Basis Of Pitch Research Articles

Analysis of modified palatal surface for better speech in edentulous patients: A clinico-analytical study.

Phonetics with mechanics and aesthetics are considered cardinal factors contributing to the success of complete dentures. The aim of the current study was to evaluate the changes in speech in complete denture patients with and without palatal surface changes. The data collected for the study involved completely edentulous Patients (n= 80). Patients were divided into two groups. Group A: Up to 50 years (n= 40); Group B: Above 50 years (n= 40) (including male and female). Each group was further divided into four subgroups for speech analysis-without dentures (A1/B1); with conventional dentures (A2/B2); dentures with a palatogram (A3/B3) and dentures with palate sandblasted (A4/B4). The speech sounds of all patients were evaluated for pitch and intensity using a spectrophotogram (Praat software) and Likert scale. The data so obtained from the quantitative and qualitative analysis were statistically analysed through one-way ANOVA, unpaired student's t-test, and Pearson correlation coefficient. Qualitative analysis was done with the Mann-Whitney U test. The maximum mean value of the pitch and intensity in Groups A and B was subgroup A3 (Palatogram) 190.37 ± 21.50 and 77.07 ± 7.58, B3 (Palatogram) 190.87 ± 24.36 and 75.33 ± 8.12. When comparing Groups A [A1, A2, A3, A4] and B [B1, B2, B3, B4] on the basis of pitch and intensity, a statistically insignificant value was found. No changes in speech sounds (pitch and intensity) were observed in terms of age. Both quantitative and qualitative analysis results showed that speech sounds in the patients with palatogram, had the highest pitch and intensity and were most clear to the listener and there were statistically significant differences from other groups. Speech was better in palatogram-based dentures in comparison to a sandblasted denture, conventional denture and without denture in terms of qualitative and quantitative analysis. The physiologic nature of the palatogram fabrication technique produces the palatal part of the denture more compatible with the tongue, thus producing better speech.

Sandra Trehub (1938–2023)

Research Article| April 01 2023 Sandra Trehub (1938–2023) E. Glenn Schellenberg, E. Glenn Schellenberg Instituto Universitário de Lisboa (ISCTE-IUL), Lisbon, Portugal Search for other works by this author on: This Site PubMed Google Scholar Laurel J. Trainor Laurel J. Trainor McMaster University, Hamilton, Canada Search for other works by this author on: This Site PubMed Google Scholar Music Perception (2023) 40 (4): 347–349. https://doi.org/10.1525/mp.2023.40.4.347 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation E. Glenn Schellenberg, Laurel J. Trainor; Sandra Trehub (1938–2023). Music Perception 1 April 2023; 40 (4): 347–349. doi: https://doi.org/10.1525/mp.2023.40.4.347 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentMusic Perception Search We are greatly saddened by the passing of Sandra Trehub. Born in 1938, she died peacefully at her home on January 20, 2023. Sandra was a trailblazer. Her research focusing on auditory pattern perception in infancy and early childhood single-handedly started developmental research in music perception and cognition. Her experimental studies documented that infants have basic skills that form the building blocks for remembering and responding emotionally to music, including the capability to perceive and categorize auditory sequences on the basis of pitch, upward or downward changes in pitch, and rhythm. Her research also established that singing to infants is a universal behavior, which ultimately facilitates language acquisition and bonding with caregivers. A fellow of the Association for Psychological Science and the British Psychological Society, Sandra was awarded many honors, including a Lifetime Achievement Award from the Society for Music Perception and Cognition and the Kurt Koffka Medal from the... You do not currently have access to this content.

DETECTION OF ETHNO-LINGUAL IDENTITY USING ARTIFICIAL INTELLIGENCE, MACHINE LEARNING AND VOICE ANALYSIS TOOLS: INTRODUCING “AUTOMATED CRIMINAL ETHNICITY IDENTIFICATION SYSTEM” (ACEIS)

Voice evidence is also known as voiceprint like fingerprint, it has been proven to substantiate the findings. Voiceprint is a dissimilar character for different people. In forensic science sometimes, we come across cases where the suspect’s or victim’s ethnicity has to be identified using various number of identification factors like voice, physical and anthropological features etc. In such cases the examination of an individual’s ethnicity may be identified using the other available identification factors but when it comes to the Ethno-Lingual identification then examining the individual’s language for the same and that too without any digital tool, i.e., doing it manually, becomes a sturdy task for the examiner. The database of the voice samples of Hindi, English and Mother language has been successfully created by the authors which is named as the “Automated Criminal Ethnicity Identification System” (ACEIS). In this paper, the author has summarised the various studies conducted on the ethno-lingual identification and their acquisition. Based on the studies, it was concluded in the review that the use of Artificial Intelligence and Machine Learning was used in prior studied but in India it hasn’t been done yet. When known samples were analysed for their ethnicity, we noticed that an 80% matching was there among the samples belonging from same ethnicity. This matching-percentage was calculated on the basis of Pitch, Amplitude, Formant Frequencies, Frequencies and the average time taken to speak a word/letter etc.

Response characteristics of the rat anterior cingulate cortex to ultrasonic communicative vocalizations.

Emotional communication involves transmitting information on affective states. Rat 50- and 22-kHz ultrasonic vocalizations (USVs) are emotional communication signals that reflect positive or negative states, respectively. In general, emotional communication signals that elicit changes in event-related potentials (ERPs), suggesting a specific mechanism for processing these signals. As this is observed in several communication systems including humans, we hypothesized that rat USVs can also trigger such changes. In this study, we measured rat local field potentials and used them to calculate ERPs from the anterior cingulate cortex (ACC), an area related to motor production of USVs. In Experiment 1, we measured ERPs to pure tones with peak frequencies around 50 or 22 kHz to examine whether the ACC is involved in auditory sensory processing related to pitch. The results showed that pure tones around 50 kHz elicited large amplitude ERPs, whereas those around 22 kHz resulted in smaller ERPs. In Experiment 2, we compared ERPs in response to rat USVs (emotional stimuli) with ERPs to pure tones modeled after USVs (neutral stimuli). The peak frequencies were the same between USVs and neutral sounds, but USVs showed more frequency modulation than neutral sounds. USVs elicited larger changes in the amplitude of ERP components than neutral stimuli did. These experiments suggest that the rat ACC is sensitive to frequencies around 50 and 22 kHz, and is especially tuned to frequency modulation around these frequencies. Taken together, the rat ACC may process the emotional content of communication signals on the basis of pitch and frequency modulation.

Infant pitch perception: Missing fundamental melody discrimination.

Although recent results show that 3-month-olds can discriminate complex tones by their missing fundamental, it is arguable whether they are discriminating on the basis of a perceived pitch. A defining characteristic of pitch is that it carries melodic information. This study investigated whether 3-month-olds, 7-month-olds, and adults can detect a change in a melody composed of missing fundamental complexes. Participants heard a seven-note melody and learned to respond to a change that violated the melodic contour. To ensure that participants were responding on the basis of pitch, the notes in the melody had missing fundamentals and varied in spectral content on each presentation. In experiment I, all melodies had the same absolute pitch, while in experiment II, the melodies were randomly transposed into one of three different keys on each presentation. Almost all participants learned to ignore the spectral changes and respond to the changed note of the melody in both experiments, strengthening the argument that complex tones elicit a sense of musical pitch in infants. These results provide evidence that complex pitch perception is functional by 3 months of age.

CALCULATION OF PITCH FOR THE IRANIAN TRADITIONAL MUSIC GENRE CLASSIFICATION STUDIED ON TWO STRINGED INSTRUMENTS THE TAR AND THE SETAR

Audio signal classification system analyzes the input audio signal and creates a label that describes the signal at the output. These are used to characterize both music and speech signals. The categorization can be done on the basis of pitch, music content, music tempo and rhythm. A musical sound is said to have four perceptual attributes: pitch, loudness, duration and timbre. These four attributes make it possible for a listener to distinguish musical sounds from each other. Pitch is a perceptual and subjective attribute of sound and plays an important role in the human understanding of sound. Although the pitch estimation of monophonic sound is well resolved, the polyphonic pitch estimation has been proved to be a very difficult task. Here, the main purpose is to calculate pitch for classification of The Radif of Mirzâ Abdollâh which has been played by two famous stringed instruments the Tar and the Setar

Comparative Study of Filter Performance for Separation of Singing Voice from Music Accompaniment

An audio signal is a representation of sound. Audio signals have frequency range 20 to 20 kHz. Audio signals may be synthesized directly. A mixture refers to the physical combination of two or more substances on which the identities and are mixed in the form to separate out. An audio signal classification system should be able to categorize different audio input formats (speech, background noise, and music). Audio signal classification system analyzes the input audio signal and describes the signal at the output. These are used to characterize both music and speech signals. The categorization can be done on the basis of pitch, music content, music tempo and rhythm. From the comparative results it is observed that the wiener filter is better for noise reduction than others. We refer SEGSNR parameter for study because of its improved filter performance. Separating singing voice from music is very useful in many applications.

Acoustic correlates of primary and secondary stress in North American English

This study investigates the acoustic correlates of the distinction between primary and secondary stress in English in accented and unaccented morphologically complex words that are either left-prominent or right-prominent (e.g. ˈ vio | late vs. | vio ˈ lation ). In both accented and unaccented words, the position of primary and secondary stress significantly influences F0, intensity, and spectral balance. The effects are, however, much weaker for unaccented words. A model is presented which can, for accented words, very successfully distinguish the two stress patterns on the basis of pitch, intensity, duration, spectral balance in the two stressed syllables and the pitch slope in the left position. In contrast, the stress patterns of unaccented words cannot be successfully detected on the basis of the acoustic parameters. The findings strongly support an accent-based phonological account of the primary–secondary stress distinction. Primary and secondary stress syllables are not different from each other, unless the word is pitch-accented. In this case what is usually labeled the primary stress syllable becomes the target of a nuclear accent. Left-prominent accented words receive one accent, right-prominent accented words two accents.

Shifting perceptions: Developmental changes in judgments of melodic similarity.

Musical melodies are recognized on the basis of pitch and temporal relations between consecutive tones. Although some previous evidence (e.g., Saffran & Griepentrog, 2001) points to an absolute-to-relative developmental shift in listeners' perception of pitch, other evidence (e.g., Plantinga & Trainor, 2005; Schellenberg & Trehub, 2003) suggests that both absolute- and relative-pitch processing are evident among listeners of all ages (infants, children, and adults). We attempted to resolve this apparent discrepancy by testing adults as well as children 5-12 years of age. On each trial, listeners rated how similar or how different 2 melodies sounded. The melodies were identical, transposed (all tones shifted in pitch by the same amount), different (same tones reordered, changing pitch relations between successive tones), or transposed and different. Listeners of all ages were sensitive to both changes, but younger listeners attended selectively to transpositions as a source of perceived differences. With increasing age, melodic differences played an increasingly important role, whereas transpositions became less relevant.

A re-evaluation of the relation between physiological channel interaction and electrode pitch ranking in cochlear implants

Spatial excitation patterns in cochlear implant users can be measured with the electrically evoked compound action potential (ECAP). This study examined whether the relative separation of ECAP excitation patterns for two electrodes was correlated with the ability to discriminate those electrodes on the basis of pitch. Significant correlations were found for nine of the ten subjects. Electrodes with significant relative overlap of ECAP spatial excitation patterns were generally more difficult to distinguish on the basis of pitch. Pitch-ranking ability and overlap of ECAP patterns were both affected by the relative separation between electrodes in each pair. With increased separation between electrodes, pitch ranking improved significantly, and ECAP spatial excitation patterns showed significantly less overlap.

The relation between electrophysiologic channel interaction and electrode pitch ranking in cochlear implant recipients

The primary goal of this study was to examine the relation between electrophysiologic measures of channel interaction and the ability to discriminate pitch between electrodes in a psychophysical pitch-ranking task. It was hypothesized that cochlear implant recipients should perform better on an electrode pitch-ranking task when using electrodes with less channel interaction as measured with the electrically evoked compound action potential (ECAP). The width of the ECAP channel interaction function was compared with the slope of the pitch-ranking function for 10 adult Nucleus 24 recipients. Results showed no significant correlation between electrode pitch-ranking ability and width of the ECAP channel interaction function for individual subjects or for group data. Additionally, there was no significant correlation between speech perception performance and either pitch-ranking ability or width of the ECAP channel interaction function. These results suggest that the width of the ECAP interaction function may not be an accurate predictor of the ability to discriminate between electrodes on the basis of pitch.

Synaesthesia: Pitch-Colour Isomorphism in RGB-Space?

A new experimental technique found coloured-hearing synaesthetes to possess localised isomorphism between pitch and colour. We found significantly more consistency in synaesthetes' pitch-colour matches than controls, with matches unaffected by musical experience, not facilitated by absolute pitch (AP) and responded to on the basis of pitch alone, without interference from note-name information. Synaesthetes also placed their colour responses to quartertones (notes falling between adjacent semitones) significantly closer to the RGB midpoint of their responses to the semitones lying either side. This is partial evidence for a direct, localised pitch-colour correspondence. Criteria for possible between- synaesthete similarities in patterning are also discussed, with limited evidence for localised patterning presented.

Touch-induced scraping sounds and texture perception

Sound is often the result of human–object interaction (touch, striking, scraping, etc.) and conveys to the listener required information about physical attributes of the interaction, and spatial properties of the sound event, e.g., location, geometry. People are highly skilled in using touch-produced sounds to identify texture properties. Loudness and pitch of the touch-induced scraping sounds are the important psychoacoustical determinants of the texture perception [S. J. Lederman, Perception 8, 93–103 (1979)]. In this study, psychophysical experiments were conducted to investigate the relationship between auditory properties (loudness and pitch) and texture perception. In order to control the psychoacoustical parameters, the scraping sounds were synthesized in computer environment. The results of the experiments show that subjects were able to differentiate the roughness of textures on the basis of pitch and loudness differences. Decreasing pitch tends to result in increasing magnitude of perceived roughness.

Discriminant analysis of acoustic cues to three Green Mong tones

Green Mong is a tone language with an inventory of seven contrastive tones. The tonal system of Green Mong incorporates both pitch and phonation-type distinctions, and appears to make use of many of the acoustic parameters which have been shown to correlate with phonation-type cross-linguistically. This study looks at three Green Mong tones that have similar pitch contours, but are distinguished by the distinctive use of breathy, creaky, and modal phonation. Acoustically, the three tones are distinguished to some degree on the basis of pitch, relative amplitude of lower and higher harmonics (H1–H2), duration, vowel quality, and voice onset time. Discriminant analysis is used to estimate the value of these different cues for classifying tokens into tone categories based on observed characteristics in tone production. Discriminant functions were generated using measurements from 270 CV words produced by six speakers, for which every combination of three vowels (/i/, /u/, /a/) five consonants, and three tones (breathy, creaky, modal) was attested. Results of the analyses will be presented, as well as results for classification of a separate, test set of 102 CV tokens produced by the same six speakers.

Maximum key-profile correlation (MKC) as a measure of tonal structure in music.

Tonal structure is musical organization on the basis of pitch, in which pitches vary in importance and rate of occurrence according to their relationship to a tonal center. Experiment 1 evaluated the maximum key-profile correlation (MKC), a product of Krumhansl and Schmuckler's key-finding algorithm (Krumhansl, 1990), as a measure of tonal structure. The MKC is the maximum correlation coefficient between the pitch class distribution in a musical sample and key profiles, which indicate the stability of pitches with respect to particular tonal centers. The MKC values of melodies correlated strongly with listeners' ratings of tonal structure. To measure the influence of the temporal order of pitches on perceived tonal structure, three measures (fifth span, semitone span, and pitch contour) taken from previous studies of melody perception were also correlated with tonal structure ratings. None of the temporal measures correlated as strongly or as consistently with tonal structure ratings as did the MKC, and nor did combining them with the MKC improve prediction of tonal structure ratings. In Experiment 2, the MKC did not correlate with recognition memory of melodies. However, melodies with very low MKC values were recognized less accurately than melodies with very high MKC values. Although it does not incorporate temporal, rhythmic, or harmonic factors that may influence perceived tonal structure, the MKC can be interpreted as a measure of tonal structure, at least for brief melodies.

Perceiving fractal noises in pitch, loudness, and duration

Three experiments examined discrimination among a family of fractals possessing different power law spectra. In experiment 1, random numbers sequences were generated so that their spectra had slopes (in log‐log plane) or 0 (white noise), − 1 (flicker noise), and − 2 (brown noise). The distributions were used to produce sequences that could vary in pitch, loudness, or duration. Listeners categorized each sequence as being of one of the three noise types. Thurstonian scaling revealed that noise segment classification could be accomplished on the basis of pitch and loudness variation, but not on the basis of duration changes. Experiment 2 explored simultaneous pitch and loudness variation, finding dimensional redundancy for white/flicker discrimination suggestive of a pitch‐loudness interaction. Experiment 3 examined sensitivity for discrimination of noises as a function of the power law exponent. Listeners heard two sequences of tones and indicated whether they had the same or different power law exponent. The range of exponents spanned the interval [0, −3], with the stimuli under comparison differing by 0.2, 0.4, 0.6, or 0.8. ROC analyses revealed some variation in sensitivity to the fractal exponents as a function of position in the [0, −3] interval.

Perceptual normalization of the vowels of a man and a child in various contexts

The topic of this study is speaker normalization. Both a man and a child rapidly produced the Dutch sentences “Matroos p Vt kaas” (“Sailor p Vt eats cheese”): the man imitated the child's pitch. The test words p Vt were presented to listeners in their original carrier sentence, in isolation, and in the other talker's carrier sentence. Especially in the latter condition considerably more vowel confusions occurred. It is argued that listeners match unknown vowels with template vowels of “average” men, women or children: the appropriate template is chosen on the basis of pitch and timbre of the unknown vowels. The vowel confusions in the present experiment can thus be explained by a confusion of templates. This explanation accounts better for the test results than the one suggested by Joos (1948) and others, that the acoustic context provides information about the formant frequencies of the talker's vowels with which a vowel space can be constructed that serves as a reference frame for the identification of the vowels in the test words.

Pitch and Duration as Determinants of Musical Space

In an experiment aimed at assessing dimensional properties of musical space, musicians rated the similarity of pairs of brief melodies on a 9-point scale. From our review of previous work, we hypothesized (1) that pitch variables would be considered more important than time or rhythmic variables by our subjects and (2) that the metrical consonance of pitch and duration patterns would generate a factor related to pattern regularity in listeners' musical space. Four melodies and their inversions were played in each of four rhythmic patterns (anapestic, dactylic, iambic, and trochaic) for a total of 1024 pattern pairs. Both multidimensional scaling and cluster analyses of similarity showed that at least five dimensions were needed for a good accounting of the perceptual space of these melodies. Surprisingly, the major dimensions found were rhythmic: (1) duple or triple rhythm, (2) accent first or last, and (3) iambic-dactylic versus trochaic-anapestic. Other dimensions were (4) rising or falling pitch and (5) the number of pitch—contour inflections. The tendency to rate patterns on the basis of time or rhythm (Dimensions I, II, and III) was negatively correlated with the tendency to rate patterns on the basis of pitch (Dimensions IV and V). It could not be determined whether this result depends on cognitive processing limitations, attention, or preferences. No factor was found that related to pattern regularity as we defined it.

Measuring musical abilities of autistic children.

Three normal children with reported musical ability and three autistic children were tested for the ability to imitate individual tones and series of tones delivered by voice, piano, and synthesizer. Accuracy of imitation was judged by two independent observers on the basis of pitch, rhythm, and duration. The autistic children overall performed as well as or better than the age-matched normal children. These results are discussed and their implications for future neurological and clinical research are considered.

Pitch and attention

We have been investigating the ability of listeners to detect Morse-Code-like messages solely on the basis of pitch from a mixture of three such messages heard binaurally through headphones, Each message consists of tone bursts of a particular frequency having two “longs” (tone bursts of duration 400 msec) and two “shorts” (tone bursts of duration 200 msec) in various combinations. Silent intervals between bursts for a particular message invariably have durations of 100 msec. Tones are adjusted beforehand to have equal loudness if each were “on” solely and continuously. All messages have the same duration, Two basic variants of the experiment have been investigated so far. In the first, listerners receive no pitch cue and are asked to find the “middle” (or “low” or “high”) pitch message. In the second, listeners hear a pure tone of frequency equal to the desired message (pitch cue) prior to hearing the message mixture and are asked to determine the message of that pitch. Cues and/or messages can be heard as often as the subject desires. If all three messages have frequencies below roughly 1500 Hz but are well separated with respect to the critical band, then “getting the message” is easy, pitch cue or not, unless two of the frequencies are an octave apart. In that case, the pitch cue is essential for high recognition rates. If at least two of the constituent frequencies are above 1500 Hz, then “getting the message” is highly dependent on the pitch cue. [Work supported by NIH.]