Speaking a tone language enhances musical pitch perception in 3–5‐year‐olds

Young children learn multiple cognitive skills concurrently (e.g., language and music). Evidence is limited as to whether and how learning in one domain affects that in another during early development. Here we assessed whether exposure to a tone language benefits musical pitch processing among 3–5‐year‐old children. More specifically, we compared the pitch perception of Chinese children who spoke a tone language (i.e., Mandarin) with English‐speaking American children. We found that Mandarin‐speaking children were more advanced at pitch processing than English‐speaking children but both groups performed similarly on a control music task (timbre discrimination). The findings support the Pitch Generalization Hypothesis that tone languages drive attention to pitch in nonlinguistic contexts, and suggest that language learning benefits aspects of music perception in early development. A video abstract of this article can be viewed at: https://youtu.be/UY0kpGpPNA0     

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.     

Effects of Phonetic Similarity in the Identification of Mandarin Tones

Tonal languages differ in how they use phonetic correlates e.g. average pitch height and pitch direction, for tonal contrasts. Thus, native speakers of a tonal language may need to adjust their attention to familiar or unfamiliar phonetic cues when perceiving non-native tones. On the other hand, speakers of a non-tonal language may need to develop sensitivity to tonal correlates absent from their native system. The current study examines and compares five language groups’ perception of two synthesized Mandarin tones: the high level tone and the high falling tone. It aims to examine how listeners from tonal and non-tonal backgrounds identify and categorize acoustically equidistant pitches varying along two phonetic dimensions: pitch onset and slope. Results reveal “universal” perceptual patterns across groups and also tendencies caused by native tonal systems. Our findings confirm that L1 tonal and prosodic systems affect speakers’ sensitivity to novel perceptual cues and their abilities to discern relevant phonetic differences.     

Enhanced music sensitivity in 9-month-old bilingual infants

This study explores the influence of bilingualism on the cognitive processing of language and music. Specifically, we investigate how infants learning a non-tone language perceive linguistic and musical pitch and how bilingualism affects cross-domain pitch perception. Dutch monolingual and bilingual infants of 8–9 months participated in the study. All infants had Dutch as one of the first languages. The other first languages, varying among bilingual families, were not tone or pitch accent languages. In two experiments, infants were tested on the discrimination of a lexical (N = 42) or a violin (N = 48) pitch contrast via a visual habituation paradigm. The two contrasts shared identical pitch contours but differed in timbre. Non-tone language learning infants did not discriminate the lexical contrast regardless of their ambient language environment. When perceiving the violin contrast, bilingual but not monolingual infants demonstrated robust discrimination. We attribute bilingual infants’ heightened sensitivity in the musical domain to the enhanced acoustic sensitivity stemming from a bilingual environment. The distinct perceptual patterns between language and music and the influence of acoustic salience on perception suggest processing diversion and association in the first year of life. Results indicate that the perception of music may entail both shared neural network with language processing, and unique neural network that is distinct from other cognitive functions.     

音乐传达哲理性概念的认知神经机制

哲理性概念是音乐表现的对象之一。由于音乐不具有类似语言的语义性, 对哲理性概念的理解常常成为音乐欣赏者的困扰。基于此, 本项目聚焦于听者对哲理性概念的理解。通过选取音乐训练经历不同的人群为被试, 系统考察哲理性概念加工的认知神经机制。本项目成果将揭示音乐诱发哲理性概念加工的神经机制, 厘清音乐训练对音乐外在意义加工的作用, 从而在一定程度上回答人类对音乐意义理解的普遍性问题。     

Dichotic Perception of Mandarin Tones by Chinese and American Listeners

The dichotic perception of Mandarin tones by native and nonnative listeners was examined in order to investigate the lateralization of lexical tone. Twenty American listeners with no tone language background and 20 Chinese listeners were asked to identify dichotically presented tone pairs by identifying which tone they heard in each ear. For the Chinese listeners, 57% of the total errors occurred via the left ear, indicating a significant right ear advantage. However, the American listeners revealed no significant ear preference, with 48% of the errors attributable to the left ear. These results indicated that Mandarin tones are predominantly processed in the left hemisphere by native Mandarin speakers, whereas they are bilaterally processed by American English speakers with no prior tone experience. The results also suggest that the left hemisphere superiority for native Mandarin tone processing is similar to native processing of other tone languages.     

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.     

Keeping an eye on the violinist: motor experts show superior timing consistency in a visual perception task

Common coding theory states that perception and action may reciprocally induce each other. Consequently, motor expertise should map onto perceptual consistency in specific tasks such as predicting the exact timing of a musical entry. To test this hypothesis, ten string musicians (motor experts), ten non-string musicians (visual experts), and ten non-musicians were asked to watch progressively occluded video recordings of a first violinist indicating entries to fellow members of a string quartet. Participants synchronised with the perceived timing of the musical entries. Results revealed significant effects of motor expertise on perception. Compared to visual experts and non-musicians, string players not only responded more accurately, but also with less timing variability. These findings provide evidence that motor experts’ consistency in movement execution—a key characteristic of expert motor performance—is mirrored in lower variability in perceptual judgements, indicating close links between action competence and perception.     

Impaired categorical perception of lexical tones in Mandarin-speaking congenital amusics

The degree to which cognitive resources are shared in the processing of musical pitch and lexical tones remains uncertain. Testing Mandarin amusics on their categorical perception of Mandarin lexical tones may provide insight into this issue. In the present study, a group of 15 amusic Mandarin speakers identified and discriminated Mandarin tones presented as continua in separate blocks. The tonal continua employed were from a high-level tone to a mid-rising tone and from a high-level tone to a high-falling tone. The two tonal continua were made in the contexts of natural speech and of nonlinguistic analogues. In contrast to the controls, the participants with amusia showed no improvement for discrimination pairs that crossed the classification boundary for either speech or nonlinguistic analogues, indicating a lack of categorical perception. The lack of categorical perception of Mandarin tones in the amusic group shows that the pitch deficits in amusics may be domain-general, and this suggests that the processing of musical pitch and lexical tones may share certain cognitive resources and/or processes (Patel 2003, 2008, 2012).     

The role of the auditory brainstem in processing linguistically-relevant pitch patterns

Historically, the brainstem has been neglected as a part of the brain involved in language processing. We review recent evidence of language-dependent effects in pitch processing based on comparisons of native vs. nonnative speakers of a tonal language from electrophysiological recordings in the auditory brainstem. We argue that there is enhancing of linguistically-relevant pitch dimensions or features well before the auditory signal reaches the cerebral cortex. We propose that long-term experience with a tone language sharpens the tuning characteristics of neurons along the pitch axis with enhanced sensitivity to linguistically-relevant, rapidly changing sections of pitch contours. Though not specific to a speech context, experience-dependent brainstem mechanisms for pitch representation are clearly sensitive to particular aspects of pitch contours that native speakers of a tone language have been exposed to. Such experience-dependent effects on lower-level sensory processing are compatible with more integrated, hierarchically organized pathways to language and the brain.     

/n/-/l/音位合并现象的神经机制：来自MMN的证据

采用ERP技术,比较音位合并者与非音位合并者辨别合并音位/n/-/l/的脑电和行为反应。结果发现,非音位合并者在注意前阶段展现了显著的MMN;而音位合并者没有展现MMN,但在晚期展现了一个显著的负波。行为实验发现,相比于音位合并者,非音位合并者在分辨/n/-/l/时正确率更高,反应时更短。这些结果表明：两组被试区分/n/-/l/的能力在早期自动加工阶段就已经有了显著的差异。方言经验可能降低了音位合并者在听觉感觉加工阶段检测合并音位差异的敏感度。     

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.     

Cognitive basis of individual differences in speech perception,production and representations: The role of domain general attentional switching

This study investigated whether individual differences in cognitive functions, attentional abilities in particular, were associated with individual differences in the quality of phonological representations, resulting in variability in speech perception and production. To do so, we took advantage of a tone merging phenomenon in Cantonese, and identified three groups of typically developed speakers who could differentiate the two rising tones (high and low rising) in both perception and production [+Per+Pro], only in perception [+Per–Pro], or in neither modalities [–Per–Pro]. Perception and production were reflected, respectively, by discrimination sensitivity d′ and acoustic measures of pitch offset and rise time differences. Components of event-related potential (ERP)—the mismatch negativity (MMN) and the ERPs to amplitude rise time—were taken to reflect the representations of the acoustic cues of tones. Components of attention and working memory in the auditory and visual modalities were assessed with published test batteries. The results show that individual differences in both perception and production are linked to how listeners encode and represent the acoustic cues (pitch contour and rise time) as reflected by ERPs. The present study has advanced our knowledge from previous work by integrating measures of perception, production, attention, and those reflecting quality of representation, to offer a comprehensive account for the underlying cognitive factors of individual differences in speech processing. Particularly, it is proposed that domain-general attentional switching affects the quality of perceptual representations of the acoustic cues, giving rise to individual differences in perception and production.     

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.     

Stimulus information vs processing time in auditory pattern recognition

Previous studies have shown that pitch perception improves with increases in tone duration. An increase in tone duration increases the information available in the stimulus presentation. Other recent experiments have shown that sufficient perceptual processing time is also necessary for accurate pitch perception. The present study determines the relative contribution of stimulus information and processing time in an absolute pitch indentification task. The results indicate that processing time is more critical than stimulus information. The results are described accurately by a model that describes the perceptual process in terms of the information in the stimulus and the time the information is available for perceptual processing.     

Implicit Association Test (IAT) Studies Investigating Pitch-Shape Audiovisual Cross-modal Associations Across Language Groups

Previous studies have shown that Chinese speakers and non-Chinese speakers exhibit different patterns of cross-modal congruence for the lexical tones of Mandarin Chinese, depending on which features of the pitch they attend to. But is this pattern of language-specific listening a conscious cultural strategy or an automatic processing effect? If automatic, does it also apply when the same pitch contours no longer sound like speech? Implicit Association Tests (IATs) provide an indirect measure of cross-modal association. In a series of IAT studies, conducted with participants with three kinds of language backgrounds (Chinese-dominant bilinguals, Chinese balanced bilinguals, and English speakers with no Chinese experience) we find language-specific congruence effects for Mandarin lexical tones but not for matched sine-wave stimuli. That is, for linguistic stimuli, non-Chinese speakers show advantages for pitch-height congruence (high-pointy, low-curvy); no congruence effects were found for Chinese speakers. For non-linguistic stimuli, all participant groups showed advantages for pitch-height congruence. The present findings suggest that non-lexical tone congruence (high-pointy, low-curvy) is a basic congruence pattern, and the acquisition of a language with lexical tone can alter this perception.     

汉语普通话声调T2-T4范畴化感知的老化效应

本研究考察了50~80岁说普通话的中老年人对普通话声调T2—T4的范畴化感知表现,探究影响声调范畴化感知老化的因素。采用经典范畴感知范式。结果显示,(1)中老年组所有年龄段(50~60岁、60~70岁、70~80岁)的范畴边界宽度都显著大于年轻组,但中老年组间差异不显著。(2)中老年人范畴边界宽度与记忆广度测试得分呈显著负相关,而与年龄的相关性不显著。(3)和年轻组相比,中老年组范畴内识别函数的斜率差异显著,而范畴间差异不显著。结果表明,中老年人声调感知范畴化程度下降,音系层面的加工能力发生衰退,记忆广度的衰退与声调范畴化感知老年化之间存在关联。此外,50到80岁间,年龄不会直接影响声调感知范畴化程度。     

Infant music perception: domain-general or domain-specific mechanisms?

We review the literature on infants' perception of pitch and temporal patterns, relating it to comparable research with human adult and non-human listeners. Although there are parallels in relative pitch processing across age and species, there are notable differences. Infants accomplish such tasks with ease, but non-human listeners require extensive training to achieve very modest levels of performance. In general, human listeners process auditory sequences in a holistic manner, and non-human listeners focus on absolute aspects of individual tones. Temporal grouping processes and categorization on the basis of rhythm are evident in non-human listeners and in human infants and adults. Although synchronization to sound patterns is thought to be uniquely human, tapping to music, synchronous firefly flashing, and other cyclic behaviors can be described by similar mathematical principles. We conclude that infants' music perception skills are a product of general perceptual mechanisms that are neither music- nor species-specific. Along with general-purpose mechanisms for the perceptual foundations of music, we suggest unique motivational mechanisms that can account for the perpetuation of musical behavior in all human societies.     

音乐训练促进诗句韵律整合加工的神经过程

本研究采用ERP技术, 考察音乐训练组和对照组完成诗句押韵判断任务时, 在绝句末对韵律信息(含声调和韵母两个维度)的整合加工过程。结果发现, 在100~300 ms, 仅音乐训练组在声调/韵母合适条件下, 对韵母/声调的一致性进行深入分析, 并诱发了更大的正波; 在韵母违反条件下, 声调违反相比声调合适诱发了更小的正波。在300~750 ms, 两组被试均在绝句末对诗句内出现的韵母和声调违反进行整合分析并诱发了广泛分布的负波。不过, 对照组仅在声调/韵母合适条件下进行, 而音乐训练组则在声调/韵母违反条件下完成此过程。综上, 音乐训练组和对照组均会在诗句末完成押韵信息的整合加工, 但是音乐训练组对韵律信息(尤其是声调)的加工更敏感和快速, 并且对不同类型的违反有更精细的差异性反应     

Tone sequences with conflicting fundamental pitch and timbre changes are heard differently by musicians and nonmusicians

An Auditory Ambiguity Test (AAT) was taken twice by nonmusicians, musical amateurs, and professional musicians. The AAT comprised different tone pairs, presented in both within-pair orders, in which overtone spectra rising in pitch were associated with missing fundamental frequencies (F0) falling in pitch, and vice versa. The F0 interval ranged from 2 to 9 semitones. The participants were instructed to decide whether the perceived pitch went up or down; no information was provided on the ambiguity of the stimuli. The majority of professionals classified the pitch changes according to F0, even at the smallest interval. By contrast, most nonmusicians classified according to the overtone spectra, except in the case of the largest interval. Amateurs ranged in between. A plausible explanation for the systematic group differences is that musical practice systematically shifted the perceptual focus from spectral toward missing-F0 pitch, although alternative explanations such as different genetic dispositions of musicians and nonmusicians cannot be ruled out. ((c) 2007 APA, all rights reserved).