Auditory Scene Analysis

An individual's auditory surroundings

The mental representation of the auditory environment

A segment of sound from the environment

A display of multiple sounds from various sources

The process of inferring backwards which sounds come from which source in order to build a mental representation of each, when all are received simultaneously

The process of inferring backwards which sounds come from which source in order to build a mental representation of each, when all are received sequentially

The process of tracking forwards which sounds come from which source in order to build a mental representation of each, when all are received simultaneously

The process of tracking forwards which sounds come from which source in order to build a mental representation of each, when all are received sequentially

Extracting individual components of a waveform and "group" ones that originate from same event

Extracting individual components of a waveform and "match" them to earlier sounds originating from the same source

Extract individual sounds from a mixture and "group" ones that originate from same event

Extract individual sounds from a mixture and "match" them to earlier sounds originating from the same source

Extract individual sounds from a mixture and "match" them to earlier sounds originating from the same source

Extract individual sounds from a mixture and "group" ones that originate from same event

Extracting individual components of a waveform and "match" them to earlier sounds originating from the same source

Extracting individual components of a waveform and "group" ones that originate from same event

(1) Similarity Principle, (2) Proximity, (3) Good Continuation, (4) Closure, (5) Figure-Ground Principle

(1) Similarity Principle, (2) Localisation, (3) Good Continuation, (4) Substitution, (5) Figure-Ground Principle

(1) Common Features, (2) Proximity, (3) Flow, (4) Closure, (5) Perspective

(1) Common Features, (2) Localisation, (3) Flow, (4) Substitution, (5) Perspective

Sounds with similar qualities tend to be percieved as coming from the same source

Sounds with similar qualities tend to originate from the same source

Sounds with similar frequencies tend to be percieved as coming from the same source

Sounds with similar frequencies tend to originate from the same source

(1) Common onset/offset times, (2) Same localisation, (3) Harmonic structure, (4) Common modulation pattern

(1) Common onset/offset times, (2) Same phase, (3) Harmonic structure, (4) Common frequency patterns

(1) Common reception times, (2) Same localisation, (3) Common timbre, (4) Common modulation pattern

(1) Common reception times, (2) Same phase, (3) Common timbre, (4) Common frequency patterns

(a) Weak cue (b) Important for linking sounds over time

(a) Weak cue (b) Not very useful for linking sounds over time

(a) Strong cue (b) Important for linking sounds over time

(a) Strong cue (b) Not very useful for linking sounds over time

A stream

A sequence

A harmony

A flow

Having the same patterns of frequency and amplitude

Having the same patterns of timbre

Having the same gaps between frequencies

Having a common pattern of pitch

(a) Sequential organisation (b) Sounds near each other in time, most likely from same source

(a) Sequential organisation (b) Sounds far apart in time, most likely from same source

(a) Simultaneous organisation (b) Sounds near each other in time, most likely from same source

(a) Simultaneous organisation (b) Sounds far apart in time, most likely from same source

Common onset time and harmonicity

Spectral proximity and timbre

Common onset time and timbre

Spectral proximity and harmonicity

Spectral proximity and timbre

Common onset time and harmonicity

Spectral proximity and harmonicity

Common onset time and timbre

In ambiguous situations, the missing bits of sound tend to be filled in, resulting in the perception of continuity

In ambiguous situations, the missing bits of sound tend to be omitted, resulting in the perception of continuity

In ambiguous situations, the missing bits of sound tend to be filled in, resulting in the perception of closed gaps where the missing sound is

In ambiguous situations, the missing bits of sound tend to be omitted, resulting in the perception of closed gaps where the missing sound is

(1) Sound could be perceived as interrupted (2) Continuing through the noise

(1) Sound could be perceived as interrupted (2) Sound could be perceived as two separate sounds

(1) Sound could be perceived as a whole (2) Continuing through the noise

(1) Sound could be perceived as a whole (2) Sound could be perceived as two separate sounds

Sounds going through simple and smooth changes more likely perceived as from same source, than those with abrupt changes in pitch, loudness or localisation

Sounds going through simple and smooth changes less likely perceived as from same source, than those with abrupt changes in pitch, loudness or localisation

Sounds going through simple and smooth changes more likely perceived as from same source, than those with abrupt changes in timbre or harmonic qualities

Sounds going through simple and smooth changes less likely perceived as from same source, than those with abrupt changes in timbre or harmonic qualities

Once all sounds allocated to sources, one will emerge as the "figure" and will be the object of attention, while the rest become the "ground"

Once all sounds allocated to sources, one will emerge as the "fundamental" and will be the object of attention, while the rest become the "ground"

Once all sounds allocated to sources, one will emerge as the "figure" and will be the only one processed, while the rest become the "ground"

Once all sounds allocated to sources, one will emerge as the "fundamental" and will be the only one processed, while the rest become the "ground"

All "ground" sounds are still available, attention is able to switch back to them at will

All "ground" sounds are still available, but attention is not able to switch back to them at will

All "ground" sounds become one, attention is able to switch back to them at will

All "ground" sounds become one, but attention is not able to switch back to them at will