Effect of musical expertise on the perception of duration and pitch in language: A cross-linguistic study.

This study adopts a cross-linguistic perspective and investigates how musical expertise affects the perception of duration and pitch in language. Native speakers of Chinese (N = 44) and Estonian (N = 46), each group subdivided into musicians and non-musicians, participated in a mismatch negativity (MMN) experiment where they passively listened to both Chinese and Estonian stimuli, followed by a behavioral experiment where they attentively discriminated the stimuli in the non-native language (i.e., Chinese to Estonian participants and Estonian to Chinese participants). In both experiments, stimuli of duration change, pitch change, and duration plus pitch change were discriminated. We found higher behavioral sensitivity among Chinese musicians than non-musicians in perceiving the duration change in Estonian and higher behavioral sensitivity among Estonian musicians than non-musicians in perceiving all types of changes in Chinese, but no corresponding effect was found in the MMN results, which suggests a more salient effect of musical expertise on foreign language processing when attention is required. Secondly, Chinese musicians did not outperform non-musicians in attentively discriminating the pitch-related stimuli in Estonian, suggesting that musical expertise can be overridden by tonal language experience when perceiving foreign linguistic pitch, especially when an attentive discrimination task is administered. Thirdly, we found larger MMN among Chinese and Estonian musicians than their non-musician counterparts in perceiving the largest deviant (i.e., duration plus pitch) in their native language. Taken together, our results demonstrate a positive effect of musical expertise on language processing.

Neural encoding of musical expectations in a non-human primate.

The appreciation of music is a universal trait of humankind.1,2,3 Evidence supporting this notion includes the ubiquity of music across cultures4,5,6,7 and the natural predisposition toward music that humans display early in development.8,9,10 Are we musical animals because of species-specific predispositions? This question cannot be answered by relying on cross-cultural or developmental studies alone, as these cannot rule out enculturation.11 Instead, it calls for cross-species experiments testing whether homologous neural mechanisms underlying music perception are present in non-human primates. We present music to two rhesus monkeys, reared without musical exposure, while recording electroencephalography (EEG) and pupillometry. Monkeys exhibit higher engagement and neural encoding of expectations based on the previously seeded musical context when passively listening to real music as opposed to shuffled controls. We then compare human and monkey neural responses to the same stimuli and find a species-dependent contribution of two fundamental musical features-pitch and timing12-in generating expectations: while timing- and pitch-based expectations13 are similarly weighted in humans, monkeys rely on timing rather than pitch. Together, these results shed light on the phylogeny of music perception. They highlight monkeys' capacity for processing temporal structures beyond plain acoustic processing, and they identify a species-dependent contribution of time- and pitch-related features to the neural encoding of musical expectations.

Musical experience is linked to enhanced dimension-selective attention to pitch and increased primary weighting during suprasegmental categorization.

Speech perception requires the integration of evidence from acoustic cues across multiple dimensions. Individuals differ in their cue weighting strategies, that is, the weight they assign to different dimensions during speech categorization. In two experiments, we investigate musical training as one potential predictor of individual differences in prosodic cue weighting strategies. Attentional theories of speech categorization suggest that prior experience with the task-relevance of a particular dimension leads that dimension to attract attention. Experiment 1 tested whether musicians and nonmusicians differed in their ability to selectively attend to pitch and loudness in speech. Compared to nonmusicians, musicians showed enhanced dimension-selective attention to pitch but not loudness. Experiment 2 tested the hypothesis that musicians would show greater pitch weighting during prosodic categorization due to prior experience with the task-relevance of pitch cues in music. Listeners categorized phrases that varied in the extent to which pitch and duration signaled the location of linguistic focus and phrase boundaries. During linguistic focus categorization, musicians upweighted pitch compared to nonmusicians. During phrase boundary categorization, musicians upweighted duration relative to nonmusicians. These results suggest that musical experience is linked with domain-general enhancements in the ability to selectively attend to certain acoustic dimensions in speech. As a result, musicians may place greater perceptual weight on a single primary dimension during prosodic categorization, while nonmusicians may be more likely to choose a perceptual strategy that integrates across multiple dimensions. These findings support attentional theories of cue weighting, which suggest attention influences listeners' perceptual weighting of acoustic dimensions during categorization. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Generalization of auditory expertise in audio engineers and instrumental musicians.

From auditory perception to general cognition, the ability to play a musical instrument has been associated with skills both related and unrelated to music. However, it is unclear if these effects are bound to the specific characteristics of musical instrument training, as little attention has been paid to other populations such as audio engineers and designers whose auditory expertise may match or surpass that of musicians in specific auditory tasks or more naturalistic acoustic scenarios. We explored this possibility by comparing students of audio engineering (n = 20) to matched conservatory-trained instrumentalists (n = 24) and to naive controls (n = 20) on measures of auditory discrimination, auditory scene analysis, and speech in noise perception. We found that audio engineers and performing musicians had generally lower psychophysical thresholds than controls, with pitch perception showing the largest effect size. Compared to controls, audio engineers could better memorise and recall auditory scenes composed of non-musical sounds, whereas instrumental musicians performed best in a sustained selective attention task with two competing streams of tones. Finally, in a diotic speech-in-babble task, musicians showed lower signal-to-noise-ratio thresholds than both controls and engineers; however, a follow-up online study did not replicate this musician advantage. We also observed differences in personality that might account for group-based self-selection biases. Overall, we showed that investigating a wider range of forms of auditory expertise can help us corroborate (or challenge) the specificity of the advantages previously associated with musical instrument training.

The influence of musical parameters and subjective musical ratings on perceptions of culture.

Recent research suggests that music can affect evaluations of other groups and cultures. However, little is known about the objective and subjective musical parameters that influence these evaluations. We aimed to fill this gap through two studies. Study 1 collected responses from 52 American participants who listened to 30 folk-song melodies from different parts of the world. Linear mixed-effects models tested the influence of objective and subjective musical parameters of these melodies on evaluations of the cultures from which they originated. Musical parameters consistently predicted cultural evaluations. The most prominent musical parameter was musical velocity, a measure of number of pitch onsets, predicting more cultural warmth, competence and evolvedness and less cultural threat. Next, with a sample of 212 American participants, Study 2 used a within-subjects experiment to alter the tempo and dissonance for a subset of six melody excerpts from Study 1, testing for causal effects. Linear mixed-effects models revealed that both dissonance and slow tempo predicted more negative cultural evaluations. Together, both studies demonstrate how musical parameters can influence cultural perceptions. Avenues for future research are discussed.

The effect of musical training and language background on vocal imitation of pitch in speech and song.

Vocal imitation plays a critical function in the development and use of both language and music. Previous studies have reported more accurate imitation for sung pitch than spoken pitch, which might be attributed to the structural differences in acoustic signals and/or the distinct mental representations of pitch patterns across speech and music. The current study investigates the interaction between bottom-up (i.e., acoustic structure) and top-down (i.e., participants' language and musical background) factors on pitch imitation by comparing speech and song imitation accuracy across four groups: English and Mandarin speakers with or without musical training. Participants imitated pitch sequences that were characteristic of either song or speech, derived from pitch patterns in English and Mandarin spoken sentences. Overall, song imitation was more accurate than speech imitation, and this advantage was larger for English than Mandarin pitch sequences, regardless of participants' musical and language experiences. This effect likely reflects the perceptual salience of linguistic tones in Mandarin relative to English speech. Music and language knowledge were associated with optimal imitation of different acoustic features. Musicians were more accurate in matching absolute pitch across syllables and musical notes compared to nonmusicians. By contrast, Mandarin speakers were more accurate at imitating fine-grained changes within and across pitch events compared to English speakers. These results suggest that different top-down factors (i.e., language and musical background) influence pitch imitation ability for different dimensions of bottom-up features (i.e., absolute pitch and relative pitch patterns). (PsycInfo Database Record (c) 2023 APA, all rights reserved).

The role of carrier spectral composition in the perception of musical pitch.

Temporal envelope fluctuations of natural sounds convey critical information to speech and music processing. In particular, musical pitch perception is assumed to be primarily underlined by temporal envelope encoding. While increasing evidence demonstrates the importance of carrier fine structure to complex pitch perception, how carrier spectral information affects musical pitch perception is less clear. Here, transposed tones designed to convey identical envelope information across different carriers were used to assess the effects of carrier spectral composition to pitch discrimination and musical-interval and melody identifications. Results showed that pitch discrimination thresholds became lower (better) with increasing carrier frequencies from 1k to 10k Hz, with performance comparable to that of pure sinusoids. Musical interval and melody defined by the periodicity of sine- or harmonic complex envelopes across carriers were identified with greater than 85% accuracy even on a 10k-Hz carrier. Moreover, enhanced interval and melody identification performance was observed with increasing carrier frequency up to 6k Hz. Findings suggest a perceptual enhancement of temporal envelope information with increasing carrier spectral region in musical pitch processing, at least for frequencies up to 6k Hz. For carriers in the extended high-frequency region (8-20k Hz), the use of temporal envelope information to music pitch processing may vary depending on task requirement. Collectively, these results implicate the fidelity of temporal envelope information to musical pitch perception is more pronounced than previously considered, with ecological implications.

No Musician Advantage in the Perception of Degraded-Fundamental Frequency Speech in Noisy Environments.

PURPOSE: Pitch variations of the fundamental frequency (fo) contour contribute to speech perception in noisy environments, but whether musicians confer an advantage in speech in noise (SIN) with altered fo information remains unclear. This study investigated the effects of different levels of degraded fo contour (i.e., conveying lexical tone or intonation information) on musician advantage in speech-in-noise perception. METHOD: A cohort of native Mandarin Chinese speakers, comprising 30 trained musicians and 30 nonmusicians, were tested on the intelligibility of Mandarin Chinese sentences with natural, flattened-tone, flattened-intonation, and flattened-all fo contours embedded in background noise masked under three signal-to-noise ratios (0, -5, and -9 dB). Pitch difference thresholds and innate musical skills associated with speech-in-noise benefits were also assessed. RESULTS: Speech intelligibility score improved with increasing signal-to-noise level for both musicians and nonmusicians. However, no musician advantage was observed for identifying any type of flattened-fo contour SIN. Musicians exhibited smaller fo pitch discrimination limens than nonmusicians, which correlated with benefits for perceiving speech with intact tone-level fo information. Regardless of musician status, performance on the pitch and accent musical-skill subtests correlated with speech intelligibility score. CONCLUSIONS: Collectively, these results provide no evidence for a musician advantage for perceiving speech with distorted fo information in noisy environments. Results further show that perceptual musical skills on pitch and accent processing may benefit the perception of SIN, independent of formal musical training. Our findings suggest that the potential application of music training in speech perception in noisy backgrounds is not contingent on the ability to process fo pitch contours, at least for Mandarin Chinese speakers. SUPPLEMENTAL MATERIAL: https://doi.org/10.23641/asha.23706354.

Tone Deafness in Music Does Not Preclude Distributional Learning of Nonnative Tonal Languages in Individuals With Congenital Amusia.

PURPOSE: Previous studies have shown that individuals with congenital amusia exhibit deficient pitch processing across music and language domains. This study investigated whether adult Chinese-speaking listeners with amusia were still able to learn Thai lexical tones based on stimulus frequency of statistical distribution via distributional learning, despite their degraded lexical tone perception. METHOD: Following a pretest-training-posttest design, 21 amusics and 23 typical, musically intact listeners were assigned into bimodal and unimodal distribution conditions. Listeners were asked to discriminate minimal pairs of Thai mid-level tone and falling tone superimposed on variable base syllables and uttered by different speakers. The perceptual accuracy for each test session and improvement from pretest to posttest were collected and analyzed between the two groups using generalized mixed-effects models. RESULTS: When discriminating Thai lexical tones, amusics were less accurate than typical listeners. Nonetheless, similarly to control listeners, perceptual gains from pretest to posttest were observed in bimodally rather than unimodally trained amusics, as evidenced by both trained and nontrained test words. CONCLUSIONS: Amusics are able to learn lexical tones in a second or foreign context of speech. This extends previous research by showing that amusics' distributional learning of linguistic pitch remains largely preserved despite their degraded pitch processing. It is thus likely that manifestations of amusia in speech could not result from their abnormal statistical learning mechanism. This study meanwhile provides a heuristic approach for future studies to apply this paradigm into amusics' treatment to mitigate their pitch-processing disorder.

Neurophysiological time course of timbre-induced music-like perception.

Traditionally, pitch variation in a sound stream has been integral to music identity. We attempt to expand music's definition, by demonstrating that the neural code for musicality is independent of pitch encoding. That is, pitchless sound streams can still induce music-like perception and a neurophysiological hierarchy similar to pitched melodies. Previous work reported that neural processing of sounds with no-pitch, fixed-pitch, and irregular-pitch (melodic) patterns, exhibits a right-lateralized hierarchical shift, with pitchless sounds favorably processed in Heschl's gyrus (HG), ascending laterally to nonprimary auditory areas for fixed-pitch and even more laterally for melodic patterns. The objective of this EEG study was to assess whether sound encoding maintains a similar hierarchical profile when musical perception is driven by timbre irregularities in the absence of pitch changes. Individuals listened to repetitions of three musical and three nonmusical sound-streams. The nonmusical streams were comprised of seven 200-ms segments of white, pink, or brown noise, separated by silent gaps. Musical streams were created similarly, but with all three noise types combined in a unique order within each stream to induce timbre variations and music-like perception. Subjects classified the sound streams as musical or nonmusical. Musical processing exhibited right dominant α power enhancement, followed by a lateralized increase in θ phase-locking and spectral power. The θ phase-locking was stronger in musicians than in nonmusicians. The lateralization of activity suggests higher-level auditory processing. Our findings validate the existence of a hierarchical shift, traditionally observed with pitched-melodic perception, underscoring that musicality can be achieved with timbre irregularities alone.NEW & NOTEWORTHY EEG induced by streams of pitchless noise segments varying in timbre were classified as music-like and exhibited a right-lateralized hierarchy in processing similar to pitched melodic processing. This study provides evidence that the neural-code of musicality is independent of pitch encoding. The results have implications for understanding music processing in individuals with degraded pitch perception, such as in cochlear-implant listeners, as well as the role of nonpitched sounds in the induction of music-like perceptual states.

Distributional learning of musical pitch despite tone deafness in individuals with congenital amusia.

Congenital amusia is an innate and lifelong deficit of music processing. This study investigated whether adult listeners with amusia were still able to learn pitch-related musical chords based on stimulus frequency of statistical distribution, i.e., via distributional learning. Following a pretest-training-posttest design, 18 amusics and 19 typical, musically intact listeners were assigned to bimodal and unimodal conditions that differed in distribution of the stimuli. Participants' task was to discriminate chord minimal pairs, which were transposed to a novel microtonal scale. Accuracy rates for each test session were collected and compared between the two groups using generalized mixed-effects models. Results showed that amusics were less accurate than typical listeners at all comparisons, thus corroborating previous findings. Importantly, amusics-like typical listeners-demonstrated perceptual gains from pretest to posttest in the bimodal condition (but not the unimodal condition). The findings reveal that amusics' distributional learning of music remains largely preserved despite their deficient music processing. Implications of the results for statistical learning and intervention programs to mitigate amusia are discussed.

Articulation posture influences pitch during singing imagery.

Facial muscle activity contributes to singing and to articulation: in articulation, mouth shape can alter vowel identity; and in singing, facial movement correlates with pitch changes. Here, we examine whether mouth posture causally influences pitch during singing imagery. Based on perception-action theories and embodied cognition theories, we predict that mouth posture influences pitch judgments even when no overt utterances are produced. In two experiments (total N = 160), mouth posture was manipulated to resemble the articulation of either /i/ (as in English meet; retracted lips) or /o/ (as in French rose; protruded lips). Holding this mouth posture, participants were instructed to mentally "sing" given songs (which were all positive in valence) while listening with their inner ear and, afterwards, to assess the pitch of their mental chant. As predicted, compared to the o-posture, the i-posture led to higher pitch in mental singing. Thus, bodily states can shape experiential qualities, such as pitch, during imagery. This extends embodied music cognition and demonstrates a new link between language and music.

Distribution of multiunit pitch responses recorded intracranially from human auditory cortex.

The perception of pitch is a fundamental percept, which is mediated by the auditory system, requiring the abstraction of stimulus properties related to the spectro-temporal structure of sound. Despite its importance, there is still debate as to the precise areas responsible for its encoding, which may be due to species differences or differences in the recording measures and choices of stimuli used in previous studies. Moreover, it was unknown whether the human brain contains pitch neurons and how distributed such neurons might be. Here, we present the first study to measure multiunit neural activity in response to pitch stimuli in the auditory cortex of intracranially implanted humans. The stimulus sets were regular-interval noise with a pitch strength that is related to the temporal regularity and a pitch value determined by the repetition rate and harmonic complexes. Specifically, we demonstrate reliable responses to these different pitch-inducing paradigms that are distributed throughout Heschl's gyrus, rather than being localized to a particular region, and this finding was evident regardless of the stimulus presented. These data provide a bridge across animal and human studies and aid our understanding of the processing of a critical percept associated with acoustic stimuli.

Music and language in the crib: Early cross-domain effects of experience on categorical perception of prominence in spoken language.

Rhythm perception helps young infants find structure in both speech and music. However, it remains unknown whether categorical perception of suprasegmental linguistic rhythm signaled by a co-variation of multiple acoustic cues can be modulated by prior between- (music) and within-domain (language) experience. Here we tested 6-month-old German-learning infants' ability to have a categorical perception of lexical stress, a linguistic prominence signaled through the co-variation of pitch, intensity, and duration. By measuring infants' pupil size, we find that infants as a group fail to perceive co-variation of these acoustic cues as categorical. However, at an individual level, infants with above-average exposure to music and language at home succeeded. Our results suggest that early exposure to music and infant-directed language can boost the categorical perception of prominence. RESEARCH HIGHLIGHTS: 6-month-old German-learning infants' ability to perceive lexical stress prominence categorically depends on exposure to music and language at home. Infants with high exposure to music show categorical perception. Infants with high exposure to infant-directed language show categorical perception. Co-influence of high exposure to music and infant-directed language may be especially beneficial for categorical perception. Early exposure to predictable rhythms boosts categorical perception of prominence.

Individuals with congenital amusia remember music they like.

Music is better recognized when it is liked. Does this association remain evident when music perception and memory are severely impaired, as in congenital amusia? We tested 11 amusic and 11 matched control participants, asking whether liking of a musical excerpt influences subsequent recognition. In an initial exposure phase, participants-unaware that their recognition would be tested subsequently-listened to 24 musical excerpts and judged how much they liked each excerpt. In the test phase that followed, participants rated whether they recognized the previously heard excerpts, which were intermixed with an equal number of foils matched for mode, tempo, and musical genre. As expected, recognition was in general impaired for amusic participants compared with control participants. For both groups, however, recognition was better for excerpts that were liked, and the liking enhancement did not differ between groups. These results contribute to a growing body of research that examines the complex interplay between emotions and cognitive processes. More specifically, they extend previous findings related to amusics' impairments to a new memory paradigm and suggest that (1) amusic individuals are sensitive to an aesthetic and subjective dimension of the music-listening experience, and (2) emotions can support memory processes even in a population with impaired music perception and memory.

Enduring musician advantage among former musicians in prosodic pitch perception.

Musical training has been associated with various cognitive benefits, one of which is enhanced speech perception. However, most findings have been based on musicians taking part in ongoing music lessons and practice. This study thus sought to determine whether the musician advantage in pitch perception in the language domain extends to individuals who have ceased musical training and practice. To this end, adult active musicians (n = 22), former musicians (n = 27), and non-musicians (n = 47) were presented with sentences spoken in a native language, English, and a foreign language, French. The final words of the sentences were either prosodically congruous (spoken at normal pitch height), weakly incongruous (pitch was increased by 25%), or strongly incongruous (pitch was increased by 110%). Results of the pitch discrimination task revealed that although active musicians outperformed former musicians, former musicians outperformed non-musicians in the weakly incongruous condition. The findings suggest that the musician advantage in pitch perception in speech is retained to some extent even after musical training and practice is discontinued.

Modifying Deutsch's scale illusion for application in music.

Deutsch's scale illusion demonstrates that the overall pitch range is the preferred organization when in competition with both local (note-to-note) pitch proximity and laterality (differences in the input ear). Such intricate factors can make it difficult to mimic this illusion. If a note is under a condition in which grouping by the overall pitch range and the local pitch proximity do not conflict, we hypothesized that an illusion would be perceived simply as the result of the competition between pitch proximity and laterality. In this paper, we aimed to replicate such a condition by modifying Deutsch's scale illusion. Psychophysical studies were conducted with healthy subjects. In the first half of the study, the C major scale with successive tones was presented in ascending form, alternating between the right and left ears; counterpart notes were simultaneously presented to the opposite ear, and the subjects were asked to listen to these dichotic tone patterns. Several counterpart notes were applied; we found that when the sequences of counterpart notes were close in note-to-note pitch proximity and were not overlapped with the ascending scale in pitch, the subjects appeared to perceive the scale clearly. In the latter half of the study, we applied this condition in music and devised auditory illusions such that melodies of the passages of "Lightly Row," "Cherry Blossoms," and "Jingle Bells" were perceived by listening to "jagged" dichotic tone patterns. The method we described in this paper is simple, and it is possible to easily create auditory illusions in music by applying our method.

Absolute pitch: neurophysiological evidence for early brain activity in prefrontal cortex.

Absolute pitch (AP) is the ability to rapidly label pitch without an external reference. The speed of AP labeling may be related to faster sensory processing. We compared time needed for auditory processing in AP musicians, non-AP musicians, and nonmusicians (NM) using high-density electroencephalographic recording. Participants responded to pure tones and sung voice. Stimuli evoked a negative deflection peaking at ~100 ms (N1) post-stimulus onset, followed by a positive deflection peaking at ~200 ms (P2). N1 latency was shortest in AP, intermediate in non-AP musicians, and longest in NM. Source analyses showed decreased auditory cortex and increased frontal cortex contributions to N1 for complex tones compared with pure tones. Compared with NM, AP musicians had weaker source currents in left auditory cortex but stronger currents in left inferior frontal gyrus (IFG) during N1, and stronger currents in left IFG during P2. Compared with non-AP musicians, AP musicians exhibited stronger source currents in right insula and left IFG during N1, and stronger currents in left IFG during P2. Non-AP musicians had stronger N1 currents in right auditory cortex than nonmusicians. Currents in left IFG and left auditory cortex were correlated to response times exclusively in AP. Findings suggest a left frontotemporal network supports rapid pitch labeling in AP.

Temporal hierarchies in the predictive processing of melody - From pure tones to songs.

Listening to musical melodies is a complex task that engages perceptual and memoryrelated processes. The processes underlying melody cognition happen simultaneously on different timescales, ranging from milliseconds to minutes. Although attempts have been made, research on melody perception is yet to produce a unified framework of how melody processing is achieved in the brain. This may in part be due to the difficulty of integrating concepts such as perception, attention and memory, which pertain to different temporal scales. Recent theories on brain processing, which hold prediction as a fundamental principle, offer potential solutions to this problem and may provide a unifying framework for explaining the neural processes that enable melody perception on multiple temporal levels. In this article, we review empirical evidence for predictive coding on the levels of pitch formation, basic pitch-related auditory patterns,more complex regularity processing extracted from basic patterns and long-term expectations related to musical syntax. We also identify areas that would benefit from further inquiry and suggest future directions in research on musical melody perception.

The left inferior frontal gyrus is causally linked to vocal feedback control: evidence from high-definition transcranial alternating current stimulation.

Current models of speech motor control propose a role for the left inferior frontal gyrus (IFG) in feedforward control of speech production. There is evidence, however, that has implicated the functional relevance of the left IFG for the neuromotor processing of vocal feedback errors. The present event-related potential (ERP) study examined whether the left IFG is causally linked to auditory feedback control of vocal production with high-definition transcranial alternating current stimulation (HD-tACS). After receiving active or sham HD-tACS over the left IFG at 6 or 70 Hz, 20 healthy adults vocalized the vowel sounds while hearing their voice unexpectedly pitch-shifted by ±200 cents. The results showed that 6 or 70 Hz HD-tACS over the left IFG led to larger magnitudes and longer latencies of vocal compensations for pitch perturbations paralleled by larger ERP P2 responses than sham HD-tACS. Moreover, there was a lack of frequency specificity that showed no significant differences between 6 and 70 Hz HD-tACS. These findings provide first causal evidence linking the left IFG to vocal pitch regulation, suggesting that the left IFG is an important part of the feedback control network that mediates vocal compensations for auditory feedback errors.