Lodies applied in the warped melodies process. The middle row shows the original melodies, “Old MacDonald” (left) and “Twinkle Twinkle Small Star” (right). The upper rows show the warped melodies with warp aspects greater than one particular along with the decrease rows show the warped melodies with warp components significantly less than 1. Axes will be the similar as Figure four.that it changes the sizes from the musical intervals, even though keeping the melodic contour intact. For warp variables much less than 1, the intermediate notes were shifted downwards in pitch and hence the imply pitch was lower than the original. Conversely, for warp variables greater than 1, the intermediate notes had been shifted upwards in pitch, plus the imply pitch was greater. Every block of trials utilized two warp factors, 1 the reciprocal on the other, with their order randomized, in order that a subject who SCM-198 responded purely on the basis from the mean pitch would score 50 . A block oftrials comprised 16 trials (2 melodies 2 warp components four repetitions). Subjects were tested with progressively far more complicated pairs of warp things, starting with warp elements 10 and 0.1, then 4 and 0.25, then two and 0.five, providing a total of 48 trials. In numerous cases, testing was stopped early when the subject scored at likelihood levels. Note Ranking. The goal was to design a pitch-ranking job that could be in some sense comparable to, or at least relevant to, the melody tasks. Within the modifiedMarimuthu et al.Table six. Note Sequences Made use of in Note-ranking Job.In each and every trial, a pair of notes (X, Y) was presented within a three-note melody, 
either [X, X, Y] or [Y, Y, X]. The subject’s job was to categorize the melody as either increasing pitch or falling pitch (a two alternative forced selection procedure). Phrasing the query this way (rather than asking the subject to select the stimulus with all the higher pitch) was intended to concentrate interest around the melodic context, for consistency with all the modified melodies test. This phrasing was also utilised by Houtsma and Smurzynski (1990). The amplitude with the final note was randomly increased or decreased by two present levels to minimizethe attainable use of loudness cues. The notes had been precisely the same duration and 
played at the same tempo as inside the modified melodies test. A block of trials comprised 48 trials (six note pairs 2 directions 4 repetitions).ResultsThe CC-220 site benefits were divided into two subsets for evaluation. The very first subset of outcomes addressed the hypothesis that stimulating a lot more electrodes would enhance pitch overall performance. It comprised the four spatial patterns (Apex, Mid, Pair, and Scan) at pulse rates in Octave 3, more than six subjects. The second subset of results comprised the four single-channel stimuli (Apex and Mid, at pulse prices in Octaves 3 and 4), addressing the problem of price lace interaction. The Octave 3 Apex and Octave three Mid scores appeared in each subsets. The second subset PubMed ID:http://www.ncbi.nlm.nih.gov/pubmed/19922256 contained only five subjects, as subject S2 didn’t undertake the Octave 4 pulse rate circumstances.Trends in HearingFigure eight. Scores for individual subjects with Octave 3 pulse rates (“C3” indicates Octave 3). Each and every contrast set (group of bars) that had a important spread of scores is indicated by “” (p .05) or “” (p .01).The note-ranking scores were aggregated primarily based on the interval size; by way of example, the “Rank 2” label represents the sum of the scores for note pairs (C, D) and (G, A). For the warped melodies procedure, scores of reciprocal warp variables had been summed; for instance, the “Warp 10” label represents the sum from the scores for warp facto.Lodies applied in the warped melodies procedure. The middle row shows the original melodies, “Old MacDonald” (left) and “Twinkle Twinkle Little Star” (right). The upper rows show the warped melodies with warp variables greater than a single and also the reduce rows show the warped melodies with warp factors much less than 1. Axes are the exact same as Figure four.that it changes the sizes from the musical intervals, though maintaining the melodic contour intact. For warp elements significantly less than 1, the intermediate notes have been shifted downwards in pitch and thus the imply pitch was lower than the original. Conversely, for warp things higher than 1, the intermediate notes had been shifted upwards in pitch, and also the mean pitch was higher. Every block of trials utilized two warp aspects, one particular the reciprocal from the other, with their order randomized, in order that a topic who responded purely around the basis of your mean pitch would score 50 . A block oftrials comprised 16 trials (2 melodies two warp components four repetitions). Subjects were tested with progressively more hard pairs of warp things, starting with warp variables 10 and 0.1, then four and 0.25, then two and 0.5, giving a total of 48 trials. In numerous instances, testing was stopped early when the topic scored at opportunity levels. Note Ranking. The goal was to design a pitch-ranking process that would be in some sense comparable to, or at least relevant to, the melody tasks. Within the modifiedMarimuthu et al.Table 6. Note Sequences Utilised in Note-ranking Job.In every single trial, a pair of notes (X, Y) was presented in a three-note melody, either [X, X, Y] or [Y, Y, X]. The subject’s process was to categorize the melody as either increasing pitch or falling pitch (a two alternative forced option process). Phrasing the question this way (as opposed to asking the topic to pick the stimulus using the greater pitch) was intended to focus attention around the melodic context, for consistency together with the modified melodies test. This phrasing was also made use of by Houtsma and Smurzynski (1990). The amplitude on the final note was randomly increased or decreased by two present levels to minimizethe feasible use of loudness cues. The notes were precisely the same duration and played at the identical tempo as within the modified melodies test. A block of trials comprised 48 trials (six note pairs two directions 4 repetitions).ResultsThe final results were divided into two subsets for evaluation. The initial subset of results addressed the hypothesis that stimulating a lot more electrodes would increase pitch performance. It comprised the 4 spatial patterns (Apex, Mid, Pair, and Scan) at pulse prices in Octave 3, over six subjects. The second subset of benefits comprised the 4 single-channel stimuli (Apex and Mid, at pulse prices in Octaves three and 4), addressing the problem of rate lace interaction. The Octave three Apex and Octave three Mid scores appeared in each subsets. The second subset PubMed ID:http://www.ncbi.nlm.nih.gov/pubmed/19922256 contained only 5 subjects, as topic S2 did not undertake the Octave 4 pulse price conditions.Trends in HearingFigure 8. Scores for individual subjects with Octave three pulse prices (“C3” indicates Octave three). Each and every contrast set (group of bars) that had a significant spread of scores is indicated by “” (p .05) or “” (p .01).The note-ranking scores had been aggregated based on the interval size; by way of example, the “Rank 2” label represents the sum with the scores for note pairs (C, D) and (G, A). For the warped melodies procedure, scores of reciprocal warp variables have been summed; for example, the “Warp 10” label represents the sum of your scores for warp facto.