Cochlear implant (CI) devices afford many profoundly deaf individuals worldwide partially restored hearing ability. Although CI users achieve remarkable speech perception with contemporary multichannel CI devices, their music perception ability is generally unsatisfactory. Improved CI-mediated music perception ability requires that the underlying constraints hindering processing of music-relevant information need to be identified and understood. This study puts forward a systematic approach, informed by the neurocognitive mechanisms underlying music perception in normal hearing (NH), for investigating implant-mediated music perception. Psychoacoustical experiments were used to explore the extent to which music-relevant information delivered to the central auditory system following peripheral electrical stimulation supports music perception. Task-specific stimuli and test procedures were developed to assess perception of pitch, rhythm and loudness information, both as separate and in combined form, in sound-field listening conditions. CI users’ unsuccessful judgement of the musical character of short, novel single-voice melodies suggests that insufficient information reaches the central auditory processing system to effect a unified musical percept. This is despite sound field frequency discrimination behaviour being better than had been expected and rhythm perception ability with regard to short tone sequences of varying pitch and rhythmic complexity being comparable to that of NH listeners. CI listeners also performed similarly to NH listeners during pitch-dependent loudness perception tasks. Within the framework of a hierarchical, modular processing system underlying music perception, it appears that early pitch processing deficits propagate throughout the music processing system to exert an overriding inhibitory perceptual effect. The outcomes of this study not only underline the importance of delivering sufficient pitch information to the electrically stimulated auditory system but also show that music perception in CI-mediated hearing should be investigated and understood as the outcome of an integrated perceptual system. / Thesis (PhD)--University of Pretoria, 2011. / Electrical, Electronic and Computer Engineering / Unrestricted

Le bruit, en particulier celui dû au trafic routier, est cité par de nombreuses études comme une source de préoccupation sociétale majeure. Jusqu'à présent les réponses des pouvoirs publics ne se basent que sur une quantification énergétique de l'exposition sonore, souvent via la mesure ou l'estimation du LA ou du Lden, et des prises de décisions relatives à la diminution du niveau sonore. Or des études psychoacoustiques ont montré que le niveau sonore n'expliquait qu'une faible part de la gêne sonore ressentie. Il est donc intéressant d'avoir plus d'information sur la source de bruit et de ne pas la réduire à un simple niveau sonore. Dans cette thèse, nous proposons de concevoir un outil permettant d'estimer la gêne sonore associée à chaque véhicule du trafic routier via l'utilisation de son signal audio et de modèles de gêne sonore. Pour ce faire, le signal audio du véhicule est isolé de l'ensemble du trafic routier urbain grâce à l'utilisation de méthodes inverses et de grands réseaux de microphones ainsi que du traitement d'images pour obtenir sa trajectoire. Grâce à la connaissance de la trajectoire ainsi que du signal, le véhicule est classifié par une méthode de machine learning suivant la taxonomie de Morel et al. Une fois sa catégorie obtenue, la gêne spécifique du véhicule est estimée grâce à un modèle de gêne sonore utilisant des indices psychoacoustiques et énergétiques. Cela permet l'estimation des gênes sonores spécifiques à chaque véhicule au sein du trafic routier. L'application de cette méthode est faite lors d'une journée de mesure sur une grande artère parisienne. / Noise, especially road traffic noise, is cited by many studies as a source of major societal concern. So far, public responses are based only on energy quantification of sound exposure, often by measuring or estimating LA or Lden, and sound-level reduction related decision are taken. Nevertheless, psychoacoustic studies have shown that the sound level explains only a small part of the perceived noise annoyance. It is interesting to have more information about the source of noise and not to reduce the information to its sound level. In this thesis a tool is proposed for estimating the noise annoyance induced by each road vehicle using its audio signal and noise annoyance models. To do so, the audio signal of the vehicle is isolated by using inverse methods, large microphones arrays and image processing to obtain its trajectory. The knowledge of the trajectory and of the signal allows the vehicle to be classified by a machine learning method according to Morel et al. taxonomy. Once its category obtained, the specific annoyance of the vehicle is estimated thanks to a noise annoyance model using psychoacoustic and energetic indices. This allows the estimation of specific noise annoyance for each vehicle within the road traffic. The application of this method is made during a measurement day on a large Parisian artery.

Peu d'études ont été menées sur l'influence de la stéréoscopie sur la perception d'un mixage audio au cinéma. Les témoignages de mixeurs ou les articles scientifiques montrent pourtant une grande diversité d'opinions à ce sujet. Certains estiment que cette influence est négligeable, d'autres affirment qu'il faut totalement revoir notre conception de la bande-son, aussi bien au niveau du mixage que de la diffusion. Une première série d'expériences s'est intéressée à la perception des sons d'ambiance. 8 séquences, dans leurs versions stéréoscopiques (3D-s) et non-stéréoscopiques (2D), ont été diffusées dans un cinéma à des sujets avec plusieurs mixages différents. Pour chaque présentation, les sujets devaient évaluer à quel point le mixage proposé leur paraissait trop frontal ou au contraire trop « surround », le but étant de mettre en évidence une éventuelle influence de la stéréoscopie sur la perception de la balance frontal/surround d'un mixage audio. Les résultats obtenus ont rejoint ceux d'une expérience préliminaire menée dans un auditorium de mixage, où les sujets se trouvaient en situation de mixeur et devaient eux-mêmes régler la balance frontal/surround : l'influence de la stéréoscopie était faible et n'apparaissait que pour quelques séquences. Des études ont ensuite été menées sur la perception des objets sonores tels que dialogues et effets. Une quatrième expérience s'est intéressée à l'effet ventriloque en élévation : lorsque l'on présente à un sujet des stimuli audio et visuel temporellement coïncidents mais spatialement disparates, les sujets perçoivent parfois le stimulus sonore au même endroit que le stimulus visuel. On appelle ce phénomène l’effet ventriloque car il rappelle l'illusion créée par le ventriloque lorsque sa voix semble plutôt provenir de sa marionnette que de sa propre bouche. Ce phénomène a été très largement étudié dans le plan horizontal, et dans une moindre mesure en distance. Par contre, très peu d'études se sont intéressées à l'élévation. Dans cette expérience, nous avons présenté à des sujets des séquences audiovisuelles montrant un homme en train de parler. Sa voix pouvait être reproduite sur différents haut-parleurs, qui créaient des disparités plus ou moins grandes en azimut et en élévation entre le son et l'image. Pour chaque présentation, les sujets devaient indiquer si la voix semblait ou non provenir de la même direction que la bouche de l'acteur. Les résultats ont montré que l'effet ventriloque était très efficace en élévation, ce qui suggère qu'il n'est peut-être pas nécessaire de rechercher la cohérence audiovisuelle en élévation au cinéma. / Few psychoacoustic studies have been carried out about the influence of stereoscopy on the sound mixing of movies. Yet very different opinions can be found in the cinema industry and in scientific papers. Some argue that sound needs to be mixed differently for stereoscopic movies while others pretend that this influence is negligible.A first set of experiments was conducted, which focused on the perception of ambience. Eight sequences - in their stereoscopic (s-3D) and non-stereoscopic (2D) versions, with several different sound mixes - were presented to subjects. For each presentation, subjects had to judge to what extent the mix sounded frontal or “surround.” The goal was to verify whether stereoscopy had an influence on the perception of the front/surround balance of ambience. Results showed that this influence was weak, which was consistent with a preliminary experiment conducted in a mixing auditorium where subjects had to mix the front/surround balance of several sequences themselves.Studies were then conducted on the perception of sound objects such as dialogs or on-screen effects. A fourth experiment focused on ventriloquism in elevation: when presented with a spatially discordant auditory-visual stimulus, subjects sometimes perceive the sound and the visual stimuli as coming from the same location. Such a phenomenon is often referred to as ventriloquism, because it evokes the illusion created by a ventriloquist when his voice seems to emanate from his puppet rather than from his mouth. While this effect has been extensively examined in the horizontal plane and to a lesser extent in distance, few psychoacoustic studies have focused on elevation. In this experiment, sequences of a man talking were presented to subjects. His voice could be reproduced on different loudspeakers, which created disparities in both azimuth and elevation between the sound and the visual stimuli. For each presentation, subjects had to indicate whether or not the voice seemed to emanate from the mouth of the actor. Ventriloquism was found to be highly effective in elevation, which suggests that audiovisual coherence in elevation might be unnecessary in theaters.

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Professional research project (Au.D.)--University of SouthFlorida, 2002. / Title from PDF of title page. / Document formatted into pages; contains 22 pages. / Includes bibliographical references. / Text (Electronic thesis) in PDF format. / ABSTRACT: The purpose of this study was to determine the prevalence of the binaural interaction component (BIC) in a large sample of normal hearing adults, and to measure the absolute latency and amplitude of the BIC as a function of the click rate of the stimulus and the electrode montage. The BIC is obtained by subtracting the auditory evoked potential waveform obtained with binaural stimulation from the waveform obtained by adding the responses from the left and right monaural stimulation. The tested hypothesis was that the recordings of the BIC vary among normal hearing individuals, and BIC latency and amplitude values change as a function of stimulus rate. Studies of the BIC help to explain the neural correlates of some binaural processes, and to develop an electrophysiological index of binaural processes for objective clinical evaluations.Data was completed and analyzed on 47 adults between the ages of 20 and 41 (mean = 25) with hearing in the normal range (thresholds [ 20 dB HL at 500, 1000, 2000, and 4000 Hz in each ear) and no known neurological disorders. The results revealed a great variability in BIC morphology between subjects. The BIC waveforms were categorized into five distinct groups according to the number of positive and negative peaks present. Chi-square analyses revealed a significant relationship between click rate and BIC category; however, the relationship between recording montage and BIC category was insignificant. An Analysis of Variance (ANOVAs) revealed a significant increase in absolute latency and decrease in absolute amplitude of both negative and positive peaks as click rate increased from 7.7/s to 57.7/s. The results did not reveal a significant change in the type of BIC as an effect of electrode montage.In conclusion, the BIC within the binaural difference waveform may be obtained in the majority of young individuals with normal hearing. Specifically, a slower stimulus rate revealed more components of the waveform, as well as an improvement in the morphology of the BIC compared to a faster stimulus rate. As these findings may aid in the development of an electrophysiological index of binaural neural processes in young individuals with normal hearing, more research should be attempted in the study of BIC in other age groups and patients with different audiograms. / System requirements: World Wide Web browser and PDF reader. / Mode of access: World Wide Web.

Orientador: Jozué Vieira Filho / Banca: Suely Cunha Amaro Mantovani / Banca: Marco Aparecido Queiroz Duarte / Resumo: A proposta deste trabalho é aprimorar a performance da técnica de redução de ruído, subtração espectral baseado na relação SNR a Priori, através da implementação de dois novos parâmetros Potência de Articulação e Não-Articulação obtidas a partir de algumas técnicas psicoacústicas. Faz-se um estudo da anatomia do sistema de audição humana e algumas limitações físicas, com o objetivo de entender o princípio básico da técnica ANIQUE, que é um sistema de avaliação objetiva de voz e têm como princípio o modelamento da percepção humana da voz. Através do modelo ANIQUE são extraídas as principais técnicas psicoacústicas para obtenção dos novos parâmetros, Potência de Articulação e Não- Articulação. Procurou-se apresentar de maneira resumida o processo de equacionamento das técnicas de redução de ruído em sinais de voz e das técnicas psicoacústicas. Posteriormente são descritos todos os processos das técnicas utilizadas que foram simuladas utilizando a linguagem de programação do MatLab®, seguido das avaliações objetivas dos sinais processados pelo software PESQ, que é um programa de avaliação objetiva de voz. Os resultados mostram que a implementação das técnicas psicoacústicas foram eficazes para melhorar a performance da técnica subtração espectral baseada na relação SNR a Priori / Abstract: The purpose of this work is to enhance the performance of noise reduction techniques based on spectral subtraction, which take in account the a priori signal-to-noise (SNR a Priori) to be estimated considering psychoacoustic criteria. in order to understand the basic principle of the ANIQUE, which is a psychoacoustic based technique used to evaluate the quality of speech signals, it was necessary to develop a study of the anatomy of the human hearing and some physical limitations, From the ANIQUE are extracted new parameters namely Articulation and Non-Articulation Powers, used to estimate the SNR_prio. As a result, it was obtained a new spectral based technique which was implemented in the MatLab® environment and evaluated using the objective quality measure for speech signal simulations namely PESQ. The results show that the implementation of psychoacoustic techniques were effective in enhance the performance of the spectral subtraction technique based on SNR a Priori / Mestre

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-02-25Bitstream added on 2014-06-13T19:59:46Z : No. of bitstreams: 1 kanda_az_me_ilha.pdf: 1642888 bytes, checksum: 49ebcd86d5690e7be50fcdca35a52a48 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A proposta deste trabalho é aprimorar a performance da técnica de redução de ruído, subtração espectral baseado na relação SNR a Priori, através da implementação de dois novos parâmetros Potência de Articulação e Não-Articulação obtidas a partir de algumas técnicas psicoacústicas. Faz-se um estudo da anatomia do sistema de audição humana e algumas limitações físicas, com o objetivo de entender o princípio básico da técnica ANIQUE, que é um sistema de avaliação objetiva de voz e têm como princípio o modelamento da percepção humana da voz. Através do modelo ANIQUE são extraídas as principais técnicas psicoacústicas para obtenção dos novos parâmetros, Potência de Articulação e Não- Articulação. Procurou-se apresentar de maneira resumida o processo de equacionamento das técnicas de redução de ruído em sinais de voz e das técnicas psicoacústicas. Posteriormente são descritos todos os processos das técnicas utilizadas que foram simuladas utilizando a linguagem de programação do MatLab®, seguido das avaliações objetivas dos sinais processados pelo software PESQ, que é um programa de avaliação objetiva de voz. Os resultados mostram que a implementação das técnicas psicoacústicas foram eficazes para melhorar a performance da técnica subtração espectral baseada na relação SNR a Priori / The purpose of this work is to enhance the performance of noise reduction techniques based on spectral subtraction, which take in account the a priori signal-to-noise (SNR a Priori) to be estimated considering psychoacoustic criteria. in order to understand the basic principle of the ANIQUE, which is a psychoacoustic based technique used to evaluate the quality of speech signals, it was necessary to develop a study of the anatomy of the human hearing and some physical limitations, From the ANIQUE are extracted new parameters namely Articulation and Non-Articulation Powers, used to estimate the SNR_prio. As a result, it was obtained a new spectral based technique which was implemented in the MatLab® environment and evaluated using the objective quality measure for speech signal simulations namely PESQ. The results show that the implementation of psychoacoustic techniques were effective in enhance the performance of the spectral subtraction technique based on SNR a Priori

L’implant cochléaire (IC) est une prothèse auditive implantée dans l’oreille interne qui a pour fonction de restaurer le sens de l’audition aux personnes atteintes de surdité sévère à profonde lorsque les aides auditives classiques ne leur permettent plus une audition suffisante. Pour pouvoir transmettre les indices provenant des sons extérieurs, l’IC contourne une grande partie du système auditif défaillant et stimule directement les fibres du nerf auditif du patient. En pratique, les électrodes de l’implant émettent des trains d’impulsions électriques modulées en amplitude. Ces trains d’impulsions ont une fréquence de répétition (cadence) constante. Un problème limitant est que nous ne connaissons pas entièrement les effets physiologiques et perceptifs liés à l’augmentation de la cadence de stimulation. Le projet de recherche lié à la présente thèse s’inscrit dans l’optique d’améliorer le codage temporel des futurs ICs. Cette thèse a pour but de mieux comprendre l’influence de la cadence de la stimulation électrique sur la perception des sons avec, comme objectif fondamental, de caractériser les mécanismes physiologiques sollicités lors d’une stimulation électrique. La cadence de la stimulation affecte au moins trois dimensions perceptives distinctes qui sont la hauteur, la durée et la sonie. Les expériences s’intéressent à résoudre des problèmes précis concernant chacune de ces dimensions. Lorsque nous le pouvions, les expériences réalisées chez le sujet IC ont également été réalisées chez des sujets normo-entendants en utilisant des simulations acoustiques d’ICs. / Cochlear implants (CIs) are auditory prostheses directly inserted in the inner ear to partly restore the sense of audition to people suffering from severe to profound deafness. In order to convey environmental sounds, CIs bypass the peripheral auditory system and produce amplitude-modulated electrical pulses that stimulate auditory nerve fibres. In general, pulses are delivered with a constant frequency of occurrence (i.e. rate). Even if CI users reach good performances to understand speech, it roughly diminishes when they are placed more complex audiological environment.A potential problem is that stimulation rates are not the same among subjects while our knowledge concerning the physiological mechanisms provided by rate variations, is limited. This thesis aims to improve temporal coding of CIs by studying the perceptual influence of stimulation rate, and quantify the physiological mechanisms sought by an electrical stimulation. At least, stimulation rate acts on three perceptual dimensions which are pitch, sound duration and loudness. The present experiment solves specific problems concerning each dimension cited previously. In addition to electrical stimulations, acoustical simulations of a CI were conducted to compare normal hearing with hearing-impaired performances.

This thesis deals with the issue of the creation of a programme that would simulate the distortion that appears during the process of lossy audio coding. As the environment for the creation, the MATLAB programming language has been chosen. An encoder, which changes the subjective signal quality according to customer preferences for the bitrate, has been created as a practical part of this thesis. Its function is based on a dynamic bit allocation technique and includes an optional window switching algorithm. The theoretical background for the creation of the programme consists of an explanation of the main principles of lossy coding with emphasis on MPEG1 layer 3 operating principles. The practical chapter describes how the created programme and its parts work, and it includes results of the run quality testing. The testing was conducted using the objective assessment method PEMO-Q, and consisted of comparing the objective quality of the programme’s outputs to the quality of samples on which a regular MP3 encoder with identical settings was used.

In this work is presented technique for embedding digital watermark in digital audio signals. Digital watermark must be imperceptible and should be robust against attacks and other types of distortion. Algorithm is implemented for embedding digital watermark using technique spread-spectrum and psychoacoustic model ISO-MPEG I layer I. Robustness was tested for filtering signal, MP3 compression and resample method.