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.     

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.     

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.     

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.     

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.     

Long-term musical training may improve different forms of visual attention ability

Many studies have suggested that structural and functional cerebral neuroplastic processes result from long-term musical training, which in turn may produce cognitive differences between musicians and non-musicians. We aimed to investigate whether intensive, long-term musical practice is associated with improvements in three different forms of visual attention ability: selective, divided and sustained attention. Musicians from symphony orchestras (n = 38) and non-musicians (n = 38), who were comparable in age, gender and education, were submitted to three neuropsychological tests, measuring reaction time and accuracy. Musicians showed better performance relative to non-musicians on four variables of the three visual attention tests, and such an advantage could not solely be explained by better sensorimotor integration. Moreover, in the group of musicians, significant correlations were observed between the age at the commencement of musical studies and reaction time in all visual attention tests. The results suggest that musicians present augmented ability in different forms of visual attention, thus illustrating the possible cognitive benefits of long-term musical training.     

Experts see it all: configural effects in action observation

Biological motion perception is influenced by observers’ familiarity with the observed action. Here, we used classical dance as a means to investigate how visual and motor experience modulates perceptual mechanism for configural processing of actions. Although some ballet moves are performed by only one gender, male and female dancers train together and acquire visual knowledge of all ballet moves. Twenty-four expert ballet dancers (12 female) and matched non-expert participants viewed pairs of upright and inverted point light female and common dance movements. Visual discrimination between different exemplars of the same movement presented upright was significantly better in experts than controls, whilst no differences were found when the same stimuli were presented upside down. These results suggest expertise influences configural action processing. Within the expert group, effects were stronger for female participants than for males, whilst no differences were found between movement types. This observer gender effect could suggest an additional role for motor familiarity in action perception, over and above the visual experience. Our results are consistent with a specific motor contribution to configural processing of action.     

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.     

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.     

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.     

The role of line junctions in object recognition: The case of reading musical notation

Previous work has shown that line junctions are informative features for visual perception of objects, letters, and words. However, the sources of such sensitivity and their generalizability to other object categories are largely unclear. We addressed these questions by studying perceptual expertise in reading musical notation, a domain in which individuals with different levels of expertise are readily available. We observed that removing line junctions created by the contact between musical notes and staff lines selectively impaired recognition performance in experts and intermediate readers, but not in novices. The degree of performance impairment was predicted by individual fluency in reading musical notation. Our findings suggest that line junctions provide diagnostic information about object identity across various categories, including musical notation. However, human sensitivity to line junctions does not readily transfer from familiar to unfamiliar object categories, and has to be acquired through perceptual experience with the specific objects.     

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.     

Position coding effects in a 2D scenario: The case of musical notation

How does the cognitive system encode the location of objects in a visual scene? In the past decade, this question has attracted much attention in the field of visual-word recognition (e.g., “jugde” is perceptually very close to “judge”). Letter transposition effects have been explained in terms of perceptual uncertainty or shared “open bigrams”. In the present study, we focus on note position coding in music reading (i.e., a 2D scenario). The usual way to display music is the staff (i.e., a set of 5 horizontal lines and their resultant 4 spaces). When reading musical notation, it is critical to identify not only each note (temporal duration), but also its pitch (y-axis) and its temporal sequence (x-axis). To examine note position coding, we employed a same–different task in which two briefly and consecutively presented staves contained four notes. The experiment was conducted with experts (musicians) and non-experts (non-musicians). For the “different” trials, the critical conditions involved staves in which two internal notes that were switched vertically, horizontally, or fully transposed — as well as the appropriate control conditions. Results revealed that note position coding was only approximate at the early stages of processing and that this encoding process was modulated by expertise. We examine the implications of these findings for models of object position encoding.     

Interactive expertise in solo and joint musical performance

The paper presents two empirical cases of expert musicians—a classical string quartet and a solo, free improvisation saxophonist—to analyze the explanatory power and reach of theories in the field of expertise studies and joint action. We argue that neither the positions stressing top-down capacities of prediction, planning or perspective-taking, nor those emphasizing bottom-up embodied processes of entrainment, motor-responses and emotional sharing can do justice to the empirical material. We then turn to hybrid theories in the expertise debate and interactionist accounts of cognition. Attempting to strengthen and extend them, we offer ‘Arch’: an overarching conception of musical interaction as an externalized, cognitive scaffold that encompasses high and low-level cognition, internal and external processes, as well as the shared normative space including the musical materials in which the musicians perform. In other words, ‘Arch’ proposes interaction as a multivariate multimodal overarching scaffold necessary to explain not only cases of joint performance, but equally of solo improvisation.

     

Perceptual Expertise as a Shift from Strategic Interference to Automatic Holistic Processing

Holistic processing was initially characterized a unique hallmark of face perception (e.g., Young et al., 1987) and later argued a domain-general marker of perceptual expertise (e.g., Gauthier et al., 1998). More recently, evidence for holistic processing - measured by interference from task-irrelevant parts - was obtained in novices, raising questions for its usefulness as a test of expertise. Indeed, recent studies use the same task to make opposite claims: Hsiao & Cottrell (2009) found more interference in novices than experts for Chinese characters, while Wong, Palmeri & Gauthier (2009) found more interference in experts than novices with objects. Offering a resolution to this paradox, our work on the perception of musical notation (Wong & Gauthier, in press) suggests that expert and novice interference effects represent two ends of a continuum: interference is initially strategic and contextual, but becomes more automatic as holistic processing develops with the acquisition of perceptual expertise.     

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。     

Timing variations in music performance: musical communication, perceptual compensation, and/or motor control?

A perceptual performance paradigm was designed to disentangle the timing variations in music performance that are due to perceptual compensation, motor control, and musical communication. First, pianists perceptually adjusted the interonset intervals of three excerpts so that they sounded regular. These adjustments deviated systematically from regularity, highlighting two sources of perceptual biases in time perception: rhythmic grouping and a psychoacoustic intensity effect. Then the participants performed the excerpts on the piano in the same regular way. The intensity effect disappeared, and some variations due to motor constraints were observed in relation to rhythmic groups. Finally, the participants performed the excerpts musically. Variations due to musical communication involved additional group-final lengthening that reflected the hierarchical grouping structure of the excerpts. These results underline the nuclear role of grouping in musical time perception and production.     

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。     

Musical experts recruit action-related neural structures in harmonic anomaly detection: Evidence for embodied cognition in expertise

Humans are extremely good at detecting anomalies in sensory input. For example, while listening to a piece of Western-style music, an anomalous key change or an out-of-key pitch is readily apparent, even to the non-musician. In this paper we investigate differences between musical experts and non-experts during musical anomaly detection. Specifically, we analyzed the electroencephalograms (EEG) of five expert cello players and five non-musicians while they listened to excerpts of J.S. Bach’s Prelude from Cello Suite No. 1. All subjects were familiar with the piece, though experts also had extensive experience playing the piece. Subjects were told that anomalous musical events (AMEs) could occur at random within the excerpts of the piece and were told to report the number of AMEs after each excerpt. Furthermore, subjects were instructed to remain still while listening to the excerpts and their lack of movement was verified via visual and EEG monitoring. Experts had significantly better behavioral performance (i.e. correctly reporting AME counts) than non-experts, though both groups had mean accuracies greater than 80%. These group differences were also reflected in the EEG correlates of key-change detection post-stimulus, with experts showing more significant, greater magnitude, longer periods of, and earlier peaks in condition-discriminating EEG activity than novices. Using the timing of the maximum discriminating neural correlates, we performed source reconstruction and compared significant differences between cellists and non-musicians. We found significant differences that included a slightly right lateralized motor and frontal source distribution. The right lateralized motor activation is consistent with the cortical representation of the left hand – i.e. the hand a cellist would use, while playing, to generate the anomalous key-changes. In general, these results suggest that sensory anomalies detected by experts may in fact be partially a result of an embodied cognition, with a model of the action for generating the anomaly playing a role in its detection.     

The influence of motor expertise and motor experience on action and actor recognition

Two experiments examined whether different levels of motor and visual experience influence action perception and whether this effect depends on the type of perceptual task. Within an action recognition task (Experiment 1), professional basketball players and novice college students were asked to identify basketball dribbles from point-light displays. Results showed faster reaction times and greater accuracy in experts, but no advantage when observing either own or teammates’ actions compared with unknown expert players. Within an actor recognition task (Experiment 2), the same expert players were asked to identify the model actors. Results showed poor discrimination between teammates and players from another team, but a more accurate assignment of own actions to the own team. When asked to name the actor, experts recognised themselves slightly better than teammates. Results support the hypothesis that motor experience influences action recognition. They also show that the influence of motor experience on the perception of own actions depends on the type of perceptual task.