Crossmodal Interactions Between Olfaction and Touch Affecting Well-Being and Perception of Cosmetic Creams.

In the present series of studies, we investigated crossmodal perception of odor and texture. In four studies, participants tried two textures of face creams, one high viscosity (HV) and one low viscosity (LV), each with one of three levels of added odor (standard level, half of standard, or base [no added odor]), and then reported their levels of well-being. They also reported their perceptions of the face creams, including liking (global liking of the product, liking of its texture) and "objective" evaluations on just about right (JAR) scales (texture and visual appearance evaluations). In Study 1, women in France tried the creams on their hands, as they would when testing them in a store, and in Study 2, a second group of French women tried the creams on their faces, as they would at home. In Studies 3 and 4, these same two procedures were repeated in China. Results showed that both odor and texture had effects on well-being, liking, and JAR ratings, including interaction effects. Though effects varied by country and context (hand or face), the addition of odor to the creams generally increased reports of well-being, global liking and texture liking, in some cases affecting the "objective" evaluations of texture. This is one of the first investigations of crossmodal olfactory and tactile perception's impacts on well-being, and it reinforces previous literature showing the importance of olfaction on well-being.

Processing of Rhythm in Speech and Music in Adult Dyslexia.

Recent studies have suggested that musical rhythm perception ability can affect the phonological system. The most prevalent causal account for developmental dyslexia is the phonological deficit hypothesis. As rhythm is a subpart of phonology, we hypothesized that reading deficits in dyslexia are associated with rhythm processing in speech and in music. In a rhythmic grouping task, adults with diagnosed dyslexia and age-matched controls listened to speech streams with syllables alternating in intensity, duration, or neither, and indicated whether they perceived a strong-weak or weak-strong rhythm pattern. Additionally, their reading and musical rhythm abilities were measured. Results showed that adults with dyslexia had lower musical rhythm abilities than adults without dyslexia. Moreover, lower musical rhythm ability was associated with lower reading ability in dyslexia. However, speech grouping by adults with dyslexia was not impaired when musical rhythm perception ability was controlled: like adults without dyslexia, they showed consistent preferences. However, rhythmic grouping was predicted by musical rhythm perception ability, irrespective of dyslexia. The results suggest associations among musical rhythm perception ability, speech rhythm perception, and reading ability. This highlights the importance of considering individual variability to better understand dyslexia and raises the possibility that musical rhythm perception ability is a key to phonological and reading acquisition.

Learning a Phonological Contrast Modulates the Auditory Grouping of Rhythm.

Perceptual grouping is fundamental to many auditory processes. The Iambic-Trochaic Law (ITL) is a default grouping strategy, where rhythmic alternations of duration are perceived iambically (weak-strong), while alternations of intensity are perceived trochaically (strong-weak). Some argue that the ITL is experience dependent. For instance, French speakers follow the ITL, but not as consistently as German speakers. We hypothesized that learning about prosodic patterns, like word stress, modulates this rhythmic grouping. We tested this idea by training French adults on a German-like stress contrast. Individuals who showed better phonological learning had more ITL-like grouping, particularly over duration cues. In a non-phonological condition, French adults were trained using identical stimuli, but they learned to attend to acoustic variation that was not linguistic. Here, no learning effects were observed. Results thus suggest that phonological learning can modulate low-level auditory grouping phenomena, but it is constrained by the ability of individuals to learn from short-term training.

An Exploration of Rhythmic Grouping of Speech Sequences by French- and German-Learning Infants.

Rhythm in music and speech can be characterized by a constellation of several acoustic cues. Individually, these cues have different effects on rhythmic perception: sequences of sounds alternating in duration are perceived as short-long pairs (weak-strong/iambic pattern), whereas sequences of sounds alternating in intensity or pitch are perceived as loud-soft, or high-low pairs (strong-weak/trochaic pattern). This perceptual bias-called the Iambic-Trochaic Law (ITL)-has been claimed to be an universal property of the auditory system applying in both the music and the language domains. Recent studies have shown that language experience can modulate the effects of the ITL on rhythmic perception of both speech and non-speech sequences in adults, and of non-speech sequences in 7.5-month-old infants. The goal of the present study was to explore whether language experience also modulates infants' grouping of speech. To do so, we presented sequences of syllables to monolingual French- and German-learning 7.5-month-olds. Using the Headturn Preference Procedure (HPP), we examined whether they were able to perceive a rhythmic structure in sequences of syllables that alternated in duration, pitch, or intensity. Our findings show that both French- and German-learning infants perceived a rhythmic structure when it was cued by duration or pitch but not intensity. Our findings also show differences in how these infants use duration and pitch cues to group syllable sequences, suggesting that pitch cues were the easier ones to use. Moreover, performance did not differ across languages, failing to reveal early language effects on rhythmic perception. These results contribute to our understanding of the origin of rhythmic perception and perceptual mechanisms shared across music and speech, which may bootstrap language acquisition.

Second Language Ability and Emotional Prosody Perception.

The present study examines the effect of language experience on vocal emotion perception in a second language. Native speakers of French with varying levels of self-reported English ability were asked to identify emotions from vocal expressions produced by American actors in a forced-choice task, and to rate their pleasantness, power, alertness and intensity on continuous scales. Stimuli included emotionally expressive English speech (emotional prosody) and non-linguistic vocalizations (affect bursts), and a baseline condition with Swiss-French pseudo-speech. Results revealed effects of English ability on the recognition of emotions in English speech but not in non-linguistic vocalizations. Specifically, higher English ability was associated with less accurate identification of positive emotions, but not with the interpretation of negative emotions. Moreover, higher English ability was associated with lower ratings of pleasantness and power, again only for emotional prosody. This suggests that second language skills may sometimes interfere with emotion recognition from speech prosody, particularly for positive emotions.

Language Experience Affects Grouping of Musical Instrument Sounds.

Language experience clearly affects the perception of speech, but little is known about whether these differences in perception extend to non-speech sounds. In this study, we investigated rhythmic perception of non-linguistic sounds in speakers of French and German using a grouping task, in which complexity (variability in sounds, presence of pauses) was manipulated. In this task, participants grouped sequences of auditory chimeras formed from musical instruments. These chimeras mimic the complexity of speech without being speech. We found that, while showing the same overall grouping preferences, the German speakers showed stronger biases than the French speakers in grouping complex sequences. Sound variability reduced all participants' biases, resulting in the French group showing no grouping preference for the most variable sequences, though this reduction was attenuated by musical experience. In sum, this study demonstrates that linguistic experience, musical experience, and complexity affect rhythmic grouping of non-linguistic sounds and suggests that experience with acoustic cues in a meaningful context (language or music) is necessary for developing a robust grouping preference that survives acoustic variability.

Foreign language learning in French speakers is associated with rhythm perception, but not with melody perception.

There has been increasing interest in links between language and music. Here, we investigate the relation between foreign language learning and music perception. We administered tests measuring melody and rhythm perception as well as a questionnaire on musical and foreign language experience to 147 monolingual French speakers. As expected, we found that musicians had better melody and rhythm perception than nonmusicians and that, among musicians, there was a positive correlation between the total number of years of music training and test scores. Crucially, we also found a positive correlation between the total number of years learning foreign languages and rhythm perception, but we found no such relation with melody perception. Moreover, the degree to which participants were better at rhythm than melody perception was also related to foreign language experience. Results suggest that both music training and learning foreign languages (primarily English, Spanish, and German in our sample) are related to French speakers' perception of rhythm, but not to their perception of melody. These results are discussed with respect to the rhythmic properties of French and suggest a common perceptual basis for rhythm in language and music.

Native language affects rhythmic grouping of speech.

Perceptual attunement to one's native language results in language-specific processing of speech sounds. This includes stress cues, instantiated by differences in intensity, pitch, and duration. The present study investigates the effects of linguistic experience on the perception of these cues by studying the Iambic-Trochaic Law (ITL), which states that listeners group sounds trochaically (strong-weak) if the sounds vary in loudness or pitch and iambically (weak-strong) if they vary in duration. Participants were native listeners either of French or German; this comparison was chosen because French adults have been shown to be less sensitive than speakers of German and other languages to word-level stress, which is communicated by variation in cues such as intensity, fundamental frequency (F0), or duration. In experiment 1, participants listened to sequences of co-articulated syllables varying in either intensity or duration. The German participants were more consistent in their grouping than the French for both cues. Experiment 2 was identical to experiment 1 except that intensity variation was replaced by pitch variation. German participants again showed more consistency for both cues, and French participants showed especially inconsistent grouping for the pitch-varied sequences. These experiments show that the perception of linguistic rhythm is strongly influenced by linguistic experience.

Impaired timing and frequency discrimination in high-functioning autism spectrum disorders.

Individuals with autism spectrum disorders (ASD) frequently demonstrate preserved or enhanced frequency perception but impaired timing perception. The present study investigated the processing of spectral and temporal information in 12 adolescents with ASD and 15 age-matched controls. Participants completed two psychoacoustic tasks: one determined frequency difference limens, and the other determined gap detection thresholds. Results showed impaired frequency discrimination at the highest standard frequency in the ASD group but no overall difference between groups. However, when groups were defined by auditory hyper-sensitivity, a group difference arose. For the gap detection task, the ASD group demonstrated elevated thresholds. This supports previous research demonstrating a deficit in ASD in temporal perception and suggests a connection between hyper-sensitivity and frequency discrimination abilities.

Processing of musical structure by high-functioning adolescents with autism spectrum disorders.

Enhanced pitch perception and memory have been cited as evidence of a local processing bias in autism spectrum disorders (ASD). This bias is argued to account for enhanced perceptual functioning ( Mottron & Burack, 2001 ; Mottron, Dawson, Soulières, Hubert, & Burack, 2006 ) and central coherence theories of ASD ( Frith, 1989 ; Happé & Frith, 2006 ). A local processing bias confers a different cognitive style to individuals with ASD ( Happé, 1999 ), which accounts in part for their good visuospatial and visuoconstructive skills. Here, we present analogues in the auditory domain, audiotemporal or audioconstructive processing, which we assess using a novel experimental task: a musical puzzle. This task evaluates the ability of individuals with ASD to process temporal sequences of musical events as well as various elements of musical structure and thus indexes their ability to employ a global processing style. Musical structures created and replicated by children and adolescents with ASD (10-19 years old) and typically developing children and adolescents (7-17 years old) were found to be similar in global coherence. Presenting a musical template for reference increased accuracy equally for both groups, with performance associated to performance IQ and short-term auditory memory. The overall pattern of performance was similar for both groups; some puzzles were easier than others and this was the case for both groups. Task performance was further found to be correlated with the ability to perceive musical emotions, more so for typically developing participants. Findings are discussed in light of the empathizing-systemizing theory of ASD ( Baron-Cohen, 2009 ) and the importance of describing the strengths of individuals with ASD ( Happé, 1999 ; Heaton, 2009 ).

Laterality of basic auditory perception.

Laterality (left-right ear differences) of auditory processing was assessed using basic auditory skills: (1) gap detection, (2) frequency discrimination, and (3) intensity discrimination. Stimuli included tones (500, 1000, and 4000 Hz) and wide-band noise presented monaurally to each ear of typical adult listeners. The hypothesis tested was that processing of tonal stimuli would be enhanced by left ear (LE) stimulation and noise by right ear (RE) presentations. To investigate the limits of laterality by (1) spectral width, a narrow-band noise (NBN) of 450-Hz bandwidth was evaluated using intensity discrimination, and (2) stimulus duration, 200, 500, and 1000 ms duration tones were evaluated using frequency discrimination. A left ear advantage (LEA) was demonstrated with tonal stimuli in all experiments, but an expected REA for noise stimuli was not found. The NBN stimulus demonstrated no LEA and was characterised as a noise. No change in laterality was found with changes in stimulus durations. The LEA for tonal stimuli is felt to be due to more direct connections between the left ear and the right auditory cortex, which has been shown to be primary for spectral analysis and tonal processing. The lack of a REA for noise stimuli is unexplained. Sex differences in laterality for noise stimuli were noted but were not statistically significant. This study did establish a subtle but clear pattern of LEA for processing of tonal stimuli.

Perception of emotional expression in musical performance.

Expression in musical performance is largely communicated by the manner in which a piece is played; interpretive aspects that supplement the written score. In piano performance, timing and amplitude are the principal parameters the performer can vary. We examined the way in which such variation serves to communicate emotion by manipulating timing and amplitude in performances of classical piano pieces. Over three experiments, listeners rated the emotional expressivity of performances and their manipulated versions. In Experiments 1 and 2, timing and amplitude information were covaried; judgments were monotonically decreasing with performance variability, demonstrating that the rank ordering of acoustical manipulations was captured by participants' responses. Further, participants' judgments formed an S-shaped (sigmoidal) function in which greater sensitivity was seen for musical manipulations in the middle of the range than at the extremes. In Experiment 3, timing and amplitude were manipulated independently; timing variation was found to provide more expressive information than did amplitude. Across all three experiments, listeners demonstrated sensitivity to the expressive cues we manipulated, with sensitivity increasing as a function of musical experience.

Emotion perception in music in high-functioning adolescents with Autism Spectrum Disorders.

Individuals with Autism Spectrum Disorders (ASD) succeed at a range of musical tasks. The ability to recognize musical emotion as belonging to one of four categories (happy, sad, scared or peaceful) was assessed in high-functioning adolescents with ASD (N = 26) and adolescents with typical development (TD, N = 26) with comparable performance IQ, auditory working memory, and musical training and experience. When verbal IQ was controlled for, there was no significant effect of diagnostic group. Adolescents with ASD rated the intensity of the emotions similarly to adolescents with TD and reported greater confidence in their responses when they had correctly (vs. incorrectly) recognized the emotions. These findings are reviewed within the context of the amygdala theory of autism.

Decoding temporal structure in music and speech relies on shared brain resources but elicits different fine-scale spatial patterns.

Music and speech are complex sound streams with hierarchical rules of temporal organization that become elaborated over time. Here, we use functional magnetic resonance imaging to measure brain activity patterns in 20 right-handed nonmusicians as they listened to natural and temporally reordered musical and speech stimuli matched for familiarity, emotion, and valence. Heart rate variability and mean respiration rates were simultaneously measured and were found not to differ between musical and speech stimuli. Although the same manipulation of temporal structure elicited brain activation level differences of similar magnitude for both music and speech stimuli, multivariate classification analysis revealed distinct spatial patterns of brain responses in the 2 domains. Distributed neuronal populations that included the inferior frontal cortex, the posterior and anterior superior and middle temporal gyri, and the auditory brainstem classified temporal structure manipulations in music and speech with significant levels of accuracy. While agreeing with previous findings that music and speech processing share neural substrates, this work shows that temporal structure in the 2 domains is encoded differently, highlighting a fundamental dissimilarity in how the same neural resources are deployed.

Perception of emotion in musical performance in adolescents with autism spectrum disorders.

Individuals with autism spectrum disorders (ASD) are impaired in understanding the emotional undertones of speech, many of which are communicated through prosody. Musical performance also employs a form of prosody to communicate emotion, and the goal of this study was to examine the ability of adolescents with ASD to understand musical emotion. We designed an experiment in which each musical stimulus served as its own control while we varied the emotional expressivity by manipulating timing and amplitude variation. We asked children and adolescents with ASD and matched controls as well as individuals with Williams syndrome (WS) to rate how emotional these excerpts sounded. Results show that children and adolescents with ASD are impaired relative to matched controls and individuals with WS at judging the difference in emotionality among the expressivity levels. Implications for theories of emotion in autism are discussed in light of these findings.

The effect of music on social attribution in adolescents with autism spectrum disorders.

High-functioning adolescents with ASD and matched controls were presented with animations that depicted varying levels of social interaction and were either accompanied by music or silent. Participants described the events of the animation, and we scored responses for intentionality, appropriateness, and length of description. Adolescents with ASD were less likely to make social attributions, especially for those animations with the most complex social interactions. When stimuli were accompanied by music, both groups were equally impaired in appropriateness and intentionality. We conclude that adolescents with ASD perceive and integrate musical soundtracks with visual displays equivalent to typically developing individuals.

Coexistent hypothyroidism, psychosis, and severe obsessions in an adolescent: a 10-year follow-up.

UNLABELLED: This is the first longitudinal report on possible psychosis resulting from the juvenile onset of hypothyroidism. A 10-year follow-up in the case of a 13-year-old boy published in this journal in 1993 is presented. The patient presented with a diagnostic dilemma. Although psychosis resulting from hypothyroidism was the most parsimonious explanation of his symptoms (new-onset auditory hallucinations, severe obsessions, and severe hypothyroidism), a primary psychiatric disorder (obsessive-compulsive disorder [OCD] or psychotic depression) aggravated by hypothyroidism could not be excluded. The aim of this study was to illustrate that the diagnosis and clinical interrelationships can be clarified by longitudinal data. FOLLOW-UP DATA: The patient's symptoms responded optimally to a combination of fluvoxamine, risperidone, and levothyroxine (LT4, 300 microg daily). He was free from severe symptoms until age 21, when he discontinued all psychotropic medications while continuing with LT4. Over 2 months later, he was hospitalized for thoughts of hurting himself or others. In the hospital, his LT4 was discontinued and propranolol was started. He was discharged on multiple psychotropic medications, and was rehospitalized 6 days later for suicide risk. When LT4 (200 microg daily) was added to his psychotropic regimen, he partially responded and was discharged. The optimal response to treatment occurred only after he was placed on a combination of fluoxetine, risperidone, and LT4 (300 microg daily). The patient remained stable for up to 12 months of follow-up. CONCLUSIONS: This chronology suggests that the optimal treatment in this patient probably required three components: a Selective Serotonin Reuptake Inhibitor, (SSRI) risperidone, and LT4 (300 g daily). Each component was apparently necessary but not sufficient individually for the optimal response. The relapse after the discontinuation of fluvoxamine and risperidone (but not LT4) suggests the presence of a primary psychiatric disorder (OCD with depression). The failure to improve without an adequate dosage of LT4 suggests that hypothyroidism was probably an aggravating factor. This case illustrates the diagnostic difficulty in distinguishing between obsessions, depressive ruminations, and delusions in children and the need to consider hypothyroidism in the differential diagnosis of the sudden worsening of OCD, or in cases of new-onset psychosis in children and adolescents.