree that harmonic content of the tones has little effect on the processing of pitch information (cf.…”

Section: Discussionmentioning

confidence: 89%

“…We see the present phenomena as lying on a continuum with those involving perceptual splitting of rapid pitch sequences alternating between widely separated pitch regions. (Bregman & Campbell, 1971;Dowling, 1973). However, this is not the only possible way of viewing these phenomena.…”

Section: Discussionmentioning

confidence: 99%

The perception of melodies distorted by splitting into several octaves: Effects of increasing proximity and melodic contour

Dowling

Hollombe

1977

Perception & Psychophysics

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“…For some tasks, performance should be better if fission occurs. For example, a task requiring the recognition of two interleaved melodies [5,6] is performed best if the tones making up the two melodies are heard as separate streams. Thus, the subject may try to hear segregation to improve performance.…”

Section: Tasks Used To Measure Streamingmentioning

confidence: 99%

Properties of auditory stream formation

Moore

Gockel

2012

Phil. Trans. R. Soc. B

194

179

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A sequence of sounds may be heard as coming from a single source (called fusion or coherence) or from two or more sources (called fission or stream segregation). Each perceived source is called a ‘stream’. When the differences between successive sounds are very large, fission nearly always occurs, whereas when the differences are very small, fusion nearly always occurs. When the differences are intermediate in size, the percept often ‘flips’ between one stream and multiple streams, a property called ‘bistability’. The flips do not generally occur regularly in time. The tendency to hear two streams builds up over time, but can be partially or completely reset by a sudden change in the properties of the sequence or by switches in attention. Stream formation depends partly on the extent to which successive sounds excite different ‘channels’ in the peripheral auditory system. However, other factors can play a strong role; multiple streams may be heard when successive sounds are presented to the same ear and have essentially identical excitation patterns in the cochlea. Differences between successive sounds in temporal envelope, fundamental frequency, phase spectrum and lateralization can all induce a percept of multiple streams. Regularities in the temporal pattern of elements within a stream can help in stabilizing that stream.

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The perception of interleaved melodies

Cited by 209 publications

References 9 publications

Postrecognition of interleaved melodies as an indirect measure of auditory stream formation.

Postrecognition of interleaved melodies as an indirect measure of auditory stream formation.

The perception of melodies distorted by splitting into several octaves: Effects of increasing proximity and melodic contour

Properties of auditory stream formation

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