Assessing Musical Abilities Objectively: Construction and Validation of the Profile of Music Perception Skills

A common approach for determining musical competence is to rely on information about individuals’ extent of musical training, but relying on musicianship status fails to identify musically untrained individuals with musical skill, as well as those who, despite extensive musical training, may not be as skilled. To counteract this limitation, we developed a new test battery (Profile of Music Perception Skills; PROMS) that measures perceptual musical skills across multiple domains: tonal (melody, pitch), qualitative (timbre, tuning), temporal (rhythm, rhythm-to-melody, accent, tempo), and dynamic (loudness). The PROMS has satisfactory psychometric properties for the composite score (internal consistency and test-retest r>.85) and fair to good coefficients for the individual subtests (.56 to.85). Convergent validity was established with the relevant dimensions of Gordon’s Advanced Measures of Music Audiation and Musical Aptitude Profile (melody, rhythm, tempo), the Musical Ear Test (rhythm), and sample instrumental sounds (timbre). Criterion validity was evidenced by consistently sizeable and significant relationships between test performance and external musical proficiency indicators in all three studies (.38 to.62, p<.05 to p<.01). An absence of correlations between test scores and a nonmusical auditory discrimination task supports the battery’s discriminant validity (−.05, ns). The interrelationships among the various subtests could be accounted for by two higher order factors, sequential and sensory music processing. A brief version of the full PROMS is introduced as a time-efficient approximation of the full version of the battery.     

Ein funktionsschema für die wahrnehmung eines gleichmäßigen rhythmus in schallimpulsfolgen

Measurements on the auditory perception of subjectively uniform rhythm lead to the concept of the perceptual moment. In accordance with the experimental results, the perceptual moment is a function of the duration of the sound impulse and of its temporal envelope. A model for these functional relations is developed, which consists mainly of a first-order low pass, as it was concluded that the temporal perception of sound impulses is dependent on the transient behavior of the auditory system. The perceptual moment of a sound impulse is defined as the moment at which a certain percentage (16%) of the maximum of the transient is trespassed.     

Attentional entrainment and perceived event duration

This study considered the contribution of dynamic attending theory (DAT) and attentional entrainment to systematic distortions in perceived event duration. Three experiments were conducted using an auditory oddball paradigm, in which listeners judged the duration of a deviant (oddball) stimulus embedded within a series of identical (standard) stimuli. To test for a role of attentional entrainment in perceived oddball duration, oddballs were presented at either temporally expected (on time) or unexpectedly early or late time points relative to extrapolation of the context rhythm. Consistent with involvement of attentional entrainment in perceived duration, duration judgements about the oddball were least distorted when the oddball occurred on time with respect to the entrained rhythm, whereas durations of early and late oddballs were perceived to be shorter and longer, respectively. This pattern of results was independent of the absolute time interval preceding the oddball. Moreover, as expected, an irregularly timed sequence context weakened observed differences between oddballs with on-time and late onsets. Combined with other recent work on the role of temporal preparation in duration distortions, the present findings allot at least a portion of the oddball effect to increased attention to events that are more expected, rather than on their unexpected nature per se.     

Rhesus Monkeys (Macaca mulatta) Detect Rhythmic Groups in Music,but Not the Beat

It was recently shown that rhythmic entrainment, long considered a human-specific mechanism, can be demonstrated in a selected group of bird species, and, somewhat surprisingly, not in more closely related species such as nonhuman primates. This observation supports the vocal learning hypothesis that suggests rhythmic entrainment to be a by-product of the vocal learning mechanisms that are shared by several bird and mammal species, including humans, but that are only weakly developed, or missing entirely, in nonhuman primates. To test this hypothesis we measured auditory event-related potentials (ERPs) in two rhesus monkeys (Macaca mulatta), probing a well-documented component in humans, the mismatch negativity (MMN) to study rhythmic expectation. We demonstrate for the first time in rhesus monkeys that, in response to infrequent deviants in pitch that were presented in a continuous sound stream using an oddball paradigm, a comparable ERP component can be detected with negative deflections in early latencies (Experiment 1). Subsequently we tested whether rhesus monkeys can detect gaps (omissions at random positions in the sound stream; Experiment 2) and, using more complex stimuli, also the beat (omissions at the first position of a musical unit, i.e. the ‘downbeat’; Experiment 3). In contrast to what has been shown in human adults and newborns (using identical stimuli and experimental paradigm), the results suggest that rhesus monkeys are not able to detect the beat in music. These findings are in support of the hypothesis that beat induction (the cognitive mechanism that supports the perception of a regular pulse from a varying rhythm) is species-specific and absent in nonhuman primates. In addition, the findings support the auditory timing dissociation hypothesis, with rhesus monkeys being sensitive to rhythmic grouping (detecting the start of a rhythmic group), but not to the induced beat (detecting a regularity from a varying rhythm).     

Music in Our Ears: The Biological Bases of Musical Timbre Perception

Timbre is the attribute of sound that allows humans and other animals to distinguish among different sound sources. Studies based on psychophysical judgments of musical timbre, ecological analyses of sound''s physical characteristics as well as machine learning approaches have all suggested that timbre is a multifaceted attribute that invokes both spectral and temporal sound features. Here, we explored the neural underpinnings of musical timbre. We used a neuro-computational framework based on spectro-temporal receptive fields, recorded from over a thousand neurons in the mammalian primary auditory cortex as well as from simulated cortical neurons, augmented with a nonlinear classifier. The model was able to perform robust instrument classification irrespective of pitch and playing style, with an accuracy of 98.7%. Using the same front end, the model was also able to reproduce perceptual distance judgments between timbres as perceived by human listeners. The study demonstrates that joint spectro-temporal features, such as those observed in the mammalian primary auditory cortex, are critical to provide the rich-enough representation necessary to account for perceptual judgments of timbre by human listeners, as well as recognition of musical instruments.     

Effects of perceived musical rhythm on respiratory pattern

The effects of rhythmic input on breath period (TT) under constant metabolic drive were assessed in 10 musically trained and 10 untrained subjects. They tapped to a metronome and then to four musical segments, each for 5 min. Ten of these subjects (5 from each group) also listened to the selections without tapping. TT, beat period (TB), and phase coupling (PC) were assessed during the last 20 breaths of each presentation. TT coefficient of variation decreased significantly (P less than 0.001) in all subjects (base line = 23%; listening = 15%; listening and tapping = 10%). Significant correlation between rhythm and TT, indicating relative entrainment, was found in half of the subjects (r greater than 0.45; P less than 0.01). Significant integer TT/TB ratio and PC, both indicating tight entrainment between rhythm and breathing, were observed in 12 subjects (though not consistently in each one). These data advance the following hypothesis: musical rhythm can be a zeitgeber (i.e., pacemaker), with its ability to entrain respiration dependent on the strength of its signal relative to spurious signals from the higher neural centers that introduce noise into the central pattern generator. Tapping reinforces the zeitgeber, increasing its signal-to-noise ratio and thereby promoting entrainment.     

Morphological comparison ofSqualus blainvillei andS. megalops in the Eastern Atlantic,with notes on the genus

Morphological comparisons are made from the study of 64 specimens belonging to the following species:Squalus acanihias, S. blainvillei, S. megalops andS. acutirostris. The results suggest conspecificity betweenS. acutipinnis andS. megalops. The differences betweenS. blainvillei andS. megalops in the E-Atlantic are stressed. The Indo-Pacific species calledS. blainvillei by Chen et al. (1979) is regarded in this paper as probably an undescribed species. Some consideration on the status of several nominal species and the species grouping withinSqualus are also made.     

Electromagnetic correlates of musical expertise in processing of tone patterns

Using magnetoencephalography (MEG), we investigated the influence of long term musical training on the processing of partly imagined tone patterns (imagery condition) compared to the same perceived patterns (perceptual condition). The magnetic counterpart of the mismatch negativity (MMNm) was recorded and compared between musicians and non-musicians in order to assess the effect of musical training on the detection of deviants to tone patterns. The results indicated a clear MMNm in the perceptual condition as well as in a simple pitch oddball (control) condition in both groups. However, there was no significant mismatch response in either group in the imagery condition despite above chance behavioral performance in the task of detecting deviant tones. The latency and the laterality of the MMNm in the perceptual condition differed significantly between groups, with an earlier MMNm in musicians, especially in the left hemisphere. In contrast the MMNm amplitudes did not differ significantly between groups. The behavioral results revealed a clear effect of long-term musical training in both experimental conditions. The obtained results represent new evidence that the processing of tone patterns is faster and more strongly lateralized in musically trained subjects, which is consistent with other findings in different paradigms of enhanced auditory neural system functioning due to long-term musical training.     

Behavioral and Neural Correlates of Executive Functioning in Musicians and Non-Musicians

Executive functions (EF) are cognitive capacities that allow for planned, controlled behavior and strongly correlate with academic abilities. Several extracurricular activities have been shown to improve EF, however, the relationship between musical training and EF remains unclear due to methodological limitations in previous studies. To explore this further, two experiments were performed; one with 30 adults with and without musical training and one with 27 musically trained and untrained children (matched for general cognitive abilities and socioeconomic variables) with a standardized EF battery. Furthermore, the neural correlates of EF skills in musically trained and untrained children were investigated using fMRI. Adult musicians compared to non-musicians showed enhanced performance on measures of cognitive flexibility, working memory, and verbal fluency. Musically trained children showed enhanced performance on measures of verbal fluency and processing speed, and significantly greater activation in pre-SMA/SMA and right VLPFC during rule representation and task-switching compared to musically untrained children. Overall, musicians show enhanced performance on several constructs of EF, and musically trained children further show heightened brain activation in traditional EF regions during task-switching. These results support the working hypothesis that musical training may promote the development and maintenance of certain EF skills, which could mediate the previously reported links between musical training and enhanced cognitive skills and academic achievement.     

Tone Language Speakers and Musicians Share Enhanced Perceptual and Cognitive Abilities for Musical Pitch: Evidence for Bidirectionality between the Domains of Language and Music

Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese) speakers on tasks of auditory pitch acuity, music perception, and general cognitive ability (e.g., fluid intelligence, working memory). While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking nonmusicians. These results provide evidence that tone-language background is associated with higher auditory perceptual performance for music listening. Musicians and Cantonese speakers also showed superior working memory capacity relative to nonmusician controls, suggesting that in addition to basic perceptual enhancements, tone-language background and music training might also be associated with enhanced general cognitive abilities. Our findings support the notion that tone language speakers and musically trained individuals have higher performance than English-speaking listeners for the perceptual-cognitive processing necessary for basic auditory as well as complex music perception. These results illustrate bidirectional influences between the domains of music and language.     

Cortical plasticity induced by short-term multimodal musical rhythm training

Performing music is a multimodal experience involving the visual, auditory, and somatosensory modalities as well as the motor system. Therefore, musical training is an excellent model to study multimodal brain plasticity. Indeed, we have previously shown that short-term piano practice increase the magnetoencephalographic (MEG) response to melodic material in novice players. Here we investigate the impact of piano training using a rhythmic-focused exercise on responses to rhythmic musical material. Musical training with non musicians was conducted over a period of two weeks. One group (sensorimotor-auditory, SA) learned to play a piano sequence with a distinct musical rhythm, another group (auditory, A) listened to, and evaluated the rhythmic accuracy of the performances of the SA-group. Training-induced cortical plasticity was evaluated using MEG, comparing the mismatch negativity (MMN) in response to occasional rhythmic deviants in a repeating rhythm pattern before and after training. The SA-group showed a significantly greater enlargement of MMN and P2 to deviants after training compared to the A- group. The training-induced increase of the rhythm MMN was bilaterally expressed in contrast to our previous finding where the MMN for deviants in the pitch domain showed a larger right than left increase. The results indicate that when auditory experience is strictly controlled during training, involvement of the sensorimotor system and perhaps increased attentional recources that are needed in producing rhythms lead to more robust plastic changes in the auditory cortex compared to when rhythms are simply attended to in the auditory domain in the absence of motor production.     

Perceptual Learning of Time-Compressed Speech: More than Rapid Adaptation

Background

Time-compressed speech, a form of rapidly presented speech, is harder to comprehend than natural speech, especially for non-native speakers. Although it is possible to adapt to time-compressed speech after a brief exposure, it is not known whether additional perceptual learning occurs with further practice. Here, we ask whether multiday training on time-compressed speech yields more learning than that observed during the initial adaptation phase and whether the pattern of generalization following successful learning is different than that observed with initial adaptation only.

Methodology/Principal Findings

Two groups of non-native Hebrew speakers were tested on five different conditions of time-compressed speech identification in two assessments conducted 10–14 days apart. Between those assessments, one group of listeners received five practice sessions on one of the time-compressed conditions. Between the two assessments, trained listeners improved significantly more than untrained listeners on the trained condition. Furthermore, the trained group generalized its learning to two untrained conditions in which different talkers presented the trained speech materials. In addition, when the performance of the non-native speakers was compared to that of a group of naïve native Hebrew speakers, performance of the trained group was equivalent to that of the native speakers on all conditions on which learning occurred, whereas performance of the untrained non-native listeners was substantially poorer.

Conclusions/Significance

Multiday training on time-compressed speech results in significantly more perceptual learning than brief adaptation. Compared to previous studies of adaptation, the training induced learning is more stimulus specific. Taken together, the perceptual learning of time-compressed speech appears to progress from an initial, rapid adaptation phase to a subsequent prolonged and more stimulus specific phase. These findings are consistent with the predictions of the Reverse Hierarchy Theory of perceptual learning and suggest constraints on the use of perceptual-learning regimens during second language acquisition.     

Affect induction through musical sounds: an ethological perspective

How does music induce or evoke feeling states in listeners? A number of mechanisms have been proposed for how sounds induce emotions, including innate auditory responses, learned associations and mirror neuron processes. Inspired by ethology, it is suggested that the ethological concepts of signals, cues and indices offer additional analytic tools for better understanding induced affect. It is proposed that ethological concepts help explain why music is able to induce only certain emotions, why some induced emotions are similar to the displayed emotion (whereas other induced emotions differ considerably from the displayed emotion), why listeners often report feeling mixed emotions and why only some musical expressions evoke similar responses across cultures.     

Quantification of rhythm problems in disordered speech: a re-evaluation

Disordered speech can present with rhythmic problems, impacting on an individual''s ability to communicate. Effective treatment relies on the availability of sensitive methods to characterize the problem. Rhythm metrics based on segmental durations originally designed for cross-linguistic research have the potential to provide such information. However, these measures may be associated with problems that impact on their clinical usefulness. This paper aims to address the perceptual validity of cross-linguistic metrics as indicators of rhythmic disorder. Speakers with dysarthria and matched healthy participants performed a range of tasks, including syllable and sentence repetition and a spontaneous monologue. A range of rhythm metrics as well as clinical measures were applied. Results showed that none of the metrics could differentiate disordered from healthy speakers, despite clear perceptual differences, suggesting that factors beyond segment duration impacted on rhythm perception. The investigation also highlighted a number of areas where caution needs to be exercised in the application of rhythm metrics to disordered speech. The paper concludes that the underlying speech impairment leading to the perceptual and acoustic characterization of rhythmic problems needs to be established through detailed analysis of speech characteristics in order to construct effective treatment plans for individuals with speech disorders.     

听觉选择性注意的可塑性及其神经机制研究

本文旨在研究音乐训练是否能增强基于音高和空间位置的听觉选择性注意力,以及音乐训练对听觉可塑性的神经机制.听觉感知实验中,受试者根据音高差异或空间位置差异,选择两个同时播放的数字之一.听觉认知实验在安静和噪声环境中播放频率分辨率不同的复合音,记录受试者听觉脑干频率跟随响应(frequency-following responses,FFRs).本文提出分析FFR的四种方法,即包络相关频率跟随响应(envelope-related frequency-following response,FFRENV)的短时锁相值、瞬时相位差极性图、相位差均值矢量以及时间细节结构相关频率跟随响应(temporal-fine-structure-related frequency-following response,FFRTFS)的幅度谱信噪比.实验结果表明,在完成基于音高的任务时,受过音乐训练的受试者准确率更高、反应时间更短.外界噪声不影响两组人群在基频(fundamental frequency,F0)的神经元锁相能力,但是显著降低了谐波处的神经元锁相能力.受过音乐训练的受试者的神经元在基频处的锁相能力和谐波处抗噪能力均增强,且其FFRTFS幅度谱信噪比与基于音高的行为学准确率呈正相关.因此,受过音乐训练的受试者其音高选择性注意感知能力的提高取决于认知神经能力的增强,经过音乐训练后,F0处FFRENV的锁相能力、谐波处FFRTFS的抗噪和持续锁相能力以及谐波处FFRTFS幅度谱信噪比均明显增强.音乐训练对听觉选择性注意具有显著的可塑性.     

Perceptual Distortions in Pitch and Time Reveal Active Prediction and Support for an Auditory Pitch-Motion Hypothesis

A number of accounts of human auditory perception assume that listeners use prior stimulus context to generate predictions about future stimulation. Here, we tested an auditory pitch-motion hypothesis that was developed from this perspective. Listeners judged either the time change (i.e., duration) or pitch change of a comparison frequency glide relative to a standard (referent) glide. Under a constant-velocity assumption, listeners were hypothesized to use the pitch velocity (Δf/Δt) of the standard glide to generate predictions about the pitch velocity of the comparison glide, leading to perceptual distortions along the to-be-judged dimension when the velocities of the two glides differed. These predictions were borne out in the pattern of relative points of subjective equality by a significant three-way interaction between the velocities of the two glides and task. In general, listeners’ judgments along the task-relevant dimension (pitch or time) were affected by expectations generated by the constant-velocity standard, but in an opposite manner for the two stimulus dimensions. When the comparison glide velocity was faster than the standard, listeners overestimated time change, but underestimated pitch change, whereas when the comparison glide velocity was slower than the standard, listeners underestimated time change, but overestimated pitch change. Perceptual distortions were least evident when the velocities of the standard and comparison glides were matched. Fits of an imputed velocity model further revealed increasingly larger distortions at faster velocities. The present findings provide support for the auditory pitch-motion hypothesis and add to a larger body of work revealing a role for active prediction in human auditory perception.     

Biological Markers of Auditory Gap Detection in Young,Middle-Aged,and Older Adults

The capability of processing rapid fluctuations in the temporal envelope of sound declines with age and this contributes to older adults'' difficulties in understanding speech. Although, changes in central auditory processing during aging have been proposed as cause for communication deficits, an open question remains which stage of processing is mostly affected by age related changes. We investigated auditory temporal resolution in young, middle-aged, and older listeners with neuromagnetic evoked responses to gap stimuli with different leading marker and gap durations. Signal components specific for processing the physical details of sound stimuli as well as the auditory objects as a whole were derived from the evoked activity and served as biological markers for temporal processing at different cortical levels. Early oscillatory 40-Hz responses were elicited by the onsets of leading and lagging markers and indicated central registration of the gap with similar amplitude in all three age groups. High-gamma responses were predominantly related to the duration of no-gap stimuli or to the duration of gaps when present, and decreased in amplitude and phase locking with increasing age. Correspondingly, low-frequency activity around 200 ms and later was reduced in middle aged and older participants. High-gamma band, and long-latency low-frequency responses were interpreted as reflecting higher order processes related to the grouping of sound items into auditory objects and updating of memory for these objects. The observed effects indicate that age-related changes in auditory acuity have more to do with higher-order brain functions than previously thought.     

Opposite Distortions in Interval Timing Perception for Visual and Auditory Stimuli with Temporal Modulations

When an object is presented visually and moves or flickers, the perception of its duration tends to be overestimated. Such an overestimation is called time dilation. Perceived time can also be distorted when a stimulus is presented aurally as an auditory flutter, but the mechanisms and their relationship to visual processing remains unclear. In the present study, we measured interval timing perception while modulating the temporal characteristics of visual and auditory stimuli, and investigated whether the interval times of visually and aurally presented objects shared a common mechanism. In these experiments, participants compared the durations of flickering or fluttering stimuli to standard stimuli, which were presented continuously. Perceived durations for auditory flutters were underestimated, while perceived durations of visual flickers were overestimated. When auditory flutters and visual flickers were presented simultaneously, these distortion effects were cancelled out. When auditory flutters were presented with a constantly presented visual stimulus, the interval timing perception of the visual stimulus was affected by the auditory flutters. These results indicate that interval timing perception is governed by independent mechanisms for visual and auditory processing, and that there are some interactions between the two processing systems.