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.

The universal law of generalization holds for naturalistic stimuli.

Shepard's universal law of generalization is a remarkable hypothesis about how intelligent organisms should perceive similarity. In its broadest form, the universal law states that the level of perceived similarity between a pair of stimuli should decay as a concave function of their distance when embedded in an appropriate psychological space. While extensively studied, evidence in support of the universal law has relied on low-dimensional stimuli and small stimulus sets that are very different from their real-world counterparts. This is largely because pairwise comparisons-as required for similarity judgments-scale quadratically in the number of stimuli. We provide strong evidence for the universal law in a naturalistic high-dimensional regime by analyzing an existing data set of 214,200 human similarity judgments and a newly collected data set of 390,819 human generalization judgments (N = 2,406 U.S. participants) across three sets of natural images. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Timbral effects on consonance disentangle psychoacoustic mechanisms and suggest perceptual origins for musical scales.

The phenomenon of musical consonance is an essential feature in diverse musical styles. The traditional belief, supported by centuries of Western music theory and psychological studies, is that consonance derives from simple (harmonic) frequency ratios between tones and is insensitive to timbre. Here we show through five large-scale behavioral studies, comprising 235,440 human judgments from US and South Korean populations, that harmonic consonance preferences can be reshaped by timbral manipulations, even as far as to induce preferences for inharmonic intervals. We show how such effects may suggest perceptual origins for diverse scale systems ranging from the gamelan's slendro scale to the tuning of Western mean-tone and equal-tempered scales. Through computational modeling we show that these timbral manipulations dissociate competing psychoacoustic mechanisms underlying consonance, and we derive an updated computational model combining liking of harmonicity, disliking of fast beats (roughness), and liking of slow beats. Altogether, this work showcases how large-scale behavioral experiments can inform classical questions in auditory perception.

Incentivizing free riders improves collective intelligence in social dilemmas.

Collective intelligence challenges are often entangled with collective action problems. For example, voting, rating, and social innovation are collective intelligence tasks that require costly individual contributions. As a result, members of a group often free ride on the information contributed by intrinsically motivated people. Are intrinsically motivated agents the best participants in collective decisions? We embedded a collective intelligence task in a large-scale, virtual world public good game and found that participants who joined the information system but were reluctant to contribute to the public good (free riders) provided more accurate evaluations, whereas participants who rated frequently underperformed. Testing the underlying mechanism revealed that a negative rating bias in free riders is associated with higher accuracy. Importantly, incentivizing evaluations amplifies the relative influence of participants who tend to free ride without altering the (higher) quality of their evaluations, thereby improving collective intelligence. These results suggest that many of the currently available information systems, which strongly select for intrinsically motivated participants, underperform and that collective intelligence can benefit from incentivizing free riding members to engage. More generally, enhancing the diversity of contributor motivations can improve collective intelligence in settings that are entangled with collective action problems.

Feeling the Beat: Temporal Predictability is Associated with Ongoing Changes in Music-Induced Pleasantness.

Music is a complex phenomenon that elicits a range of emotional responses, influenced by numerous variables, such as rhythm, melody and harmony. One interesting aspect of music is listeners' ability to predict its continuation as it unfolds - an inherent attribute hypothesized to contribute to our emotional response to music. In this study, we investigated this link by examining the relationship between temporal predictability - the ability to predict the timing of the next event - and the ongoing changes in music-induced pleasantness. Temporal predictability was operationalized as the degree to which taps of 20 musically trained participants, who tapped to the beat along three naturalistic and highly contrastive musical pieces, were aligned. We then examined the degree to which this measure could explain the ongoing emotional experience, as reflected in continuous measures of arousal and valence, in a separate group of 40 participants that listened to these pieces. Our findings reveal a positive correlation between fluctuations in reported valence and temporal predictability, even when controlling for a set of other musical features, in four out of five musical sections. The only exception being a lyrical slow section. These findings were further supported by a large online database of annotated musical emotions (n = 1780 songs), where a consistent and robust correlation between valence ratings and an automatically extracted feature of pulse clarity was demonstrated. Overall, our findings shed light on the significance of temporal predictability as a contributing factor to the hedonic experience of music, especially within the tempo range of salient beat perception.

Poor synchronization yet adequate tempo-keeping in adults with autism.

Sensorimotor synchronization to external events is fundamental to social interactions. Adults with autism spectrum condition (ASC) have difficulty with synchronization, manifested in both social and non-social situations, such as paced finger-tapping tasks, where participants synchronize their taps to metronome beats. What limits ASC's synchronization is a matter of debate, especially whether it stems from reduced online correction of synchronization error (the "slow update" account) or from noisy internal representations (the "elevated internal noise" account). To test these opposing theories, we administered a synchronization-continuation tapping task, with and without tempo changes. Participants were asked to synchronize with the metronome and continue the tempo when it stopped. Since continuation is based only on internal representations, the slow update hypothesis predicts no difficulty, whereas the elevated noise hypothesis predicts similar or enhanced difficulties. Additionally, tempo changes were introduced, to assess whether adequate updating of internal representations to external changes is possible when given a longer temporal window for updating. We found that the ability to keep the metronome's tempo after it stopped did not differ between ASC and typically developing (TD) individuals. Importantly, when given a longer period to adapt to external changes, keeping a modified tempo was also similar in ASC. These results suggest that synchronization difficulties in ASC stem from slow update rather than elevated internal noise.

Large-scale iterated singing experiments reveal oral transmission mechanisms underlying music evolution.

Speech and song have been transmitted orally for countless human generations, changing over time under the influence of biological, cognitive, and cultural pressures. Cross-cultural regularities and diversities in human song are thought to emerge from this transmission process, but testing how underlying mechanisms contribute to musical structures remains a key challenge. Here, we introduce an automatic online pipeline that streamlines large-scale cultural transmission experiments using a sophisticated and naturalistic modality: singing. We quantify the evolution of 3,424 melodies orally transmitted across 1,797 participants in the United States and India. This approach produces a high-resolution characterization of how oral transmission shapes melody, revealing the emergence of structures that are consistent with widespread musical features observed cross-culturally (small pitch sets, small pitch intervals, and arch-shaped melodic contours). We show how the emergence of these structures is constrained by individual biases in our participants-vocal constraints, working memory, and cultural exposure-which determine the size, shape, and complexity of evolving melodies. However, their ultimate effect on population-level structures depends on social dynamics taking place during cultural transmission. When participants recursively imitate their own productions (individual transmission), musical structures evolve slowly and heterogeneously, reflecting idiosyncratic musical biases. When participants instead imitate others' productions (social transmission), melodies rapidly shift toward homogeneous structures, reflecting shared structural biases that may underpin cross-cultural variation. These results provide the first quantitative characterization of the rich collection of biases that oral transmission imposes on music evolution, giving us a new understanding of how human song structures emerge via cultural transmission.

Confronting ethical and social issues related to the genetics of musicality.

New interdisciplinary research into genetic influences on musicality raises a number of ethical and social issues for future avenues of research and public engagement. The historical intersection of music cognition and eugenics heightens the need to vigilantly weigh the potential risks and benefits of these studies and the use of their outcomes. Here, we bring together diverse disciplinary expertise (complex trait genetics, music cognition, musicology, bioethics, developmental psychology, and neuroscience) to interpret and guide the ethical use of findings from recent and future studies. We discuss a framework for incorporating principles of ethically and socially responsible conduct of musicality genetics research into each stage of the research lifecycle: study design, study implementation, potential applications, and communication.

Genome-wide association study of musical beat synchronization demonstrates high polygenicity.

Moving in synchrony to the beat is a fundamental component of musicality. Here we conducted a genome-wide association study to identify common genetic variants associated with beat synchronization in 606,825 individuals. Beat synchronization exhibited a highly polygenic architecture, with 69 loci reaching genome-wide significance (P < 5 × 10-8) and single-nucleotide-polymorphism-based heritability (on the liability scale) of 13%-16%. Heritability was enriched for genes expressed in brain tissues and for fetal and adult brain-specific gene regulatory elements, underscoring the role of central-nervous-system-expressed genes linked to the genetic basis of the trait. We performed validations of the self-report phenotype (through separate experiments) and of the genome-wide association study (polygenic scores for beat synchronization were associated with patients algorithmically classified as musicians in medical records of a separate biobank). Genetic correlations with breathing function, motor function, processing speed and chronotype suggest shared genetic architecture with beat synchronization and provide avenues for new phenotypic and genetic explorations.

Aesthetics of musical timing: Culture and expertise affect preferences for isochrony but not synchrony.

Expressive communication in the arts often involves deviations from stylistic norms, which can increase the aesthetic evaluation of an artwork or performance. The detection and appreciation of such expressive deviations may be amplified by cultural familiarity and expertise of the observer. One form of expressive communication in music is playing "out of time," including asynchrony (deviations from synchrony between different instruments) and non-isochrony (deviations from equal spacing between subsequent note onsets or metric units). As previous research has provided somewhat conflicting perspectives on the degree to which deviations from synchrony and isochrony are aesthetically relevant, we aimed to shed new light on this topic by accounting for the effects of listeners' cultural familiarity and expertise. We manipulated (a)synchrony and (non-)isochrony separately in excerpts from three groove-based musical styles (jazz, candombe, and jembe), using timings from real performances. We recruited musician and non-musician participants (N = 176) from three countries (UK, Uruguay, and Mali), selected to vary in their prior experience of hearing and performing these three styles. Participants completed both an aesthetic preference rating task and a perceptual discrimination task for the stimuli. Our results indicate an overall preference toward synchrony in these styles, but culturally contingent, expertise-dependent preferences for deviations from isochrony. This suggests that temporal processing relies on mechanisms that vary in their dependence on low-level and high-level perception, and emphasizes the role of cultural familiarity and expertise in shaping aesthetic preferences.

REPP: A robust cross-platform solution for online sensorimotor synchronization experiments.

Sensorimotor synchronization (SMS), the rhythmic coordination of perception and action, is a fundamental human skill that supports many behaviors, including music and dance (Repp, 2005; Repp & Su, 2013). Traditionally, SMS experiments have been performed in the laboratory using finger tapping paradigms, and have required equipment with high temporal fidelity to capture the asynchronies between the time of the tap and the corresponding cue event. Thus, SMS is particularly challenging to study with online research, where variability in participants' hardware and software can introduce uncontrolled latency and jitter into recordings. Here we present REPP (Rhythm ExPeriment Platform), a novel technology for measuring SMS in online experiments that can work efficiently using the built-in microphone and speakers of standard laptop computers. In a series of calibration and behavioral experiments, we demonstrate that REPP achieves high temporal accuracy (latency and jitter within 2 ms on average), high test-retest reliability both in the laboratory (r = .87) and online (r = .80), and high concurrent validity (r = .94). We also show that REPP is fully automated and customizable, enabling researchers to monitor experiments in real time and to implement a wide variety of SMS paradigms. We discuss online methods for ensuring high recruiting efficiency and data quality, including pre-screening tests and automatic procedures for quality monitoring. REPP can therefore open new avenues for research on SMS that would be nearly impossible in the laboratory, reducing experimental costs while massively increasing the reach, scalability, and speed of data collection.

Slow update of internal representations impedes synchronization in autism.

Autism is a neurodevelopmental disorder characterized by impaired social skills, motor and perceptual atypicalities. These difficulties were explained within the Bayesian framework as either reflecting oversensitivity to prediction errors or - just the opposite - slow updating of such errors. To test these opposing theories, we administer paced finger-tapping, a synchronization task that requires use of recent sensory information for fast error-correction. We use computational modelling to disentangle the contributions of error-correction from that of noise in keeping temporal intervals, and in executing motor responses. To assess the specificity of tapping characteristics to autism, we compare performance to both neurotypical individuals and individuals with dyslexia. Only the autism group shows poor sensorimotor synchronization. Trial-by-trial modelling reveals typical noise levels in interval representations and motor responses. However, rate of error correction is reduced in autism, impeding synchronization ability. These results provide evidence for slow updating of internal representations in autism.

Extreme precision in rhythmic interaction is enabled by role-optimized sensorimotor coupling: analysis and modelling of West African drum ensemble music.

Human social interactions often involve carefully synchronized behaviours. Musical performance in particular features precise timing and depends on the differentiation and coordination of musical/social roles. Here, we study the influence of musical/social roles, individual musicians and different ensembles on rhythmic synchronization in Malian drum ensemble music, which features synchronization accuracy near the limits of human performance. We analysed 72 recordings of the same piece performed by four trios, in which two drummers in each trio systematically switched roles (lead versus accompaniment). Musical role, rather than individual or group differences, is the main factor influencing synchronization accuracy. Using linear causal modelling, we found a consistent pattern of bi-directional couplings between players, in which the direction and strength of rhythmic adaptation is asymmetrically distributed across musical roles. This differs from notions of musical leadership, which assume that ensemble synchronization relies predominantly on a single dominant personality and/or musical role. We then ran simulations that varied the direction and strength of sensorimotor coupling and found that the coupling pattern used by the Malian musicians affords nearly optimal synchronization. More broadly, our study showcases the importance of ecologically valid and culturally diverse studies of human behaviour. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.

Serial reproduction reveals the geometry of visuospatial representations.

An essential function of the human visual system is to locate objects in space and navigate the environment. Due to limited resources, the visual system achieves this by combining imperfect sensory information with a belief state about locations in a scene, resulting in systematic distortions and biases. These biases can be captured by a Bayesian model in which internal beliefs are expressed in a prior probability distribution over locations in a scene. We introduce a paradigm that enables us to measure these priors by iterating a simple memory task where the response of one participant becomes the stimulus for the next. This approach reveals an unprecedented richness and level of detail in these priors, suggesting a different way to think about biases in spatial memory. A prior distribution on locations in a visual scene can reflect the selective allocation of coding resources to different visual regions during encoding ("efficient encoding"). This selective allocation predicts that locations in the scene will be encoded with variable precision, in contrast to previous work that has assumed fixed encoding precision regardless of location. We demonstrate that perceptual biases covary with variations in discrimination accuracy, a finding that is aligned with simulations of our efficient encoding model but not the traditional fixed encoding view. This work demonstrates the promise of using nonparametric data-driven approaches that combine crowdsourcing with the careful curation of information transmission within social networks to reveal the hidden structure of shared visual representations.

Categorical Rhythms Are Shared between Songbirds and Humans.

Rhythm is a prominent feature of music. Of the infinite possible ways of organizing events in time, musical rhythms are almost always distributed categorically. Such categories can facilitate the transmission of culture-a feature that songbirds and humans share. We compared rhythms of live performances of music to rhythms of wild thrush nightingale and domestic zebra finch songs. In nightingales, but not in zebra finches, we found universal rhythm categories, with patterns that were surprisingly similar to those of music. Isochronous 1:1 rhythms were similarly common. Interestingly, a bias toward small ratios (around 1:2 to 1:3), which is highly abundant in music, was observed also in thrush nightingale songs. Within that range, however, there was no statistically significant bias toward exact integer ratios (1:2 or 1:3) in the birds. High-ratio rhythms were abundant in the nightingale song and are structurally similar to fusion rhythms (ornaments) in music. In both species, preferred rhythms remained invariant over extended ranges of tempos, indicating natural categories. The number of rhythm categories decreased at higher tempos, with a threshold above which rhythm became highly stereotyped. In thrush nightingales, this threshold occurred at a tempo twice faster than in humans, indicating weaker structural constraints and a remarkable motor proficiency. Together, the results suggest that categorical rhythms reflect similar constraints on learning motor skills across species. The saliency of categorical rhythms across humans and thrush nightingales suggests that they promote, or emerge from, the cultural transmission of learned vocalizations. VIDEO ABSTRACT.

Perceptual fusion of musical notes by native Amazonians suggests universal representations of musical intervals.

Music perception is plausibly constrained by universal perceptual mechanisms adapted to natural sounds. Such constraints could arise from our dependence on harmonic frequency spectra for segregating concurrent sounds, but evidence has been circumstantial. We measured the extent to which concurrent musical notes are misperceived as a single sound, testing Westerners as well as native Amazonians with limited exposure to Western music. Both groups were more likely to mistake note combinations related by simple integer ratios as single sounds ('fusion'). Thus, even with little exposure to Western harmony, acoustic constraints on sound segregation appear to induce perceptual structure on note combinations. However, fusion did not predict aesthetic judgments of intervals in Westerners, or in Amazonians, who were indifferent to consonance/dissonance. The results suggest universal perceptual mechanisms that could help explain cross-cultural regularities in musical systems, but indicate that these mechanisms interact with culture-specific influences to produce musical phenomena such as consonance.

Cross-Cultural Work in Music Cognition: Challenges, Insights, and Recommendations.

Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys the current state of the field and offers a number of concrete recommendations focused on issues involving ethics, empirical methods, and definitions of "music" and "culture."

Universality and diversity in human song.

What is universal about music, and what varies? We built a corpus of ethnographic text on musical behavior from a representative sample of the world's societies, as well as a discography of audio recordings. The ethnographic corpus reveals that music (including songs with words) appears in every society observed; that music varies along three dimensions (formality, arousal, religiosity), more within societies than across them; and that music is associated with certain behavioral contexts such as infant care, healing, dance, and love. The discography-analyzed through machine summaries, amateur and expert listener ratings, and manual transcriptions-reveals that acoustic features of songs predict their primary behavioral context; that tonality is widespread, perhaps universal; that music varies in rhythmic and melodic complexity; and that elements of melodies and rhythms found worldwide follow power laws.

Universal and Non-universal Features of Musical Pitch Perception Revealed by Singing.

Musical pitch perception is argued to result from nonmusical biological constraints and thus to have similar characteristics across cultures, but its universality remains unclear. We probed pitch representations in residents of the Bolivian Amazon-the Tsimane', who live in relative isolation from Western culture-as well as US musicians and non-musicians. Participants sang back tone sequences presented in different frequency ranges. Sung responses of Amazonian and US participants approximately replicated heard intervals on a logarithmic scale, even for tones outside the singing range. Moreover, Amazonian and US reproductions both deteriorated for high-frequency tones even though they were fully audible. But whereas US participants tended to reproduce notes an integer number of octaves above or below the heard tones, Amazonians did not, ignoring the note "chroma" (C, D, etc.). Chroma matching in US participants was more pronounced in US musicians than non-musicians, was not affected by feedback, and was correlated with similarity-based measures of octave equivalence as well as the ability to match the absolute f0 of a stimulus in the singing range. The results suggest the cross-cultural presence of logarithmic scales for pitch, and biological constraints on the limits of pitch, but indicate that octave equivalence may be culturally contingent, plausibly dependent on pitch representations that develop from experience with particular musical systems. VIDEO ABSTRACT.