“There's an audio illusion, if you will, in music called a ‘ Shepard tone’ and with my composer David Julyan on ‘The Prestige’ we explored that, and based a lot of the score around that,” Nolan said. The present approach thus provides a novel window into the perceptual processing of spectral envelopes that invites further exploration.Account icon An icon in the shape of a person's head and shoulders. This finding constitutes the first systematic effect of ambiguity and context sensitivity of timbral brightness judgements. Results from experiment 2 demonstrated that brightness judgments for ambiguous shifts were strongly biased towards the direction of the prior context. Further, half-octave shifts of the spectral envelope yielded perceptual ambiguity in the sense that participants were roughly as likely to report either one of the two presented tones as sounding brighter. Experiment 1 demonstrated that shifts of the cyclic envelope component were perceived as systematic changes in brightness. (2017) and effects unfolded analogously to the original pitch experiments. The general design of the experiments followed the approach described by Chambers et al. In this letter, I have described two experiments that examined timbral brightness shift judgments for tone pairs with fixed pitch, using stimuli with a harmonic spectral fine structure and cyclic spectral envelope components. In analogy with Chambers et al., this ambiguity was expected to resolve with the presentation of context tones in experiment 2. Given that the present stimuli shared the cyclic nature of the classic Shepard tones, the same ambiguity effects known from pitch were expected for half-octave shifts in experiment 1. Specifically, upward spectral shifts were presumed to yield brighter sounds. would unfold for brightness judgements in both experiments. Following the reported commonalities between pitch and timbral brightness perception, I hypothesized that analogous effects compared to Chambers et al. Experiment 2 tested the extent to which responses for the most ambiguous shifts were modulated by prior context. Experiment 1 established a relation between the magnitude of the spectral shift and listeners' perception of brightness change. Instead of using Shepard tones or random spectra, the fundamental frequency was held constant and stimuli were varied in terms of the spectral envelopes. The experiments described in the following are modelled according to the first two experiments by Chambers et al. However, to my knowledge, no reports of systematic ambiguity or context sensitivity of timbral brightness perception exist that would parallel the described effects for pitch. At the same time, a recent neuroimaging study suggested no systematic anatomical distinction between the cortical regions that subserve the encoding of pitch or brightness variation ( Allen et al., 2016). Russo and Thompson, 2005 Melara and Marks, 1990). They observed symmetric mutual interference of pitch and brightness in a discrimination task, when differences in sensitivity between attributes and participants were controlled (cf. Allen and Oxenham (2014) studied interactions between auditory attributes. (2013) found strong commonalities between pitch and brightness processing for sequences of varying length, but distinct patterns of results for loudness. Also testing auditory sequence discrimination, Cousineau et al. (2008) showed that listeners recognized transposed timbral brightness (and loudness) patterns in similar ways compared to pitch patterns, which indicates that relative representations, commonly thought of as a hallmark feature of pitch, could be a general feature of the auditory system. Although timbral brightness and pitch are usually studied in separation, core commonalities have been registered.
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