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.

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.

Autopercepção do zumbido: estudo pré e pós-adaptação de próteses auditivas / Self-perception of tinnitus: study before and after adaptation of hearing aids

RESUMO Objetivo Verificar benefícios do uso de próteses auditivas na autopercepção do zumbido em adultos e idosos sem experiência prévia de amplificação. Métodos O estudo incluiu indivíduos de ambos os sexos, com queixa de zumbido, acompanhados em hospital público. Aplicaram-se os seguintes exames e instrumentos para mensurar o zumbido e determinar o seu incômodo: pesquisa do pitch e loudness, Escala Visual Analógica (EVA), pesquisa do nível mínimo de mascaramento, inibição residual e Tinnitus Handicap Inventory (THI). As avaliações foram realizadas em duas etapas: antes da adaptação das próteses auditivas e após um mês de uso dos aparelhos. Resultados Dos 20 indivíduos participantes, 60% eram idosos. Verificou-se diferença na autopercepção do zumbido pré e pós-protetização, medido pelas escalas THI e EVA. Também se observaram diferenças nas medidas psicoacústicas, com exceção do pitch, antes e após a amplificação. Além disso, houve correlação entre o tempo de zumbido e a idade com os escores finais do THI. Conclusão O uso de próteses auditivas reduziu o incômodo provocado pelo zumbido, com alteração nas medidas psicoaústicas e no impacto na qualidade de vida.

ABSTRACT Purpose To verify the benefits of using hearing aids in self-perception of tinnitus in adults and elderly without previous experience of amplification. Methods The study included individuals of both gender, with tinnitus complaint, accompanied in public hospital. The following tests and instruments were used to measure tinnitus and determine its discomfort: pitch and loudness, Visual Analogue Scale (VAS), minimum masking level, residual inhibition and Tinnitus Handicap Inventory (THI). The evaluations were performed in two stages: before the adaptation of the hearing aids and after one month of use of the devices. Results Of the 20 participants, 60% were elderly. There was a difference in self-perception of tinnitus before and after hearing aid fitting, as measured by THI and VAS. Differences in psychoacoustic measures were also observed, with the exception of pitch, before and after amplification. In addition, there was a correlation between tinnitus time and age with final THI scores. Conclusion The use of hearing aids was determined to reduce the annoyance caused by tinnitus, with changes in psycho-acoustic measures and impact on quality of life.

Elaboration of an instrument to evaluate the recognition of Brazilian melodies in children / Criação de um instrumento para avaliar o reconhecimento de melodias brasileiras em crianças

Abstract Introduction: There is evidence pointing to the importance of the evaluation of musical perception through objective and subjective instruments. In Brazil, there is a shortage of instruments that evaluates musical perception. Objective: To develop an instrument to evaluate the recognition of traditional Brazilian melodies and investigate the performance of children with typical hearing. Methods: The study was carried out after approval of the research ethics committee (1.198.607). The instrument was developed in software format with website access, using the languages PHP 5.5.12, Javascript, Cascade style sheets and "HTML5"; database "MYSQL 5.6.17" on the "Apache 2.4.9" server. Fifteen melodies of Brazilian folk songs were recorded in piano synthesized timbre, with 12 seconds per melody reproduction and four second intervals between them. A total of 155 schooled children, aged eight to 11 years, of both sexes, with typical hearing participated in the study. The test was performed in a silent room with sound stimuli amplified by a sound box at 65 dBNA, positioned at 0 azimuth, and at one meter from the participant, the notebook was used for children to play with on the screen on the title and illustration of the melody they recognized they were listening to. The responses were recorded on their own database. Results: The instrument titled "Evaluation of recognition of traditional melodies in children" can be run on various devices (computers, notebooks, tablets, mobile phones) and operating systems (Windows, Macintosh, Android, Linux). Access: http://192.185.216.17/ivan/home/login.php by login and password. The most easily recognized melody was "Cai, cai balão" (89%) and the least recognized was "Capelinha de melão" (25.2%). The average time to perform the test was 3′15″. Conclusion: The development and application of the software proved effective for the studied population. This instrument may contribute to the improvement of protocols for the evaluation of musical perception in children with hearing aid and/or cochlear implants users.

Resumo Introdução: Há evidências que apontam para a importância da avaliação da percepção musical através de instrumentos objetivos e subjetivos. No Brasil, há escassez de instrumentos que avaliem a percepção musical. Objetivo: Desenvolver um instrumento para avaliar o reconhecimento de melodias tradicionais brasileiras e investigar o desempenho de crianças com audição típica. Método: O estudo foi desenvolvido após aprovação do comitê de ética em pesquisa (1.198.607). O instrumento foi desenvolvido em formato de software com acesso ao site, com as linguagens de programação PHP 5.5.12, Javascript, Cascade Style Sheets e HTML5; banco de dados MYSQL 5.6.17 no servidor Apache 2.4.9. Quinze melodias de canções folclóricas brasileiras foram gravadas com timbre sintetizado em piano, com 12 segundos de reprodução da melodia e quatro segundos de intervalo entre elas. Participaram do estudo 155 crianças, alfabetizadas, entre oito e 11 anos, de ambos os sexos, com audição típica. O teste foi feito em sala silenciosa com estímulo sonoro amplificado por uma caixa sonora a 65 dB NA, posicionada a 0 azimute e a um metro do participante e o notebook foi usado para que as crianças brincassem na tela com o título e a ilustração da melodia que eles reconheceram que ouviam. As respostas foram registradas em seu próprio banco de dados. Resultados: O instrumento intitulado "Avaliação do reconhecimento de melodias tradicionais em crianças" pode ser executado em vários dispositivos (computadores, notebooks, tablets, telefones celulares) e sistemas operacionais (Windows, Macintosh, Android, Linux). Acesse: http://192.185.216.17/ivan/home/login.php através de login e senha. A melodia mais facilmente reconhecida foi "Cai cai balão" (89%) e a menos reconhecida foi "Capelinha de melão" (25,2%). O tempo médio para fazer o teste foi de 3′15″. Conclusão: O desenvolvimento e a aplicação do software se mostraram eficazes para a população estudada. Esse instrumento pode contribuir para o aprimoramento de protocolos de avaliação da percepção musical em crianças usuárias de próteses auditivas e/ou usuárias de implante coclear.

Triagem da Afinação Vocal: comparação do desempenho de musicistas e não musicistas / Pitch-matching Scanning: comparison of musicians and non-musicians' performance

OBJETIVOS: Elaborar um procedimento simples e de rápida aplicação contendo tarefas de imitação vocal de sons musicais de diferentes tons e de ordenação temporal de três tons; verificar sua aplicabilidade, comparando o desempenho de musicistas e não musicistas. MÉTODOS: Participaram 32 indivíduos adultos, de ambos os gêneros, sem queixas vocais, auditivas e/ou de processamento auditivo, que foram divididos igualmente em dois grupos: grupo musicistas - GM e grupo não musicistas - GNM. Todos passaram pela Triagem da Afinação Vocal, que incluiu estímulos musicais compatíveis com a tessitura vocal de homens e mulheres, agrupados em dois tipos de tarefas: tons isolados e sequências de três tons. Os participantes foram instruídos a ouvir os tons apresentados e reproduzí-los vocalmente. As emissões vocais foram gravadas, analisadas acusticamente e os acertos e erros cometidos nos dois tipos de tarefas foram caracterizados. As variáveis referentes à comparação entre os grupos e os tipos de tarefas foram analisadas estatisticamente. RESULTADOS: Houve diferença na comparação entre os dois tipos de tarefas para o GNM, o que não ocorreu com o GM. Foram observadas diferenças na comparação entre os grupos, sendo que o GM apresentou um maior número de acertos nos dois tipos de tarefas. CONCLUSÃO: A Triagem da Afinação Vocal foi criada e mostrou-se sensível para avaliação e comparação do desempenho entre grupos, podendo ser utilizada como instrumento de rastreamento de afinação vocal. Musicistas apresentaram melhor desempenho que não musicistas na Triagem da Afinação Vocal.

PURPOSE: To develop a simple and quick-to-apply procedure for pitch-matching scanning that contains vocal imitation tasks of musical sounds of different tones and the temporal ordination of three different tones; to verify its applicability, by comparing the performance of musicians and non-musicians. METHODS: Participants were 32 adults of both genders without vocal, hearing and/or auditory processing complaints. They were equally divided into two groups: musicians group - MG and non-musicians group - NMG. All participants underwent the Pitch-matching Scanning that included musical stimuli compatible with men and women singing vocal range gathered into two types of tasks: isolate tones and three-tone sequences. Participants were instructed to listen to them and to reproduce them vocally. Voice samples were recorded, analyzed acoustically, and right and wrong matches for the two tasks were characterized. The variables regarding the comparison between groups and types of tasks were statistically analyzed. RESULTS: A difference was found between groups, and the MG presented greater number of right matches in both tasks. CONCLUSION: The Pitch-matching Scanning was developed and was sensitive to evaluate and compare the performance between groups. Thus, it can be used as a tool for pitch-matching tracking. Musicians presented better performance than non-musicians in the Pitch-matching Scanning.

Música y cerebro (II): evidencias cerebrales del entrenamiento musical / Music and brain (II): evidence of musical training in the brain

La música es un estímulo multimodal muy potente que transmite información visual, auditiva y motora a nuestrocerebro, el cual cuenta con una red específica para su procesamiento, compuesta por regiones fronto-temporoparietales. Esta activación puede resultar muy provechosa en el tratamiento de diversos síndromes y enfermedades, ya sea rehabilitando o bien estimulando conexiones neuronales alteradas. Revisamos también las peculiaridades del cerebro del músico y vemos cómo el cerebro se adapta según las necesidades para mejorar su ejecución musical (AU)

Music is a very powerful multimodal stimulus that transmits visual, auditory and motor information to our brain, which in turn has a specific network for processing it, consisting in the frontotemporoparietal regions. This activation can be very beneficial in the treatment of several syndromes and diseases, either by rehabilitating or by stimulating altered neuronal connections. We also review the peculiarities of the musician’s brain and we look at how the brain adapts according to the needs that must be met in order to improve musical performance (AU)

Auditory pre-attentive processing of Chinese tones / 中华医学杂志(英文版)

<p><b>BACKGROUND</b>Chinese tones are considered important in Chinese discrimination. However, the relevant reports on auditory central mechanisms concerning Chinese tones are limited. In this study, mismatch negativity (MMN), one of the event related potentials (ERP), was used to investigate pre-attentive processing of Chinese tones, and the differences between the function of oddball MMN and that of control MMN are discussed.</p><p><b>METHODS</b>Ten subjects (six men and four women) with normal hearing participated in the study. A sequence was presented to these subjects through a loudspeaker, the sequence included four blocks, a control block and three oddball blocks. The control block was made up of five components (one pure tone and four Chinese tones) with equiprobability. The oddball blocks were made up of two components, one was a standard stimulus (tone 1) and the other was a deviant stimulus (tone 2 or tone 3 or tone 4). Electroencephalogram (EEG) data were recorded when the sequence was presented and MMNs were obtained from the analysis of the EEG data.</p><p><b>RESULTS</b>Two kinds of MMNs were obtained, oddball MMN and control MMN. Oddball MMN was obtained by subtracting the ERP elicited by standard stimulation (tone 1) from that elicited by deviant stimulation (tone 2 or tone 3 or tone 4) in the oddball block; control MMN was obtained by subtracting the ERP elicited by the tone in control block, which was the same tone as the deviant stimulation in the oddball block, from the ERP elicited by deviant stimulation (tone 2 or tone 3 or tone 4) in the oddball block. There were two negative waves in oddball MMN, one appeared around 150 ms (oddball MMN 1), the other around 300 ms (oddball MMN 2). Only one negative wave appeared around 300 ms in control MMN, which was corresponding to the oddball MMN 2. We performed the statistical analyses in each paradigm for latencies and amplitudes for oddball MMN 2 in discriminating the three Chinese tones and reported no significant differences. But the latencies and amplitudes for control MMN in discriminating the three tones all were significantly different.</p><p><b>CONCLUSIONS</b>There are evident waveforms for oddball and control MMN obtained in normal hearing persons, indicating that the change of Chinese tones could be detected in the pre-attentive stage. Because control MMN can eliminate reflects for physical characteristics of sound, it is the genuine memory-based pre-attentive processing. Since control MMN can reflect the differences of Chinese tones processing better than oddball MMN, it is more sensitive in evaluating pre-attentive processing in Chinese tones discrimination.</p>