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Mechanism of dynamic pitch perception as a basis of melody cognition

作为旋律认知基础的动态音高感知机制

基本信息

批准号：
01510069
负责人：
TSUMURA Takashi
金额：
$ 1.15万
依托单位：
Kyushu Institute of Design
依托单位国家：
日本
项目类别：
Grant-in-Aid for General Scientific Research (C)
财政年份：
1989
资助国家：
日本
起止时间：
1989 至 1991
项目状态：
已结题

项目摘要

Dynamic pitch perception, as well as static pitch perception, is important in melody cognition in a broad sense. The present research aimed to examine the relationship between the movements of spectral components and the corresponding perceptual impressions to examine the mechanism of relative pitch perception.We generated complex tones with a fixed trapezoidal spectral envelope on the coordinates of logarithmic frequency and sound pressure level. They had a non-octave spectral periodicity. We asked subjects to judge the relative pitches of these tones using a paired comparison procedure, and found that the circularity (or the failure of transitive law) in pitch perception as Shepard (1964) had shown appeared even when thud-periodicity was non-octave or a little irregular (against Shepard's explanation using the notion of tone chrome).We also made inharmonic complex tones whose components either ascended or descended together with the same speed (on the dimension of logarithmic frequency), and called them backgrounds. Another component either ascending or descending with the same speed was added to each of them as the signal. It turned out that signals moving in the opposite direction from the background were easier to hear out. We also used inharmonic Japanese vowels as signals, and got similar results by measuring their cognitive thresholds under fixed backgrounds.Our general conclusion was that, when many spectral components move together in the same direction with similar speeds, they cause a single perception of an ascending or descending pitch. This idea could be derived from the common fate principle of Gestalt psychology. Our study showed the applicability of this principle to inharmonic complex tones for the first time.

动态音高知觉与静态音高知觉一样，在广义的旋律认知中占有重要地位。本研究旨在研究频谱成分的移动与相应的感知印象之间的关系，以探讨相对音高感知的机制，我们产生了一个固定的梯形频谱包络的对数频率和声压级坐标的复杂的音调。它们有一个非倍频程的光谱周期。我们要求受试者使用配对比较程序来判断这些音调的相对音高，并发现，谢泼德（1964）指出，即使当重击声周期性为非八度音或稍不规则时，音高知觉中的传递律也会失效（反对谢泼德使用色调Chrome概念的解释）我们还把非谐复音的成分同速上升或下降（在对数频率的维度上），称之为背景。另一个以相同速度上升或下降的分量被添加到它们中的每一个作为信号。事实证明，与背景相反方向移动的信号更容易被听到。我们还以日语中的不和谐元音为信号，在固定的背景下测量了它们的认知阈值，得到了类似的结果：当多个频谱成分以相似的速度向同一方向移动时，它们会引起一个上升或下降音高的单一感知。这一思想可以从格式塔心理学的共同命运原则中得到启发。我们的研究表明，这一原则的适用性，非谐波复杂的音调第一次。