Academic literature on the topic 'Pitch Pattern Sequence Test'

Introduction Pitch-matching refers to the ability to vocally reproduce an acoustic model in a corresponding tone to the presented sound. This ability, which is dependent on pitch perception ability, can vary among individuals, and some are not able to sing in the correct tune or discriminate differences between tones. Objective To correlate pitch-matching accuracy and auditory processing in individuals without musical training. Methods A Pitch-Matching Test (vocal reproduction of synthesized and human voice sounds) and two commercially available tests of auditory temporal processing (the Pitch Pattern Sequence Test and the Random Gap Detection Test) were administered to all participants. A total of 62 college students of both genders, aged between 18 and 35 years old, were divided into 2 groups, according to their performances in the Pitch-Matching Test (the accurate match group and the inaccurate match group). Results In the Pitch-Matching Test, both groups achieved better results when reproducing vocalized sounds. The accurate match group achieved a significantly higher pitch pattern sequence test performance. In the Random Gap Detection Test analysis, there were no differences between the two groups. The Pearson's chi-squared test showed a direct correlation between the Pitch-Matching Test and the Pitch Pattern Sequence Test. Conclusion The findings of this study suggest the existence of a significant relationship between temporal auditory processing and pitch-matching, through which accurate pitch-matching individuals perform better in the Pitch Pattern Sequence Test. Inaccurate pitch-matching individuals may be skilled at discriminating pitch, despite their poor performance in the Pitch-Matching Test.

AbstractPitch pattern sequence (PPS) and duration pattern sequence (DPS) tests are frequently used in the assessment of auditory processing disorder. Current recommendations suggest alternate, interchangeable modes for responding to stimuli.The objective of the study is to evaluate the influence of response mode (i.e., humming, pointing, and labeling) and age on PPS and DPS performance of 7- to 11-year-old children.Laboratory-based testing of school children. Cross-sectional comparison of age, with repeated measures of age, test, ear, and response mode.From 452 children recruited, 228 right-handed children (109 girls) aged 7 years to 11 years 11 months (mean age 9 years 4 months) completed at least one test (PPS: 211, DPS: 198), and 181 children completed both tests. Audiology inclusion criteria include normal hearing thresholds (≤15 dB HL at octave frequencies 250–8000 Hz); word recognition in quiet ≥92%; tympanogram peak compensated static acoustic compliance 0.4–1.6 mmhos; and tympanometric peak pressure −100 to +50 daPa, all in both ears. Other inclusion criteria were Portuguese as first language; right handed; no musical training; no related, known, or observed phonological, learning, neurologic, psychiatric, or behavioral disorder; otologic history; and delayed neuropsychomotor or language development.PPS: 30 trials per ear and response condition of three consecutive 500 msec duration intermixed high (1430 Hz) or low (880 Hz) frequency tones presented monaurally at 50 dB HL. The first response condition was humming followed by labeling (naming: high or low). DPS: As per PPS except 1000 Hz tones of intermixed 500 (long) and 250 msec (short) duration. First response was pointing (at a symbolic object) followed by labeling. Trends across age and between tests were assessed using repeated measures generalized linear mixed models. Correlation coefficients were calculated to assess relations among test scores. The two-sided significance level was 0.05.Older children performed better than younger children in all tasks. Humming the tone pattern (PPS humming) produced generally better performance than either articulating the attributes of the tones (labeling) or pointing to objects representing tone duration. PPS humming produced ceiling performance for many children of all ages. For both labeling tasks and DPS pointing, performance was better on the PPS than on the DPS, for stimulation of the right than the left ear, and in boys than girls. Individual performance on the two tasks was highly correlated.Response mode does matter in the PPS and DPS. Results from humming should not be combined with or be a substitute for results obtained from a labeling response. Tasks that rely on labeling a tonal stimulus should be avoided in testing hearing in children or other special populations.

OBJETIVO: caracterizar e comparar o desempenho das crianças com diagnóstico de gagueira nos testes de padrão temporal, com crianças sem queixas e/ou sinais de transtornos psiquiátricos ou neurológicos, dificuldades de fala, audição, linguagem e/ou aprendizagem. MÉTODO: participaram 30 crianças entre 9 e 12 anos de idade, de ambos os gêneros, divididas em dois grupos: GI - 15 crianças com gagueira desenvolvimental persistente; GII - 15 crianças sem queixas e/ou sinais de transtornos psiquiátricos ou neurológicos, dificuldades de fala, audição, linguagem e/ou aprendizagem. Para avaliação do processamento auditivo temporal, foi aplicado os Testes Tonais de Padrão de Frequência (PPS-Pitch Pattern Sequence Test) e Testes Tonais de Padrão de Duração (DPS - Duration Pattern Sequence Test). RESULTADOS: o grupo II apresentou desempenho superior no teste de padrão de frequência e de padrão de duração quando comparado ao grupo I. Os resultados indicaram que houve diferença estatisticamente significante entre os grupos estudados. CONCLUSÃO: os participantes do grupo I apresentaram desempenho alterado nos testes de padrão temporal, o que indica que existe relação entre a gagueira e o transtorno do processamento auditivo.

Objective To investigate central auditory processing in children with unilateral stroke and to verify whether the hemisphere affected by the lesion influenced auditory competence. Method 23 children (13 male) between 7 and 16 years old were evaluated through speech-in-noise tests (auditory closure); dichotic digit test and staggered spondaic word test (selective attention); pitch pattern and duration pattern sequence tests (temporal processing) and their results were compared with control children. Auditory competence was established according to the performance in auditory analysis ability. Results Was verified similar performance between groups in auditory closure ability and pronounced deficits in selective attention and temporal processing abilities. Most children with stroke showed an impaired auditory ability in a moderate degree. Conclusion Children with stroke showed deficits in auditory processing and the degree of impairment was not related to the hemisphere affected by the lesion.

Prosody is the pattern of inflection, pitch, and intensity that communicates emotional meaning above and beyond the individual meanings of lexical items and gestures during spoken language. Research has often addressed prosody extending most clearly across multiple speech chunks and carrying properties specific to individual speakers and individual intents. However, prosody exerts effects on intended meaning even for relatively brief speech streams with minimal syntactic cues. The present work seeks to test whether prosody may actually clarify the intended meaning of a two-word phrase even when the basic phonemic sequence of the words is distorted. Thirty-eight undergraduate participants attempted to correctly categorize auditorily presented two-word phrases as belonging to one of three categories: nonsensical phrases; sensible phrases; and spoonerisms. Mixed Poisson modeling of cumulative accuracy found a significant positive interaction of prosody with phrase type indicating that conversational prosody made participants 8.27% more likely to accurately detect spoonerisms. Prosody makes spoken-language comprehension of two-word phrases more robust to distortions of phonemic sequence.

Purpose The paper aims to design a process to mechanize traditional chasing and repoussé which is the art of creating an artistic pattern on a sheet metal by making high and low points through utilization of hammer and chisel. In scientific literature, it is a kind of incremental sheet metal forming. Design/methodology/approach In the designed process, a magnetic actuator is used as a hammer which converts electric energy into kinetic reciprocal impact energy, and hammering sequence is completely controlled via the designed software. The sheet is bound not to move easily. Then, a hammering mechanism is connected to the numerical control machine. As the magnetic hammer is moved gradually along the defined path, the sheet is chased gradually by controlling the consecutive impacts. Different methods of test sheet entanglement are also discussed to reduce noise and undesired deformations of sheet, and indents are also clarified. Findings The designed mechanism enables the user to form desired art patterns faster with more precision via the automated process. The hammering sequence is controlled via computer successfully. The designed magnetic actuator could be commercialized easily. Experiments show that the pitch under sheet is the best. Typical art patterns are chased successfully. Originality/value In incremental sheet metal punching, there was no control on hammering sequence before. In this process, the designed magnetic hammer is quite controllable. Also, it is easily attached to the computerized numerical control (CNC) and is suitable for commercial use. Furthermore, the stuff under sheet was not taken into consideration before.

This study investigates the neural correlates and processes underlying the ambiguous percept produced by a stimulus similar to Deutsch's ‘octave illusion’, in which each ear is presented with a sequence of alternating pure tones of low and high frequencies. The same sequence is presented to each ear, but in opposite phase, such that the left and right ears receive a high–low–high … and a low–high–low … pattern, respectively. Listeners generally report hearing the illusion of an alternating pattern of low and high tones, with all the low tones lateralized to one side and all the high tones lateralized to the other side. The current explanation of the illusion is that it reflects an illusory feature conjunction of pitch and perceived location. Using psychophysics and electroencephalogram measures, we test this and an alternative hypothesis involving synchronous and sequential stream segregation, and investigate potential neural correlates of the illusion. We find that the illusion of alternating tones arises from the synchronous tone pairs across ears rather than sequential tones in one ear, suggesting that the illusion involves a misattribution of time across perceptual streams, rather than a misattribution of location within a stream. The results provide new insights into the mechanisms of binaural streaming and synchronous sound segregation. This article is part of the themed issue ‘Auditory and visual scene analysis’.

O objetivo deste estudo é verificar a eficácia de um programa de Treinamento Auditivo comparando o desempenho inicial, nos testes de avaliação do processamento auditivo, com o desempenho após o treinamento auditivo. Para este estudo de caso, desenvolvido na clínica de Fonoaudiologia da Universidade de Passo Fundo, foi selecionado um indivíduo que apresentava alterações de linguagem, queixas compatíveis com alterações de processamento auditivo, avaliação audiológica básica normal e avaliação do processamento auditivo alterada. Para isso, foram utilizados os testes Pediatric Speech Intelligibility, Staggered Spondaic Word, Dicótico de Dígitos, Random Gap Detection Test, Masking Level Difference e Pitch Pattern Sequence. Os resultados obtidos na reavaliação com os testes de Processamento Auditivo após oito sessões de treinamento auditivo apontaram melhoras na decodificação e codificação que se encontravam alteradas, persistindo um leve prejuízo na organização. A evolução do indivíduo de grau severo para leve comprova a eficácia do Treinamento Auditivo.

Abstract Crossmodal correspondences (CMC) systematically associate perceptual dimensions in different sensory modalities (e.g., auditory pitch and visual brightness), and affect perception, cognition, and action. While previous work typically investigated associations between basic perceptual dimensions, here we present a new type of CMC, involving a high-level, quasi-syntactic schema: music tonality. Tonality governs most Western music and regulates stability and tension in melodic and harmonic progressions. Musicians have long associated tonal stability with non-auditory domains, yet such correspondences have hardly been investigated empirically. Here, we investigated CMC between tonal stability and visual brightness, in musicians and in non-musicians, using explicit and implicit measures. On the explicit test, participants heard a tonality-establishing context followed by a probe tone, and matched each probe to one of several circles, varying in brightness. On the implicit test, we applied the Implicit Association Test to auditory (tonally stable or unstable sequences) and visual (bright or dark circles) stimuli. The findings indicate that tonal stability is associated with visual brightness both explicitly and implicitly. They further suggest that this correspondence depends only partially on conceptual musical knowledge, as it also operates through fast, unintentional, and arguably automatic processes in musicians and non-musicians alike. By showing that abstract musical structure can establish concrete connotations to a non-auditory perceptual domain, our results open a hitherto unexplored avenue for research, associating syntactical structure with connotative meaning.