Left-hemisphere activation is associated with enhanced vocal pitch error detection in musicians with absolute pitch

The ability to process auditory feedback for vocal pitch control is crucial during speaking and singing. Previous studies have suggested that musicians with absolute pitch (AP) develop specialized left-hemisphere mechanisms for pitch processing. The present study adopted an auditory feedback pitch perturbation paradigm combined with ERP recordings to test the hypothesis whether the neural mechanisms of the left-hemisphere enhance vocal pitch error detection and control in AP musicians compared with relative pitch (RP) musicians and non-musicians (NM). Results showed a stronger N1 response to pitch-shifted voice feedback in the right-hemisphere for both AP and RP musicians compared with the NM group. However, the left-hemisphere P2 component activation was greater in AP and RP musicians compared with NMs and also for the AP compared with RP musicians. The NM group was slower in generating compensatory vocal reactions to feedback pitch perturbation compared with musicians, and they failed to re-adjust their vocal pitch after the feedback perturbation was removed. These findings suggest that in the earlier stages of cortical neural processing, the right hemisphere is more active in musicians for detecting pitch changes in voice feedback. In the later stages, the left-hemisphere is more active during the processing of auditory feedback for vocal motor control and seems to involve specialized mechanisms that facilitate pitch processing in the AP compared with RP musicians. These findings indicate that the left hemisphere mechanisms of AP ability are associated with improved auditory feedback pitch processing during vocal pitch control in tasks such as speaking or singing.     

P50 sensory gating deficits in schizotypy

Sensory gating is the ability to filter out irrelevant stimuli from the environment. Individuals with schizophrenia consistently demonstrate deficits in this ability leading to sensory overload and cognitive fragmentation. This dysfunction has also been found in schizotypy, which is defined as a manifestation of nonclinical symptoms qualitatively similar to those found in schizophrenia. In the present study, auditory sensory gating was assessed in healthy individuals by testing the attenuation of the P50 event-related potential. The degree of suppression was then correlated with schizotypy by using the O-LIFE questionnaire. Relative to the low-scoring individuals, P50 suppression was significantly reduced in those with high levels of schizotypy. Furthermore, the degree of deficit in P50 gating correlated with both cognitive disorganisation and impulsive nonconformity dimensions of schizotypy. These results suggest that schizotypal individuals may have early sensory gating deficits similar to schizophrenia patients, especially if they display a disorganised or impulsive profile. As they do not exhibit overt psychotic symptoms, it is likely that such deficits represent an underlying core cognitive dysfunction within the schizophrenia spectrum.     

P50 sensory gating is related to performance on select tasks of cognitive inhibition

P50 suppression deficits have been documented in clinical and nonclinical populations, but the behavioral correlates of impaired auditory sensory gating remain poorly understood. In the present study, we examined the relationship between P50 gating and healthy adults’ performance on cognitive inhibition tasks. On the basis of load theory (Lavie, Hirst, de Fockert, & Viding, 2004), we predicted that a high perceptual load, a possible consequence of poor auditory P50 sensory gating, would have differential (i.e., positive vs. negative) effects on performance of cognitive inhibition tasks. A dissociation was observed such that P50 gating was negatively related to interference resolution on a Stroop task and positively related to response inhibition on a go/no-go task. Our findings support the idea that a high perceptual load may be beneficial to Stroop performance because of the reduced processing of distractors but detrimental to performance on the go/no-go task because of interference with stimulus discrimination.     

Visual perception of musical notation: Registering pitch symbols in memory

Music bears formal relations to language which suggest that perceptual processes in the two modes may also be similar. These experiments examined the way in which experienced musicians differed from non-musicians in their recognition of briefly exposed pitch notation. Experiments I and II together demonstrated that musicians are superior to non-musicians in their immediate written recall of stimuli containing more than three notes, but only when the stimulus is available to them for 150 ms or more. These results are accounted for well by a model proposed by Coltheart (1972) for letter perception under conditions of brief exposure. In this model, two coding processes act simultaneously on the stimulus, one a fast visual coding, and the other a slower, but more permanent abstract (or name) coding. In this case non-musicians appear to be lacking a second, abstract, coding which musicians possess. Experiments III and IV attempted to investigate the nature of the abstract code for musicians by presenting various types of interference in the linguistic or musical mode. Neither concurrent letter naming nor concurrent memorization of pitches appeared to cause a decrement in the original visual task, suggesting that musicians may not have been using simple naming or pitching transformations in coding the visual input.     

Perception in action: The impact of sensory information on sensorimotor synchronization in musicians and non-musicians

The present study aimed at investigating to what extent sensorimotor synchronization is related to (i) musical specialization, (ii) perceptual discrimination, and (iii) the movement’s trajectory. To this end, musicians with different musical expertise (drummers, professional pianists, amateur pianists, singers, and non-musicians) performed an auditory and visual synchronization and a cross-modal temporal discrimination task. During auditory synchronization drummers performed less variably than amateur pianists, singers and non-musicians. In the cross-modal discrimination task drummers showed superior discrimination abilities which were correlated with synchronization variability as well as with the trajectory. These data suggest that (i) the type of specialized musical instrument affects synchronization abilities and (ii) synchronization accuracy is related to perceptual discrimination abilities as well as to (iii) the movement’s trajectory. Since particularly synchronization variability was affected by musical expertise, the present data imply that the type of instrument improves accuracy of timekeeping mechanisms.     

Young adults with severe congenital hypothyroidism: cognitive event related potentials (ERPs) and the significance of an early start of thyroxine treatment

Congenital hypothyroidism (CH) has devastating effects upon brain development if left untreated. Despite early start of thyroxine treatment, patients still show subtle cognitive deficits compared to controls. We aimed to study auditory event related potentials (ERPs) in young CH adults (N = 12) to verify previous reports of normal attention functions measured by P3 in CH children. We also include ERP components (P1, N1, P2) allowing assessment of a wider range of auditory processing functions. No significant change in P3 latency or amplitude was found in the CH group, but a more subtle change in amplitude topography. A later start of thyroxine treatment was related to increased P3 latency and reduced amplitude. Group differences were found in early ERP components tapping sensory processing, sensory gating and selective attention. The results suggest persisting abnormalities in auditory processing and selective attention that may have influenced cognitive development.     

音乐训练对大学生执行功能的影响

近年来大量研究发现音乐训练对认知能力的具有积极影响,一些理论认为音乐训练的广泛迁移效应是通过执行功能起中介作用,但音乐训练与执行功能的关系至今仍存争议。研究将执行功能分为抑制控制、工作记忆和认知灵活性三个子成分,并将抑制控制进一步细分为注意抑制和反应抑制,同时区分工作记忆中主动性控制和反应性控制两种认知过程。通过对比音乐组和控制组在执行功能各任务（Go/No-go, Stroop, AX-CPT, Task-switching）上的行为表现来系统考察音乐训练与执行功能的关系。结果表明音乐训练对执行功能不同子成分的影响具有差异性,其促进效应主要体现在抑制控制中的注意抑制和工作记忆中的主动性控制,对抑制控制中的反应抑制、工作记忆中的反应性控制和认知灵活性影响较小。     

Musical notation for the keyboard: An examination of stimulus-response compatibility

A recent stimulus-response compatibility model was used to provide a performance evaluation of an experimental notation for the keyboard in which pitch varies horizontally in visual space. One hundred and twenty subjects performed a choice reaction time task using either the horizontal notation or a more traditional vertical notation. Half the subjects in each notation group received white noise and half received pitch-varying feedback with responses. A horizontal display advantage was revealed when rules of the model were applied to data analyses. Further, the horizontal display advantage was not dependent on the nature of the feedback. In a second experiment, performance of musicians and non-musicians was compared using the horizontal and vertical notations. Musicians' performance was uniformly better than that of non-musicians, and did not differ with notation orientation. The findings support the use of non-traditional horizontal notations for novice performance on a keyboard instrument.     

Music in dreams

Music in dreams is rarely reported in scientific literature, while the presence of musical themes in dreams of famous musicians is anecdotally reported. We did a systematic investigation to evaluate whether the occurrence of musical dreams could be related to musical competence and practice, and to explore specific features of dreamt pieces. Thirty-five professional musicians and thirty non-musicians filled out a questionnaire about the characteristics of their musical activity and a structured dream log on the awakening for 30 consecutive days. Musicians dream of music more than twice with respect to non-musicians; musical dreams frequency is related to the age of commencement of musical instruction, but not to the daily load of musical activity. Nearly half of the recalled music was non-standard, suggesting that original music can be created in dreams.     

Musicians and tone-language speakers share enhanced brainstem encoding but not perceptual benefits for musical pitch

Behavioral and neurophysiological transfer effects from music experience to language processing are well-established but it is currently unclear whether or not linguistic expertise (e.g., speaking a tone language) benefits music-related processing and its perception. Here, we compare brainstem responses of English-speaking musicians/non-musicians and native speakers of Mandarin Chinese elicited by tuned and detuned musical chords, to determine if enhancements in subcortical processing translate to improvements in the perceptual discrimination of musical pitch. Relative to non-musicians, both musicians and Chinese had stronger brainstem representation of the defining pitches of musical sequences. In contrast, two behavioral pitch discrimination tasks revealed that neither Chinese nor non-musicians were able to discriminate subtle changes in musical pitch with the same accuracy as musicians. Pooled across all listeners, brainstem magnitudes predicted behavioral pitch discrimination performance but considering each group individually, only musicians showed connections between neural and behavioral measures. No brain-behavior correlations were found for tone language speakers or non-musicians. These findings point to a dissociation between subcortical neurophysiological processing and behavioral measures of pitch perception in Chinese listeners. We infer that sensory-level enhancement of musical pitch information yields cognitive-level perceptual benefits only when that information is behaviorally relevant to the listener.     

Effect of skill level on recall of visually presented patterns of musical notes

Expertise effects in music were studied in a new task: the construction of mental representations from separate fragments. Groups of expert musicians and non-musicians were asked to recall note patterns presented visually note by note. Skill-level, musical well-formedness of the note patterns and presentation mode were varied. The musicians recalled note patterns better than the non-musicians, even though the presentation was visual and successive. Furthermore, only musicians' performance was affected by musical well-formedness of the note patterns when visual gestalt properties, verbal rehearsability, and familiarity of the stimuli were controlled. Musicians were also able to use letter names referring to notes as efficiently as visual notes, which indicates that the better recall of musicians cannot be explained by perceptual visual chunking. These results and the effect of skill level on the distribution of recall errors indicate that the ability to chunk incoming information into meaningful units does not require that complete familiar patterns are accessible to encoding processes, yet previous knowledge stored in long-term memory affects representation construction in working memory. The present method offers a new reliable tool, and its implications to the research on construction of representations and musical imagery are discussed.     

Enhanced development of auditory change detection in musically trained school‐aged children: a longitudinal event‐related potential study

Adult musicians show superior auditory discrimination skills when compared to non‐musicians. The enhanced auditory skills of musicians are reflected in the augmented amplitudes of their auditory event‐related potential (ERP) responses. In the current study, we investigated longitudinally the development of auditory discrimination skills in musically trained and nontrained individuals. To this end, we recorded the mismatch negativity (MMN) and P3a responses from children who play a musical instrument and age‐matched children with no musical training at ages 7, 9, 11, and 13. Basic auditory processing was investigated by recording ERPs in the Multi‐Feature Paradigm that included frequency, duration, intensity, location, and gap deviants. The detection of musically more relevant sound changes was examined in an oddball paradigm with major chords as standards and minor chords as deviants. The musically trained children showed larger increase in MMN and P3a amplitudes with age for the chord deviants than the control children. There was also a strong trend (p = .054) for larger increase in MMN amplitude in the musically trained children for the location deviant. As no group differences in response amplitudes were evident at the early stages of the training, our results suggest that the superior neural auditory discrimination in adult musicians is due to training and not pre‐existing differences between musicians and non‐musicians.     

Melody and pitch processing in five musical savants with congenital blindness

We examined absolute-pitch (AP) and short-term musical memory abilities of five musical savants with congenital blindness, seven musicians, and seven non-musicians with good vision and normal intelligence in two experiments. In the first, short-term memory for musical phrases was tested and the savants and musicians performed statistically indistinguishably, both significantly outperforming the non-musicians and remembering more material from the C major scale sequences than random trials. In the second experiment, participants learnt associations between four pitches and four objects using a non-verbal paradigm. This experiment approximates to testing AP ability. Low statistical power meant the savants were not statistically better than the musicians, although only the savants scored statistically higher than the non-musicians. The results are evidence for a musical module, separate from general intelligence; they also support the anecdotal reporting of AP in musical savants, which is thought to be necessary for the development of musical-savant skill.     

Auditory and visual memory in musicians and nonmusicians

Numerous studies have shown that musicians outperform nonmusicians on a variety of tasks. Here we provide the first evidence that musicians have superior auditory recognition memory for both musical and nonmusical stimuli, compared to nonmusicians. However, this advantage did not generalize to the visual domain. Previously, we showed that auditory recognition memory is inferior to visual recognition memory. Would this be true even for trained musicians? We compared auditory and visual memory in musicians and nonmusicians using familiar music, spoken English, and visual objects. For both groups, memory for the auditory stimuli was inferior to memory for the visual objects. Thus, although considerable musical training is associated with better musical and nonmusical auditory memory, it does not increase the ability to remember sounds to the levels found with visual stimuli. This suggests a fundamental capacity difference between auditory and visual recognition memory, with a persistent advantage for the visual domain.     

Non-musicians also have a piano in the head: evidence for spatial–musical associations from line bisection tracking

The spatial representation of ordinal sequences (numbers, time, tones) seems to be a fundamental cognitive property. While an automatic association between horizontal space and pitch height (left-low pitch, right-high pitch) is constantly reported in musicians, the evidence for such an association in non-musicians is mixed. In this study, 20 non-musicians performed a line bisection task while listening to irrelevant high- and low-pitched tones and white noise (control condition). While pitch height had no influence on the final bisection point, participants’ movement trajectories showed systematic biases: When approaching the line and touching the line for the first time (initial bisection point), the mouse cursor was directed more rightward for high-pitched tones compared to low-pitched tones and noise. These results show that non-musicians also have a subtle but nevertheless automatic association between pitch height and the horizontal space. This suggests that spatial–musical associations do not necessarily depend on constant sensorimotor experiences (as it is the case for musicians) but rather reflect the seemingly inescapable tendency to represent ordinal information on a horizontal line.     

The cognitive functioning of older adult instrumental musicians and non-musicians

This study examined similarities and differences in the cognitive profiles of older adult instrumental musicians and non-musicians. We compared neuropsychological test scores among older adult non-musicians, low-activity musicians (<10 years of lessons), and high-activity musicians (≥10 years of lessons), controlling for self-reported physical and social activity, years of education, and overall health. Significant differences among groups were found on tasks of visual spatial ability, naming, and executive functioning. No significant differences were found on tests of attention/processing speed, or episodic memory. The current study supports late life cognitive benefits of early musical training, but only in select cognitive domains, including language, executive functioning, and visual spatial ability. The results are discussed in the context of cognitive reserve and aging.     

Assessment of fine motor skill in musicians and nonmusicians: differences in timing versus sequence accuracy in a bimanual fingering task

While professional musicians are generally considered to possess better control of finger movements than nonmusicians, relatively few reports have experimentally addressed the nature of this discrepancy in fine motor skills. For example, it is unknown whether musicians perform with greater skill than control subjects in all aspects of different types of fine motor activities. More specifically, it is not known whether musicians perform better than control subjects on a fine motor task that is similar, but not identical, to the playing of their primary instrument. The purpose of this study was to examine the accuracy of finger placement and accuracy of timing in professional musicians and nonmusicians using a simple, rhythmical, bilateral fingering pattern and the technology that allowed separate assessment of these two parameters. Professional musicians (other than pianists) and nonmusicians were given identical, detailed and explicit instructions but not allowed physically to practice the finger pattern. After verbally repeating the correct pattern for the investigator, subjects performed the task on an electric keyboard with both hands simultaneously. Each subject's performance was then converted to a numerical score. While musicians clearly demonstrated better accuracy in timing, no significant difference was found between the groups in their finger placement scores. These findings were not correlated with subjects' age, sex, limb dominance, or primary instrument (for the professional musicians). This study indicates that professional musicians perform better in timing accuracy but not spatial accuracy while executing a simple, novel, bimanual motor sequence.     

Degree of ear asymmetries for perception of dichotic chords and for illusory chord localization in musicians of different levels of competence

Left-ear superiority for perception of dichotically presented musical chords was seen in musicians at all levels of competence. However, a hypothesis that dominance would be greater in the more professional musicians was not confirmed. Whereas many of the professionals did have the largest left-ear preferences, about half had strong right-ear superiorities instead. On the average, therefore, there was no ear dominance for the two most professional groups, although the other groups had the expected left-ear dominance. Furthermore, ear differences for the professional groups were distributed only in the categories of weak to strong left- and weak to strong right-ear preferences, whereas ear differences for the other groups included also the central categories of no or little ear preference. The better musician groups were also more strongly affected by an auditory illusion in which right-ear dominance occurred when subjects reported the ear receiving the high chord, whereas left-ear dominance was seen when they reported the ear receiving the low chord (for the same dichotic pair). That is, ear dominance was dependent on instructions, switching in the same subject from left to right ear when the task changed from reporting the location of the low to reporting the location of the high chord, respectively. However, ear dominance and switching were only partially present in nonmusicians and were weak in amateurs. It may be that ear dominance for chord recognition is influenced by specialized cognitive development in musicians, on the one hand, and by noncognitive neurophysiological factors on the other.     

Differentiation of classical music requires little learning but rhythm

Detecting distinctions between the styles of classical music (e.g. Baroque and Romantic) is often viewed as the privilege of musicians. However, this elite perspective underestimates the abilities of non-musicians. We report that Western musicians and non-musicians, and non-Westerners (i.e. Chinese participants) rated pairs of excerpts presented auditorily as more similar as their compositional styles were closer in history. Moreover, the styles were considered by all participants as more different when presented in historical order, the older style preceding the more recent style (e.g. Baroque followed by Romantic), than the reverse (e.g. Romantic followed by Baroque). This historical distance effect appears related to rhythm (or temporal variability).     

P50 Suppression in Children with Selective Mutism: a Preliminary Report

Evidence suggests that children with selective mutism (SM) display significant aberrations in auditory efferent activity at the brainstem level that may underlie inefficient auditory processing during vocalization, and lead to speech avoidance. The objective of the present study was to explore auditory filtering processes at the cortical level in children with SM. The classic paired-click paradigm was utilized to assess suppression of the P50 event-related potential to the second, of two sequentially-presented clicks, in ten children with SM and 10 control children. A significant suppression of P50 to the second click was evident in the SM group, whereas no suppression effect was observed in controls. Suppression was evident in 90% of the SM group and in 40% of controls, whereas augmentation was found in 10% and 60%, respectively, yielding a significant association between group and suppression of P50. P50 to the first click was comparable in children with SM and controls. The adult-like, mature P50 suppression effect exhibited by children with SM may reflect a cortical mechanism of compensatory inhibition of irrelevant repetitive information that was not properly suppressed at lower levels of their auditory system. The current data extends our previous findings suggesting that differential auditory processing may be involved in speech selectivity in SM.