Recognizing structure in novel tunes: differences between human and rats.

A central feature in music is the hierarchical organization of its components. Musical pieces are not a simple concatenation of chords, but are characterized by rhythmic and harmonic structures. Here, we explore if sensitivity to music structure might emerge in the absence of any experience with musical stimuli. For this, we tested if rats detect the difference between structured and unstructured musical excerpts and compared their performance with that of humans. Structured melodies were excerpts of Mozart's sonatas. Unstructured melodies were created by the recombination of fragments of different sonatas. We trained listeners (both human participants and Long-Evans rats) with a set of structured and unstructured excerpts, and tested them with completely novel excerpts they had not heard before. After hundreds of training trials, rats were able to tell apart novel structured from unstructured melodies. Human listeners required only a few trials to reach better performance than rats. Interestingly, such performance was increased in humans when tonality changes were included, while it decreased to chance in rats. Our results suggest that, with enough training, rats might learn to discriminate acoustic differences differentiating hierarchical music structures from unstructured excerpts. More importantly, the results point toward species-specific adaptations on how tonality is processed.

Tonality over a broad frequency range is linked to vocal learning in birds.

Many birds emit tonal song syllables even though the sound sources generate sound with rich upper harmonic energy content. This tonality is thought to arise in part from dynamically adjusted filtering of harmonic content. Here, we compare tonality of song syllables between vocal learners and non-learners to assess whether this characteristic is linked to the increased neural substrate that evolved with vocal learning. We hypothesize that vocal learning ability is correlated with enhanced ability for generating tonal sounds, because vocal production learners might also have an enhanced ability to articulate their vocal tracts and sound source for producing tonality. To test this hypothesis, we compared vocal learners and non-learners from two groups (186 passerines and 42 hummingbirds) by assessing tonality of song syllables. The data suggest that vocal learners in both clades have evolved to sing songs with higher tonality than the related, non-vocal learning clades, which is consistent with stronger roles for broadband dynamic filtering and adjustments to the sound source. In addition, oscine songs display higher tonality than those of hummingbirds. A complex interplay of vocal tract biomechanics, anatomical differences of the sound source as well as increased motor control through vocal learning facilitates generation of broad tonality.

A neuroimaging comparative study of changes in a cellist's brain when playing contemporary and Baroque styles.

The emergence of different styles of Contemporary concert music in the 20th century led to a marked modification of the foundations built on previous styles. This work investigates whether these modifications, which include procedures and technical resources different to those used in the interpretation of previous musical styles, require different encephalic controls to those used in tonal music and if the experience of the musician in these styles influences them. Functional magnetic resonance images of encephalic regions from 13 professional cellists while interpreting Baroque and Contemporary excerpts inside an MRI scanner were acquired. Activation and connectivity encephalic maps show common cortical motor and sensorial regions (Precentral, Postcentral and Supramarginal Gyri) in both interpretation styles, but with different hemispheric intensity levels. However, certain auditory and motor regions only activate during Baroque. Connectivity maps show some exclusive seed-regions; thus, the Heschl's and Superior Frontal Gyri, Planum-Temporal and Caudate appear as prominent seeds when playing Baroque, whereas when playing Contemporary, the main seeds appear in the Cerebellar-Vermis, Insular cortex and Parietal Operculum. The discrepancies found are attributed to different cognitive, sensory and motor demands underlying the musical interpretation of each style, as well as to the musicians' learning of and training in these styles.

Listeners perceive complex pitch-temporal structure in melodies.

In typical Western music, important pitches occur disproportionately often on important beats, referred to as the tonal-metric hierarchy (Prince & Schmuckler, 2014, Music Perception, 31, 254-270). We tested whether listeners are sensitive to this alignment of pitch and temporal structure. In Experiment 1, the stimuli were 200 artificial melodies with random pitch contours; all melodies had both a regular beat and a pitch class distribution that favored one musical key, but had either high or low agreement with the tonal-metric hierarchy. Thirty-two listeners rated the goodness of each melody, and another 41 listeners rated the melodies' metric clarity (how clear the beat was). The tonal-metric hierarchy did not affect either rating type, likely because the melodies may have only weakly (at best) established a musical key. In Experiment 2, we shuffled the pitches in 60 composed melodies (scrambling pitch contour, but not rhythm) to generate versions with high and low agreement with the tonal-metric hierarchy. Both ratings of goodness (N = 40) and metric clarity (N = 40) revealed strong evidence of the tonal-metric hierarchy influencing ratings; there was no effect of musical training. In Experiment 3, we phase-shifted, rather than shuffled, the pitches from the composed melodies, thus preserving pitch contour. Both rating types (goodness N = 43, metric clarity N = 32) replicated the results of Experiment 2. These findings establish the psychological reality of the tonal-metric hierarchy.

Development of snake-directed antipredator behavior by wild white-faced capuchin monkeys: III. the signaling properties of alarm-call tonality.

In many primates, the acoustic properties of alarm calls can provide information on the level of perceived predatory threat as well as influence the antipredator behavior of nearby conspecifics. The present study examined the harmonics-to-noise ratio (tonality of spectral structure) of alarm calls emitted by white-faced capuchin monkeys (Cebus capucinus) in trees directed at photographic models of a boa constrictor, neotropical rattlesnake, scorpion eater snake, and white snake-shaped control presented on the ground. The average and peak harmonics-to-noise ratios of initial alarm calls by infants, juveniles, and adults and those of nearby second callers were analyzed using PRAAT software. Averaged for age class, the peak harmonics-to-noise ratio of alarm calls directed at the boa constrictor model, characterizing a primary capuchin predator, was reliably higher than the peak harmonics-to-noise ratio of alarm calls directed at the harmless scorpion eater model. This effect was influenced by the higher harmonics-to-noise ratio of infant alarm calls and it disconfirmed our prediction, based on primate vocalization research, that snake perception would increase arousal and alarm-call noisiness. Levels of call tonality did not distinguish the boa and rattlesnake or rattlesnake and scorpion eater models for any age class. Higher alarm-call tonality appeared contagious to nearby perceivers, with focal alarm calling influencing the level of tonality of the first calls of second callers. Together, these findings suggest that the higher peak harmonics-to-noise ratio of capuchin alarm calling directed at snakes is contagious and possibly conveys information about the level of perceived predatory threat.

Functional organization for musical consonance and tonal pitch hierarchy in human auditory cortex.

Pitch relationships in music are characterized by their degree of consonance, a hierarchical perceptual quality that distinguishes how pleasant musical chords/intervals sound to the ear. The origins of consonance have been debated since the ancient Greeks. To elucidate the neurobiological mechanisms underlying these musical fundamentals, we recorded neuroelectric brain activity while participants listened passively to various chromatic musical intervals (simultaneously sounding pitches) varying in their perceptual pleasantness (i.e., consonance/dissonance). Dichotic presentation eliminated acoustic and peripheral contributions that often confound explanations of consonance. We found that neural representations for pitch in early human auditory cortex code perceptual features of musical consonance and follow a hierarchical organization according to music-theoretic principles. These neural correlates emerge pre-attentively within ~ 150 ms after the onset of pitch, are segregated topographically in superior temporal gyrus with a rightward hemispheric bias, and closely mirror listeners' behavioral valence preferences for the chromatic tone combinations inherent to music. A perceptual-based organization implies that parallel to the phonetic code for speech, elements of music are mapped within early cerebral structures according to higher-order, perceptual principles and the rules of Western harmony rather than simple acoustic attributes.

Development of tonality and consonance categorization ability and preferences in 4- to 6-year-old children.

Consonance perception has been extensively studied in Western adults, but it is less clear how this perception develops in children during musical enculturation. We investigated how this development occurs in 4- to 6-year-old children by examining two complex musical skills (i.e., consonance and tonality preferences). Accordingly, we developed a child-focused approach to understand the underlying developmental processes of tonality and consonance preferences in 4- to 6-year-old children using a video interview format. As previous studies have confounded preference with perception, we examined each concept separately and measured perceptual abilities as categorization. For tonality, the ability to categorize tonal and atonal melodies developed by the age of 6 years. It is noteworthy that only children who could categorize successfully showed a preference for tonality at the age of 6. For consonance, we observed an early preference for consonance at 4 years of age, but this preference was only measurable with large differences between consonant and dissonant stimuli. We propose that tonality and consonance preferences develop during childhood with increasing categorization ability when the surrounding musical culture is marked by Western tonality and consonance.

Emotional and musical factors combined with song-specific age predict the subjective autobiographical saliency of music in older adults.

Music that evokes strong emotional responses is often experienced as autobiographically salient. Through emotional experience, the musical features of songs could also contribute to their subjective autobiographical saliency. Songs which have been popular during adolescence or young adulthood (ages 10-30) are more likely to evoke stronger memories, a phenomenon known as a reminiscence bump. In the present study, we sought to determine how song-specific age, emotional responsiveness to music, musical features, and subjective memory functioning contribute to the subjective autobiographical saliency of music in older adults. In a music listening study, 112 participants rated excerpts of popular songs from the 1950s to the 1980s for autobiographical saliency. Additionally, they filled out questionnaires about emotional responsiveness to music and subjective memory functioning. The song excerpts' musical features were extracted computationally using MIRtoolbox. Results showed that autobiographical saliency was best predicted by song-specific age and emotional responsiveness to music and musical features. Newer songs that were more similar in rhythm to older songs were also rated higher in autobiographical saliency. Overall, this study contributes to autobiographical memory research by uncovering a set of factors affecting the subjective autobiographical saliency of music.

Dual-State Red-Emitting Zinc-Based MOF Accompanied by Dual-Mode and Dual-State Detection: Color Tonality Visual Mode for the Detection of Tetracycline.

Red-emitting metal-organic frameworks (MOFs) are still mostly based on the use of lanthanides or functionalization with red fluorophores. However, production of transition-metal-based MOFs with red-emitting is scarce. This work reports on the synthesis of a novel dual-state red-emitting Zn-based MOF (denoted as UoZ-7) with the capability to detect target molecules in dual state, in solution, and as solid on paper. UoZ-7 gives strong red emission when excited in the solution and in the solid state with 365 nm ultraviolet (UV) lamp irradiation. Coordination-induced emission is the mechanism for the red emission enhancement in the MOF as a restriction of intramolecular rotation occurred to the ligand within the framework structure. UoZ-7 was successfully used for tetracycline (TC) using dual-mode detection, fluorescence-based ratiometry, and color tonality, in the dual state, in solution, and on the paper. TC molecules adsorb on the red-emitting UoZ-7 surface, and a yellow-greenish color emerges due to aggregation-induced emission between TC and UoZ-7. Concurrently, the inner filter effect diminishes the red emission of UoZ-7. The dual-mode or dual-state detection platform provides a simple and reliable fast method for the detection of TC on-site in various environmental and biomedical applications. Moreover, red-emitting UoZ-7 will have further luminescence-based biomedical applications.

Neural mechanisms of musical structure and tonality, and the effect of musicianship.

Introduction: The neural basis for the processing of musical syntax has previously been examined almost exclusively in classical tonal music, which is characterized by a strictly organized hierarchical structure. Musical syntax may differ in different music genres caused by tonality varieties. Methods: The present study investigated the neural mechanisms for processing musical syntax across genres varying in tonality - classical, impressionist, and atonal music - and, in addition, examined how musicianship modulates such processing. Results: Results showed that, first, the dorsal stream, including the bilateral inferior frontal gyrus and superior temporal gyrus, plays a key role in the perception of tonality. Second, right frontotemporal regions were crucial in allowing musicians to outperform non-musicians in musical syntactic processing; musicians also benefit from a cortical-subcortical network including pallidum and cerebellum, suggesting more auditory-motor interaction in musicians than in non-musicians. Third, left pars triangularis carries out online computations independently of tonality and musicianship, whereas right pars triangularis is sensitive to tonality and partly dependent on musicianship. Finally, unlike tonal music, the processing of atonal music could not be differentiated from that of scrambled notes, both behaviorally and neurally, even among musicians. Discussion: The present study highlights the importance of studying varying music genres and experience levels and provides a better understanding of musical syntax and tonality processing and how such processing is modulated by music experience.

Sequences in harmony: Cognitive interactions between musical and visual narrative structure.

From film and television to graphic storytelling, tonal music can accompany visual narratives in a variety of contexts. The apprehension of both musical and narrative sequences involves temporal categories in ordered patterning, which raises an interesting question: Do musical progressions and visual narratives rely on shared sequence processing mechanisms? If this is the case, then cues from music and sequential static images, when presented simultaneously, should interact during audiovisual online processing. We tested this question by measuring reaction times to target picture panels appearing in visual narrative (comic strip) sequences, which were presented panel by panel and synchronized with musical chord progressions. Image sequences were either coherent narratives or incoherent (random) panels, and they were aligned with musical accompaniment consisting of coherent tonal chord progressions or non-tonal (unrelated) chords. Reaction times were faster for target images in coherent sequences than incoherent sequences, and even faster for coherent images with tonal accompaniment than non-tonal chords. This indicated an interaction between sequential structures across domains. We take these results as evidence for a shared, domain-general sequence processing mechanism operating across music and visual narrative.

The Musical Semiotics of Voice in Distance: Some Reflections on the Question of Teleanalysis.

Within the context of the debate over teleanalysis, I wish to reintroduce the discussion of voice as the primary link between analyst and patient, a link present in analysis on the phone. Far from questioning the importance of the in-person analysis, I aim to emphasize the voice, the musical semiotics of emotions, as a critical, if not the most vital, aspect of psychoanalysis as a "talking cure" and an art of listening. Insofar as the speaking is instituted in the body, the body is present through voice, even in the virtual analytic room in teleanalysis. I argue that the need for the presence of the material bodies in the session is one aspect of the analytic rituals that, along with the room, the couch, and other power objects, set the stage for the continuous projection of the role identities of the analytic couple. In teleanalysis, the seductive nature of the analytic situation and the status differential are more salient in the analyst's office turf than in the patient's room.

The influence of tonality, tempo, and musical sophistication on the listener's time-duration estimates.

Music listening affects time perception, with previous studies suggesting that a variety of factors may influence this: musical, individual, and environmental. Two experiments investigated the effect of musical factors (tonality and musical tempo) and individual factors (a listener's level of musical sophistication) on subjective estimates of duration. Participants estimated the duration of different versions of newly composed instrumental music stimuli under retrospective and prospective conditions. Stimuli varied in tempo (90-120 bpm) and tonality (tonal-atonal), in a 2 × 2 factorial design, while other musical parameters remained constant. Estimates were made using written estimates of minutes and seconds in Experiment 1, and the reproduction method in Experiment 2. Two-way analyses of variance (ANOVAs) showed no main effect of tonality on estimates and no significant interactions between tempo and tonality, under any condition. Musical tempo significantly affected estimates, with the faster tempo leading to longer estimates, but only in the prospective condition, and with the use of the reproduction method. Correlation matrices using the Pearson correlation coefficient found no correlation between musical sophistication scores (measured using the Goldsmiths Musical Sophistication Index [Gold-MSI]) and verbal or reproduction estimates. In conclusion, together with the existing literature, findings suggest that (1) changes in tonality, without further changes in rhythm, metre, or melodic contour, do not significantly affect estimates; (2) small changes in musical tempo influence only prospective reproduction estimates, with larger tempo differences or longer stimuli being needed to cause changes in retrospective estimates; (3) participants' level of musical sophistication does not impact estimates of musical duration; and (4) empirical research on music listening and subjective time must consider potential method-dependent results.

Ultra-small highly fluorescent zinc-based metal organic framework nanodots for ratiometric visual sensing of tetracycline based on aggregation induced emission.

Color tonality by intrinsic fluorescent metal-organic frameworks (MOFs) is highly desirable in bioanalytical applications due to its stability, low-cost and robustness with no need for functionalization and/or encapsulation of fluorophores. In the present work, ultra-small and higly fluorescent zinc-based MOFs (FMOF-5) were synthesized. The prepared FMOFs were around 5 nm in size, and gave strong blue emission at 440 nm when excited at 350 nm. Interestingly, tetracycline (TC) selectively tuned the blue emission of FMOF-5 to greenish-yellow emission (520 nm) with dramatic enhancement through aggregation induced emission (AIE). The fluorimetric analysis of TC was carried out through the ratiometric peak intensities of F520/F440, with detection limit (LOD) of 5 nM. To realize quantitative point-of-care based on color tonality, a smartphone integrated with the ratiometric visual platform was thereby design. Hence, TC was visually detected with LOD of 10 nM. The prepared FMOF-5-based probe showed high stability (3 months) and reusability (∼10 times). The developed visual-based platform presents great promise for practical point of care testing due to its low-cost, robustness, ruggedness, simple operation, and excellent selectivity and repeatability.

Intrinsic Dual-State Emission Zinc-Based MOF Rodlike Nanostructures with Applications in Smartphone Readout Visual-Based Detection for Tetracycline: MOF-Based Color Tonality.

Dual-state emitters (DSEs) are entities that exhibit fluorescence in both the solution and solid state, which open up a wide range of possibilities for their utilization in various fields. The development of detection platforms using intrinsic luminescent metal-organic frameworks (LMOFs) is highly desirable for a variety of applications. DSE MOFs as a subclass of intrinsic LMOFs are highly attractive due to no need for encapsulation/functionalization by fluorophores and/or using luminescent linkers. Herein, a highly stable intrinsic dual-state blue emission (λem = 425 nm) zinc-based MOF with rodlike nanostructures (denoted as UoZ-2) was synthesized and characterized. To the best of our knowledge, intrinsic DSE of Zn-MOFs with blue emission in the dispersed form in solution and solid-state fluorescence have not been reported yet. When tetracycline (TC) was added, a continuous color evolution from blue to greenish-yellow with dramatic enhancement was observed due to aggregation induced emission (AIE). Thus, a sensitive ratiometry-based visual detection platform, in solution and on paper independently, was designed for detection of TC exploiting the DSE and AIE properties of UoZ-2 alone and UoZ-2:TC. The detection limit was estimated to be 4.5 nM, which is considered to be one of the most sensitive ratiometric fluorescent probes for TC sensing. The ratiometry paper-based UoZ-2 sensor displays a reliable TC quantitative analysis by recognizing RGB values in the on-site TC detection with satisfactory recoveries.

Effects of Tonal Noise on Workers' Annoyance and Performance.

OBJECTIVE: Numerous references indicate that the subjectively assessed tonal noise annoyance is higher than that of broadband noise. There are no criteria for the impact of tonal noise in assessing the occupational environment for both indoor areas and workplaces. MATERIALS AND METHODS: The study participants included 50 people who met the audiometric qualification criteria. The research method employed both a questionnaire survey and computer psychological tests checking work performance, attention level, and memory. Four types of generated test signals were developed (filtered noise - A and three signals with tonal components 125, 1600, and 8000 Hz - B, C, and D) at the same sound level A of 55 dB. Test signals C and D were assessed as causing the greatest annoyance and as the loudest. RESULTS: The results of some tests and the assessment of annoyance and of the volume of test signals containing medium and high frequency tonal components were correlated with the participants' noise sensitivity, determined on the basis of a questionnaire. Although there are no statistically significant differences, it was observed in most cases for signals with C (1600 Hz) and D (8000 Hz) tonal components that the results (mean values or median values) of psychological tests deteriorated with respect to a noise signal without tonal components (A) - a smaller number of calculations, a smaller number of correct responses, more errors made. CONCLUSION: These results, combined with those of the questionnaire survey, justify the introduction of the tonality annoyance criterion for workstations where, among other things, focusing one's attention is required.

Aggregate context effects in music processing.

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

Tonal and "Anti-Tonal" Cognitive Structure in Viennese Twelve-Tone Rows.

We show that the twelve-tone rows of Arnold Schoenberg and Anton Webern are "anti-tonal"-that is, structured to avoid or undermine listener's tonal schemata. Compared to randomly generated rows, segments from Schoenberg's and Webern's rows have significantly lower fit to major and minor key profiles. The anti-tonal structure of Schoenberg's and Webern's rows is still evident when we statistically controlled for their preference for other row features such as mirror symmetry, derived and hexachordal structures, and preferences for certain intervals and trichords. The twelve-tone composer Alban Berg, by contrast, often wrote rows with segments that fit major or minor keys quite well.

Temporal order of musical keys and subjective estimates of time.

The aim of this study was to observe the influence of the temporal order of musical keys involved in sudden modulations, which implies compositional developments in clockwise and counterclockwise directions of the circle of fifths, on subjective time estimations. Seventy-five undergraduate students from Universidade de Ribeirão Preto participated in this experiment, which consisted of listening to a modulating musical stimulus and retrospectively reproducing the duration with the aid of a stopwatch. The results showed that reverse sudden tonal modulation in the counterclockwise direction or, for instance, the temporal order from the original key of A-major to the arrival at the destination key of C-major, elicited shorter time estimations than the clockwise direction or, for instance, the temporal order from original key of C-major to the arrival at the destination key of A-major. These data were interpreted using the Expected Development Fraction model that describes the development of expectations when an inter-key distance is traversed during a certain time interval. This expected development is longer than the perceived duration, leading to the underestimation of time.

The impact of musical experience on neural sound encoding performance.

In this study, 64-channel single trial auditory brain oscillations (STABO) have been firstly analyzed by using complexity metrics to observe the effect of musical experience on brain functions. Experimental data was recorded from eyes-opened volunteers during listening the musical chords by piano. Complexity estimation methods were compared to each other for classification of groups (professional musicians and non-musicians) by using both classifiers (support vector machine (SVM), Naive Bayes (NB)) and statistical tests (one-way ANOVA) with respect to electrode locations. Permutation entropy (PermEn) is found to be the best metric (p ≪ 0.0001, 98.37% and 98.41% accuracies for tonal and atonal ensembles) at fronto-temporal regions which are responsible for cognitive task evaluation and perception of sound. PermEn also provides the meaningful results at the whole cortex (p ≪ 0.0001, 99.81% accuracy for both tonal and atonal ensembles) through SVM with Radial Basis kernels superior to Gaussians. Almost the similar performance is also obtained for temporal features. Although, performance improvements are observed for spectral methods with NB, the considerable better results are obtained with SVM. The results indicate that musical stimuli cause pattern variations instead of spectral variations on STABO due to relatively higher neuronal activities around auditory cortex. In conclusion, temporal regions produce response to auditory stimuli, while frontal area integrates the auditory task at the same time. As well, the parietal cortex produces neural information according to the degree of attention generated by environmental changes such as atonal stimuli. It can be clearly stated that musical experience enhances the neural encoding performance of sound tonality at mostly fronto-temporal regions.