Low-high-low or high-low-high? Pattern effects on sequential auditory scene analysis.

Sequential auditory scene analysis (ASA) is often studied using sequences of two alternating tones, such as ABAB or ABA_, with "_" denoting a silent gap, and "A" and "B" sine tones differing in frequency (nominally low and high). Many studies implicitly assume that the specific arrangement (ABAB vs ABA_, as well as low-high-low vs high-low-high within ABA_) plays a negligible role, such that decisions about the tone pattern can be governed by other considerations. To explicitly test this assumption, a systematic comparison of different tone patterns for two-tone sequences was performed in three different experiments.

Assessing the background decomposition of a complex auditory scene with event-related brain potentials.

A listener who focusses on a sound source of interest must continuously integrate the sounds emitted by the attended source and ignore the sounds emitted by the remaining sources in the auditory scene. Little is known about how the ignored sound sources in the background are mentally represented after the source of interest has formed the perceptual foreground. This is due to a key methodological challenge: the background representation is by definition not overtly reportable.

Subjective perceptual organization of a complex auditory scene.

Empirical research on the sequential decomposition of an auditory scene primarily relies on interleaved sound mixtures of only two tone sequences (e.g., ABAB…).

Using binocular rivalry to tag foreground sounds: Towards an objective visual measure for auditory multistability.

In binocular rivalry, paradigms have been proposed for unobtrusive moment-by-moment readout of observers' perceptual experience ("no-report paradigms"). Here, we take a first step to extend this concept to auditory multistability. Observers continuously reported which of two concurrent tone sequences they perceived in the foreground: high-pitch (1008 Hz) or low-pitch (400 Hz) tones.