A frog in your throat or in your ear? Searching for the causes of poor singing

Singing is a cultural universal and an important part of modern society, yet many people fail to sing in tune. Many possible causes have been posited to explain poor singing abilities; foremost among these are poor perceptual ability, poor motor control, and sensorimotor mapping errors. To help discriminate between these causes of poor singing, we conducted 5 experiments testing musicians and nonmusicians in pitch matching and judgment tasks. Experiment 1 introduces a new instrument called a slider, on which participants can match pitches without using their voice. Pitch matching on the slider can be directly compared with vocal pitch matching, and results showed that both musicians and nonmusicians were more accurate using the slider than their voices to match target pitches, arguing against a perceptual explanation of singing deficits. Experiment 2 added a self-matching condition and showed that nonmusicians were better at matching their own voice than a synthesized voice timbre, but were still not as accurate as on the slider. This suggests a timbral translation type of mapping error. Experiments 3 and 4 demonstrated that singers do not improve over multiple sung responses, or with the aid of a visual representation of pitch. Experiment 5 showed that listeners were more accurate at perceiving the pitch of the synthesized tones than actual voice tones. The pattern of results across experiments demonstrates multiple possible causes of poor singing, and attributes most of the problem to poor motor control and timbral-translation errors, rather than a purely perceptual deficit, as other studies have suggested.     

Duration discrimination by musicians and nonmusicians

This study investigated the effects of stimulus modality, standard duration, sex, and laterality in duration discrimination by musicians and nonmusicians. Seventeen musicians (M age = 24.1 yr.) and 22 nonmusicians (M age = 26.8 yr.) participated. Auditory (1,000 Hz) and tactile (250 Hz) sinusoidal suprathreshold stimuli with varying durations were used. The standard durations tested were 0.5 and 3.0 sec. Participants discriminated comparison stimuli which had durations slightly longer and shorter than the standard durations. Difference limens were found by the method of limits and converted to Weber fractions based on the standard durations. Musicians had lower, i.e., better, Weber fractions than nonmusicians in the auditory modality, but there was no significant difference between musicians and nonmusicians in the tactile modality. Auditory discrimination was better than tactile discrimination. Discrimination improved when the standard duration was increased both for musicians and nonmusicians. These results support previous findings of superior auditory processing by musicians. Significant differences between discrimination in the millisecond and second ranges may be due to a deviation from Weber's law and the discontinuity of timing in different duration ranges reported in the literature.     

The skill of recognizing musical structures

In three experiments, musicians and nonmusicians were compared in their ability to discriminate musical chords. Pairs of chords sharing all notes in common or having different notes were played in succession. Some pairs of chords differed in timbre independent of their musical structures because they were played on different instruments. Musicians outperformed nonmusicians only in recognizing the same chord played on different instruments. Both groups could discriminate between instrument timbres, although musicians did slightly better than nonmusicians. In contrast, with chord structures not conforming to the rules of tonal harmony, musicians and nonmusicians performed equally poorly in recognizing identical chords played on different instruments. Signal detection analysis showed that musicians and nonmusicians set similar criteria for these judgments. Musicians' superiority reflects greater sensitivity to familiar diatonic chords. These results are taken as evidence that musicians develop perceptual and cognitive skills specific to the lawful musical structures encountered in their culture's music. Nonmusicians who lack this knowledge based their judgments on the acoustical properties of the chords.     

Perceptual scaling of synthesized musical timbres: Common dimensions,specificities, and latent subject classes

To study the perceptual structure of musical timbre and the effects of musical training, timbral dissimilarities of synthesized instrument sounds were rated by professional musicians, amateur musicians, and nonmusicians. The data were analyzed with an extended version of the multidimensional scaling algorithm CLASCAL (Winsberg & De Soete, 1993), which estimates the number of latent classes of subjects, the coordinates of each timbre on common Euclidean dimensions, a specificity value of unique attributes for each timbre, and a separate weight for each latent class on each of the common dimensions and the set of specificities. Five latent classes were found for a three-dimensional spatial model with specificities. Common dimensions were quantified psychophysically in terms of log-rise time, spectral centroid, and degree of spectral variation. The results further suggest that musical timbres possess specific attributes not accounted for by these shared perceptual dimensions. Weight patterns indicate that perceptual salience of dimensions and specificities varied across classes. A comparison of class structure with biographical factors associated with degree of musical training and activity was not clearly related to the class structure, though musicians gave more precise and coherent judgments than did nonmusicians or amateurs. The model with latent classes and specificities gave a better fit to the data and made the acoustic correlates of the common dimensions more interpretable.     

Perception of structure in novel music

Two experiments demonstrated the way in which musicians and nonmusicians process realistic music encountered for the first time. A set of tunes whose members were related to each other by a number of specific musical relationships was constructed. In Experiment 1, subjects gave similarity judgments of all pairs of tunes, which were analyzed by the ADDTREE clustering program. Musicians and nonmusicians gave essentially equivalent results: Tunes with different rhythms were rated as being very dissimilar, whereas tunes identical except for being in a major versus a minor mode were rated as being highly similar. In Experiment 2, subjects learned to identify the tunes, and their errors formed a confusion matrix. The matrix was submitted to a clustering analysis. Results from the two experiments corresponded better for the nonmusicians than for the musicians. Musicians presumably exceed nonmusicians in the ability to categorize music in multiple ways, but even nonmusicians extract considerable information from newly heard music.     

Hemispheric asymmetries in faculty and student musicians and nonmusicians during melody recognition tasks

Current research has suggested that musical stimuli are processed in the right hemisphere except in musicians, in whom there is an increased involvement of the left hemisphere. The present study hypothesized that the more musical training persons receive, the more they will rely on an analytic/left-hemispheric processing strategy. The subjects were 10 faculty and 10 student musicians, and 10 faculty and 10 student nonmusicians. All subjects listened to a series of melodies (some recurring and some not) and excerpts (some actual and some not) in one ear and, after a rest, to a different series of melodies in the other ear. The task was to identify recurring vs. nonrecurring melodies and actual vs. nonactual excerpts. For student musicians, there was a right-ear/left-hemispheric advantage for melody recognition, while for student nonmusicians, the situation was the reverse. Neither faculty group showed any ear preference. There were no significant differences for excerpt recognition. Two possible explanations of the faculty performance were discussed in terms of physical maturation and a functionally more integrated hemispheric approach to the task.     

Individuality of movements in music – Finger and body movements during playing of the flute

The achievement of mastery in playing a composition by means of a musical instrument typically requires numerous repetitions and corrections according to the keys and notations of the music piece. Nevertheless, differences in the interpretation of the same music piece by highly skilled musicians seem to be recognizable. The present study investigated differences within and between skilled flute players in their finger and body movements playing the same piece several times on the same and on different days. Six semiprofessional and four professional musicians played an excerpt of Mozart’s Flute Concerto No. 2 several times on three different days. Finger and body movements were recorded by 3D motion capture and analyzed by linear and nonlinear classification approaches. The findings showed that the discrete and continuous movement timing data correctly identified individuals up to 100% by means of their finger movements and up to 94% by means of their body movements. These robust examples of identifying individual movement patterns contradict the prevailing models of small, economic finger movements that are favored in the didactic literature for woodwind players and question traditional recommendations for teaching the learning of motor skills.     

Pianists exhibit enhanced memory for vocal melodies but not piano melodies

Nonmusicians remember vocal melodies (i.e., sung to la la) better than instrumental melodies. If greater exposure to the voice contributes to those effects, then long-term experience with instrumental timbres should elicit instrument-specific advantages. Here we evaluate this hypothesis by comparing pianists with other musicians and nonmusicians. We also evaluate the possibility that absolute pitch (AP), which involves exceptional memory for isolated pitches, influences melodic memory. Participants heard 24 melodies played in four timbres (voice, piano, banjo, marimba) and were subsequently required to distinguish the melodies heard previously from 24 novel melodies presented in the same timbres. Musicians performed better than nonmusicians, but both groups showed a comparable memory advantage for vocal melodies. Moreover, pianists performed no better on melodies played on piano than on other instruments, and AP musicians performed no differently than non-AP musicians. The findings confirm the robust nature of the voice advantage and rule out explanations based on familiarity, practice, and motor representations.     

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.     

Do perception and motor production share common timing mechanisms: A correlational analysis

The two experiments of this study exploited individual variation in timing ability to ask whether the production of time intervals by different motor effectors and the judgement of perceptually based time intervals all share common timing mechanisms. In one task subjects produced a series of taps, attempting to maintain constant intervals between them. Individual differences in variability of the produced intervals correlated across the effectors of finger and foot. That is, people that were ‘good timers’ with one effector tended to be ‘good timers’ with another. Besides timing motor production, the subjects also judged durations of brief perceptual events. The acuity of perceptual judgements correlate substantially with regularity of motor production. Further results involving maximum speed of motor production suggested that variability of motor timing comes from two sources, one source in common with perception, and hence called clock variability, and the other source in common with motor speed, and hence called motor implementation variability. The second experiment showed that people high in skill on the piano were better at both types of timing on the average than control subjects with no expertise.     

Hand Skill Asymmetry in Professional Musicians

Hand skill asymmetry on two handedness tasks was examined in consistent right-handed musicians and nonmusicians as well as mixed-handed and consistent left-handed nonmusicians. Musicians, although demonstrating right-hand superiority, revealed a lesser degree of hand skill asymmetry than consistent right-handed nonmusicians. Increased left-hand skill in musicians accounted for their reduced asymmetry. Musicians predominantly playing keyboard instruments demonstrated superior tapping performance than musicians playing predominantly string instruments, although they did not differ with respect to hand skill asymmetry. Since the diminished tapping asymmetry in musicians was related to early commencement but not duration of musical training, results are interpreted as an adaptation process due to performance requirements interacting with cerebral maturation during childhood.     

Music training enhances the rapid plasticity of P3a/P3b event-related brain potentials for unattended and attended target sounds

Neurocognitive studies have shown that extensive musical training enhances P3a and P3b event-related potentials for infrequent target sounds, which reflects stronger attention switching and stimulus evaluation in musicians than in nonmusicians. However, it is unknown whether the short-term plasticity of P3a and P3b responses is also enhanced in musicians. We compared the short-term plasticity of P3a and P3b responses to infrequent target sounds in musicians and nonmusicians during auditory perceptual learning tasks. Target sounds, deviating in location, pitch, and duration with three difficulty levels, were interspersed among frequently presented standard sounds in an oddball paradigm. We found that during passive exposure to sounds, musicians had habituation of the P3a, while nonmusicians showed enhancement of the P3a between blocks. Between active tasks, P3b amplitudes for duration deviants were reduced (habituated) in musicians only, and showed a more posterior scalp topography for habituation when compared to P3bs of nonmusicians. In both groups, the P3a and P3b latencies were shortened for deviating sounds. Also, musicians were better than nonmusicians at discriminating target deviants. Regardless of musical training, better discrimination was associated with higher working memory capacity. We concluded that music training enhances short-term P3a/P3b plasticity, indicating training-induced changes in attentional skills.     

Note on hand use in the manipulation of joysticks by rhesus monkeys (Macaca mulatta) and chimpanzees (Pan troglodytes)

In a recent article MacNeilage, Studdert-Kennedy, and Lindblom (1987) proposed that nonhuman primate handedness may be contingent on the specific task requirements with visual-spatial tasks yielding left-hand preferences and fine motor tasks producing right-hand preferences. This study reports hand preferences in the manipulation of joysticks by 2 rhesus monkeys (Macaca mulatta) and 3 chimpanzees (Pan troglodytes). Reach data were also collected on these same subjects and served as a basis for comparison with preference data for manipulation of the joystick. The data indicated that all 5 subjects demonstrated significant right-hand preferences in manipulating the joystick. In contrast, no significant hand preferences were found for the reach data. Reaction time data also indicated that the right hand could perform a perceptual-motor task better than the left hand in all 5 subjects. Overall, the data indicate that reach tasks may not be sensitive enough measures to produce reliable hand preferences, whereas tasks that assess fine motor control produce significant hand preferences.     

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.     

Musicians outperform nonmusicians in magnitude estimation: Evidence of a common processing mechanism for time,space and numbers

It has been proposed that time, space, and numbers may be computed by a common magnitude system. Even though several behavioural and neuroanatomical studies have focused on this topic, the debate is still open. To date, nobody has used the individual differences for one of these domains to investigate the existence of a shared cognitive system. Musicians are known to outperform nonmusicians in temporal discrimination tasks. We therefore observed professional musicians and nonmusicians undertaking three different tasks: temporal (participants were required to estimate which of two tones lasted longer), spatial (which line was longer), and numerical discrimination (which group of dots was more numerous). If time, space, and numbers are processed by the same mechanism, it is expected that musicians will have a greater ability, even in nontemporal dimensions. As expected, musicians were more accurate with regard to temporal discrimination. They also gave better performances in both the spatial and the numerical tasks, but only outside the subitizing range. Our data are in accordance with the existence of a common magnitude system. We suggest, however, that this mechanism may not involve the whole numerical range.     

Sensorimotor synchronization: Motor responses to pseudoregular auditory patterns

Musically trained and untrained subjects (N=30) were asked to synchronize their finger tapping with stimuli in auditory patterns. Each pattern comprised six successive tonal stimuli of the same duration, the first of which was accented by a different frequency. The duration of interstimulus onset intervals (ISIs) gradually increased or decreased in constant steps toward the end of the patterns. Four values of such steps were used in different trials: 20, 30, 45, and 60 msec. Various time-control mechanisms are hypothesized as being simultaneously responsible for subjects’ incorrect reproduction of the internal temporal ratios of the stimulus patterns. The mechanism of assimilation (of a central tendency) led subjects to enforce a regular (isochronous) structure on the patterns. The influence of other time-control mechanisms (distinction, subjective expression of an accent, sequential transfer) was expressed mainly in differences between intertap onset intervals (ITIs) and the corresponding ISIs at the beginning of the patterns. The duration of the first two ITIs was in the majority of the trials in an inverse ratio to the ratio of the respective ISIs. The distortions resulting from the timing mechanisms concerned were more pronounced in the performance of nonmusicians than in that of musicians.     

Musicians' and nonmusicians' short-term memory for verbal and musical sequences: Comparing phonological similarity and pitch proximity

Language-music comparative studies have highlighted the potential for shared resources or neural overlap in auditory short-term memory. However, there is a lack of behavioral methodologies for comparing verbal and musical serial recall. We developed a visual grid response that allowed both musicians and nonmusicians to perform serial recall of letter and tone sequences. The new method was used to compare the phonological similarity effect with the impact of an operationalized musical equivalent — pitch proximity. Over the course of three experiments, we found that short-term memory for tones had several similarities to verbal memory, including limited capacity and a significant effect of pitch proximity in nonmusicians. Despite being vulnerable to phonological similarity when recalling letters, however, musicians showed no effect of pitch proximity, a result that we suggest might reflect strategy differences. Overall, the findings support a limited degree of correspondence in the way that verbal and musical sounds are processed in auditory short-term memory.     

Musical expertise modulates the effects of visual perceptual load

Several studies have demonstrated that faces are processed differently from other types of objects, implicating a special role that faces have within the human visual system. However, other studies have suggested that faces may be special only in that they constitute a highly familiar category of visual objects with which most humans have expertise. In this study, we tested a group of expert musicians with a musical instrument classification task during which irrelevant images of musical instruments were presented as visual distractors under varying conditions of perceptual load. Unlike nonmusicians (who had been tested in Lavie, Ro, & Russell, 2003, using the same paradigm as in the present study), the musicians processed these irrelevant images of musical instruments even under conditions of high perceptual load. These results suggest that musical instruments are processed automatically and without capacity limits in subjects with musical expertise and implicate a specialized processing mechanism for objects of high familiarity.     

Perceptual and motor factors in the imitation of simple temporal patterns

Summary This study investigated the relative importance of perceptual and motor factors in the imitation of simple temporal patterns. Previous research in which subjects tap out interval sequences using one finger has suggested that perceptual factors play an important role in response timing. Studies of bimanual tapping, in contrast, stress the importance of motor interactions between the two hands. In this experiment we compared the ability of subjects to tap out two-interval sequences using one finger, two fingers on one hand, and two fingers on opposite hands. The results showed almost identical performance under the three response conditions. It is suggested that the perceptual relations between intervals in a pattern were the main determinant of performance in this experiment.     

Referential coding contributes to the horizontal SMARC effect

The present study tested whether coding of tone pitch relative to a referent contributes to the correspondence effect between the pitch height of an auditory stimulus and the location of a lateralized response. When left-right responses are mapped to high or low pitch tones, performance is better with the high-right/low-left mapping than with the opposite mapping, a phenomenon called the horizontal SMARC effect. However, when pitch height is task irrelevant, the horizontal SMARC effect occurs only for musicians. In Experiment 1, nonmusicians performed a pitch discrimination task, and the SMARC effect was evident regardless of whether a referent tone was presented. However, in Experiment 2, for a timbre-judgment task, nonmusicians showed a SMARC effect only when a referent tone was presented, whereas musicians showed a SMARC effect that did not interact with presence/absence of the referent. Dependence of the SMARC effect for nonmusicians on a reference tone was replicated in Experiment 3, in which judgments of the color of a visual stimulus were made in the presence of a concurrent high- or low-pitched pure tone. These results suggest that referential coding of pitch height is a key determinant for the horizontal SMARC effect when pitch height is irrelevant to the task.