Multivariantism of Auditory Perceptions as a Significant Element of the Auditory Scene Analysis Concept

Round 1

Reviewer 1 Report

Comments and Suggestions for Authors

This is a curious paper that appears to sit awkwardly between theoretical and empirical approaches. The analyses that are presented appear to be derived from the author's own listening experience, but they are offered uncritically, and with no sense of which interpretation of structure occur in preference to others, nor why. There are phrases such as 'the inquisitive listener will separate the sounds produced by the two hands ...' Who is the inquisitive listener? How does the author know that inquisitive listeners will do this or that?

There is a whole body of work in this area post Bregman, which isn't taken into account. 

To be publishable, the paper needs to either become more theoretical, perhaps with some 'preference rules' as to which interpretation is likely to be lighted on in a given context (and why, with reference to music-psychological principles), or more empirical, whereby a cohort of listeners hears the excerpts and, through a mechanism to be determined, explains to the researcher how they 'hear' the excerpt structurally and, if they are able to say, why.

Author Response

Thank you very much for doing the review. I made the appropriate corrections. Details see the attachment.

Author Response File: Author Response.pdf

Reviewer 2 Report

Comments and Suggestions for Authors

see attached

Comments for author File: Comments.pdf

Author Response

Thank you very much for doing the review. Details see the attachment.

Author Response File: Author Response.pdf

Reviewer 3 Report

Comments and Suggestions for Authors

Scientific Review of the Manuscript: Multivariantism of auditory perception as a significant element of auditory scene analysis concept.

The manuscript I had the opportunity to analyze represents an excellent example of an innovative approach to auditory scene analysis and its application to music. In this work, the author, for the first time in such a comprehensive manner, transfers the theoretical aspects of auditory scene analysis into the field of music, which in itself is an impressive achievement, opening new research perspectives. The concept of multivariantism in auditory perceptions as an element of auditory scene analysis, as undertaken by the author, constitutes a significant contribution to the science of music perception and provides new tools for further studies on musical auditory perception.

 

Innovation and originality of the approach

The author builds upon Albert S. Bregman's well-established theory of auditory scene analysis, expanding it by introducing the concept of multivariantism in auditory perception, which enhances and complements the existing understanding of auditory structure and organization in music. This approach stands out not only for its fresh perspective but also for the exceptional precision with which the author analyzes musical examples. For the first time in the literature, a comprehensive analysis is presented that combines psychological and cognitive aspects of auditory perception with the analysis of musical structures. This is an extremely valuable initiative, especially given that previous studies on auditory scene analysis have primarily focused on simple, laboratory-based sound examples rather than on music, making the author's work truly pioneering.

 

The richness of the bibliography and theoretical rigor

The manuscript is also characterized by a very solid theoretical foundation, as evidenced by its extensive and comprehensive bibliography. The author references both classical research and the latest advancements in psychoacoustics, music cognition, and auditory scene analysis. The use of literature is thoughtful and contextualized with a precision that reflects the author's deep understanding of the subject. In particular, references to studies by Bregman, Wright, and Pressnitzer lend gravity to the work and demonstrate a rigorous approach to the topic.

 

The use of graphic examples

A notable feature of the manuscript, worthy of emphasis, is the use of graphic examples that greatly enhance the understanding of the perceptual principles discussed. The author employs illustrations that compare multivariantism in visual and auditory perception, which significantly aids comprehension of the presented concepts, even for readers without advanced knowledge of psychoacoustics. These examples, combined with musical notation excerpts, serve as accessible educational tools, making it easier to observe the diversity of perceptual variants within the same musical passages. This approach substantially enriches the work and provides significant added value for the manuscript's potential audience.

 

Musical Examples and Original Analysis

Particular attention should also be given to the analysis of selected musical works, which have been carefully chosen and subjected to the author’s thorough, original analysis. Excerpts from compositions by Camille Saint-Saëns, Franz Liszt, and Felix Mendelssohn Bartholdy not only illustrate the discussed phenomena effectively but also enable the translation of theoretical considerations into practical observations. The author examines harmonic structure, melody, and rhythmic organization in a way that demonstrates how the listener’s shifting focus creates different “perceptual streams.” Such an in-depth analysis within classical music is rare and attests to the author’s high level of analytical competence and advanced musical knowledge. The author places particular emphasis on the analysis of musical material, which forms the central axis of the entire text. I believe this is an excellent approach, as it enables the practical illustration of theoretical concepts through real musical examples. The musical analysis is conducted with exceptional precision, offering insight into various aspects of auditory perception in music. This focus on analysis not only enriches the scientific value of the work but also makes it more accessible to readers, who can follow complex perceptual mechanisms through concrete examples.

 

Language and Understanding of the Subject

It is worth emphasizing that the manuscript stands out for its exceptionally high linguistic quality and precision, essential when addressing such complex and multifaceted topics as auditory scene analysis in music. The text has undergone meticulous editing by a native speaker with years of experience (a certificate from the Native Speaker is attached to the text), resulting in an impressively professional linguistic execution. Stylistically, it is evident that the author can blend a high scientific standard with clear and accessible language, facilitating readers' comprehension of complex content. This linguistic quality adds an additional scientific dimension, as the precision in expressing intricate concepts enables a deeper understanding of the material. Each sentence is carefully crafted, with rich vocabulary and terminology used thoughtfully and consistently, enhancing the substantive impact of the text. Such attention to the linguistic aspect of the work exemplifies how high scientific quality can harmonize with high linguistic standards, further strengthening the scientific value and credibility of the research presented and its potential significance in the literature.

 

Summary

This manuscript is an excellent example of an interdisciplinary approach to auditory perception issues in music and undoubtedly deserves publication. The combination of auditory scene analysis with real, complex musical examples, along with a novel approach to perceptual multivariantism, makes this work unique. The author’s achievements, both in theory and in the practical application of concepts, have a substantial impact on the further development of research in psychoacoustics and music cognition. In my view, the manuscript represents an invaluable contribution to scientific literature and should be published. The text requires no revisions and fully merits acceptance in its current form. The conducted analysis demonstrates that, both substantively and linguistically, it is refined down to the finest detail. The quality of scientific presentation and stylistic execution meets the highest academic standards, and the careful editing makes the text precise and clear, further enhancing its value. Accordingly, I recommend accepting the manuscript in its present version, without the need for any adjustments.

Comments for author File: Comments.pdf

Author Response

Thank you very much for conducting the review, for the valuable comments, and for the time dedicated to it, as well as for helping to improve the text to make it better and more readable—I sincerely thank you.

 

Round 2

Reviewer 1 Report

Comments and Suggestions for Authors

I've found it easiest to write my comments on the pdf (attached).

  The author has gone some way to acknowledging the limitations of their study, but it's still not clear who did the listening in the empirical part of the work. I assume it was the author. Also other factors appear to have been at play – such as seeing the score at the same time as listening, for example. There are other ways of dividing the passages into auditory streams. Are some more musically persuasive than others? How are the ones that are shown selected?   Overall, I think the paper would be publishable with significant amendments to address these issues

Comments for author File: Comments.pdf

Comments on the Quality of English Language

NONE

Author Response

All responses for the Reviewer have been included in the Word file.

Author Response File: Author Response.pdf