Experimental design and auditory stimuli.
A: experimental design for analyzing context dependence. During the
recording, we presented well-designed
N sequences of a given set of
N sound fragments with no interstimulus interval in a randomly interleaved manner (shown is an example for
N = 4; intersequence interval, ∼6 s). For the
analysis, we aligned the recording data to examine the variability in the responses to a given sound fragment (
probe;
S1 in this example) due to the presence of different preceding stimuli (
context; “silence,”
S1,
S2,
S3, and
S4). The choice of conditioning stimuli depends on the goal of the analysis (for details, see
Stimulus design in
methods). Here we assumed that the response power (broken line;

[
rij(
t)] from
Eq. 11) to a probe stimulus at time
t from probe onset can be divided into noise power (

[ε
ij(
t)]) and stimulus-related power (thin black;

[μ(
t) + ν
i(
t)] in
Eq. 17) that can be further decomposed into a context-independent fraction (

[μ(
t)] in
Eq. 18) and a context-dependent fraction (gray;

[ν
i(
t)] in
Eq. 19). For details, see
Analysis in
methods.
B: natural sounds and synthetic sounds. Natural sound fragments (
SNS1 and
SNS2; 4.11 s long; sound pressure waveforms, spectrograms, and temporal and spectral marginal distributions) differ substantially in their spectrotemporal components, which causes a large and long context dependence in A1 when they are used as conditioning stimuli (Figs. 2 and 3). On the other hand, the temporal and spectral patterns in the marginal distributions between modulated colored noise
SMCN1 and the corresponding natural sound
SNS1 are nearly identical, resulting in a small and short context dependence (Fig. 8). Synthetic sounds such as modulated harmonic tones (sound pressure waveform and corresponding spectrograms; 1 s long) can be used to assess the effects of the changes in sound properties in more detail. Compared with
SMHT, for example,
SΔAMP has 30 dB less power,
SΔFREQ has the frequency components up-shifted by 1.5 octaves,
SΔAM has slower AM rates by 4 Hz on average, and
SΔFM has half the SD for the frequency-modulated (FM) depth. For details, see
synthetic sounds in
methods.