Cortical specialization associated with native speech category acquisition in early infancy.

This study investigates neural processes in infant speech processing, with a focus on left frontal brain regions and hemispheric lateralization in Mandarin-speaking infants' acquisition of native tonal categories. We tested 2- to 6-month-old Mandarin learners to explore age-related improvements in tone discrimination, the role of inferior frontal regions in abstract speech category representation, and left hemisphere lateralization during tone processing. Using a block design, we presented four Mandarin tones via [ta] and measured oxygenated hemoglobin concentration with functional near-infrared spectroscopy. Results showed age-related improvements in tone discrimination, greater involvement of frontal regions in older infants indicating abstract tonal representation development and increased bilateral activation mirroring native adult Mandarin speakers. These findings contribute to our broader understanding of the relationship between native speech acquisition and infant brain development during the critical period of early language learning.

Temporal pitch matching with bilateral cochlear implants.

Interaural pitch matching is a common task used with bilateral cochlear implant (CI) users, although studies measuring this have largely focused on place-based pitch matches. Temporal-based pitch also plays an important role in CI users' perception, but interaural temporal-based pitch matching has not been well characterized for CI users. To investigate this, bilateral CI users were asked to match amplitude modulation frequencies of stimulation across ears. Comparisons were made to previous place-based pitch matching data that were collected using similar procedures. The results indicate that temporal-based pitch matching is particularly sensitive to the choice of reference ear.

Effects of absolute pitch on brain activation and functional connectivity during hearing-in-noise perception.

Hearing-in-noise (HIN) ability is crucial in speech and music communication. Recent evidence suggests that absolute pitch (AP), the ability to identify isolated musical notes, is associated with HIN benefits. A theoretical account postulates a link between AP ability and neural network indices of segregation. However, how AP ability modulates the brain activation and functional connectivity underlying HIN perception remains unclear. Here we used functional magnetic resonance imaging to contrast brain responses among a sample (n = 45) comprising 15 AP musicians, 15 non-AP musicians, and 15 non-musicians in perceiving Mandarin speech and melody targets under varying signal-to-noise ratios (SNRs: No-Noise, 0, -9 dB). Results reveal that AP musicians exhibited increased activation in auditory and superior frontal regions across both HIN domains (music and speech), irrespective of noise levels. Notably, substantially higher sensorimotor activation was found in AP musicians when the target was music compared to speech. Furthermore, we examined AP effects on neural connectivity using psychophysiological interaction analysis with the auditory cortex as the seed region. AP musicians showed decreased functional connectivity with the sensorimotor and middle frontal gyrus compared to non-AP musicians. Crucially, AP differentially affected connectivity with parietal and frontal brain regions depending on the HIN domain being music or speech. These findings suggest that AP plays a critical role in HIN perception, manifested by increased activation and functional independence between auditory and sensorimotor regions for perceiving music and speech streams.

Stimulus-responsive and task-dependent activations in occipital regions during pitch perception by early blind listeners.

Although it has been established that cross-modal activations occur in the occipital cortex during auditory processing among congenitally and early blind listeners, it remains uncertain whether these activations in various occipital regions reflect sensory analysis of specific sound properties, non-perceptual cognitive operations associated with active tasks, or the interplay between sensory analysis and cognitive operations. This fMRI study aimed to investigate cross-modal responses in occipital regions, specifically V5/MT and V1, during passive and active pitch perception by early blind individuals compared to sighted individuals. The data showed that V5/MT was responsive to pitch during passive perception, and its activations increased with task complexity. By contrast, widespread occipital regions, including V1, were only recruited during two active perception tasks, and their activations were also modulated by task complexity. These fMRI results from blind individuals suggest that while V5/MT activations are both stimulus-responsive and task-modulated, activations in other occipital regions, including V1, are dependent on the task, indicating similarities and differences between various visual areas during auditory processing.

Encoding of melody in the human auditory cortex.

Melody is a core component of music in which discrete pitches are serially arranged to convey emotion and meaning. Perception varies along several pitch-based dimensions: (i) the absolute pitch of notes, (ii) the difference in pitch between successive notes, and (iii) the statistical expectation of each note given prior context. How the brain represents these dimensions and whether their encoding is specialized for music remains unknown. We recorded high-density neurophysiological activity directly from the human auditory cortex while participants listened to Western musical phrases. Pitch, pitch-change, and expectation were selectively encoded at different cortical sites, indicating a spatial map for representing distinct melodic dimensions. The same participants listened to spoken English, and we compared responses to music and speech. Cortical sites selective for music encoded expectation, while sites that encoded pitch and pitch-change in music used the same neural code to represent equivalent properties of speech. Findings reveal how the perception of melody recruits both music-specific and general-purpose sound representations.

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.

Salient sounds distort time perception and production.

The auditory world is often cacophonous, with some sounds capturing attention and distracting us from our goals. Despite the universality of this experience, many questions remain about how and why sound captures attention, how rapidly behavior is disrupted, and how long this interference lasts. Here, we use a novel measure of behavioral disruption to test predictions made by models of auditory salience. Models predict that goal-directed behavior is disrupted immediately after points in time that feature a high degree of spectrotemporal change. We find that behavioral disruption is precisely time-locked to the onset of distracting sound events: Participants who tap to a metronome temporarily increase their tapping speed 750 ms after the onset of distractors. Moreover, this response is greater for more salient sounds (larger amplitude) and sound changes (greater pitch shift). We find that the time course of behavioral disruption is highly similar after acoustically disparate sound events: Both sound onsets and pitch shifts of continuous background sounds speed responses at 750 ms, with these effects dying out by 1,750 ms. These temporal distortions can be observed using only data from the first trial across participants. A potential mechanism underlying these results is that arousal increases after distracting sound events, leading to an expansion of time perception, and causing participants to misjudge when their next movement should begin.

Altered binaural hearing in pre-ataxic and ataxic mutation carriers of spinocerebellar ataxia type 3.

Brainstem degeneration is a prominent feature of spinocerebellar ataxia type 3 (SCA3), involving structures that execute binaural synchronization with microsecond precision. As a consequence, auditory processing may deteriorate during the course of disease. We tested whether the binaural "Huggins pitch" effect is suitable to study the temporal precision of brainstem functioning in SCA3 mutation carriers. We expected that they would have difficulties perceiving Huggins pitch at high frequencies, and that they would show attenuated neuromagnetic responses to Huggins pitch. The upper limit of Huggins pitch perception was psychoacoustically determined in 18 pre-ataxic and ataxic SCA3 mutation carriers and in 18 age-matched healthy controls. Moreover, the cortical N100 response following Huggins pitch onset was acquired by means of magnetoencephalography (MEG). MEG recordings were analyzed using dipole source modeling and comprised a monaural pitch condition and a no-pitch condition with simple binaural correlation changes. Compared with age-matched controls, ataxic but not pre-ataxic SCA3 mutation carriers had significantly lower frequency limits up to which Huggins pitch could be heard. Listeners with lower frequency limits also showed diminished MEG responses to Huggins pitch, but not in the two control conditions. Huggins pitch is a promising tool to assess brainstem functioning in ataxic SCA3 patients. Future studies should refine the psychophysiological setup to capture possible performance decrements also in pre-ataxic mutation carriers. Longitudinal observations will be needed to prove the potential of the assessment of Huggins pitch as a biomarker to track brainstem functioning during the disease course in SCA3.

Impairment of the internal forward model and feedback mechanisms for vocal sensorimotor control in post-stroke aphasia: evidence from directional responses to altered auditory feedback.

The present study examined opposing and following vocal responses to altered auditory feedback (AAF) to determine how damage to left-hemisphere brain networks impairs the internal forward model and feedback mechanisms in post-stroke aphasia. Forty-nine subjects with aphasia and sixty age-matched controls performed speech vowel production tasks while their auditory feedback was altered using randomized ± 100 cents upward and downward pitch-shift stimuli. Data analysis revealed that when vocal responses were averaged across all trials (i.e., opposing and following), the overall magnitude of vocal compensation was significantly reduced in the aphasia group compared with controls. In addition, when vocal responses were analyzed separately for opposing and following trials, subjects in the aphasia group showed a significantly lower percentage of opposing and higher percentage of following vocal response trials compared with controls, particularly for the upward pitch-shift stimuli. However, there was no significant difference in the magnitude of opposing and following vocal responses between the two groups. These findings further support previous evidence on the impairment of vocal sensorimotor control in aphasia and provide new insights into the distinctive impact of left-hemisphere stroke on the internal forward model and feedback mechanisms. In this context, we propose that the lower percentage of opposing responses in aphasia may be accounted for by deficits in feedback-dependent mechanisms of audio-vocal integration and motor control. In addition, the higher percentage of following responses may reflect aberrantly increased reliance of the speech system on the internal forward model for generating sensory predictions during vocal error detection and motor control.

Modifications of auditory feedback and its effects on the voice of adult subjects: a scoping review. / Modificações do feedback auditivo e seus efeitos sobre a voz de indivíduos adultos: uma revisão de escopo.

INTRODUCTION: The auditory perception of voice and its production involve auditory feedback, kinesthetic cues and the feedforward system that produce different effects for the voice. The Lombard, Sidetone and Pitch-Shift-Reflex effects are the most studied. The mapping of scientific experiments on changes in auditory feedback for voice motor control makes it possible to examine the existing literature on the phenomenon and may contribute to voice training or therapies. PURPOSE: To map experiments and research results with manipulation of auditory feedback for voice motor control in adults. METHOD: Scope review following the Checklist Preferred Reporting Items for Systematic reviews and Meta-Analyses extension (PRISMA-ScR) to answer the question: "What are the investigation methods and main research findings on the manipulation of auditory feedback in voice self-monitoring of adults?". The search protocol was based on the Population, Concept, and Context (PCC) mnemonic strategy, in which the population is adult individuals, the concept is the manipulation of auditory feedback and the context is on motor voice control. Articles were searched in the databases: BVS/Virtual Health Library, MEDLINE/Medical Literature Analysis and Retrieval System online, COCHRANE, CINAHL/Cumulative Index to Nursing and Allied Health Literature, SCOPUS and WEB OF SCIENCE. RESULTS: 60 articles were found, 19 on the Lombard Effect, 25 on the Pitch-shift-reflex effect, 12 on the Sidetone effect and four on the Sidetone/Lombard effect. The studies are in agreement that the insertion of a noise that masks the auditory feedback causes an increase in the individual's speech intensity and that the amplification of the auditory feedback promotes the reduction of the sound pressure level in the voice production. A reflex response to the change in pitch is observed in the auditory feedback, however, with particular characteristics in each study. CONCLUSION: The material and method of the experiments are different, there are no standardizations in the tasks, the samples are varied and often reduced. The methodological diversity makes it difficult to generalize the results. The main findings of research on auditory feedback on voice motor control confirm that in the suppression of auditory feedback, the individual tends to increase the intensity of the voice. In auditory feedback amplification, the individual decreases the intensity and has greater control over the fundamental frequency, and in frequency manipulations, the individual tends to correct the manipulation. The few studies with dysphonic individuals show that they behave differently from non-dysphonic individuals.

INTRODUçÃO: A percepção auditiva da voz e sua produção envolvem o feedback auditivo, as pistas cinestésicas e o sistema de feedforward, os quais produzem efeitos distintos para a voz. Os efeitos Lombard, Sidetone e o Pitch-Shift-Reflex são os mais estudados. O mapeamento de experimentos científicos sobre as modificações do feedback auditivo para o controle motor da voz possibilita examinar a literatura existente sobre o fenômeno e pode contribuir para o treinamento ou terapias da voz. OBJETIVO: Mapear os experimentos e resultados das pesquisas com manipulação do feedback auditivo para o controle motor da voz de indivíduos adultos. MÉTODO: Revisão de escopo seguindo o Checklist Preferred Reporting Items for Systematic reviews and Meta-Analyses extension (PRISMA-ScR) para responder à pergunta: "Quais os métodos de investigação e principais achados das pesquisas sobre a manipulação do feedback auditivo no automonitoramento da voz de indivíduos adultos?". O protocolo de busca foi baseado na estratégia mnemônica População, Conceito e Contexto (PCC). A população são os indivíduos adultos; o conceito é a manipulação do feedback auditivo e o contexto é o controle motor da voz. Os artigos foram pesquisados nas bases de dados: BVS/ Biblioteca Virtual em Saúde, MEDLINE/Medical Literature Analysis and Retrieval Sistem on-line, COCHRANE, CINAHL/Cumulative Index to Nursing and Allied Health Literature, SCOPUS e WEB OF SCIENCE. RESULTADOS: Foram encontrados 60 artigos, sendo 19 da temática do Efeito Lombard, 25 do efeito Pitch-shift-reflex, 12 do efeito Sidetone e quatro sobre o efeito Sidetone/Lombard. Os estudos são concordantes que a inserção de um ruído que mascara o feedback auditivo provoca um aumento na intensidade de fala do indivíduo e que a amplificação do feedback auditivo promove a redução do nível de pressão sonora na produção da voz. Observa-se uma resposta reflexa à mudança de tom no feedback auditivo, porém, com características individuais em cada estudo. CONCLUSÃO: O material e método dos experimentos são distintos, não há padronizações nas tarefas, as amostras são variadas, muitas vezes reduzidas. A diversidade metodológica dificulta a generalização dos resultados. Os principais achados das pesquisas a respeito o feedback auditivo sobre o controle motor da voz confirmam que, na supressão do feedback auditivo, o indivíduo tende a aumentar a intensidade da voz. Na amplificação do feedback auditivo, o indivíduo diminui a intensidade e tem maior controle sobre a frequência fundamental e, nas manipulações da frequência, o indivíduo tende a corrigir a manipulação. Os poucos estudos com sujeitos disfônicos mostram que eles se comportam diferentemente dos não disfônicos.

Case reopened: A temporal basis for harmonic pitch templates in the early auditory system?a).

A fundamental assumption of rate-place models of pitch is the existence of harmonic templates in the central nervous system (CNS). Shamma and Klein [(2000). J. Acoust. Soc. Am. 107, 2631-2644] hypothesized that these templates have a temporal basis. Coincidences in the temporal fine-structure of neural spike trains, even in response to nonharmonic, stochastic stimuli, would be sufficient for the development of harmonic templates. The physiological plausibility of this hypothesis is tested. Responses to pure tones, low-pass noise, and broadband noise from auditory nerve fibers and brainstem "high-sync" neurons are studied. Responses to tones simulate the output of fibers with infinitely sharp filters: for these responses, harmonic structure in a coincidence matrix comparing pairs of spike trains is indeed found. However, harmonic template structure is not observed in coincidences across responses to broadband noise, which are obtained from nerve fibers or neurons with enhanced synchronization. Using a computer model based on that of Shamma and Klein, it is shown that harmonic templates only emerge when consecutive processing steps (cochlear filtering, lateral inhibition, and temporal enhancement) are implemented in extreme, physiologically implausible form. It is concluded that current physiological knowledge does not support the hypothesis of Shamma and Klein (2000).

The influence of musical parameters and subjective musical ratings on perceptions of culture.

Recent research suggests that music can affect evaluations of other groups and cultures. However, little is known about the objective and subjective musical parameters that influence these evaluations. We aimed to fill this gap through two studies. Study 1 collected responses from 52 American participants who listened to 30 folk-song melodies from different parts of the world. Linear mixed-effects models tested the influence of objective and subjective musical parameters of these melodies on evaluations of the cultures from which they originated. Musical parameters consistently predicted cultural evaluations. The most prominent musical parameter was musical velocity, a measure of number of pitch onsets, predicting more cultural warmth, competence and evolvedness and less cultural threat. Next, with a sample of 212 American participants, Study 2 used a within-subjects experiment to alter the tempo and dissonance for a subset of six melody excerpts from Study 1, testing for causal effects. Linear mixed-effects models revealed that both dissonance and slow tempo predicted more negative cultural evaluations. Together, both studies demonstrate how musical parameters can influence cultural perceptions. Avenues for future research are discussed.

Neural control of lexical tone production in human laryngeal motor cortex.

In tonal languages, which are spoken by nearly one-third of the world's population, speakers precisely control the tension of vocal folds in the larynx to modulate pitch in order to distinguish words with completely different meanings. The specific pitch trajectories for a given tonal language are called lexical tones. Here, we used high-density direct cortical recordings to determine the neural basis of lexical tone production in native Mandarin-speaking participants. We found that instead of a tone category-selective coding, local populations in the bilateral laryngeal motor cortex (LMC) encode articulatory kinematic information to generate the pitch dynamics of lexical tones. Using a computational model of tone production, we discovered two distinct patterns of population activity in LMC commanding pitch rising and lowering. Finally, we showed that direct electrocortical stimulation of different local populations in LMC evoked pitch rising and lowering during tone production, respectively. Together, these results reveal the neural basis of vocal pitch control of lexical tones in tonal languages.

Cochlear Implant Users can Effectively Combine Place and Timing Cues for Pitch Perception.

OBJECTIVES: The study objective was to characterize cochlear implant (CI) pitch perception for pure, complex, and modulated tones for frequencies and fundamental frequencies in the ecologically essential range between 110 and 440 Hz. Stimulus manipulations were used to examine CI users' reliance on stimulation place and rate cues for pitch discrimination. DESIGN: The study was a within-subjects design with 21 CI users completing pitch discrimination measures using pure, complex, and modulated tones. Stimulus manipulations were used to test whether CI users have better pitch discrimination for low-pass compared with high-pass filtered harmonic complexes, and to test whether they have better pitch discrimination when provided a covarying place cue when listening to amplitude-modulated tones. RESULTS: Averaged across conditions, participants had better pitch discrimination for pure tones compared with either complex or amplitude-modulated tones. Participants had better pitch discrimination for low-pass compared with high-pass harmonic complexes and better pitch discrimination for amplitude-modulated tones when provided a covarying place cue. CONCLUSIONS: CI users integrate place and rate cues across the ecologically essential pitch range between 110 and 440 Hz. We interpret the observed better pitch discrimination for low-pass compared with high-pass filtered harmonics complexes, and for amplitude-modulated tones when provided a covarying place cue, as evidence for the importance of providing place-of-excitation cues for fundamental frequencies below 440 Hz. Discussion considers how such encoding could be implemented with existing devices.

Auditory cortex and beyond: Deficits in congenital amusia.

Congenital amusia is a neuro-developmental disorder of music perception and production, with the observed deficits contrasting with the sophisticated music processing reported for the general population. Musical deficits within amusia have been hypothesized to arise from altered pitch processing, with impairments in pitch discrimination and, notably, short-term memory. We here review research investigating its behavioral and neural correlates, in particular the impairments at encoding, retention, and recollection of pitch information, as well as how these impairments extend to the processing of pitch cues in speech and emotion. The impairments have been related to altered brain responses in a distributed fronto-temporal network, which can be observed also at rest. Neuroimaging studies revealed changes in connectivity patterns within this network and beyond, shedding light on the brain dynamics underlying auditory cognition. Interestingly, some studies revealed spared implicit pitch processing in congenital amusia, showing the power of implicit cognition in the music domain. Building on these findings, together with audiovisual integration and other beneficial mechanisms, we outline perspectives for training and rehabilitation and the future directions of this research domain.

Right, but not left, posterior superior temporal gyrus is causally involved in vocal feedback control.

The posterior superior temporal gyrus (pSTG) has been implicated in the integration of auditory feedback and motor system for controlling vocal production. However, the question as to whether and how the pSTG is causally involved in vocal feedback control is currently unclear. To this end, the present study selectively stimulated the left or right pSTG with continuous theta burst stimulation (c-TBS) in healthy participants, then used event-related potentials to investigate neurobehavioral changes in response to altered auditory feedback during vocal pitch regulation. The results showed that, compared to control (vertex) stimulation, c-TBS over the right pSTG led to smaller vocal compensations for pitch perturbations accompanied by smaller cortical N1 and larger P2 responses. Enhanced P2 responses received contributions from the right-lateralized temporal and parietal regions as well as the insula, and were significantly correlated with suppressed vocal compensations. Surprisingly, these effects were not found when comparing c-TBS over the left pSTG with control stimulation. Our findings provide evidence, for the first time, that supports a causal relationship between right, but not left, pSTG and auditory-motor integration for vocal pitch regulation. This lends support to a right-lateralized contribution of the pSTG in not only the bottom-up detection of vocal feedback errors but also the involvement of driving motor commands for error correction in a top-down manner.

Neurophysiological time course of timbre-induced music-like perception.

Traditionally, pitch variation in a sound stream has been integral to music identity. We attempt to expand music's definition, by demonstrating that the neural code for musicality is independent of pitch encoding. That is, pitchless sound streams can still induce music-like perception and a neurophysiological hierarchy similar to pitched melodies. Previous work reported that neural processing of sounds with no-pitch, fixed-pitch, and irregular-pitch (melodic) patterns, exhibits a right-lateralized hierarchical shift, with pitchless sounds favorably processed in Heschl's gyrus (HG), ascending laterally to nonprimary auditory areas for fixed-pitch and even more laterally for melodic patterns. The objective of this EEG study was to assess whether sound encoding maintains a similar hierarchical profile when musical perception is driven by timbre irregularities in the absence of pitch changes. Individuals listened to repetitions of three musical and three nonmusical sound-streams. The nonmusical streams were comprised of seven 200-ms segments of white, pink, or brown noise, separated by silent gaps. Musical streams were created similarly, but with all three noise types combined in a unique order within each stream to induce timbre variations and music-like perception. Subjects classified the sound streams as musical or nonmusical. Musical processing exhibited right dominant α power enhancement, followed by a lateralized increase in θ phase-locking and spectral power. The θ phase-locking was stronger in musicians than in nonmusicians. The lateralization of activity suggests higher-level auditory processing. Our findings validate the existence of a hierarchical shift, traditionally observed with pitched-melodic perception, underscoring that musicality can be achieved with timbre irregularities alone.NEW & NOTEWORTHY EEG induced by streams of pitchless noise segments varying in timbre were classified as music-like and exhibited a right-lateralized hierarchy in processing similar to pitched melodic processing. This study provides evidence that the neural-code of musicality is independent of pitch encoding. The results have implications for understanding music processing in individuals with degraded pitch perception, such as in cochlear-implant listeners, as well as the role of nonpitched sounds in the induction of music-like perceptual states.

Distribution of multiunit pitch responses recorded intracranially from human auditory cortex.

The perception of pitch is a fundamental percept, which is mediated by the auditory system, requiring the abstraction of stimulus properties related to the spectro-temporal structure of sound. Despite its importance, there is still debate as to the precise areas responsible for its encoding, which may be due to species differences or differences in the recording measures and choices of stimuli used in previous studies. Moreover, it was unknown whether the human brain contains pitch neurons and how distributed such neurons might be. Here, we present the first study to measure multiunit neural activity in response to pitch stimuli in the auditory cortex of intracranially implanted humans. The stimulus sets were regular-interval noise with a pitch strength that is related to the temporal regularity and a pitch value determined by the repetition rate and harmonic complexes. Specifically, we demonstrate reliable responses to these different pitch-inducing paradigms that are distributed throughout Heschl's gyrus, rather than being localized to a particular region, and this finding was evident regardless of the stimulus presented. These data provide a bridge across animal and human studies and aid our understanding of the processing of a critical percept associated with acoustic stimuli.

Talker adaptation or "talker" adaptation? Musical instrument variability impedes pitch perception.

Listeners show perceptual benefits (faster and/or more accurate responses) when perceiving speech spoken by a single talker versus multiple talkers, known as talker adaptation. While near-exclusively studied in speech and with talkers, some aspects of talker adaptation might reflect domain-general processes. Music, like speech, is a sound class replete with acoustic variation, such as a multitude of pitch and instrument possibilities. Thus, it was hypothesized that perceptual benefits from structure in the acoustic signal (i.e., hearing the same sound source on every trial) are not specific to speech but rather a general auditory response. Forty nonmusician participants completed a simple musical task that mirrored talker adaptation paradigms. Low- or high-pitched notes were presented in single- and mixed-instrument blocks. Reflecting both music research on pitch and timbre interdependence and mirroring traditional "talker" adaptation paradigms, listeners were faster to make their pitch judgments when presented with a single instrument timbre relative to when the timbre was selected from one of four instruments from trial to trial. A second experiment ruled out the possibility that participants were responding faster to the specific instrument chosen as the single-instrument timbre. Consistent with general theoretical approaches to perception, perceptual benefits from signal structure are not limited to speech.

Articulation posture influences pitch during singing imagery.

Facial muscle activity contributes to singing and to articulation: in articulation, mouth shape can alter vowel identity; and in singing, facial movement correlates with pitch changes. Here, we examine whether mouth posture causally influences pitch during singing imagery. Based on perception-action theories and embodied cognition theories, we predict that mouth posture influences pitch judgments even when no overt utterances are produced. In two experiments (total N = 160), mouth posture was manipulated to resemble the articulation of either /i/ (as in English meet; retracted lips) or /o/ (as in French rose; protruded lips). Holding this mouth posture, participants were instructed to mentally "sing" given songs (which were all positive in valence) while listening with their inner ear and, afterwards, to assess the pitch of their mental chant. As predicted, compared to the o-posture, the i-posture led to higher pitch in mental singing. Thus, bodily states can shape experiential qualities, such as pitch, during imagery. This extends embodied music cognition and demonstrates a new link between language and music.