Effects of Metrical Context on the P1 Component.

Background and Objectives: : The temporal structure of sound, characterized by regular patterns, plays a crucial role in optimizing the processing of auditory information. The meter, representing a well-organized sequence of evenly spaced beats in music, exhibits a hierarchical arrangement, with stronger beats occupying higher metrical positions. Moreover, the meter has been shown to influence behavioral and neural processing, particularly the N1, P2, and mismatch negativity components. However, the role of the P1 component in the context of metrical hierarchy remains unexplored. This study aimed to investigate the effects of metrical hierarchy on the P1 component and compare the responses between musicians and non-musicians. Subjects and Methods: : Thirty participants (15 musicians and 15 non-musicians) were enrolled in the study. Auditory stimuli consisted of a synthesized speech syllable presented together with a repeating series of four tones, establishing a quadruple meter. Electrophysiological recordings were performed to measure the P1 component. Results: : The results revealed that metrical position had a significant effect on P1 amplitude, with the strongest beat showing the lowest amplitude. This contrasts with previous findings, in which enhanced P1 responses were typically observed at on-the-beat positions. The reduced P1 response on the strong beat can be interpreted within the framework of predictive coding and temporal prediction, where a higher predictability of pitch changes at the strong beat leads to a reduction in the P1 response. Furthermore, higher P1 amplitudes were observed in musicians compared to non-musicians, suggesting that musicians have enhanced sensory processing. Conclusions: : This study demonstrates the effects of metrical hierarchy on the P1 component, thereby enriching our understanding of auditory processing. The results suggest that predictive coding and temporal prediction play important roles in shaping sensory processing. Further, they suggest that musical training may enhance P1 responses.

Research Trends in Virtual Reality Music Concert Technology: A Systematic Literature Review.

Advances in virtual reality (VR) technology have sparked novel avenues of growth in the musical domain. Following the COVID-19 pandemic, the rise of VR technology has led to growing interest in VR music concerts as an alternative to traditional live concerts. These virtual settings can provide immersion like attending real concerts for physically distant audiences and performers, and also can offer new creative possibilities. VR music concert research is still in its infancy, and advances in technologies such as multimodal devices are rapidly expanding the diversity of research, requiring a unified understanding of the field. To identify trends in VR music concert technology, we conducted a PRISMA-based systematic literature review covering the period from 2018 to 2023. After a thorough screening process, a total of 27 papers were selected for review. The studies were classified and analyzed based on the research topic (audience, performer, concert venue), interaction type (user-environment, user-user), and hardware used (head-mounted display, additional hardware). Furthermore, we categorized the evaluation metrics into user experience, usability, and performance. Our review contributes to advancing the understanding of recent developments in VR music concert technology, shedding light on the diversification and potential of this emerging field.

Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries.

Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random 'seed' rhythms; their reproductions were fed back as the stimulus (as in the game of 'telephone'), such that their biases (the prior) could be estimated from the distribution of reproductions. Every tested group showed a sparse prior with peaks at integer-ratio rhythms. However, the importance of different integer ratios varied across groups, often reflecting local musical practices. Our results suggest a common feature of music cognition: discrete rhythm 'categories' at small-integer ratios. These discrete representations plausibly stabilize musical systems in the face of cultural transmission but interact with culture-specific traditions to yield the diversity that is evident when mental representations are probed across many cultures.

Sensorimotor and working memory systems jointly support development of perceptual rhythm processing.

We studied the role of sensorimotor and working memory systems in supporting development of perceptual rhythm processing with 119 participants aged 7-12 years. Children were assessed for their abilities in sensorimotor synchronization (SMS; beat tapping), auditory working memory (AWM; digit span), and rhythm discrimination (RD; same/different judgment on a pair of musical rhythm sequences). Multiple regression analysis revealed that children's RD performance was independently predicted by higher beat tapping consistency and greater digit span score, with all other demographic variables (age, sex, socioeconomic status, music training) controlled. The association between RD and SMS was more robust in the slower tempos (60 and 100 beats-per-minute (BPM)) than faster ones (120 and 180 BPM). Critically, the relation of SMS to RD was moderated by age in that RD performance was predicted by beat tapping consistency in younger children (age: 7-9 years), but not in older children (age: 10-12 years). AWM was the only predictor of RD in older children. Together, the current findings demonstrate that the sensorimotor and working memory systems jointly support RD processing during middle-to-late childhood and that the degree of association between the two systems and perceptual rhythm processing is shifted before entering into early adolescence.

Meter enhances the subcortical processing of speech sounds at a strong beat.

The temporal structure of sound such as in music and speech increases the efficiency of auditory processing by providing listeners with a predictable context. Musical meter is a good example of a sound structure that is temporally organized in a hierarchical manner, with recent studies showing that meter optimizes neural processing, particularly for sounds located at a higher metrical position or strong beat. Whereas enhanced cortical auditory processing at times of high metric strength has been studied, there is to date no direct evidence showing metrical modulation of subcortical processing. In this work, we examined the effect of meter on the subcortical encoding of sounds by measuring human auditory frequency-following responses to speech presented at four different metrical positions. Results show that neural encoding of the fundamental frequency of the vowel was enhanced at the strong beat, and also that the neural consistency of the vowel was the highest at the strong beat. When comparing musicians to non-musicians, musicians were found, at the strong beat, to selectively enhance the behaviorally relevant component of the speech sound, namely the formant frequency of the transient part. Our findings indicate that the meter of sound influences subcortical processing, and this metrical modulation differs depending on musical expertise.

Hidden hearing loss in patients with Charcot-Marie-Tooth disease type 1A.

The aim of this study was to investigate hidden hearing loss in patients with Charcot-Marie-Tooth disease type 1 A (CMT1A), a common inherited demyelinating neuropathy. By using pure-tone audiometry, 43 patients with CMT1A and 60 healthy controls with normal sound detection abilities were enrolled. Speech perception in quiet and noisy backgrounds, spectral ripple discrimination (SRD), and temporal modulation detection (TMD) were measured. Although CMT1A patients and healthy controls had similar pure-tone thresholds and speech perception scores in a quiet background, CMT1A patients had significantly (p < 0.05) decreased speech perception ability in a noisy background compared to controls. CMT1A patients showed significantly decreased temporal and spectral resolution (both p < 0.05). Also, auditory temporal processing of CMT1A patients was correlated with speech perception in a noisy background (r = 0.447, p < 0.01) and median motor conduction velocity (r = 0.335, p < 0.05). Therefore, we assumed that demyelination of auditory nerve in CMT1A causes defective cochlear neurotransmission, which reduces temporal resolution and speech perception in a noisy background. Because the temporal resolution test was well correlated with the degree of demyelination in auditory and peripheral motor nerves, temporal resolution testing could be performed as an additional marker for CMT1A.

Musical Expectations Enhance Auditory Cortical Processing in Musicians: A Magnetoencephalography Study.

The present study investigated the influence of musical expectations on auditory representations in musicians and non-musicians using magnetoencephalography (MEG). Neuroscientific studies have demonstrated that musical syntax is processed in the inferior frontal gyri, eliciting an early right anterior negativity (ERAN), and anatomical evidence has shown that interconnections occur between the frontal cortex and the belt and parabelt regions in the auditory cortex (AC). Therefore, we anticipated that musical expectations would mediate neural activities in the AC via an efferent pathway. To test this hypothesis, we measured the auditory-evoked fields (AEFs) of seven musicians and seven non-musicians while they were listening to a five-chord progression in which the expectancy of the third chord was manipulated (highly expected, less expected, and unexpected). The results revealed that highly expected chords elicited shorter N1m (negative AEF at approximately 100 ms) and P2m (positive AEF at approximately 200 ms) latencies and larger P2m amplitudes in the AC than less-expected and unexpected chords. The relations between P2m amplitudes/latencies and harmonic expectations were similar between the groups; however, musicians' results were more remarkable than those of non-musicians. These findings suggest that auditory cortical processing is enhanced by musical knowledge and long-term training in a top-down manner, which is reflected in shortened N1m and P2m latencies and enhanced P2m amplitudes in the AC.

Dance and Music in "Gangnam Style": How Dance Observation Affects Meter Perception.

Dance and music often co-occur as evidenced when viewing choreographed dances or singers moving while performing. This study investigated how the viewing of dance motions shapes sound perception. Previous research has shown that dance reflects the temporal structure of its accompanying music, communicating musical meter (i.e. a hierarchical organization of beats) via coordinated movement patterns that indicate where strong and weak beats occur. Experiments here investigated the effects of dance cues on meter perception, hypothesizing that dance could embody the musical meter, thereby shaping participant reaction times (RTs) to sound targets occurring at different metrical positions.In experiment 1, participants viewed a video with dance choreography indicating 4/4 meter (dance condition) or a series of color changes repeated in sequences of four to indicate 4/4 meter (picture condition). A sound track accompanied these videos and participants reacted to timbre targets at different metrical positions. Participants had the slowest RT's at the strongest beats in the dance condition only. In experiment 2, participants viewed the choreography of the horse-riding dance from Psy's "Gangnam Style" in order to examine how a familiar dance might affect meter perception. Moreover, participants in this experiment were divided into a group with experience dancing this choreography and a group without experience. Results again showed slower RTs to stronger metrical positions and the group with experience demonstrated a more refined perception of metrical hierarchy. Results likely stem from the temporally selective division of attention between auditory and visual domains. This study has implications for understanding: 1) the impact of splitting attention among different sensory modalities, and 2) the impact of embodiment, on perception of musical meter. Viewing dance may interfere with sound processing, particularly at critical metrical positions, but embodied familiarity with dance choreography may facilitate meter awareness. Results shed light on the processing of multimedia environments.

Selective subcortical enhancement of musical intervals in musicians.

By measuring the auditory brainstem response to two musical intervals, the major sixth (E3 and G2) and the minor seventh (E3 and F#2), we found that musicians have a more specialized sensory system for processing behaviorally relevant aspects of sound. Musicians had heightened responses to the harmonics of the upper tone (E), as well as certain combination tones (sum tones) generated by nonlinear processing in the auditory system. In music, the upper note is typically carried by the upper voice, and the enhancement of the upper tone likely reflects musicians' extensive experience attending to the upper voice. Neural phase locking to the temporal periodicity of the amplitude-modulated envelope, which underlies the perception of musical harmony, was also more precise in musicians than nonmusicians. Neural enhancements were strongly correlated with years of musical training, and our findings, therefore, underscore the role that long-term experience with music plays in shaping auditory sensory encoding.