Biographic and behavioral factors are associated with music-related motor skills in children pianists

This study aimed to identify biographical and behavioral factors associated with children pianists’ motor skills using an objective assessment of a music-relevant motor task. Motor skills at the piano were assessed in 30 children pianists by measuring temporal unevenness in standardized scale playing using musical instrument digital interface (MIDI)-based scale analysis. Questionnaires were used to collect detailed information about the amount of time playing the piano, practice characteristics, attitudes toward music and practice, and the environment of music and practice. Associations between performance values and variables from the questionnaire were investigated using multivariable linear regression. A higher number of years playing the piano, more frequent parental involvement in the child’s practice, more frequent practice of technical exercises, and greater enjoyment of practice and of the visual arts were associated with better motor performance. In addition to cumulative experience and aspects of practice, extrinsic motivational factors (e.g., parental interest) and intrinsic motivational factors (e.g., an artistic disposition) were associated with better performance on a musically-relevant motor task in children pianists.     

Evaluating the influence of the 'unity assumption' on the temporal perception of realistic audiovisual stimuli

Vatakis, A. and Spence, C. (in press) [Crossmodal binding: Evaluating the 'unity assumption' using audiovisual speech stimuli. Perception &Psychophysics] recently demonstrated that when two briefly presented speech signals (one auditory and the other visual) refer to the same audiovisual speech event, people find it harder to judge their temporal order than when they refer to different speech events. Vatakis and Spence argued that the 'unity assumption' facilitated crossmodal binding on the former (matching) trials by means of a process of temporal ventriloquism. In the present study, we investigated whether the 'unity assumption' would also affect the binding of non-speech stimuli (video clips of object action or musical notes). The auditory and visual stimuli were presented at a range of stimulus onset asynchronies (SOAs) using the method of constant stimuli. Participants made unspeeded temporal order judgments (TOJs) regarding which modality stream had been presented first. The auditory and visual musical and object action stimuli were either matched (e.g., the sight of a note being played on a piano together with the corresponding sound) or else mismatched (e.g., the sight of a note being played on a piano together with the sound of a guitar string being plucked). However, in contrast to the results of Vatakis and Spence's recent speech study, no significant difference in the accuracy of temporal discrimination performance for the matched versus mismatched video clips was observed. Reasons for this discrepancy are discussed.     

Musical pleasure beneficially alters stride and arm swing amplitude during rhythmically-cued walking in people with Parkinson's disease

Entrainment of walking to rhythmic auditory cues (e.g., metronome and/or music) improves gait in people with Parkinson's disease (PD). Studies on healthy individuals indicate that entrainment to pleasant musical rhythm can be more beneficial for gait facilitation than entrainment to isochronous rhythm, potentially as a function of emotional/motivational responses to music and their associated influence on motor function. Here, we sought to investigate how emotional attributes of music and isochronous cues influence stride and arm swing amplitude in people with PD. A within-subjects experimental trial was completed with persons with PD serving as their own controls. Twenty-three individuals with PD walked to the cue of self-chosen pleasant music cue, pitch-distorted unpleasant music, and an emotionally neutral isochronous drumbeat. All music cues were tempo-matched to individual walking pace at baseline. Greater gait velocity, stride length, arm swing peak velocity and arm swing range of motion (RoM) were found when patients walked to pleasant music cues compared to baseline, walking to unpleasant music, and walking to isochronous cues. Cued walking in general marginally increased variability of stride-to-stride time and length compared with uncued walking. Enhanced stride and arm swing amplitude were most strongly associated with increases in perceived enjoyment and pleasant musical emotions such as power, tenderness, and joyful activation. Musical pleasure contributes to improvement of stride and arm swing amplitude in people with PD, independent of perceived familiarity with music, cognitive demands of music listening, and beat salience. Our findings aid in understanding the role of musical pleasure in invigorating gait in PD, and inform novel approaches for restoring or compensating impaired motor circuits.     

Action–effect congruence during observational learning leads to faster action sequence learning

Common coding theory suggests that any action (pressing a piano key) is intimately linked with its resultant sensory effect (an auditory musical tone). We conducted two experiments to explore the effect of varying auditory action–effect patterns during complex action learning. In Experiment 1, participants were assigned to 1 of 4 groups, watched a silent video of a hand playing a sequence on a piano keyboard with no auditory action effect (observation) and were asked to practise and perform the sequence on an identical keyboard with varying action effects (reproduction). During reproduction, Group 1 heard no auditory tones (identical to observed video), Group 2 heard typical scale-ascending piano tones with each key press, Group 3 heard fixed but out-of-sequence piano tones with each key press, and Group 4 heard random piano tones with each key press. In Experiment two, new participants were assigned to 1 of 2 groups and watched an identical video; however, the video in this experiment contained typical, scale-ascending piano sounds. During reproduction, Group 1 heard no auditory tones while Group 2 heard typical, scale-ascending piano tones with each key press (identical to observed video). Our results showed that participants whose action–effect patterns during reproduction matched those in the observed video learned the action sequence faster than participants whose action–effect patterns during reproduction differed from those in the observed video. Additionally, our results suggest that adding an effect during reproduction (when one is absent during observation) is somewhat more detrimental to action sequence learning than removing an effect during reproduction (when one is present during observation).     

Are there pre-existing neural, cognitive, or motoric markers for musical ability?

Adult musician's brains show structural enlargements, but it is not known whether these are inborn or a consequence of long-term training. In addition, music training in childhood has been shown to have positive effects on visual-spatial and verbal outcomes. However, it is not known whether pre-existing advantages in these skills are found in children who choose to study a musical instrument nor is it known whether there are pre-existing associations between music and any of these outcome measures that could help explain the training effects. To answer these questions, we compared 5- to 7-year-olds beginning piano or string lessons (n=39) with 5- to 7-year-olds not beginning instrumental training (n=31). All children received a series of tests (visual-spatial, non-verbal reasoning, verbal, motor, and musical) and underwent magnetic resonance imaging. We found no pre-existing neural, cognitive, motor, or musical differences between groups and no correlations (after correction for multiple analyses) between music perceptual skills and any brain or visual-spatial measures. However, correlations were found between music perceptual skills and both non-verbal reasoning and phonemic awareness. Such pre-existing correlations suggest similarities in auditory and visual pattern recognition as well a sharing of the neural substrates for language and music processing, most likely due to innate abilities or implicit learning during early development. This baseline study lays the groundwork for an ongoing longitudinal study addressing the effects of intensive musical training on brain and cognitive development, and making it possible to look retroactively at the brain and cognitive development of those children who emerge showing exceptional musical talent.     

没听到？“听”到！——来自听觉表象神经机制研究的证据

近年来听觉表象开始得到关注,相关研究包括言语声音、音乐声音、环境声音的听觉表象三类。本文梳理了认知神经科学领域对上述三种听觉表象所激活的脑区研究,比较了听觉表象和听觉对应脑区的异同,并展望了听觉表象未来的研究方向。     

Stimulus expectancy modulates inferior frontal gyrus and premotor cortex activity in auditory perception

In studies on auditory speech perception, participants are often asked to perform active tasks, e.g. decide whether the perceived sound is a speech sound or not. However, information about the stimulus, inherent in such tasks, may induce expectations that cause altered activations not only in the auditory cortex, but also in frontal areas such as inferior frontal gyrus (IFG) and motor cortices, even in the absence of an explicit task. To investigate this, we applied spectral mixes of a flute sound and either vowels or specific music instrument sounds (e.g. trumpet) in an fMRI study, in combination with three different instructions. The instructions either revealed no information about stimulus features, or explicit information about either the music instrument or the vowel features. The results demonstrated that, besides an involvement of posterior temporal areas, stimulus expectancy modulated in particular a network comprising IFG and premotor cortices during this passive listening task.     

Psychoacoustic evaluation of musical sounds

A review is given of several basic aspects of musical sounds, i.e., the perception of duration, the perception of sound impulses as events within temporal patterns, timbre, the equivalence of sensational intervals, roughness, and the pitch qualities of complex sounds. Selected examples illustrate how psychoacoustic results can contribute to the evaluation of musical sounds and to the understanding of the perception of music.     

Spatial representation of pitch height: the SMARC effect

Through the preferential pairing of response positions to pitch, here we show that the internal representation of pitch height is spatial in nature and affects performance, especially in musically trained participants, when response alternatives are either vertically or horizontally aligned. The finding that our cognitive system maps pitch height onto an internal representation of space, which in turn affects motor performance even when this perceptual attribute is irrelevant to the task, extends previous studies on auditory perception and suggests an interesting analogy between music perception and mathematical cognition. Both the basic elements of mathematical cognition (i.e. numbers) and the basic elements of musical cognition (i.e. pitches), appear to be mapped onto a mental spatial representation in a way that affects motor performance.     

Phrasing influences the recognition of melodies

One critical step in the processing of complex auditory information (i.e., language and music) involves organizing such information into hierarchical units, such as phrases. In this study, musically trained and untrained listeners' recognition memory for short, naturalistic melodies varying in their phrase structure was tested. For musically trained subjects, memory for information preceding a phrase boundary was disrupted and memory for information subsequent to a phrase boundary was enhanced relative to memory in similar temporal locations for excerpts not containing a phrase boundary. Musically untrained listeners, in contrast, showed no such differences as a function of the phrasing of the melody. These findings conform with previous results in both psycholinguistics and musical cognition and suggest that the phrase serves as a functional unit in musical processing, guiding the parsing of musical sequences during perception, along with the structuring of memory for musical passages.     

Natural Sounds and Musical Sounds: A Dual Distinction

In this article I consider the relationship between natural sounds and music. I evaluate two prominent accounts of this relationship. These accounts satisfy an important condition, the difference condition: musical sounds are different from natural sounds. However, they fail to meet an equally important condition, the interaction condition: musical sounds and natural sounds can interact in aesthetically important ways to create unified aesthetic objects. I then propose an alternative account of the relationship between natural sounds and music that meets both conditions. I argue that natural sounds are distinct from music in that they express a kind of alterity or “otherness,” which occurs in two ways. It occurs referentially, because the sources of natural sounds are natural objects rather than artifactual objects, such as instruments; it also occurs acoustically, because natural sounds tend to contain more microtones than macrotones. On my account, the distinction between music and natural sounds is both conventional and vague; it therefore allows music and natural sounds to come together.     

Implicit chord processing and motor representation in pianists

The aim of this paper is to assess the relevance of pitch dimension in auditory–motor interaction. Several behavioural and brain imaging studies have shown that auditory processing of sounds can activate motor representations, an effect which is however elicited only by action-related sounds, i.e., sounds linked to a specific motor repertoire. Music provides an appropriate framework for further exploration of this issue. Three groups of participants (pianists, non-pianist musicians and non-musicians) were tested with a shape decision task where left-hand and right-hand responses were required; each visual stimulus was paired with an auditory task-irrelevant stimulus (high-pitched or low-pitched piano-timbre chords). Of the three groups, only pianists had longer reaction times for left-hand/high-pitched chords and right-hand/low-pitched chords associations. These findings are consistent with an auditory-motor effect elicited by pitch dimension, as only pianists show an interaction between motor responses and implicit pitch processing. This interaction is consistent with the canonical mapping of hand gestures and pitch dimension on the piano keyboard. The results are discussed within the ideo-motor theoretical framework offered by the Theory of Event Coding (Hommel et al. in Behav Brain Sci 24:849–937, 2001).     

Impaired processing of prosodic and musical patterns after right hemisphere damage

The distinction between the processing of musical information and segmental speech information (i.e., consonants and vowels) has been much explored. In contrast, the relationship between the processing of music and prosodic speech information (e.g., intonation) has been largely ignored. We report an assessment of prosodic perception for an amateur musician, KB, who became amusic following a right-hemisphere stroke. Relative to matched controls, KB's segmental speech perception was preserved. However, KB was unable to discriminate pitch or rhythm patterns in linguistic or musical stimuli. He was also impaired on prosodic perception tasks (e.g., discriminating statements from questions). Results are discussed in terms of common neural mechanisms that may underlie the processing of some aspects of both music and speech prosody.     

Captured by motion: dance, action understanding, and social cognition

In this review article, we summarize the main findings from empirical studies that used dance-related forms of rhythmical full body movement as a research tool for investigating action understanding and social cognition. This work has proven to be informative about behavioral and brain mechanisms that mediate links between perceptual and motor processes invoked during the observation and execution of spatially–temporally coordinated action and interpersonal interaction. The review focuses specifically on processes related to (a) motor experience and expertise, (b) learning and memory, (c) action, intention, and emotion understanding, and (d) audio-visual synchrony and timing. Consideration is given to the relationship between research on dance and more general embodied cognition accounts of action understanding and social cognition. Finally, open questions and issues concerning experimental design are discussed with a view to stimulating future research on social-cognitive aspects of dance.     

Auditory feedback and memory for music performance: Sound evidence for an encoding effect

Research on the effects of context and task on learning and memory has included approaches that emphasize processes during learning (e.g., Craik & Tulving, 1975) and approaches that emphasize a match of conditions during learning with conditions during a later test of memory (e.g., Morris, Bransford, & Franks, 1977; Proteau, 1992; Tulving & Thomson, 1973). We investigated the effects of auditory context on learning and retrieval in three experiments on memorized music performance (a form of serial recall). Auditory feedback (presence or absence) was manipulated while pianists learned musical pieces from notation and when they later played the pieces from memory. Auditory feedback during learning significantly improved later recall. However, auditory feedback at test did not significantly affect recall, nor was there an interaction between conditions at learning and test. Auditory feedback in music performance appears to be a contextual factor that affects learning but is relatively independent of retrieval conditions.     

Time flies with music whatever its emotional valence

The present study used a temporal bisection task to investigate whether music affects time estimation differently from a matched auditory neutral stimulus, and whether the emotional valence of the musical stimuli (i.e., sad vs. happy music) modulates this effect. The results showed that, compared to sine wave control music, music presented in a major (happy) or a minor (sad) key shifted the bisection function toward the right, thus increasing the bisection point value (point of subjective equality). This indicates that the duration of a melody is judged shorter than that of a non-melodic control stimulus, thus confirming that “time flies” when we listen to music. Nevertheless, sensitivity to time was similar for all the auditory stimuli. Furthermore, the temporal bisection functions did not differ as a function of musical mode.     

Processing emotions in sounds: cross-domain aftereffects of vocal utterances and musical sounds

Nonlinguistic signals in the voice and musical instruments play a critical role in communicating emotion. Although previous research suggests a common mechanism for emotion processing in music and speech, the precise relationship between the two domains is unclear due to the paucity of direct evidence. By applying the adaptation paradigm developed by Bestelmeyer, Rouger, DeBruine, and Belin [2010. Auditory adaptation in vocal affect perception. Cognition, 117(2), 217–223. doi:10.1016/j.cognition.2010.08.008], this study shows cross-domain aftereffects from vocal to musical sounds. Participants heard an angry or fearful sound four times, followed by a test sound and judged whether the test sound was angry or fearful. Results show cross-domain aftereffects in one direction – vocal utterances to musical sounds, not vice-versa. This effect occurred primarily for angry vocal sounds. It is argued that there is a unidirectional relationship between vocal and musical sounds where emotion processing of vocal sounds encompasses musical sounds but not vice-versa.     

Flexibility of working memory encoding in a sentence–picture–sound verification task

Dual-process accounts of working memory have suggested distinct encoding processes for verbal and visual information in working memory, but encoding for nonspeech sounds (e.g., tones) is not well understood. This experiment modified the sentence–picture verification task to include nonspeech sounds with a complete factorial examination of all possible stimulus pairings. Participants studied simple stimuli–pictures, sentences, or sounds–and encoded the stimuli verbally, as visual images, or as auditory images. Participants then compared their encoded representations to verification stimuli–again pictures, sentences, or sounds–in a two-choice reaction time task. With some caveats, the encoding strategy appeared to be as important or more important than the external format of the initial stimulus in determining the speed of verification decisions. Findings suggested that: (1) auditory imagery may be distinct from verbal and visuospatial processing in working memory; (2) visual perception but not visual imagery may automatically activate concurrent verbal codes; and (3) the effects of hearing a sound may linger for some time despite recoding in working memory. We discuss the role of auditory imagery in dual-process theories of working memory.     

Musical expertise affects the sense of agency: Intentional binding in expert pianists

Intentional Binding (IB), a subjective compression of the time interval between a voluntary action and its consequence, is an implicit measure of the sense of agency (the feeling of controlling one's own actions and their outcomes). The sense of agency is influenced by experience, e.g. learning, development, or learned contingency. The present study aimed at analyzing expertise – an expert competence acquired through experience alone – as a possible means to affect the sense of agency. We compared performance of expert pianists and non-musicians within the IB paradigm with two types of sensory outcome – a piano note and an electronic sound. Pianists showed significantly greater outcome binding and composite binding for both types of stimuli. Therefore, musical expertise might influence the sense of agency, possibly due to continuous exposure to action-outcome associations during the musical training. Additionally, such effect might extend beyond the specific expertise to the other types of auditory outcomes.     

The organization of words and environmental sounds in the second year: Behavioral and electrophysiological evidence

The majority of research examining early auditory‐semantic processing and organization is based on studies of meaningful relations between words and referents. However, a thorough investigation into the fundamental relation between acoustic signals and meaning requires an understanding of how meaning is associated with both lexical and non‐lexical sounds. Indeed, it is unknown how meaningful auditory information that is not lexical (e.g., environmental sounds) is processed and organized in the young brain. To capture the structure of semantic organization for words and environmental sounds, we record event‐related potentials as 20‐month‐olds view images of common nouns (e.g., dog) while hearing words or environmental sounds that match the picture (e.g., “dog” or barking), that are within‐category violations (e.g., “cat” or meowing), or that are between‐category violations (e.g., “pen” or scribbling). Results show both words and environmental sounds exhibit larger negative amplitudes to between‐category violations relative to matches. Unlike words, which show a greater negative response early and consistently to within‐category violations, such an effect for environmental sounds occurs late in semantic processing. Thus, as in adults, the young brain represents semantic relations between words and between environmental sounds, though it more readily differentiates semantically similar words compared to environmental sounds.