Hearing is the most accurate sense for perceiving duration. However, rarely it produces inaccurate estimates of duration, for example when it compares the subjective duration of tones that are increasing in intensity over time (i.e., ramped) with that of tones that are decreasing in intensity over time (i.e., damped). The literature reports that the damped tones are perceived as much being shorter than the ramped tones of the same length. The short subjective duration of damped tones may originate from a decay suppression mechanism that parses the source-informative part of many natural sounds (i.e., the beginning) from the less informative part of them (the decay): listeners may interpret the tail of damped tones like an echo or like the decay portion of an impact sound and exclude it from the account of the duration of the tone. In the natural soundscape, the tail of sounds produced in reverberant environments and the tail of impact sounds have a frequency content that is constant throughout the sound’s duration. Here, the carriers used for ramped and damped sounds were a tone constant in frequency and a tone modulated in frequency. The frequency modulation was introduced to prevent the listener from interpreting the tail of these tones as the result of reverberation or the decay portion of an impact sound. Frequency constant damped tones were largely underestimated in duration whereas frequency modulated ones were not (or were only slightly), demonstrating that the decay suppression mechanism is a worthy explanation for the short subjective duration of damped tones.

中文翻译：

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为什么阻尼声音比斜坡声音更短？

听觉是感知持续时间最准确的感觉。然而，它很少会产生不准确的持续时间估计，例如当它比较强度随时间增加（即斜坡）的音调的主观持续时间与强度随时间降低（即衰减）的音调的主观持续时间时。文献报道，阻尼音被感知为比相同长度的斜音短得多。阻尼音的主观持续时间短可能源于衰减抑制机制，该机制从它们的信息较少的部分（衰减）解析许多自然声音的源信息部分（即开始）：听众可能会解释阻尼的尾部像回声或撞击声的衰减部分一样的音调，并将其从音调持续时间的帐户中排除。在自然音景中，混响环境中产生的声音尾部和撞击声音的尾部具有在整个声音持续时间内恒定的频率内容。这里，用于斜坡和阻尼声音的载波是频率恒定的音调和频率调制的音调。引入频率调制是为了防止听众将这些音调的尾部解释为混响或撞击声的衰减部分的结果。频率常数阻尼音的持续时间在很大程度上被低估了，而频率调制的则没有（或只是轻微地），这表明衰减抑制机制是对阻尼音主观持续时间短的一个有价值的解释。在混响环境中产生的声音尾部和撞击声音的尾部具有在整个声音持续时间内恒定的频率内容。这里，用于斜坡和阻尼声音的载波是频率恒定的音调和频率调制的音调。引入频率调制是为了防止听众将这些音调的尾部解释为混响或撞击声的衰减部分的结果。频率常数阻尼音的持续时间在很大程度上被低估了，而频率调制的则没有（或只是轻微地），这表明衰减抑制机制是对阻尼音主观持续时间短的一个有价值的解释。在混响环境中产生的声音尾部和撞击声音的尾部具有在整个声音持续时间内恒定的频率内容。这里，用于斜坡和阻尼声音的载波是频率恒定的音调和频率调制的音调。引入频率调制是为了防止听众将这些音调的尾部解释为混响或撞击声的衰减部分的结果。频率常数阻尼音的持续时间在很大程度上被低估了，而频率调制的则没有（或只是轻微地），这表明衰减抑制机制是对阻尼音主观持续时间短的一个有价值的解释。用于斜坡和阻尼声音的载波是频率恒定的音调和频率调制的音调。引入频率调制是为了防止听众将这些音调的尾部解释为混响或撞击声的衰减部分的结果。频率常数阻尼音的持续时间在很大程度上被低估了，而频率调制的则没有（或只是轻微地），这表明衰减抑制机制是对阻尼音主观持续时间短的一个有价值的解释。用于斜坡和阻尼声音的载波是频率恒定的音调和频率调制的音调。引入频率调制是为了防止听众将这些音调的尾部解释为混响或撞击声衰减部分的结果。频率常数阻尼音的持续时间在很大程度上被低估了，而频率调制的则没有（或只是轻微地），这表明衰减抑制机制是对阻尼音主观持续时间短的一个有价值的解释。