Beat alignment ability is associated with formal musical training not current music playing.

The ability to perceive the beat in music is crucial for both music listeners and players with expert musicians being notably skilled at noticing fine deviations in the beat. However, it is unclear whether this beat perception ability is enhanced in trained musicians who continue to practice relative to musicians who no longer play. Thus, we investigated this by comparing active musicians', inactive musicians', and nonmusicians' beat alignment ability scores on the Computerized Adaptive Beat Alignment Test (CA-BAT). 97 adults with diverse musical experience participated in the study, reporting their years of formal musical training, number of instruments played, hours of weekly music playing, and hours of weekly music listening, in addition to their demographic information. While initial tests between groups indicated active musicians outperformed inactive musicians and nonmusicians on the CA-BAT, a generalized linear regression analysis showed that there was no significant difference once differences in musical training had been accounted for. To ensure that our results were not impacted by multicollinearity between music-related variables, nonparametric and nonlinear machine learning regressions were employed and confirmed that years of formal musical training was the only significant predictor of beat alignment ability. These results suggest that expertly perceiving fine differences in the beat is not a use-dependent ability that degrades without regular maintenance through practice or musical engagement. Instead, better beat alignment appears to be associated with more musical training regardless of continued use.

Evaluation of cochlear activity in normal-hearing musicians.

OBJECTIVE: The present study compared wave I amplitude of auditory brainstem responses (ABRs), a potential indicator of cochlear synaptopathy, among musicians and non-musicians with normal audiograms. DESIGN: Noise exposure background (NEB) was evaluated using an online questionnaire. Two-channel ABRs were recorded from the left ear using click stimuli. One channel utilized an ipsilateral tiptrode, and another channel utilized an ipsilateral mastoid electrode. ABRs were collected at 90, 75, and 60 dBnHL. A mixed model was used to analyze the effect of group, electrodes, and stimulus levels on ABR wave I amplitude. STUDY SAMPLE: 75 collegiate students with normal hearing participated in the study and were grouped into a non-music major group (n = 25), a brass major group (n = 25), and a voice major group (n = 25). RESULTS: The NEB was negatively associated with the action potential (AP) and ABR wave I amplitude for click intensity levels at 75 dBnHL. The mean amplitude of the ABR wave I was not significantly different between the three groups. CONCLUSION: The weak negative association of AP and ABR wave I amplitude with NEB cannot be solely attributed to evidence of cochlear synaptopathy in humans as the possibility of hair cell damage cannot be ruled out. Future research should investigate the effects of reduced cochlear output on the supra-threshold speech processing abilities of student musicians.

Audiovisual Modulation in Music Perception for Musicians and Non-musicians.

In audiovisual music perception, visual information from a musical instrument being played is available prior to the onset of the corresponding musical sound and consequently allows a perceiver to form a prediction about the upcoming audio music. This prediction in audiovisual music perception, compared to auditory music perception, leads to lower N1 and P2 amplitudes and latencies. Although previous research suggests that audiovisual experience, such as previous musical experience may enhance this prediction, a remaining question is to what extent musical experience modifies N1 and P2 amplitudes and latencies. Furthermore, corresponding event-related phase modulations quantified as inter-trial phase coherence (ITPC) have not previously been reported for audiovisual music perception. In the current study, audio video recordings of a keyboard key being played were presented to musicians and non-musicians in audio only (AO), video only (VO), and audiovisual (AV) conditions. With predictive movements from playing the keyboard isolated from AV music perception (AV-VO), the current findings demonstrated that, compared to the AO condition, both groups had a similar decrease in N1 amplitude and latency, and P2 amplitude, along with correspondingly lower ITPC values in the delta, theta, and alpha frequency bands. However, while musicians showed lower ITPC values in the beta-band in AV-VO compared to the AO, non-musicians did not show this pattern. Findings indicate that AV perception may be broadly correlated with auditory perception, and differences between musicians and non-musicians further indicate musical experience to be a specific factor influencing AV perception. Predicting an upcoming sound in AV music perception may involve visual predictory processes, as well as beta-band oscillations, which may be influenced by years of musical training. This study highlights possible interconnectivity in AV perception as well as potential modulation with experience.

Music Form but Not Music Experience Modulates Motor Cortical Activity in Response to Novel Music.

External cues, such as music, improve movement performance in persons with Parkinson's disease. However, research examining the motor cortical mechanisms by which this occurs is lacking. Research using electroencephalography in healthy young adults has revealed that moving to music can modulate motor cortical activity. Moreover, motor cortical activity is further influenced by music experience. It remains unknown whether these effects extend to corticomotor excitability. Therefore, the primary aim of this study was to determine the effects of novel music on corticomotor excitability using transcranial magnetic stimulation (TMS) in a pilot study of healthy young adults. A secondary aim of this study was to determine the influence of music experience on corticomotor excitability. We hypothesized that corticomotor excitability will change during music conditions, and that it will differ in those with formal music training. Motor evoked potentials (MEPs) were recorded from the first dorsal interosseous using single-pulse TMS in three conditions: (1) No Music, (2) Music Condition I, and (3) Music Condition II. Both pieces were set to novel MIDI piano instrumentation and part-writing conventions typical of early nineteenth-century Western classical practices. Results revealed Music Condition II (i.e., more relaxing music) compared to rest increased MEP amplitude (i.e., corticomotor excitability). Music Condition II as compared to Music Condition I (i.e., more activating music) reduced MEP variability (i.e., corticomotor variability). Finally, years of formal music training did not significantly influence corticomotor excitability while listening to music. Overall, results revealed that unfamiliar music modulates motor cortical excitability but is dependent upon the form of music and possibly music preference. These results will be used to inform planned studies in healthy older adults and people with Parkinson's disease.

Considerations in Audio-Visual Interaction Models: An ERP Study of Music Perception by Musicians and Non-musicians.

Previous research with speech and non-speech stimuli suggested that in audiovisual perception, visual information starting prior to the onset of corresponding sound can provide visual cues, and form a prediction about the upcoming auditory sound. This prediction leads to audiovisual (AV) interaction. Auditory and visual perception interact and induce suppression and speeding up of the early auditory event-related potentials (ERPs) such as N1 and P2. To investigate AV interaction, previous research examined N1 and P2 amplitudes and latencies in response to audio only (AO), video only (VO), audiovisual, and control (CO) stimuli, and compared AV with auditory perception based on four AV interaction models (AV vs. AO+VO, AV-VO vs. AO, AV-VO vs. AO-CO, AV vs. AO). The current study addresses how different models of AV interaction express N1 and P2 suppression in music perception. Furthermore, the current study took one step further and examined whether previous musical experience, which can potentially lead to higher N1 and P2 amplitudes in auditory perception, influenced AV interaction in different models. Musicians and non-musicians were presented the recordings (AO, AV, VO) of a keyboard /C4/ key being played, as well as CO stimuli. Results showed that AV interaction models differ in their expression of N1 and P2 amplitude and latency suppression. The calculation of model (AV-VO vs. AO) and (AV-VO vs. AO-CO) has consequences for the resulting N1 and P2 difference waves. Furthermore, while musicians, compared to non-musicians, showed higher N1 amplitude in auditory perception, suppression of amplitudes and latencies for N1 and P2 was similar for the two groups across the AV models. Collectively, these results suggest that when visual cues from finger and hand movements predict the upcoming sound in AV music perception, suppression of early ERPs is similar for musicians and non-musicians. Notably, the calculation differences across models do not lead to the same pattern of results for N1 and P2, demonstrating that the four models are not interchangeable and are not directly comparable.

Musical Expertise Affects Audiovisual Speech Perception: Findings From Event-Related Potentials and Inter-trial Phase Coherence.

In audiovisual speech perception, visual information from a talker's face during mouth articulation is available before the onset of the corresponding audio speech, and thereby allows the perceiver to use visual information to predict the upcoming audio. This prediction from phonetically congruent visual information modulates audiovisual speech perception and leads to a decrease in N1 and P2 amplitudes and latencies compared to the perception of audio speech alone. Whether audiovisual experience, such as with musical training, influences this prediction is unclear, but if so, may explain some of the variations observed in previous research. The current study addresses whether audiovisual speech perception is affected by musical training, first assessing N1 and P2 event-related potentials (ERPs) and in addition, inter-trial phase coherence (ITPC). Musicians and non-musicians are presented the syllable, /ba/ in audio only (AO), video only (VO), and audiovisual (AV) conditions. With the predictory effect of mouth movement isolated from the AV speech (AV-VO), results showed that, compared to audio speech, both groups have a lower N1 latency and P2 amplitude and latency. Moreover, they also showed lower ITPCs in the delta, theta, and beta bands in audiovisual speech perception. However, musicians showed significant suppression of N1 amplitude and desynchronization in the alpha band in audiovisual speech, not present for non-musicians. Collectively, the current findings indicate that early sensory processing can be modified by musical experience, which in turn can explain some of the variations in previous AV speech perception research.

Diferencias en la reserva neural en relación al entrenamiento musical / Differences in the neural reserve in relation to music training

La reserva neural es un subcomponente de la reserva cognitiva y refiere a las diferencias en los paradigmas cognitivos que subyacen al desempeño de tareas en un cerebro sano. Puede darse por diferencias innatas (inteligencia, edad) o ambientales, como el entrenamiento musical. Éste está relacionado con diferencias cerebrales y cognitivas. El objetivo del presente estudio es realizar una revisión bibliográfica de investigaciones que evaluaron rendimiento cognitivo en músicos como no músicos, y establecer diferencias en la reserva cognitiva y, más específicamente, el subcomponente de reserva neural, entre ambos grupos. Se parte de la suposición de que los músicos poseen un rendimiento superior en tareas cognitivas con respecto a los no músicos y que esto está relacionado con una mayor reserva neural debido al entrenamiento musical. Los resultados son contradictorios. Se encontraron algunas diferencias en dominios cercanos a la práctica musical en adultos jóvenes, y en diversos dominios en adultos mayores. Las diferencias entre grupos, que no diferían en inteligencia, podrían ser atribuibles a una mayor reserva cognitiva. También hay relaciones con el tipo de instrumento, los años y la edad de comienzo de la práctica musical. Se sugiere replicar los hallazgos controlando diversas variables(AU)

Neural reserve is a subcomponent of cognitive reserve and refers to the differences in cognitive paradigms that underlie task performance in a healthy brain. It can occur due to innate (intelligence, age) or environmental differences, such as musical training. This is related to brain and cognitive differences. The aim of the present study is to carry out a bibliographic review of investigations that evaluated cognitive performance in musicians as well as non-musicians, and to establish differences in cognitive reserve and, more specifically, the neural reserve subcomponent, between both groups. It is assumed that musicians have superior cognitive tasks performance compared to non-musicians and that this is related to a greater neural reserve due to musical training. The results are contradictory. Some differences were found in domains close to musical practice in young adults, and in various domains in older adults. The differences between groups, which did not differ in intelligence, could be attributable to a greater cognitive reserve. There are also relationships with the type of instrument, the years and the age of beginning of the musical practice. It is suggested to replicate the findings controlling for various variables(AU)

Musicians: Larks, Owls or Hummingbirds?

Previous studies have shown an association between morning and evening types and creative thinking. Musicians are creative individuals and the purpose of the current research was to examine whether musicians are significantly more evening types than non-musicians. The total sample included 835 participants (n women = 353; n men = 482), with a mean age of 28.0 years (SD = 10.4). The group of musicians consisted of 600 participants (n women = 168; n men = 432) with a mean age of 29.1 years (SD = 11.2). The group of non-musicians consisted of 233 participants (n women = 184; n men = 49) with a mean age of 25.3 years (SD = 7.4). Participants were recruited via an online forum, and chronotypes were assessed using the self-report Horne & Ostberg's Morningness-Eveningness Questionnaire (MEQ). We found that performance musicians had significantly lower MEQ scores compared to non-performance musicians, and musicians who composed had the lowest MEQ scores across the whole sample. This indicates that musicians, particularly composing musicians had a tendency towards eveningness. These findings are discussed in relation to theories on chronobiology, creativity, and cognitive psychology.

The Significance of the Right Dorsolateral Prefrontal Cortex for Pitch Memory in Non-musicians Depends on Baseline Pitch Memory Abilities.

Pitch memory is a resource which is shared by music and language. Neuroimaging studies have shown that the right dorsolateral prefrontal cortex (DLPFC) is activated during pitch memory processes. The present study investigated the causal significance of this brain area for pitch memory in non-musicians by applying cathodal and sham transcranial direct current stimulation (tDCS) over the right DLPFC and examining the impact on offline pitch and visual memory span performances. On the overall sample (N = 22) no significant modulation effect of cathodal stimulation on the pitch span task was found. However, when dividing the sample by means of a median split of pre-test pitch memory abilities into a high and low performing group, a selective effect of significantly impaired pitch memory after cathodal tDCS in good performers was revealed. The visual control task was not affected by the stimulation in either group. The results support previous neuroimaging studies that the right DLPFC is involved in pitch memory processes in non-musicians and highlights the importance of baseline pitch memory abilities for the modulatory effect of tDCS.

Quantity language speakers show enhanced subcortical processing.

The complex auditory brainstem response (cABR) can reflect language-based plasticity in subcortical stages of auditory processing. It is sensitive to differences between language groups as well as stimulus properties, e.g. intensity or frequency. It is also sensitive to the synchronicity of the neural population stimulated by sound, which results in increased amplitude of wave V. Finnish is a full-fledged quantity language, in which word meaning is dependent upon duration of the vowels and consonants. Previous studies have shown that Finnish speakers have enhanced behavioural sound duration discrimination ability and larger cortical mismatch negativity (MMN) to duration change compared to German and French speakers. The next step is to find out whether these enhanced duration discrimination abilities of quantity language speakers originate at the brainstem level. Since German has a complementary quantity contrast which restricts the possible patterns of short and long vowels and consonants, the current experiment compared cABR between nonmusician Finnish and German native speakers using seven short complex stimuli. Finnish speakers had a larger cABR peak amplitude than German speakers, while the peak onset latency was only affected by stimulus intensity and spectral band. The results suggest that early cABR responses are better synchronised for Finns, which could underpin the enhanced duration sensitivity of quantity language speakers.

The E-music box: an empirical method for exploring the universal capacity for musical production and for social interaction through music.

Humans are assumed to have a natural-universal-predisposition for making music and for musical interaction. Research in this domain is, however, typically conducted with musically trained individuals, and therefore confounded with expertise. Here, we present a rediscovered and updated invention-the E-music box-that we establish as an empirical method to investigate musical production and interaction in everyone. The E-music box transforms rotatory cyclical movements into pre-programmable digital musical output, with tempo varying according to rotation speed. The user's movements are coded as continuous oscillatory data, which can be analysed using linear or nonlinear analytical tools. We conducted a proof-of-principle experiment to demonstrate that, using this method, pairs of non-musically trained individuals can interact according to conventional musical practices (leader/follower roles and lower-pitch dominance). The results suggest that the E-music box brings 'active' and 'interactive' musical capacities within everyone's reach. We discuss the potential of this method for exploring the universal predisposition for music making and interaction in developmental and cross-cultural contexts, and for neurologic musical therapy and rehabilitation.

Resting-state functional connectivity and pitch identification ability in non-musicians.

Previous studies have used task-related fMRI to investigate the neural basis of pitch identification (PI), but no study has examined the associations between resting-state functional connectivity (RSFC) and PI ability. Using a large sample of Chinese non-musicians (N = 320, with 56 having prior musical training), the current study examined the associations among musical training, PI ability, and RSFC. Results showed that musical training was associated with increased RSFC within the networks for multiple cognitive functions (such as vision, phonology, semantics, auditory encoding, and executive functions). PI ability was associated with RSFC with regions for perceptual and auditory encoding for participants with musical training, and with RSFC with regions for short-term memory, semantics, and phonology for participants without musical training.

The neural control of singing.

Singing provides a unique opportunity to examine music performance-the musical instrument is contained wholly within the body, thus eliminating the need for creating artificial instruments or tasks in neuroimaging experiments. Here, more than two decades of voice and singing research will be reviewed to give an overview of the sensory-motor control of the singing voice, starting from the vocal tract and leading up to the brain regions involved in singing. Additionally, to demonstrate how sensory feedback is integrated with vocal motor control, recent functional magnetic resonance imaging (fMRI) research on somatosensory and auditory feedback processing during singing will be presented. The relationship between the brain and singing behavior will be explored also by examining: (1) neuroplasticity as a function of various lengths and types of training, (2) vocal amusia due to a compromised singing network, and (3) singing performance in individuals with congenital amusia. Finally, the auditory-motor control network for singing will be considered alongside dual-stream models of auditory processing in music and speech to refine both these theoretical models and the singing network itself.