Timbral cues underlie instrument-specific absolute pitch in expert oboists.

While absolute pitch (AP)-the ability to identify musical pitches without external reference-is rare even in professional musicians, anecdotal evidence and case-report data suggest that some musicians without traditional AP can nonetheless better name notes played on their musical instrument of expertise than notes played on instruments less familiar to them. We have called this gain in AP ability "instrument-specific absolute pitch" (ISAP). Here, we report the results of the first two experiments designed to investigate ISAP in professional oboists. In Experiment 1 (n = 40), superiority for identifying the pitch of oboe over piano tones varied along a continuum, with 37.5% of oboists demonstrating significant ISAP. Variance in accuracy across pitches was higher among ISAP-possessors than ISAP-non-possessors, suggestive of internalized timbral idiosyncrasies, and the use of timbral cues was the second-most commonly reported task strategy. For both timbres, both groups performed more accurately for pitches associated with white than black piano keys. In Experiment 2 (n = 12), oboists with ISAP were less accurate in pitch identification when oboe tones were artificially pitch-shifted. The use of timbral idiosyncrasies thus may constitute a widespread mechanism of ISAP. Motor interference, conversely, did not significantly reduce accuracy. This study offers the first evidence of ISAP among highly trained musicians and that reliance on subtle timbral (or intonational) idiosyncrasies may constitute an underlying mechanism of this ability in expert oboists. This provides a path forward for future studies extending the scientific understanding of ISAP to other instrument types, expertise levels, and musical contexts. More generally, this may deepen knowledge of specialized expertise, representing a range of implicit abilities that are not addressed directly in training, but which may develop through practice of a related skill set.

Individual variability in the use of tonal and non-tonal cues in intonationa).

Greek uses H*, L + H*, and H* + L, all followed by L-L% edge tones, as nuclear pitch accents in statements. A previous analysis demonstrated that these accents are distinguished by F0 scaling and contour shape. This study expands the earlier investigation by exploring additional cues, namely, voice quality, amplitude, and duration, in distinguishing the pitch accents, and investigating individual variability in the selection of both F0 and non-F0 cues. Bayesian multivariate analysis and hierarchical clustering demonstrate that the accents are distinguished not only by F0 but also by additional cues at the group level, with individual variability in cue selection.

Native language background affects the perception of duration and pitch.

Estonian is a quantity language with both a primary duration cue and a secondary pitch cue, whereas Chinese is a tonal language with a dominant pitch use. Using a mismatch negativity experiment and a behavioral discrimination experiment, we investigated how native language background affects the perception of duration only, pitch only, and duration plus pitch information. Chinese participants perceived duration in Estonian as meaningless acoustic information due to a lack of phonological use of duration in their native language; however, they demonstrated a better pitch discrimination ability than Estonian participants. On the other hand, Estonian participants outperformed Chinese participants in perceiving the non-speech pure tones that resembled the Estonian quantity (i.e., containing both duration and pitch information). Our results indicate that native language background affects the perception of duration and pitch and that such an effect is not specific to processing speech sounds.

Social and communicative not a prerequisite: Preverbal infants learn an abstract rule only from congruent audiovisual dynamic pitch-height patterns.

Learning in the everyday environment often requires the flexible integration of relevant multisensory information. Previous research has demonstrated preverbal infants' capacity to extract an abstract rule from audiovisual temporal sequences matched in temporal synchrony. Interestingly, this capacity was recently reported to be modulated by crossmodal correspondence beyond spatiotemporal matching (e.g., consistent facial emotional expressions or articulatory mouth movements matched with sound). To investigate whether such modulatory influence applies to non-social and non-communicative stimuli, we conducted a critical test using audiovisual stimuli free of social information: visually upward (and downward) moving objects paired with a congruent tone of ascending or incongruent (descending) pitch. East Asian infants (8-10 months old) from a metropolitan area in Asia demonstrated successful abstract rule learning in the congruent audiovisual condition and demonstrated weaker learning in the incongruent condition. This implies that preverbal infants use crossmodal dynamic pitch-height correspondence to integrate multisensory information before rule extraction. This result confirms that preverbal infants are ready to use non-social non-communicative information in serving cognitive functions such as rule extraction in a multisensory context.

Pupillometry reveals effects of pitch manipulation within and across words on listening effort and short-term memory.

For individuals with hearing loss, even successful speech communication comes at a cost. Cochlear implants transmit degraded information, specifically for voice pitch, which demands extra and sustained listening effort. The current study hypothesized that abnormal pitch patterns contribute to the additional listening effort, even in non-tonal language native speaking normally hearing listeners. We manipulated the fundamental frequency (F0) within and across words, while participants listen and repeat (simple intelligibility task), or listen, repeat, and later recall (concurrent encoding task) the words. In both experiments, the F0 manipulations resulted in small changes in intelligibility but no difference in free recall or subjective effort ratings. Pupillary metrics were yet sensitive to these manipulations: pupil dilations were larger when words were monotonized (flat contour) or inverted (the natural contour flipped upside-down), and larger when successive words were organized into a melodic pattern. The most likely interpretation is that the natural or expected F0 contour of a word contributes to its identity and facilitate its matching and retrieval from the phonological representation stored in long-term memory. Consequently, degrading words' F0 contour can result in extra listening effort. Our results call for solutions to improve pitch saliency and naturalness in future development of cochlear implants' signal processing strategies, even for non-tonal languages.

Dissociable neuronal mechanism for different crossmodal correspondence effects in humans.

Crossmodal correspondences (CMCs) refer to associations between seemingly arbitrary stimulus features in different sensory modalities. Pitch­size correspondences refer to the strong association of e.g., small objects with high pitches. Pitch­elevation correspondences refer to the strong association of e.g., visuospatial elevated objects with high pitches. We used functional magnetic resonance imaging (fMRI) to study the neural components, which underlie the CMCs in pitch­size and spatial pitch­elevation. This study focuses on answering the question of whether or not different CMCs are driven by similar neural mechanisms. The comparison of congruent against incongruent trials allows the estimation of CMC effects across different CMCs. The analysis of the measured neural activity in different CMCs strongly pointed toward different mechanisms which are involved in the processing of pitch­size and pitch­elevation correspondences. Differential, whole brain effects were observed within the superior parietal lobule (SPL), cerebellum and Heschls' gyrus (HG). Further, the angular gyrus (AnG), the intraparietal sulcus (IPS) and anterior cingulate cortex (ACC) were engaged in processing the CMCs but showed different effects for processing congruent compared to incongruent stimulus presentations. Within pitch­size significant effects in the AnG and ACC were found for congruent stimulus presentations whereas for pitch­elevation, significant effects in the ACC and IPS were found for incongruent stimulus presentations. In summary, the present results indicated differential neural processing in different simple audio­visual CMCs.

High-Pitched Sound is Open and Low-Pitched Sound is Closed: Representing the Spatial Meaning of Pitch Height.

Research shows that high- and low-pitch sounds can be associated with various meanings. For example, high-pitch sounds are associated with small concepts, whereas low-pitch sounds are associated with large concepts. This study presents three experiments revealing that high-pitch sounds are also associated with open concepts and opening hand actions, while low-pitch sounds are associated with closed concepts and closing hand actions. In Experiment 1, this sound-meaning correspondence effect was shown using the two-alternative forced-choice task, while Experiments 2 and 3 used reaction time tasks to show this interaction. In Experiment 2, high-pitch vocalizations were found to facilitate opening hand gestures, and low-pitch vocalizations were found to facilitate closing hand gestures, when performed simultaneously. In Experiment 3, high-pitched vocalizations were produced particularly rapidly when the visual target stimulus presented an open object, and low-pitched vocalizations were produced particularly rapidly when the target presented a closed object. These findings are discussed concerning the meaning of intonational cues. They are suggested to be based on cross-modally representing conceptual spatial knowledge in sensory, motor, and affective systems. Additionally, this pitch-opening effect might share cognitive processes with other pitch-meaning effects.

Perceptual anchoring: Children with dyslexia benefit less than controls from contextual repetitions in speech processing.

OBJECTIVES: Individuals with dyslexia perceive and utilize statistical features in the auditory input deficiently. The present study investigates whether affected children also benefit less from repeating context tones as perceptual anchors for subsequent speech processing. METHODS: In an event-related potential study, eleven-year-old children with dyslexia (n = 21) and without dyslexia (n = 20) heard syllable pairs, with the first syllable either receiving a constant pitch (anchor) or variable pitch (no-anchor), while second syllables were identical across conditions. RESULTS: Children with and without dyslexia showed smaller auditory P2 responses to constant-pitch versus variable-pitch first syllables, while only control children additionally showed smaller N1 and faster P1 responses. This suggests less automatic processing of anchor repetitions in dyslexia. For the second syllables, both groups showed faster P2 responses following anchor than no-anchor first syllables, but only controls additionally showed smaller P2 responses. CONCLUSIONS: Children with and without dyslexia show differences in anchor effects. While both groups seem to allocate less attention to speech stimuli after contextual repetitions, children with dyslexia display less facilitation in speech processing from acoustic anchors. SIGNIFICANCE: Altered anchoring in the linguistic domain may contribute to the difficulties of individuals with dyslexia in establishing long-term representations of speech.

Cochlear Implantation in Single-Sided Deafness and Asymmetric Hearing Loss: 12 Months Follow-up Results of a European Multicenter Evaluation.

People with single-sided deafness (SSD) or asymmetric hearing loss (AHL) have particular difficulty understanding speech in noisy listening situations and in sound localization. The objective of this multicenter study is to evaluate the effect of a cochlear implant (CI) in adults with single-sided deafness (SSD) or asymmetric hearing loss (AHL), particularly regarding sound localization and speech intelligibility with additional interest in electric-acoustic pitch matching. A prospective longitudinal study at 7 European tertiary referral centers was conducted including 19 SSD and 16 AHL subjects undergoing cochlear implantation. Sound localization accuracy was investigated in terms of root mean square error and signed bias before and after implantation. Speech recognition in quiet and speech reception thresholds in noise for several spatial configurations were assessed preoperatively and at several post-activation time points. Pitch perception with CI was tracked using pitch matching. Data up to 12 months post activation were collected. In both SSD and AHL subjects, CI significantly improved sound localization for sound sources on the implant side, and thus overall sound localization. Speech recognition in quiet with the implant ear improved significantly. In noise, a significant head shadow effect was found for SSD subjects only. However, the evaluation of AHL subjects was limited by the small sample size. No uniform development of pitch perception with the implant ear was observed. The benefits shown in this study confirm and expand the existing body of evidence for the effectiveness of CI in SSD and AHL. Particularly, improved localization was shown to result from increased localization accuracy on the implant side.

Involuntary motor responses are elicited both by rare sounds and rare pitch changes.

Unpredictable deviations from an otherwise regular auditory sequence, as well as rare sounds following a period of silence, are detected automatically. Recent evidence suggests that the latter also elicit quick involuntary modulations of ongoing motor activity emerging as early as 100 ms following sound onset, which was attributed to supramodal processing. We explored such force modulations for both rare and deviant sounds. Participants (N = 29) pinched a force sensitive device and maintained a force of 1-2 N for periods of 1 min. Task-irrelevant tones were presented under two conditions. In the Rare condition, 4000 Hz tones were presented every 8-to-16 s. In the Roving condition, 4000 Hz and 2996 Hz tones were presented at rate of 1 s, with infrequent (p = 1/12) frequency changes. In the Rare condition, transient force modulations were observed with a significant increase at ~ 234 ms, and a decrease at ~ 350 ms. In the Roving condition with low frequency deviant tones, an increase in force was observed at ~ 277 ms followed by a decrease at ~ 413 ms. No significant modulations were observed during perception of high frequency deviants. These results suggest that both rare silence-breaking sounds and low-pitched deviants evoke automatic fluctuations of motor responses, which opens up the possibility that these force modulations are triggered by stimulus-specific change-detection processes.

Timbral brightness perception investigated through multimodal interference.

Brightness is among the most studied aspects of timbre perception. Psychoacoustically, sounds described as "bright" versus "dark" typically exhibit a high versus low frequency emphasis in the spectrum. However, relatively little is known about the neurocognitive mechanisms that facilitate these metaphors we listen with. Do they originate in universal magnitude representations common to more than one sensory modality? Triangulating three different interaction paradigms, we investigated using speeded classification whether intramodal, crossmodal, and amodal interference occurs when timbral brightness, as modeled by the centroid of the spectral envelope, and pitch height/visual brightness/numerical value processing are semantically congruent and incongruent. In four online experiments varying in priming strategy, onset timing, and response deadline, 189 total participants were presented with a baseline stimulus (a pitch, gray square, or numeral) then asked to quickly identify a target stimulus that is higher/lower, brighter/darker, or greater/less than the baseline after being primed with a bright or dark synthetic harmonic tone. Results suggest that timbral brightness modulates the perception of pitch and possibly visual brightness, but not numerical value. Semantically incongruent pitch height-timbral brightness shifts produced significantly slower reaction time (RT) and higher error compared to congruent pairs. In the visual task, incongruent pairings of gray squares and tones elicited slower RTs than congruent pairings (in two experiments). No interference was observed in the number comparison task. These findings shed light on the embodied and multimodal nature of experiencing timbre.

Deficits in congenital amusia: Pitch, music, speech, and beyond.

Congenital amusia is a neurodevelopmental disorder characterized by deficits of music perception and production, which are related to altered pitch processing. The present study used a wide variety of tasks to test potential patterns of processing impairment in individuals with congenital amusia (N = 18) in comparison to matched controls (N = 19), notably classical pitch processing tests (i.e., pitch change detection, pitch direction of change identification, and pitch short-term memory tasks) together with tasks assessing other aspects of pitch-related auditory cognition, such as emotion recognition in speech, sound segregation in tone sequences, and speech-in-noise perception. Additional behavioral measures were also collected, including text reading/copying tests, visual control tasks, and a subjective assessment of hearing abilities. As expected, amusics' performance was impaired for the three pitch-specific tasks compared to controls. This deficit of pitch perception had a self-perceived impact on amusics' quality of hearing. Moreover, participants with amusia were impaired in emotion recognition in vowels compared to controls, but no group difference was observed for emotion recognition in sentences, replicating previous data. Despite pitch processing deficits, participants with amusia did not differ from controls in sound segregation and speech-in-noise perception. Text reading and visual control tests did not reveal any impairments in participants with amusia compared to controls. However, the copying test revealed more numerous eye-movements and a smaller memory span. These results allow us to refine the pattern of pitch processing and memory deficits in congenital amusia, thus contributing further to understand pitch-related auditory cognition. Together with previous reports suggesting a comorbidity between congenital amusia and dyslexia, the findings call for further investigation of language-related abilities in this disorder even in the absence of neurodevelopmental language disorder diagnosis.

Behavioral and neural measures of confidence using a novel auditory pitch identification task.

Observers can discriminate between correct versus incorrect perceptual decisions with feelings of confidence. The centro-parietal positivity build-up rate (CPP slope) has been suggested as a likely neural signature of accumulated evidence, which may guide both perceptual performance and confidence. However, CPP slope also covaries with reaction time, which also covaries with confidence in previous studies, and performance and confidence typically covary; thus, CPP slope may index signatures of perceptual performance rather than confidence per se. Moreover, perceptual metacognition-including neural correlates-has largely been studied in vision, with few exceptions. Thus, we lack understanding of domain-general neural signatures of perceptual metacognition outside vision. Here we designed a novel auditory pitch identification task and collected behavior with simultaneous 32-channel EEG in healthy adults. Participants saw two tone labels which varied in tonal distance on each trial (e.g., C vs D, C vs F), then heard a single auditory tone; they identified which label was correct and rated confidence. We found that pitch identification confidence varied with tonal distance, but performance, metacognitive sensitivity (trial-by-trial covariation of confidence with accuracy), and reaction time did not. Interestingly, however, while CPP slope covaried with performance and reaction time, it did not significantly covary with confidence. We interpret these results to mean that CPP slope is likely a signature of first-order perceptual processing and not confidence-specific signals or computations in auditory tasks. Our novel pitch identification task offers a valuable method to examine the neural correlates of auditory and domain-general perceptual confidence.

Long-term music instruction is partially associated with the development of socioemotional skills.

This study aims to investigate the development of pitch-matching, rhythmic entrainment, and socioemotional skills in children who received formal music instruction and other non-music based after school programs. Eighty-three children, averaging 6.81 years old at baseline, were enrolled in either a music, sports, or no after-school program and followed over four years. The music program involved formal and systematic instruction in music theory, instrumental technique, and performance. Most control participants had no music education; however, in some instances, participants received minimal music education at school or at church. Musical development was measured using a pitch-matching and drumming-based rhythmic entrainment task. Sharing behavior was measured using a variation of the dictator game, and empathy was assessed using three different assessments: the Index of Empathy for Children and Adolescence (trait empathy), the Reading the Mind in the Eyes Test (theory of mind), and a Fiction Emotion-Matching task (state empathy). Results revealed no time-related associations in pitch-matching ability; however, formal music instruction improved pitch-matching relative to controls. On the contrary, improvements in rhythmic entrainment were best explained by age-related changes rather than music instruction. This study also found limited support for a positive association between formal music instruction and socioemotional skills. That is, individuals with formal music instruction exhibited improved emotion-matching relative to those with sports training. In terms of general socioemotional development, children's trait-level affective empathy did not improve over time, while sharing, theory of mind, and state empathy did. Additionally, pitch-matching and rhythmic entrainment did not reliably predict any socioemotional measures, with associations being trivial to small. While formal music instruction benefitted pitch-matching ability and emotion-matching to an audiovisual stimulus, it was not a significant predictor of rhythmic entrainment or broader socioemotional development. These findings suggest that the transfer of music training may be most evident in near or similar domains.

Voice actors show enhanced neural tracking of pitch, prosody perception, and music perception.

Experiences with sound that make strong demands on the precision of perception, such as musical training and experience speaking a tone language, can enhance auditory neural encoding. Are high demands on the precision of perception necessary for training to drive auditory neural plasticity? Voice actors are an ideal subject population for answering this question. Voice acting requires exaggerating prosodic cues to convey emotion, character, and linguistic structure, drawing upon attention to sound, memory for sound features, and accurate sound production, but not fine perceptual precision. Here we assessed neural encoding of pitch using the frequency-following response (FFR), as well as prosody, music, and sound perception, in voice actors and a matched group of non-actors. We find that the consistency of neural sound encoding, prosody perception, and musical phrase perception are all enhanced in voice actors, suggesting that a range of neural and behavioural auditory processing enhancements can result from training which lacks fine perceptual precision. However, fine discrimination was not enhanced in voice actors but was linked to degree of musical experience, suggesting that low-level auditory processing can only be enhanced by demanding perceptual training. These findings suggest that training which taxes attention, memory, and production but is not perceptually taxing may be a way to boost neural encoding of sound and auditory pattern detection in individuals with poor auditory skills.

Age effects on prosodic boundary perception.

The redundancy hypothesis proposes that older listeners need a larger array of acoustic cues than younger listeners for effective speech perception. This research investigated this hypothesis by examining the aging effects on the use of prosodic cues in speech segmentation in Mandarin Chinese. We examined how younger and older listeners perceived prosodic boundaries using three main prosodic cues (pause, final lengthening, and pitch change) across eight conditions involving different cue combinations. The stimuli consisted of syntactically ambiguous phrase pairs, each containing two or three objects. Participants (22 younger listeners and 22 older listeners) performed a speech recognition task to judge the number of objects they heard. Both groups primarily relied on the pause cue for identifying prosodic boundaries, using final lengthening and pitch change as secondary cues. However, older listeners showed reduced sensitivity to these cues, compensating by integrating the primary cue pause with the secondary cue pitch change for more precise segmentation. The present study reveals older listeners' integration strategy in using prosodic cues for speech segmentation, supporting the redundancy hypothesis. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Within the sound of trouble: Do humans use pitch to correctly assess emotional arousal across species?

Comments on an article by Jay W. Schwartz , Kayleigh H. Pierson, and Alexander K. Reece (see record 2024-19488-001). In this issue, Schwartz et al. (2024) tackle the pitch rule in humans by testing to what extent we use pitch alone to judge emotional arousal across closely and distantly related animal species. The findings of Schwartz et al. open a number of intriguing possibilities for future research: Notably important additional steps would include to further investigate the accuracy of the pitch rule across closely and distantly related species. Upon this, in order to study the evolutionary ancestry of the pitch rule, it will be necessary to study its applicability across nonhumans. Particularly interesting would be the inclusion of subject species that have been found to eavesdrop on heterospecific alarm calls. Previous research (see Hoeschele, 2017 for a review) as well as present findings on human ratings of macaque versus cricket calls also suggest that we should additionally focus on sound features that compliment emotional arousal rating beyond pitch such as spectral information. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Globally, songs and instrumental melodies are slower and higher and use more stable pitches than speech: A Registered Report.

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a "musi-linguistic" continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech.

Should absolute pitch be considered as a unique kind of absolute sensory judgment in humans? A systematic and theoretical review of the literature.

Absolute pitch is the name given to the rare ability to identify a musical note in an automatic and effortless manner without the need for a reference tone. Those individuals with absolute pitch can, for example, name the note they hear, identify all of the tones of a given chord, and/or name the pitches of everyday sounds, such as car horns or sirens. Hence, absolute pitch can be seen as providing a rare example of absolute sensory judgment in audition. Surprisingly, however, the intriguing question of whether such an ability presents unique features in the domain of sensory perception, or whether instead similar perceptual skills also exist in other sensory domains, has not been explicitly addressed previously. In this paper, this question is addressed by systematically reviewing research on absolute pitch using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) method. Thereafter, we compare absolute pitch with two rare types of sensory experience, namely synaesthesia and eidetic memory, to understand if and how these phenomena exhibit similar features to absolute pitch. Furthermore, a common absolute perceptual ability that has been often compared to absolute pitch, namely colour perception, is also discussed. Arguments are provided supporting the notion that none of the examined abilities can be considered like absolute pitch. Therefore, we conclude by suggesting that absolute pitch does indeed appear to constitute a unique kind of absolute sensory judgment in humans, and we discuss some open issues and novel directions for future research in absolute pitch.

The Accompanying Effect in Responses to Auditory Perturbations: Unconscious Vocal Adjustments to Unperturbed Parameters.

PURPOSE: The present study examined whether participants respond to unperturbed parameters while experiencing specific perturbations in auditory feedback. For instance, we aim to determine if speakers adjust voice loudness when only pitch is artificially altered in auditory feedback. This phenomenon is referred to as the "accompanying effect" in the present study. METHOD: Thirty native Mandarin speakers were asked to sustain the vowel /ɛ/ for 3 s while their auditory feedback underwent single shifts in one of the three distinct ways: pitch shift (±100 cents; coded as PT), loudness shift (±6 dB; coded as LD), or first formant (F1) shift (±100 Hz; coded as FM). Participants were instructed to ignore the perturbations in their auditory feedback. Response types were categorized based on pitch, loudness, and F1 for each individual trial, such as Popp_Lopp_Fopp indicating opposing responses in all three domains. RESULTS: The accompanying effect appeared 93% of the time. Bayesian Poisson regression models indicate that opposing responses in all three domains (Popp_Lopp_Fopp) were the most prevalent response type across the conditions (PT, LD, and FM). The more frequently used response types exhibited opposing responses and significantly larger response curves than the less frequently used response types. Following responses became more prevalent only when the perturbed stimuli were perceived as voices from someone else (external references), particularly in the FM condition. In terms of isotropy, loudness and F1 tended to change in the same direction rather than loudness and pitch. CONCLUSION: The presence of the accompanying effect suggests that the motor systems responsible for regulating pitch, loudness, and formants are not entirely independent but rather interconnected to some degree.