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Combination Tones in the Model of Central Auditory Processing for Pitch Perception

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Języki publikacji
EN
Abstrakty
EN
This work addresses the problem of difficulties in classical interpretation of combination tones as non- linear distortions. One of the basic problems of such an interpretation is to point out the sources of these distortions. Besides, these kinds of distortions have numerous “anomalies” which are difficult to explain on the grounds of physics or physiology. The aim of the model presented in this paper is to show that combination tones phenomenon can be explained as an effect of central mechanisms. Most of existing theories of pitch perception focus mainly on virtual pitch perception and do not take into account com- bination tones as an element of the same mechanism. The proposed model of central auditory processing for pitch perception allows one to interpret in a coherent way both virtual pitches and combination tones phenomena. This model is of a demonstrative nature and gives an introduction to more advanced model. It belongs to the class of spectral models and it will be shown that such a model can be in a simple way extended to spectral – time model which is partially consistent with autocorrelation models.
Rocznik
Strony
571--582
Opis fizyczny
Bibliogr. 34 poz., wykr.
Twórcy
  • Institute of Manufacturing Engineering, West Pomeranian University of Technology Al. Piastów 19, 70-310 Szczecin, Poland, tezet@zut.edu.pl
Bibliografia
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  • 5. Eguiluz V.M., Ospeck M., Choe Y., Hudspeth A.J., Magnasco M.O. (2000), Essential nonlinearities in hearing, Phys. Rev. Lett., 84, 5232-5235.
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  • 7. Goldstein J.L. (1973), An optimum processor theory for the central formation of the pitch of complex tones, J. Acoust. Soc. Am., 54, 1496-1516.
  • 8. Greenwood D.D. (1971), Aural combination tones and auditory masking, J. Acoust. Soc. Am., 50, 502-543.
  • 9. Helle R. (1969/70), Amplitude and phase of third order auditory difference tone [in German: Amplitude und Phase des im Gehör gebildeten Differenztones dritter Ordnung], Acustica, 22, 74-87.
  • 10. Helmholtz H. (1856), On the combination tones [in German: Űber Combinationstöne], Ann. Phys. Chem., 99, 497-540.
  • 11. Helmholtz H. (1863), On the sensation of tone as a physiological basis for the theory of music, 1st English ed. 1897, Paperback ed. 1954, Dover, New York; Chap.VII, App.XII, [in German: Die Lehre von Tonempfindungen als physiologische Grundlage für die Theorie der Music], F.Vieweg, Braunschweig.
  • 12. Houtsma A.J.M. (2007), Experiments on pitch perception: implications for music and other processes, Archives of Acoustics, 32, 3, 475-490.
  • 13. Houtsma A.J.M., Goldstein J.L. (1972), The central origin of the pitch of pure tones: evidence from musical interval recognition, J. Acoust. Soc. Am., 51, 520-529.
  • 14. Licklider J.C.R. (1951), A duplex theory of pitch perception, Experientia, 7, 128-133.
  • 15. Lohri A., Carral S., Chatziioannou V. (2011), Combination tones in violins, Archives of Acoustics, 36, 4, 727-740.
  • 16. Meddis R.,Hewitt M. (1991a), Virtual pitch and phase sensitivity studied of a computer model of the auditory periphery I. Pitch identification, J. Acoust. Soc. Am., 89, 2866-2882.
  • 17. Meddis R., Hewitt M. (1991b), Virtual pitch and phase sensitivity studied of a computer model of the auditory periphery II. Phase sensitivity, J. Acoust. Soc. Am., 89, 2883-2894.
  • 18. Meddis R., O'Mard L. (1997), A unitary model of pitch perception, J. Acoust. Soc. Am., 102, 1811-1820.
  • 19. Michalski W., Bochnia M., DziewiszekW. (2011), Simultaneous measurement of the DPOAE signal amplitude and phase changes, Archives of Acoustics, 36, 3, 499-508.
  • 20. Moore B.C.J. (1997), Introduction to psychology of hearing, 4th edition, Academic Press, London.
  • 21. Ohm G.S. (1843), On the definition of a tone with the associated theory of the siren [in German], Poggendorf's Annalen der Physik und Chemie, 59, 497ff.
  • 22. Plomp R. (1964), Rate of decay of auditory system, J. Acoust. Soc. Am., 36, 277-282.
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  • 24. Plomp R. (1976), Aspects of tone sensation, Academic Press, London.
  • 25. Robles L., Ruggero M.A., Rich N.C. (1997), Twotone distortion on the basilar membrane of the chinchilla cochlea, J. Neurophysiol, 77, 5, 2385-2399.
  • 26. Ruggero M.A., Rich N.C. (1991), Furosemide alters organ of Corti mechanism: Evidence for feedback of outer hair cells upon the basilar membrane, J. Neurosci., 11, 1057-1067.
  • 27. Smoorenburg G.F. (1972a), Audibility region of combination tones, J. Acoust. Soc. Am., 52, 603-614.
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  • 29. Terhardt E. (1974), Pitch, consonance, and harmony, J. Acoust. Soc. Am., 55, 1061-1069.
  • 30. Van Dijk P., Manley G.A. (2001), Distortion product otoacoustic emissions in the tree frog Hyla cinerea, Hearing Research, 153, 14-22.
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Typ dokumentu
Bibliografia
Identyfikator YADDA
bwmeta1.element.baztech-article-BUS8-0026-0082
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