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.     

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.     

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 role of rhythm in perceiving speech in noise: a comparison of percussionists,vocalists and non-musicians

The natural rhythms of speech help a listener follow what is being said, especially in noisy conditions. There is increasing evidence for links between rhythm abilities and language skills; however, the role of rhythm-related expertise in perceiving speech in noise is unknown. The present study assesses musical competence (rhythmic and melodic discrimination), speech-in-noise perception and auditory working memory in young adult percussionists, vocalists and non-musicians. Outcomes reveal that better ability to discriminate rhythms is associated with better sentence-in-noise (but not words-in-noise) perception across all participants. These outcomes suggest that sensitivity to rhythm helps a listener understand unfolding speech patterns in degraded listening conditions, and that observations of a “musician advantage” for speech-in-noise perception may be mediated in part by superior rhythm skills.     

Body movement enhances the extraction of temporal structures in auditory sequences

Auditory and motor systems interact in processing auditory rhythms. This study investigated the effect of intuitive body movement, such as head nodding or foot tapping, on listeners’ ability to entrain to the pulse of an auditory sequence. A pulse-finding task was employed using an isochronous sequence of tones in which tones were omitted at pseudorandom positions. Musicians and non-musicians identified their subjectively fitting pulse either using periodic body movement or through listening only. The identified pulse was measured subsequently by finger tapping. Movement appeared to assist pulse extraction especially for non-musicians. The chosen pulse tempi tended to be faster with movement. Additionally, movement led to higher synchronization stabilities of the produced pulse along the sequence, regardless of musical training. These findings demonstrated the facilitatory role of body movement in entraining to auditory rhythms and its interaction with musical training.     

Perceptions musicales et conscience phonologique : recherche auprès d’enfants francophones d’âge préscolaire

Research led with English, Turkish and Slovak-speaking preschoolers have shown positive correlations between musical perceptual skills and phonological awareness. However, limited studies have been conducted in other linguistic contexts. In that regard, the aim of this study is to examine the correlation between musical perceptual skills (pitch and duration discrimination) and phonological awareness (syllable, rhyme and phoneme identification; rhyme identification) among 61 Francophone preschoolers (34 girls and 27 boys, mean age 4.7 months). Each participant completed a phonological awareness test, a music perception test and a non-verbal cognitive abilities task (spatial memory). The relationship between musical perceptual skills and phonological awareness was investigated using Pearson product-moment correlation coefficient. Preliminary analyses were performed to ensure no violation of the assumptions of normality, linearity and homoscedasticity. There was a moderate positive correlation between the two variables. The syllable identification task was the only one correlated with both pitch and duration discrimination tasks. It is possible to believe that better perceptual musical abilities improve, even boost, syllable treatment among Francophone preschoolers. Since rhyme and phoneme awareness seem to emerge after syllable awareness, this could explain why no correlation was observed with musical perceptual skills among those young participants.     

Control of Expressive and Metronomic Timing in Pianists

In 12 tasks, each including 10 repetitions, 6 skilled pianists performed or responded to a musical excerpt. In the first 6 tasks, expressive timing was required; in the last 6 tasks, metronomic timing. The pianists first played the music on a digital piano (Tasks 1 and 7), then played it without auditory feedback (Tasks 2 and 8), then tapped on a response key in synchrony with one of their own performances (Tasks 3 and 9), with an imagined performance (Tasks 4 and 10), with a computer-generated performance (Tasks 5 and 11), and with a computer-generated sequence of clicks (Tasks 6 and 12). The results demonstrated that pianists are capable of generating the expressive timing pattern of their performance in the absence of auditory and kinaesthetic (piano keyboard) feedback. They can also synchronize their finger taps quite well with expressively timed music or clicks (while imagining the music), although they tend to underestimate long interonset intervals and to compensate on the following tap. Expressive timing is thus shown to be generated from an internal representation of the music. In metronomic performance, residual expressive timing effects were evident. Those did not depend on auditory feedback, but they were much reduced or absent when kinaesthetic feedback from the piano keyboard was eliminated. Thus, they seemed to arise from the pianist's physical interaction with the instrument. Systematic timing patterns related to expressive timing were also observed in synchronization with a metronomic computer performance and even in synchronization with metronomic clicks. These results shed light on intentional and unintentional, structurally governed processes of timing control in music performance.     

Silent music reading: Auditory imagery and visuotonal modality transfer in singers and non-singers

In daily life, responses are often facilitated by anticipatory imagery of expected targets which are announced by associated stimuli from different sensory modalities. Silent music reading represents an intriguing case of visuotonal modality transfer in working memory as it induces highly defined auditory imagery on the basis of presented visuospatial information (i.e. musical notes). Using functional MRI and a delayed sequence matching-to-sample paradigm, we compared brain activations during retention intervals (10 s) of visual (VV) or tonal (TT) unimodal maintenance versus visuospatial-to-tonal modality transfer (VT) tasks. Visual or tonal sequences were comprised of six elements, white squares or tones, which were low, middle, or high regarding vertical screen position or pitch, respectively (presentation duration: 1.5 s). For the cross-modal condition (VT, session 3), the visuospatial elements from condition VV (session 1) were re-defined as low, middle or high “notes” indicating low, middle or high tones from condition TT (session 2), respectively, and subjects had to match tonal sequences (probe) to previously presented note sequences. Tasks alternately had low or high cognitive load. To evaluate possible effects of music reading expertise, 15 singers and 15 non-musicians were included. Scanner task performance was excellent in both groups. Despite identity of applied visuospatial stimuli, visuotonal modality transfer versus visual maintenance (VT > VV) induced “inhibition” of visual brain areas and activation of primary and higher auditory brain areas which exceeded auditory activation elicited by tonal stimulation (VT > TT). This transfer-related visual-to-auditory activation shift occurred in both groups but was more pronounced in experts. Frontoparietal areas were activated by higher cognitive load but not by modality transfer. The auditory brain showed a potential to anticipate expected auditory target stimuli on the basis of non-auditory information and sensory brain activation rather mirrored expectation than stimulation. Silent music reading probably relies on these basic neurocognitive mechanisms.     

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 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 training strongly improves visual motion perception in schizophrenia

Schizophrenia patients exhibit perceptual and cognitive deficits, including in visual motion processing. Given that cognitive systems depend upon perceptual inputs, improving patients’ perceptual abilities may be an effective means of cognitive intervention. In healthy people, motion perception can be enhanced through perceptual learning, but it is unknown whether this perceptual plasticity remains in schizophrenia patients. The present study examined the degree to which patients’ performance on visual motion discrimination can be improved, using a perceptual learning procedure. While both schizophrenia patients and healthy controls showed decreased direction discrimination thresholds (improved performance) with training, the magnitude of the improvement was greater in patients (47% improvement) than in controls (21% improvement). Both groups also improved moderately but non-significantly on an untrained task—speed discrimination. The large perceptual training effect in patients on the trained task suggests that perceptual plasticity is robust in schizophrenia and can be applied to develop bottom-up behavioral interventions.     

Cross-modal priming and explicit memory in patients with verbal production deficits

Implicit memory is often thought to reflect an influence of past experience on perceptual processes, yet priming effects are found when the perceptual format of stimuli changes between study and test episodes. Such cross-modal priming effects have been hypothesized to depend upon stimulus recoding processes whereby a stimulus presented in one modality is converted to other perceptual formats. The present research examined recoding accounts of cross-modal priming by testing patients with verbal production deficits that presumably impair the conversion of visual words into auditory/phonological forms. The patients showed normal priming in a visual stem completion task following visual study (Experiment 1), but showed impairments following auditory study in both implicit (Experiment 2) and explicit (Experiment 3) stem completion. The results are consistent with the hypothesis that verbal production processes contribute to the recoding of visual stimuli and support cross-modal priming. The results also indicate that shared processes contribute to both explicit memory and cross-modal implicit memory.     

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).     

Musicians' working memory for tones,words, and pseudowords

Studies investigating factors that influence tone recognition generally use recognition tests, whereas the majority of the studies on verbal material use self-generated responses in the form of serial recall tests. In the present study we intended to investigate whether tonal and verbal materials share the same cognitive mechanisms, by presenting an experimental instrument that evaluates short-term and working memories for tones, using self-generated sung responses that may be compared to verbal tests. This paradigm was designed according to the same structure of the forward and backward digit span tests, but using digits, pseudowords, and tones as stimuli. The profile of amateur singers and professional singers in these tests was compared in forward and backward digit, pseudoword, tone, and contour spans. In addition, an absolute pitch experimental group was included, in order to observe the possible use of verbal labels in tone memorization tasks. In general, we observed that musical schooling has a slight positive influence on the recall of tones, as opposed to verbal material, which is not influenced by musical schooling. Furthermore, the ability to reproduce melodic contours (up and down patterns) is generally higher than the ability to reproduce exact tone sequences. However, backward spans were lower than forward spans for all stimuli (digits, pseudowords, tones, contour). Curiously, backward spans were disproportionately lower for tones than for verbal material—that is, the requirement to recall sequences in backward rather than forward order seems to differentially affect tonal stimuli. This difference does not vary according to musical expertise.     

Tuning of diatonic scales by violinists,pianists, and nonmusicians

The present study shows that playing a particular musical instrument influences tuning preference. Violinists (n=7), pianists (n=7), and nonmusicians (n=10) were required to adjust three notes (E, A, and B) in computer-generated, eight-tone ascending and descending diatonic scales of C major. The results indicated that (1) violinists set the three tones closer to Pythagorean intonation than do pianists (p< .01), (2) pianists fit closest to equal-tempered intonation (p< .01), and (3) nonmusicians do not show any preference for a specific intonation model. These findings are consistent with the view that tuning preference is determined by musical experience more than by characteristics of the auditory system. The relevance of these results to theories of cultural conditioning and assessment of tonal perception is discussed.     

Musicians' working memory for tones, words, and pseudowords

Studies investigating factors that influence tone recognition generally use recognition tests, whereas the majority of the studies on verbal material use self-generated responses in the form of serial recall tests. In the present study we intended to investigate whether tonal and verbal materials share the same cognitive mechanisms, by presenting an experimental instrument that evaluates short-term and working memories for tones, using self-generated sung responses that may be compared to verbal tests. This paradigm was designed according to the same structure of the forward and backward digit span tests, but using digits, pseudowords, and tones as stimuli. The profile of amateur singers and professional singers in these tests was compared in forward and backward digit, pseudoword, tone, and contour spans. In addition, an absolute pitch experimental group was included, in order to observe the possible use of verbal labels in tone memorization tasks. In general, we observed that musical schooling has a slight positive influence on the recall of tones, as opposed to verbal material, which is not influenced by musical schooling. Furthermore, the ability to reproduce melodic contours (up and down patterns) is generally higher than the ability to reproduce exact tone sequences. However, backward spans were lower than forward spans for all stimuli (digits, pseudowords, tones, contour). Curiously, backward spans were disproportionately lower for tones than for verbal material-that is, the requirement to recall sequences in backward rather than forward order seems to differentially affect tonal stimuli. This difference does not vary according to musical expertise.     

基于视听双通道的音乐情绪冲突效应及优势通道研究

为探讨基于视听双通道的音乐情绪冲突效应、冲突情境下的优势加工通道和音乐经验对结果的影响,本研究采用音乐表演视频为材料,比较音乐组和非音乐组被试在一致型和不一致型视听双通道下的情绪评定速度、准确性及强度。结果发现:(1)一致型条件下的情绪评定更准确且更强烈;(2)不一致型条件下,被试更多以听觉通道的情绪线索为依据进行情绪类型评定;(3)非音乐组被试比音乐组被试更依赖视觉通道的情绪线索。结果表明:通道间情绪信息的不一致阻碍了音乐情绪加工; 听觉通道是音乐情绪冲突情境下的优势加工通道; 音乐经验降低了情绪冲突效应对音乐组被试的干扰。     

Learning words’ sounds before learning how words sound: 9-Month-olds use distinct objects as cues to categorize speech information

One of the central themes in the study of language acquisition is the gap between the linguistic knowledge that learners demonstrate, and the apparent inadequacy of linguistic input to support induction of this knowledge. One of the first linguistic abilities in the course of development to exemplify this problem is in speech perception: specifically, learning the sound system of one’s native language. Native-language sound systems are defined by meaningful contrasts among words in a language, yet infants learn these sound patterns before any significant numbers of words are acquired. Previous approaches to this learning problem have suggested that infants can learn phonetic categories from statistical analysis of auditory input, without regard to word referents. Experimental evidence presented here suggests instead that young infants can use visual cues present in word-labeling situations to categorize phonetic information. In Experiment 1, 9-month-old English-learning infants failed to discriminate two non-native phonetic categories, establishing baseline performance in a perceptual discrimination task. In Experiment 2, these infants succeeded at discrimination after watching contrasting visual cues (i.e., videos of two novel objects) paired consistently with the two non-native phonetic categories. In Experiment 3, these infants failed at discrimination after watching the same visual cues, but paired inconsistently with the two phonetic categories. At an age before which memory of word labels is demonstrated in the laboratory, 9-month-old infants use contrastive pairings between objects and sounds to influence their phonetic sensitivity. Phonetic learning may have a more functional basis than previous statistical learning mechanisms assume: infants may use cross-modal associations inherent in social contexts to learn native-language phonetic categories.     

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.     

Sensorimotor synchronization: A review of the tapping literature

Sensorimotor synchronization (SMS), the rhythmic coordination of perception and action, occurs in many contexts, but most conspicuously in music performance and dance. In the laboratory, it is most often studied in the form of finger tapping to a sequence of auditory stimuli. This review summarizes theories and empirical findings obtained with the tapping task. Its eight sections deal with the role of intention, rate limits, the negative mean asynchrony, variability, models of error correction, perturbation studies, neural correlates of SMS, and SMS in musical contexts. The central theoretical issue is considered to be how best to characterize the perceptual information and the internal processes that enable people to achieve and maintain SMS. Recent research suggests that SMS is controlled jointly by two error correction processes (phase correction and period correction) that differ in their degrees of cognitive control and may be associated with different brain circuits. They exemplify the general distinction between subconscious mechanisms of action regulation and conscious processes involved in perceptual judgment and action planning.