Musical training mediates the relation between working memory capacity and preference for musical complexity.

Previous research has examined the relationships among cognitive variables and musical training, but relatively less attention has addressed downstream effects of musical training on other psychological domains, such as aesthetic preference, and the potential impact of domain-general constructs, such as working memory. Accordingly, the present study sought to draw links between musical training, working memory capacity, and preference for musical complexity. Participants were assessed for their experience with musical training, their working-memory capacity, and their preference for musical complexity. Diverging from predictions based on vision research, our analyses revealed that musical training significantly mediated the association between working memory capacity and preference for music complexity. This significant mediation held even after a variety of sociodemographic variables (gender, education, socioeconomic status) were taken into account. Furthermore, the role of working memory capacity was domain general, such that the mediation was significant regardless of which measure of working memory capacity was used (tone, operation, or symmetry span). The current results develop a model of aesthetic preference that illuminates differences between vision and audition in terms of the multifaceted effects of complex skills training on cognition and affect. Moreover, they drive new work aimed at better understanding how domain-general constructs such as working memory capacity might interact with domain-specific cognition.

Cortical sources of the auditory attentional blink.

Attentional blink (AB) refers to the situation where correctly identifying a target impairs the processing of a subsequent probe in a sequence of stimuli. Although the AB often coincides with a modulation of scalp-recorded cognitive event-related potentials (ERPs), the neural sources of this effect remain unclear. In two separate experiments, we used classical LORETA analysis recursively applied (CLARA) to estimate the neural sources of ERPs elicited by an auditory probe when it immediately followed an auditory target (i.e., AB condition), when no auditory target was present (i.e., no-AB condition), and when the probe followed an auditory target but occurred outside of the AB time window (i.e., no-AB condition). We observed a processing deficit when the probe immediately followed the target, and this auditory AB was accompanied by reduced P3b amplitude. Contrasting brain electrical source activity from the AB and no-AB conditions revealed reduced source activity in the medial temporal region as well as in the temporoparietal junction (extending into inferior parietal lobe), ventromedial prefrontal cortex, left anterior thalamic nuclei, mammillary body, and left cerebellum. The results indicate that successful probe identification following a target relies on a widely distributed brain network and further support the suggestion that the auditory AB reflects the failure of the probe to reach short-term consolidation. NEW & NOTEWORTHY Within a rapid succession of auditory stimuli, the perception of a predefined target sound often impedes listeners' ability to detect another target sound that is presented close in succession. This attentional blink may be related to activity in brain areas supporting attention and memory. We show that the auditory attentional blink is associated with brain activity changes in a network including the medial temporal lobe, parietal cortex, and prefrontal cortex. This study suggests that a problem in the interaction between attention and memory underlies the auditory attentional blink.

Effects of vocal training in a musicophile with congenital amusia.

Congenital amusia is a condition in which an individual suffers from a deficit of musical pitch perception and production. Individuals suffering from congenital amusia generally tend to abstain from musical activities. Here, we present the unique case of Tim Falconer, a self-described musicophile who also suffers from congenital amusia. We describe and assess Tim's attempts to train himself out of amusia through a self-imposed 18-month program of formal vocal training and practice. We tested Tim with respect to music perception and vocal production across seven sessions including pre- and post-training assessments. We also obtained diffusion-weighted images of his brain to assess connectivity between auditory and motor planning areas via the arcuate fasciculus (AF). Tim's behavioral and brain data were compared to that of normal and amusic controls. While Tim showed temporary gains in his singing ability, he did not reach normal levels, and these gains faded when he was not engaged in regular lessons and practice. Tim did show some sustained gains with respect to the perception of musical rhythm and meter. We propose that Tim's lack of improvement in pitch perception and production tasks is due to long-standing and likely irreversible reduction in connectivity along the AF fiber tract.

Towards mechanistic investigations of numerical and music cognition.

Are there cognitive connections between humans' ability to make music and their understanding of math and numbers? This question has motivated centuries of speculation across the fields of philosophy and education and an increasing number of empirical studies of the topic. We review research at the intersection of numerical and music cognition, and establish its relevance both to the applied sphere (e.g., education) and to core theoretical issues in the cognitive sciences. Next, we identify notable limitations within the literature, and attempt to explain some of the likely causes of-and solutions to-these limitations. Finally, we propose specific themes of focus (spatialization and the mapping between symbolic and nonsymbolic representations) for future research aimed at understanding whether there is shared cognitive architecture for reasoning about number and math. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Using a Developmental-Ecological Approach to Understand the Relation Between Language and Music.

Neurocognitive and genetic approaches have made progress in understanding language-music interaction in the adult brain. Although there is broad agreement that learning processes affect how we represent, comprehend, and produce language and music, there is little understanding of the content and dynamics of the early language-music environment in the first years of life. A developmental-ecological approach sees learning and development as fundamentally embedded in a child's environment, and thus requires researchers to move outside of the lab to understand what children are seeing, hearing, and doing in their daily lives. In this paper, after first reviewing the limitations of traditional developmental approaches to understanding language-music interaction, we describe how a developmental-ecological approach can not only inform developmental theories of language-music learning, but also address challenges inherent to neurocognitive and genetic approaches. We then make suggestions for how researchers can best use the developmental-ecological approach to understand the similarities, differences, and co-occurrences in early music and language input.

Tonal hierarchy representations in auditory imagery.

Two experiments investigated psychological representations of musical tonality in auditory imagery. In Experiment 1, musically trained participants heard a single tone as a perceptual cue and built an auditory image of a specified major tonality based on that cue; participants' images were then assessed using judgments of probe tones. In Experiment 2 participants imaged a minor tonality rather than a major one. Analysis of the probe tone ratings indicated that participants successfully imaged both major and minor tonal hierarchies, demonstrating that auditory imagery functions comparably to auditory perception. In addition, the strength of the major tonal image was dependent upon the pitch and tonal relations of the perceptual cue and the to-be-imaged tonality. Finally, representations of minor tonal hierarchies were less robust than those of major ones, converging with perceptual evidence that minor tonalities are less psychologically stable than major tonalities.

Aggregate context effects in music processing.

Control of stimulus confounds is an ever-present, and ever-important, aspect of experimental design. Typically, researchers concern themselves with such control on a local level, ensuring that individual stimuli contain only the properties they intend for them to represent. Significantly less attention, however, is paid to stimulus properties in the aggregate, aspects that, although not present in individual stimuli, can nevertheless become emergent properties of the stimulus set when viewed in total. This paper describes two examples of such effects. The first (Case Study 1) focuses on emergent properties of pairs of to-be-performed tones on a piano keyboard, and the second (Case Study 2) focuses on emergent properties of short, atonal melodies in a perception/memory task. In both cases these sets of stimuli induced identifiable tonal influences despite being explicitly created to be devoid of musical tonality. These results highlight the importance of monitoring aggregate stimulus properties in one's research, and are discussed with reference to their implications for interpreting psychological findings quite generally.

Random Feedback Makes Listeners Tone-Deaf.

The mental representation of pitch structure (tonal knowledge) is a core component of musical experience and is learned implicitly through exposure to music. One theory of congenital amusia (tone deafness) posits that conscious access to tonal knowledge is disrupted, leading to a severe deficit of music cognition. We tested this idea by providing random performance feedback to neurotypical listeners while they listened to melodies for tonal incongruities and had their electrical brain activity monitored. The introduction of random feedback was associated with a reduction of accuracy and confidence, and a suppression of the late positive brain response usually elicited by conscious detection of a tonal violation. These effects mirror the behavioural and neurophysiological profile of amusia. In contrast, random feedback was associated with an increase in the amplitude of the early right anterior negativity, possibly due to heightened attention to the experimental task. This successful simulation of amusia in a normal brain highlights the key role of feedback in learning, and thereby provides a new avenue for the rehabilitation of learning disorders.

Prevalence of congenital amusia.

Congenital amusia (commonly known as tone deafness) is a lifelong musical disorder that affects 4% of the population according to a single estimate based on a single test from 1980. Here we present the first large-based measure of prevalence with a sample of 20 000 participants, which does not rely on self-referral. On the basis of three objective tests and a questionnaire, we show that (a) the prevalence of congenital amusia is only 1.5%, with slightly more females than males, unlike other developmental disorders where males often predominate; (b) self-disclosure is a reliable index of congenital amusia, which suggests that congenital amusia is hereditary, with 46% first-degree relatives similarly affected; (c) the deficit is not attenuated by musical training and (d) it emerges in relative isolation from other cognitive disorder, except for spatial orientation problems. Hence, we suggest that congenital amusia is likely to result from genetic variations that affect musical abilities specifically.

Keeping the Beat: A Large Sample Study of Bouncing and Clapping to Music.

The vast majority of humans move in time with a musical beat. This behaviour has been mostly studied through finger-tapping synchronization. Here, we evaluate naturalistic synchronization responses to music-bouncing and clapping-in 100 university students. Their ability to match the period of their bounces and claps to those of a metronome and musical clips varying in beat saliency was assessed. In general, clapping was better synchronized with the beat than bouncing, suggesting that the choice of a specific movement type is an important factor to consider in the study of sensorimotor synchronization processes. Performance improved as a function of beat saliency, indicating that beat abstraction plays a significant role in synchronization. Fourteen percent of the population exhibited marked difficulties with matching the beat. Yet, at a group level, poor synchronizers showed similar sensitivity to movement type and beat saliency as normal synchronizers. These results suggest the presence of quantitative rather than qualitative variations when losing the beat.

Activation in the Right Inferior Parietal Lobule Reflects the Representation of Musical Structure beyond Simple Pitch Discrimination.

Pitch discrimination tasks typically engage the superior temporal gyrus and the right inferior frontal gyrus. It is currently unclear whether these regions are equally involved in the processing of incongruous notes in melodies, which requires the representation of musical structure (tonality) in addition to pitch discrimination. To this aim, 14 participants completed two tasks while undergoing functional magnetic resonance imaging, one in which they had to identify a pitch change in a series of non-melodic repeating tones and a second in which they had to identify an incongruous note in a tonal melody. In both tasks, the deviants activated the right superior temporal gyrus. A contrast between deviants in the melodic task and deviants in the non-melodic task (melodic > non-melodic) revealed additional activity in the right inferior parietal lobule. Activation in the inferior parietal lobule likely represents processes related to the maintenance of tonal pitch structure in working memory during pitch discrimination.

Current conceptual challenges in the study of rhythm processing deficits.

Interest in the study of rhythm processing deficits (RPD) is currently growing in the cognitive neuroscience community, as this type of investigation constitutes a powerful tool for the understanding of normal rhythm processing. Because this field is in its infancy, it still lacks a common conceptual vocabulary to facilitate effective communication between different researchers and research groups. In this commentary, we provide a brief review of recent reports of RPD through the lens of one important empirical issue: the method by which beat perception is measured, and the consequences of method selection for the researcher's ability to specify which mechanisms are impaired in RPD. This critical reading advocates for the importance of matching measurement tools to the putative neurocognitive mechanisms under study, and reveals the need for effective and specific assessments of the different aspects of rhythm perception and synchronization.

Meta-analytic evidence for the non-modularity of pitch processing in congenital amusia.

A major theme driving research in congenital amusia is related to the modularity of this musical disorder, with two possible sources of the amusic pitch perception deficit. The first possibility is that the amusic deficit is due to a broad disorder of acoustic pitch processing that has the effect of disrupting downstream musical pitch processing, and the second is that amusia is specific to a musical pitch processing module. To interrogate these hypotheses, we performed a meta-analysis on two types of effect sizes contained within 42 studies in the amusia literature: the performance gap between amusics and controls on tasks of pitch discrimination, broadly defined, and the correlation between specifically acoustic pitch perception and musical pitch perception. To augment the correlation database, we also calculated this correlation using data from 106 participants tested by our own research group. We found strong evidence for the acoustic account of amusia. The magnitude of the performance gap was moderated by the size of pitch change, but not by whether the stimuli were composed of tones or speech. Furthermore, there was a significant correlation between an individual's acoustic and musical pitch perception. However, individual cases show a double dissociation between acoustic and musical processing, which suggests that although most amusic cases are probably explainable by an acoustic deficit, there is heterogeneity within the disorder. Finally, we found that tonal language fluency does not influence the performance gap between amusics and controls, and that there was no evidence that amusics fare worse with pitch direction tasks than pitch discrimination tasks. These results constitute a quantitative review of the current literature of congenital amusia, and suggest several new directions for research, including the experimental induction of amusic behaviour through transcranial magnetic stimulation (TMS) and the systematic exploration of the developmental trajectory of this disorder.

Tonal priming is resistant to changes in pitch height.

Research on tonal priming has consistently shown that tonally expected events are processed more efficiently and has confirmed that the locus of the effect is cognitive rather than sensory. However, it is also important to investigate the role of pitch height, because models of tonal priming collapse across octaves, yet it is possible that pitch height may modulate the effectiveness of tonal priming. We systematically tested this issue by varying the pitch heights of a related (tonic) or a less-related (subdominant) target chord following a tonal context. Musically untrained participants (N = 30) made speeded consonant/dissonant judgments of the final chord of an eight-chord sequence. The effects of tonal priming emerged in accuracy and reaction time measures for all octaves, except for a ceiling effect on accuracy in the matching (original pitch height) condition. In a second experiment, we increased the shift to two octaves and compressed the chords to eliminate overlap between the target and context chords; again, tonal priming emerged. These findings have implications for the behavioral study of tonal priming and support the assumption of octave equivalence in computational models.

Memory for musical tones: the impact of tonality and the creation of false memories.

Although the relation between tonality and musical memory has been fairly well-studied, less is known regarding the contribution of tonal-schematic expectancies to this relation. Three experiments investigated the influence of tonal expectancies on memory for single tones in a tonal melodic context. In the first experiment, listener responses indicated superior recognition of both expected and unexpected targets in a major tonal context than for moderately expected targets. Importantly, and in support of previous work on false memories, listener responses also revealed a higher false alarm rate for expected than unexpected targets. These results indicate roles for tonal schematic congruency as well as distinctiveness in memory for melodic tones. The second experiment utilized minor melodies, which weakened tonal expectancies since the minor tonality can be represented in three forms simultaneously. Finally, tonal expectancies were abolished entirely in the third experiment through the use of atonal melodies. Accordingly, the expectancy-based results observed in the first experiment were disrupted in the second experiment, and disappeared in the third experiment. These results are discussed in light of schema theory, musical expectancy, and classic memory work on the availability and distinctiveness heuristics.