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Previous investigations have shown various interactions between spatial concepts and speech sounds. For instance, the front-high vowel [i] is associated with the concept of forward, and the back-high vowel [o] is associated with the concept of backward. Three experiments investigated whether the concepts of forward/front and backward/back are associated with high- and low-pitched vocalizations, respectively, in Finnish. In Experiments 1 and 2, the participants associated the high-pitched vocalization with the forward-directed movement and the low-pitched vocalizations with the backward-directed movement. In Experiment 3, the same effect was observed in relation to the concepts of front of and back of. We propose that these observations present a novel sound-space symbolism phenomenon in which spatial concepts of forward/front and backward/back are iconically associated with high- and low-pitched speech sounds. This observation is discussed in relation to the grounding of semantic knowledge of these spatial concepts in the movements of articulators such as relative front/back-directed movements of the tongue. [ABSTRACT FROM AUTHOR]

Using songs to facilitate speech processing in noisy environments seems appealing and practical. However, current research suggests otherwise, possibly due to the simplicity of sung speech contours. This study investigates the effects of contour tonality on sung speech intelligibility in noisy environments. A cohort of 20 trained musicians and 20 nonmusicians were tested on the intelligibility of Mandarin sentences sung on tonal, atonal, and fixed-pitch melodies or normally spoken under three signal-to-noise ratios (SNRs: −3, −6, and −9 dB). Perceptual musical skills related to speech-in-noise perception were also assessed. Results showed that overall speech-in-noise intelligibility decreased as the SNR decreased, with spoken speech being more intelligible than sung speech. Sung speech intelligibility was higher for fixed- than variable-pitch contours, with no difference between tonal and atonal melodies. No musician advantage was reported for spoken speech. Musicians, nonetheless, outperformed nonmusicians in identifying sung speech across all melodic contour types. Moreover, the musician sung speech advantage correlated with enhanced music perception abilities on pitch and accent. These results suggest that musicians have an advantage in sung speech in noisy environments. However, melody tonality provided no additional benefits, suggesting that imposing tonality on sung speech does not improve speech perception in noisy environments. [ABSTRACT FROM AUTHOR]

Previous research has found that higher-pitched female voices elicit jealousy among women. However, it is unknown whether jealousy towards higher-pitched female voices is driven by perceptions of the rival's mating strategy or by beliefs about the speaker's attractiveness to one's romantic partner. In addition, the degree to which higher-pitched female voices elicit jealousy could be associated with variation in trait jealousy among women listeners. Here, I manipulated women's voices to be higher or lower in pitch, and tested whether variation in jealousy towards female voices was more strongly associated with perceptions of mate poaching, beliefs about the speaker's attractiveness to listeners' romantic partner, or with individual differences in trait jealousy. I replicated findings that higher voice pitch elicits more jealousy from women, which was positively associated with perceptions of mate poaching. I found no evidence of an association between trait jealousy and any voice-based perception. The findings suggest that perceptions of a target's proclivity to mate poach better explain the jealousy-inducing nature of higher-pitched female voices than do beliefs about the speaker's attractiveness to one's romantic partner. [ABSTRACT FROM AUTHOR]

Background: There is evidence that major depressive disorder (MDD) comes with multiple cognitive impairments including deficits in perception and memory. Music cognition is one of the least explored cognitive functions in relation to MDD, with some studies pointing to mild amusic deficits. These findings, however, are derived only from performance-based tests. Our objectives were to explore differences in music perception and memory between individuals with MDD and a control group, in both performance test and self-report of amusic dysfunction, and to assess the correlation between these measures. Method: We recruited 62 participants, including MDD individuals (n = 34) diagnosed with the Mini International Neuropsychiatric Interview and controls (n = 18). All the participants were evaluated with the Montreal Battery for Evaluation of Amusia (MBEA) and the Amusic Dysfunction Inventory (ADI). Results: None of the assessed dimensions from the MBEA or the ADI showed statistical differences between groups. Some significant associations were found between ADI's Vocal Production and the MBEA's three tests of the melodic dimension (Scale, Contour and Interval) and between MBEA's Scale and Memory, Meter and ADI's Melodic Perception, and tests of Memory from each respective instrument. Conclusion: Results suggest that perception and memory of basic music stimuli are not among the cognitive deficits within MDD, however, they may be indirectly affected by other cognitive phenomena common to this psychopathology, such as poor sustained concentration due to mental fatigue. [ABSTRACT FROM AUTHOR]

Cochlear implant (CI) users, even with substantial speech comprehension, generally have poor sensitivity to pitch information (or fundamental frequency, F0). This insensitivity is often attributed to limited spectral and temporal resolution in the CI signals. However, the pitch sensitivity markedly varies among individuals, and some users exhibit fairly good sensitivity. This indicates that the CI signal contains sufficient information about F0, and users' sensitivity is predominantly limited by other physiological conditions such as neuroplasticity or neural health. We estimated the upper limit of F0 information that a CI signal can convey by decoding F0 from simulated CI signals (multi-channel pulsatile signals) with a deep neural network model (referred to as the CI model). We varied the number of electrode channels and the pulse rate, which should respectively affect spectral and temporal resolutions of stimulus representations. The F0-estimation performance generally improved with increasing number of channels and pulse rate. For the sounds presented under quiet conditions, the model performance was at best comparable to that of a control waveform model, which received raw-waveform inputs. Under conditions in which background noise was imposed, the performance of the CI model generally degraded by a greater degree than that of the waveform model. The pulse rate had a particularly large effect on predicted performance. These observations indicate that the CI signal contains some information for predicting F0, which is particularly sufficient for targets under quiet conditions. The temporal resolution (represented as pulse rate) plays a critical role in pitch representation under noisy conditions. [ABSTRACT FROM AUTHOR]

Background: Music therapy is the clinical use of musical interventions to improve mental and physical health across multiple domains, including social communication. Autistic children, who have difficulties in social communication and often increased anxiety, tend to show a strong preference for music, because it can be structured and systematic, and therefore more predictable than social interaction. This makes music therapy a promising medium for therapeutic support and intervention. Previous clinical trials of music therapy compared to traditional therapy for autistic children have shown encouraging but nevertheless mixed results. Key aims: The primary aim is to conduct a randomised controlled trial (RCT) of improvisational music therapy for autistic children and test its effectiveness in at improving social communication and wellbeing, and to reduce anxiety. Research plan: The RCT will be conducted with 200 autistic children in the UK aged 7 to 11 years old. Participants will be randomly assigned to either improvisational music therapy or support as usual. The trial will be an assessor-blind, pragmatic two-arm cluster RCT comparing the impact of 12-weeks of improvisational music therapy in addition to support as usual, vs. support as usual for autistic children. Methods: Researchers who are blind to which arm the children are in will conduct assessments and obtain data via caregiver reports. The primary outcome will be the absolute change in the total score of the Brief Observation of Social Communication Change (BOSCC) assessed at baseline, T1 (13 weeks) and T2 (39 weeks) follow-ups. The BOSCC consists of specific items that were developed to identify changes in social-communication behaviours. Secondary outcome measures include: (1) Parent reported anxiety scale for youth with ASD (Note that we do not use the term 'ASD' or Autism Spectrum Disorder, because many autistic people feel it is stigmatising. Instead, we use the term 'autism') (PRAS-ASD) (2) Young Child Outcome Rating Scale, for wellbeing (YCORS), (3) Strengths and Difficulties Questionnaire (SDQ); and (4) Vineland Adaptive Behaviour Scale (VABS). (5) The Children's Communication Checklist-2 (CCC-2) will be completed to evaluate pragmatic speech with fluent speakers only; (6) The Music Engagement Scale (MES); and (7) Assessment of the Quality of Relationship (AQR) will be used to evaluate the child-therapist relationships using video-analysis of music therapy sessions. Additional data will be collected by administering the Wechsler Abbreviated Scale of Intelligence (WASI-II), Music at Home Questionnaire (M@H), and children's versions of the Empathy Quotient (EQ) and Systemizing Quotient (SQ). Audio and video data from the therapy sessions will be collected and analysed (using both human and computer-based feature-coding, e.g., machine learning and AI-driven methods) to identify how music and non-musical interactions foster change throughout the therapy. Discussion: This study aims to observe if the interactions, engagement, and therapeutic modalities fostered during music therapy sessions can translate to non-musical contexts and improve autistic children's social communication skills, identifying possible mediating factors contributing to the effectiveness of music therapy, potentially informing policy making and governance. Trial registration: This randomised control trial is registered with the NIH U.S. National Library of Medicine: https://clinicaltrials.gov/search?term=NCT06016621, clinicalTrials.gov Identifier: NCT0601662, Registration Date 19th August 2023. [ABSTRACT FROM AUTHOR]

The convenience of mobile devices has driven the widespread use of voice technology in mobile health communication, significantly improving the timeliness of online service. However, the issue of listening to therapeutic content, which requires great cognitive effort and may exceed the patient's information processing capacity (i.e., information overload), is of concern. Based on information processing theory, this study reports how online physicians' voice characteristics (pitch range and filled pauses) affect patient satisfaction. We obtained 10,585 mobile voice consultation records of 1,416 doctors from China's largest mHealth platform and analyzed them using audio mining and empirical methods. Results showed that pitch range (β = 0.0539, p <.01) and filled pauses (β = 0.0365, p <.01) in doctors' voice positively influenced online patient satisfaction. However, the effect of filled pauses becomes weaker for patients with higher health literacy and higher disease risk. This suggests that there is heterogeneity in the way different patients process audio information. This study provides important insights for guiding online physician behaviors, enhancing patient satisfaction, and improving mobile health platform management. [ABSTRACT FROM AUTHOR]

Background: Cochlear synaptopathy is a disorder where auditory perceptual impairments, such as speech perception in noise and tinnitus, may not be accurately reflected by audiometric thresholds, even if the audiogram appears normal. It is proposed that the connections between hair cells and the auditory nerve are more susceptible to sound and aging damage than the cochlea's hair cells. Cochlear synaptopathy can be present in ears with normal audiograms and undamaged hair cells, leading to hidden hearing loss. This study aims to construct electrophysiological and behavioral auditory parameters associated with persons exposed to loudness and having normal audiograms and auditory complaints to identify hidden hearing loss. Results: A case–control study was done with forty participants with a documented history of exposure to loud sounds and various auditory complaints, compared to a control group of forty persons who had all been confirmed to have normal audiograms. The chosen behavioral core tests comprised the speech intelligibility in noise test (SPIN), gaps detection in noise (GIN test), and pitch pattern sequence test (PPS). The electrophysiological measures utilized in the study were the auditory brainstem response test (ABR) and electrocochleography (ECochG). The SPIN, PPS, and GIN test results demonstrated statistically significant disparities between the control and case groups. The amplitude ratio of wave I to wave V in ABR and the ratio of EcochG AP to SP demonstrated a statistically significant variance between the two groups. The SPIN test exhibited the highest AUC, signifying its superior diagnostic capability in identifying hidden hearing loss. Conclusion: The present study has shown that the SPIN, as a behavioral test, and the EcochG AP amplitude measure, as an electrophysiological test, provide the greatest auditory diagnostic capability for identifying cochlear synaptopathy. Wave I amplitude in the auditory brainstem response (ABR) and the SP/AP ratio in electrocochleography (EcochG) are promising non-behavioral measures of cochlear synaptopathy or hidden hearing loss. [ABSTRACT FROM AUTHOR]

Humans perceive a range of basic emotional connotations from music, such as joy, sadness, and fear, which can be decoded from structural characteristics of music, such as rhythm, harmony, and timbre. However, despite theory and evidence that music has multiple social functions, little research has examined whether music conveys emotions specifically associated with social status and social connection. This investigation aimed to determine whether the social emotions of dominance and affiliation are perceived in music and whether structural features of music predict social emotions, just as they predict basic emotions. Participants (N = 1513) listened to subsets of 750 music excerpts and provided ratings of energy arousal, tension arousal, valence, dominance, and affiliation. Ratings were modelled based on ten structural features of music. Dominance and affiliation were readily perceived in music and predicted by structural features including rhythm, harmony, dynamics, and timbre. In turn, energy arousal, tension arousal and valence were also predicted by musical structure. We discuss the results in view of current models of music and emotion and propose research to illuminate the significance of social emotions in music. [ABSTRACT FROM AUTHOR]

Purpose: This study was designed based on the need to verify the effectiveness of education in the vocology area concerning refining perceptual auditory skills. The purpose of the project described in this paper was to examine the effect of knowledge and skills training during a 2‐week voice disorders graduate course on auditory‐perceptual skills of pre‐professional speech‐language pathologists. The training effect was evaluated by comparing pre‐ and post‐course results of ratings of voice quality using auditory‐perceptual measures. Method: A cohort of 24 graduate students in speech‐language pathology participated in this study. Each student rated a total of 24 voice samples of typical and disordered voice quality from a database using Consensus Auditory‐Perceptual Evaluation of Voice (CAPE‐V). The same voice samples were rated before and after the training, in randomised order. The speakers ranged in age from 35 to 80 years; 16 identified as females and 8 as males. A total of 16 samples were associated with various degrees of dysphonia of organic and functional aetiologies; the remaining 8 voice samples included in the study were classified as normal. The training involved different components including knowledge and auditory‐perceptual skills as part of a voice class offered as an intensive 2‐week course with daily blocks of 4 h sessions. Exploratory comparisons of results to objective outcomes were conducted through comparisons with computer‐generated indicators of the Cepstral Spectral Index of Dysphonia (CSID), a component of the Analysis of Dysphonia in Speech and Voice (ADSV) software from Pentax for capturing the CSID. Results: There was a significant increase in ratings of roughness, breathiness, loudness, pitch and overall severity after the course. Furthermore, there was a significant increase in the intra‐ and interrater reliability post training. Statistically significant positive indications were found in correlations between mean perceptual ratings and the acoustic measure of CSID. Reliability of data was measured by using Pearson's correlations. Intrarater reliability resulted in values of ≥0.90 in all parameters. Similar findings were demonstrated by intraclass coefficients used to estimate interrater consistency: all values were >0.90 but in the Loudness parameter [r (22) = 0.60]. Conclusion: Effectiveness of the training in improving the auditory perceptual skills of students was based on the increased reliability of ratings. Indications of successful implementation and outcomes on auditory‐perpetual training procedures in classroom environments will support the development of effective educational methods, which will in turn lead to increased efficacy of service delivery in voice disorders. WHAT THIS PAPER ADDS: What is already known on this subject: The effects of training on perceptual assessment performance have been indicated in the literature. Past evidence has demonstrated that various types of training produce a significant impact on auditory perceptual skills. Although dedicated research has been advancing over the past decade, further aspects of auditory‐perceptual reliable assessment include queries about specific training approaches, optimal duration, and interval time for recalibration. What this paper adds to existing knowledge: While past research suggests that increased exposure in identifying voice characteristics impacts assessment skills, there are limited published data on the relationship of knowledge and skill in association with teaching and learning environments, particularly at the pre‐professional stage. Practical data from actual classroom application constitute an ideal scenario for inspecting effectiveness of graduate training in voice disorders involving acquiring knowledge and applied skills, including auditory‐perceptual voice evaluation. This study is an attempt to expand on previous literature, particularly by examining effects of auditory‐perceptual skills training in graduate students following teaching and learning in a systematic 2‐week voice disorders course. What are the clinical implications of this work?: Outcomes indicative of successful training procedures in a classroom environment will support the development of effective educational methods to increase efficacy of service delivery in voice disorders. [ABSTRACT FROM AUTHOR]

The article offers a perspective on the application of neuroaesthetics and neuroarts in practices like healthcare, rehabilitation, education, cultural organizations, community centers and public health. It offers update on research on the link between the arts and patient outcomes, the interconnection of neurobiological and biological systems, and music-based interventions for health conditions like pain and Alzheimer's disease. It also calls for evidence-based research to propel the field.

"Computing Taste: Algorithms and the Makers of Music Recommendation" by Nick Seaver explores how algorithmic recommender systems shape our musical taste and cultural encounters. The book delves into the origins of modern recommender systems, the developers' interpretations of music taste, and the spatial conceptions that reshape genres. Seaver also discusses the entanglement between culture and technology, offering methodological insights on studying algorithmic systems. This foundational text provides paradigm-shifting advances in understanding the role of computer algorithms in the cultural realm, making it valuable for researchers interested in the interplay between culture and technology." [Extracted from the article]

Motion perception is crucial in competitive sports like dance, basketball, and diving. However, evaluations in these sports heavily rely on professionals, posing two main challenges: subjective assessments are uncertain and can be influenced by experience, making it hard to guarantee timeliness and accuracy, and increasing labor costs with multi-expert voting. While video analysis methods have alleviated some pressure, challenges remain in extracting key points/frames from videos and constructing a suitable, quantifiable evaluation method that aligns with the static–dynamic nature of movements for accurate assessment. Therefore, this study proposes an innovative intelligent evaluation method aimed at enhancing the accuracy and processing speed of complex video analysis tasks. Firstly, by constructing a keyframe extraction method based on musical beat detection, coupled with prior knowledge, the beat detection is optimized through a perceptually weighted window to accurately extract keyframes that are highly correlated with dance movement changes. Secondly, OpenPose is employed to detect human joint points in the keyframes, quantifying human movements into a series of numerically expressed nodes and their relationships (i.e., pose descriptions). Combined with the positions of keyframes in the time sequence, a standard pose description sequence is formed, serving as the foundational data for subsequent quantitative evaluations. Lastly, an Action Sequence Evaluation method (ASCS) is established based on all action features within a single action frame to precisely assess the overall performance of individual actions. Furthermore, drawing inspiration from the Rouge-L evaluation method in natural language processing, a Similarity Measure Approach based on Contextual Relationships (SMACR) is constructed, focusing on evaluating the coherence of actions. By integrating ASCS and SMACR, a comprehensive evaluation of dancers is conducted from both the static and dynamic dimensions. During the method validation phase, the research team judiciously selected 12 representative samples from the popular dance game Just Dance, meticulously classifying them according to the complexity of dance moves and physical exertion levels. The experimental results demonstrate the outstanding performance of the constructed automated evaluation method. Specifically, this method not only achieves the precise assessments of dance movements at the individual keyframe level but also significantly enhances the evaluation of action coherence and completeness through the innovative SMACR. Across all 12 test samples, the method accurately selects 2 to 5 keyframes per second from the videos, reducing the computational load to 4.1–10.3% compared to traditional full-frame matching methods, while the overall evaluation accuracy only slightly decreases by 3%, fully demonstrating the method's combination of efficiency and precision. Through precise musical beat alignment, efficient keyframe extraction, and the introduction of intelligent dance motion analysis technology, this study significantly improves upon the subjectivity and inefficiency of traditional manual evaluations, enhancing the scientificity and accuracy of assessments. It provides robust tool support for fields such as dance education and competition evaluations, showcasing broad application prospects. [ABSTRACT FROM AUTHOR]

Purpose: Greater recognition of the impact of hearing loss on cognitive functions has led speech/hearing clinics to focus more on auditory memory outcomes. Typically evaluated by scoring participants' recall on a list of unrelated words after they have heard the list read out loud, this method implies pitch and timing variations across words. Here, we questioned whether these variations could impact performance differentially in one language or another. Method: In a series of online studies evaluating auditory short-term memory in normally hearing adults, we examined how pitch patterns (Experiment 1), timing patterns (Experiment 2), and interactions between the two (Experiment 3) affected free recall of words, cued recall of forgotten words, and mental demand. Note that visual memory was never directly tested; written words were only used after auditory encoding in the cued recall part. Studies were administered in both French and English, always conducted with native listeners. Result: Confirming prior work, grouping mechanisms facilitated free recall, but not cued recall (the latter being only affected by longer presentation time) or ratings of mental demand. Critically, grouping by pitch provided more benefit for French than for English listeners, while grouping by time was equally beneficial in both languages. Conclusion: Pitch is more useful to French-than to English-speaking listeners for encoding spoken words in short-term memory, perhaps due to the syllablebased versus stress-based rhythms inherent to each language. [ABSTRACT FROM AUTHOR]

Background: Music therapy is the clinical use of musical interventions to improve mental and physical health across multiple domains, including social communication. Autistic children, who have difficulties in social communication and often increased anxiety, tend to show a strong preference for music, because it can be structured and systematic, and therefore more predictable than social interaction. This makes music therapy a promising medium for therapeutic support and intervention. Previous clinical trials of music therapy compared to traditional therapy for autistic children have shown encouraging but nevertheless mixed results. Key aims: The primary aim is to conduct a randomised controlled trial (RCT) of improvisational music therapy for autistic children and test its effectiveness in at improving social communication and wellbeing, and to reduce anxiety. Research plan: The RCT will be conducted with 200 autistic children in the UK aged 7 to 11 years old. Participants will be randomly assigned to either improvisational music therapy or support as usual. The trial will be an assessor-blind, pragmatic two-arm cluster RCT comparing the impact of 12-weeks of improvisational music therapy in addition to support as usual, vs. support as usual for autistic children. Methods: Researchers who are blind to which arm the children are in will conduct assessments and obtain data via caregiver reports. The primary outcome will be the absolute change in the total score of the Brief Observation of Social Communication Change (BOSCC) assessed at baseline, T1 (13 weeks) and T2 (39 weeks) follow-ups. The BOSCC consists of specific items that were developed to identify changes in social-communication behaviours. Secondary outcome measures include: (1) Parent reported anxiety scale for youth with ASD (Note that we do not use the term 'ASD' or Autism Spectrum Disorder, because many autistic people feel it is stigmatising. Instead, we use the term 'autism') (PRAS-ASD) (2) Young Child Outcome Rating Scale, for wellbeing (YCORS), (3) Strengths and Difficulties Questionnaire (SDQ); and (4) Vineland Adaptive Behaviour Scale (VABS). (5) The Children's Communication Checklist-2 (CCC-2) will be completed to evaluate pragmatic speech with fluent speakers only; (6) The Music Engagement Scale (MES); and (7) Assessment of the Quality of Relationship (AQR) will be used to evaluate the child-therapist relationships using video-analysis of music therapy sessions. Additional data will be collected by administering the Wechsler Abbreviated Scale of Intelligence (WASI-II), Music at Home Questionnaire (M@H), and children's versions of the Empathy Quotient (EQ) and Systemizing Quotient (SQ). Audio and video data from the therapy sessions will be collected and analysed (using both human and computer-based feature-coding, e.g., machine learning and AI-driven methods) to identify how music and non-musical interactions foster change throughout the therapy. Discussion: This study aims to observe if the interactions, engagement, and therapeutic modalities fostered during music therapy sessions can translate to non-musical contexts and improve autistic children's social communication skills, identifying possible mediating factors contributing to the effectiveness of music therapy, potentially informing policy making and governance. Trial registration: This randomised control trial is registered with the NIH U.S. National Library of Medicine: https://clinicaltrials.gov/search?term=NCT06016621, clinicalTrials.gov Identifier: NCT0601662, Registration Date 19th August 2023. [ABSTRACT FROM AUTHOR]

This study explored the unique connections between music and mathematics as perceived by four groups of experts: professional mathematicians and musicians, as well as teacher educators in these two fields. Using 2 × 2 study design, we studied four groups of participants, comprising theorists and educators from various Israeli universities. During semi-structured interviews, the study participants were asked about their views on the connections between mathematics and music. This study proposes a model of experts' conceptions of the connection between mathematics and music, which is of descriptive and explanatory power. that reveals differences between the four groups of experts. Theoreticians in both disciplines highlighted Mathematics as a key tool for music analysis and creation. Musical educators emphasized the role of music as a tool for learning mathematics. All the study participants, independently of the field of their expertise, value structure, beauty, sense of wonder, freedom and creative thinking as characteristics of both fields. Additionally, all the experts hold conceptions of the importance of integrating music and mathematics into various discipline. This study opened new doors for future research wherein utilization of experts' insights to craft integrated study modules of music and mathematics can be explored, a pursuit that carries substantial significance. [ABSTRACT FROM AUTHOR]

The perception of musical phrase boundaries is a critical aspect of human musical experience: It allows us to organize, understand, derive pleasure from, and remember music. Identifying boundaries is a prerequisite for segmenting music into meaningful chunks, facilitating efficient processing and storage while providing an enjoyable, fulfilling listening experience through the anticipation of upcoming musical events. Expanding on Sridharan et al.'s [Neuron 55, 521-532 (2007)] work on coarse musical boundaries between symphonic movements, we examined finer-grained boundaries. We measured the fMRI responses of 18 musicians and 18 nonmusicians during music listening. Using general linear model, independent component analysis, and Granger causality, we observed heightened auditory integration in anticipation to musical boundaries, and an extensive decrease within the fronto-temporal-parietal network during and immediately following boundaries. Notably, responses were modulated by musicianship. Findings uncover the intricate interplay between musical structure, expertise, and cognitive processing, advancing our knowledge of how the brain makes sense of music. [ABSTRACT FROM AUTHOR]

Purpose: The goal of this study was to determine the relationship between the perceptual measure of speech naturalness and objective measures of pitch, loudness, and rate control as a potential tool for assessment of ataxic dysarthria. Method: Twenty-seven participants with ataxia and 29 age- and sex-matched control participants completed the pitch glide and loudness step tasks drawn from the Frenchay Dysarthria Assessment-Second Edition (FDA-2) in addition to speech diadochokinetic (DDK) tasks. First, group differences were compared for pitch variability in the pitch glide task, loudness variability in the loudness step task, and syllable duration and speech rate in the DDK task. Then, these acoustic measures were compared with previously collected ratings of speech naturalness by speech-language pathology graduate students. Results: Robust group differences were measured for pitch variability and both DDK syllable duration and speech rate, indicating that the ataxia group had greater pitch variability, longer DDK syllable duration, and slower DDK speech rate than the control group. No group differences were measured for loudness variability. There were robust relationships between speech naturalness and pitch variability, DDK syllable duration, and DDK speech rate, but not for loudness variability. Conclusions: Objective acoustic measures of pitch variability in the FDA-2 pitch glide task and syllable duration and speech rate in the DDK task can be used to validate perceptual measures of speech naturalness. Overall, speechlanguage pathologists can incorporate both perceptual measures of speech naturalness and acoustic measures of pitch variability and DDK performance for a comprehensive evaluation of ataxic dysarthria. [ABSTRACT FROM AUTHOR]

Previous studies reported mixed findings on autistic individuals' pitch perception relative to neurotypical (NT) individuals. We investigated whether this may be partly due to individual differences in cognitive abilities by comparing their performance on various pitch perception tasks on a large sample (n = 164) of autistic and NT children and adults. Our findings revealed that: (i) autistic individuals either showed similar or worse performance than NT individuals on the pitch tasks; (ii) cognitive abilities were associated with some pitch task performance; and (iii) cognitive abilities modulated the relationship between autism diagnosis and pitch perception on some tasks. Our findings highlight the importance of taking an individual differences approach to understand the strengths and weaknesses of pitch processing in autism. [ABSTRACT FROM AUTHOR]

Multi-pitch perception is investigated in a listening test using 30 recordings of musical sounds with two tones played simultaneously, except for two gong sounds with inharmonic overtone spectra, judging roughness and separateness as the ability to tell the two tones in each recording apart. Of the sounds, 13 were from a Western guitar playing all 13 intervals in one octave, the other sounds were mainly from non-Western instruments, comparing familiar with unfamiliar instrument sounds for Western listeners. Additionally the sounds were processed in a cochlea model, transferring the mechanical basilar membrane motion into neural spikes followed by post-processing simulating different degrees of coincidence detection. Separateness perception showed a clear distinction between familiar and unfamiliar sounds, while roughness perception did not. By correlating perception with simulation different perception strategies were found. Familiar sounds correlated strongly positively with high degrees of coincidence detection, where only 3–5 periodicities were left, while unfamiliar sounds correlated with low coincidence levels. This corresponds to an attention to pitch and timbre, respectively. Additionally, separateness perception showed an opposite correlation between perception and neural correlates between familiar and unfamiliar sounds. This correlates with the perceptional finding of the distinction between familiar and unfamiliar sounds with separateness. [ABSTRACT FROM AUTHOR]

Purpose: The aim of this study was to translate and validate the "Music-Related Quality of Life Questionnaire" into Spanish (sMuRQoL) and assess its convergent validity and discriminative capacity by comparing its scores with the outcomes of the musical perception test Meludia. Methods: The sMuRQoL was completed by 129 patients: 55 cochlear implant (CI) users and 74 normal hearing (NH) individuals. Conducted in this study were an exploratory factor analysis, an evaluation of internal consistency, an assessment of score stability through test–retest reliability, a comparison of sMuRQoL scores between CI users and NH individuals and an examination of potential evidence of convergent validity and discriminative capacity of sMuRQoL in relation to other tools. This involved the comparison of the questionnaire scores with the Meludia outcomes. Results: The sMuRQoL demonstrated a two-dimensional structure. All the dimensions displayed high internal consistency (α = 0.879–0.945) and score stability (ICC = 0.890–0.942). There were significant differences in the Frequency test between NH and CI users (d = 1.19–1.45). There's evidence of convergent validity between the scores of the Frequency test and the results of Meludia (r = 0.242–0.645). Additionally, the Frequency test demonstrate a good discriminative capacity to identify patients with poorer musical perception. Conclusions: The sMuRQoL is a reliable questionnaire, with adequate evidence of validity based on internal structure. This study provides an accessible, cost-effective, and quick-to-administer instrument in Spanish, optimizing available healthcare resources and bringing us closer to the patient needs. [ABSTRACT FROM AUTHOR]

The present longitudinal study investigated the hypothesis that early musical skills (as measured by melodic and rhythmic perception and memory) predict later literacy development via a mediating effect of phonology. We examined 130 French‐speaking children, 31 of whom with a familial risk for developmental dyslexia (DD). Their abilities in the three domains were assessed longitudinally with a comprehensive battery of behavioral tests in kindergarten, first grade, and second grade. Using a structural equation modeling approach, we examined potential longitudinal effects from music to literacy via phonology. We then investigated how familial risk for DD may influence these relationships by testing whether atypical music processing is a risk factor for DD. Results showed that children with a familial risk for DD consistently underperformed children without familial risk in music, phonology, and literacy. A small effect of musical ability on literacy via phonology was observed, but may have been induced by differences in stability across domains over time. Furthermore, early musical skills did not add significant predictive power to later literacy difficulties beyond phonological skills and family risk status. These findings are consistent with the idea that certain key auditory skills are shared between music and speech processing, and between DD and congenital amusia. However, they do not support the notion that music perception and memory skills can serve as a reliable early marker of DD, nor as a valuable target for reading remediation. Research Highlights: Music, phonology, and literacy skills of 130 children, 31 of whom with a familial risk for dyslexia, were examined longitudinally.Children with a familial risk for dyslexia consistently underperformed children without familial risk in musical, phonological, and literacy skills.Structural equation models showed a small effect of musical ability in kindergarten on literacy in second grade, via phonology in first grade.However, early musical skills did not add significant predictive power to later literacy difficulties beyond phonological skills and family risk status. [ABSTRACT FROM AUTHOR]

Auditory scene analysis (ASA) is the process through which the auditory system makes sense of complex acoustic environments by organising sound mixtures into meaningful events and streams. Although music psychology has acknowledged the fundamental role of ASA in shaping music perception, no efficient test to quantify listeners' ASA abilities in realistic musical scenarios has yet been published. This study presents a new tool for testing ASA abilities in the context of music, suitable for both normal-hearing (NH) and hearing-impaired (HI) individuals: the adaptive Musical Scene Analysis (MSA) test. The test uses a simple 'yes–no' task paradigm to determine whether the sound from a single target instrument is heard in a mixture of popular music. During the online calibration phase, 525 NH and 131 HI listeners were recruited. The level ratio between the target instrument and the mixture, choice of target instrument, and number of instruments in the mixture were found to be important factors affecting item difficulty, whereas the influence of the stereo width (induced by inter-aural level differences) only had a minor effect. Based on a Bayesian logistic mixed-effects model, an adaptive version of the MSA test was developed. In a subsequent validation experiment with 74 listeners (20 HI), MSA scores showed acceptable test–retest reliability and moderate correlations with other music-related tests, pure-tone-average audiograms, age, musical sophistication, and working memory capacities. The MSA test is a user-friendly and efficient open-source tool for evaluating musical ASA abilities and is suitable for profiling the effects of hearing impairment on music perception. [ABSTRACT FROM AUTHOR]

The perception of time is a subjective experience influenced by various factors such as individual psychology, external stimuli, and personal experiences, and it is often assessed with the use of the reproduction task that involves individuals estimating and reproducing the duration of specific time intervals. In the current study, we examined the ability of 97 musically trained participants to reproduce the durations of temporal intervals that were filled with music or speech stimuli. The results revealed a consistent pattern of durations being underestimated, and an association was observed between the duration of musical training and the level of accuracy in reproducing both music and speech tracks. In addition, speech tracks were overall reproduced more accurately, and as longer, than music tracks. Structural models suggested the presence of two, highly correlated, dimensions of time perception for speech and music stimuli that were related to the duration of musical training, but not with self-reported rhythm perception. The possible effects of arousal and pleasantness of stimuli on time perception are discussed within the framework of an internal clock model. [ABSTRACT FROM AUTHOR]

Building on research demonstrating the benefits of music training for emotional prosody recognition in nontonal languages, this study delves into its unexplored influence on tonal languages. In tonal languages, the acoustic similarity between lexical tones and music, along with the dual role of pitch in conveying lexical and affective meanings, create a unique interplay. We evaluated 72 participants, half of whom had extensive instrumental music training, with the other half serving as demographically matched controls. All participants completed an online test consisting of 210 Chinese pseudosentences, each designed to express one of five emotions: happiness, sadness, fear, anger, or neutrality. Our robust statistical analyses, which included effect size estimates and Bayesian factors, revealed that music and nonmusic groups exhibit similar abilities in identifying the emotional prosody of various emotions. However, the music group attributed higher intensity ratings to emotional prosodies of happiness, fear, and anger compared to the nonmusic group. These findings suggest that while instrumental music training is not related to emotional prosody recognition, it does appear to be related to perceived emotional intensity. This dissociation between emotion recognition and intensity evaluation adds a new piece to the puzzle of the complex relationship between music training and emotion perception in tonal languages. [ABSTRACT FROM AUTHOR]

Timing cues such as interaural time differences (ITDs) and temporal pitch are pivotal for sound localization and source segregation, but their perception is degraded in cochlear-implant (CI) listeners as compared to normal-hearing listeners. In multi-electrode stimulation, intra-aural channel interactions between electrodes are assumed to be an important factor limiting access to those cues. The monaural asynchrony of stimulation timing across electrodes is assumed to mediate the amount of these interactions. This study investigated the effect of the monaural temporal electrode asynchrony (mTEA) between two electrodes, applied similarly in both ears, on ITD-based left/right discrimination sensitivity in five CI listeners, using pulse trains with 100 pulses per second and per electrode. Forward-masked spatial tuning curves were measured at both ears to find electrode separations evoking controlled degrees of across-electrode masking. For electrode separations smaller than 3 mm, results showed an effect of mTEA. Patterns were u/v-shaped, consistent with an explanation in terms of the effective pulse rate that appears to be subject to the well-known rate limitation in electric hearing. For separations larger than 7 mm, no mTEA effects were observed. A comparison to monaural rate-pitch discrimination in a separate set of listeners and in a matched setup showed no systematic differences between percepts. Overall, an important role of the mTEA in both binaural and monaural dual-electrode stimulation is consistent with a monaural pulse-rate limitation whose effect is mediated by channel interactions. Future CI stimulation strategies aiming at improved timing-cue encoding should minimize the stimulation delay between nearby electrodes that need to be stimulated successively. [ABSTRACT FROM AUTHOR]

Emotion studies have commonly reported impaired emotional processing in individuals with heightened anhedonic depressive symptoms, as typically measured by collecting single subjective ratings for a given emotional cue. However, the interindividual variation in moment-to-moment emotional reactivity, and associated time-varying brain networks recruitment as emotions are unfolding, remains unclear. In this study, we filled this gap by using the unique temporal characteristics of music to investigate behavioural and brain network dynamics as a function of anhedonic depressive symptoms severity. Thirty-one neurotypical participants aged 18–30 years completed anhedonic depression questionnaires and then continuously rated happy, neutral and sad pieces of music whilst undergoing MRI scanning. Using a unique combination of dynamic approaches to behavioural (i.e., emotion dynamics) and fMRI (i.e., leading eigenvector dynamics analysis; LEiDA) data analysis, we found that participants higher in anhedonic depressive symptoms exhibited increased recruitment of attentional networks and blunted emotional response to both happy and sad musical excerpts. Anhedonic depression mediated the relationship between attentional networks recruitment and emotional blunting, and the elevated recruitment of attentional networks during emotional pieces of music carried over into subsequent neutral music. Future studies are needed to investigate whether these findings could be generalised to a clinical population (i.e., major depressive disorder). [ABSTRACT FROM AUTHOR]

This summary is about an editorial titled "The musical brain, volume II" published in Frontiers in Neuroscience. The editorial discusses the complex interactions between music and the human brain, exploring various neural circuits and networks involved in sensory perception, attention, learning, memory, emotion, aesthetics, and motor skills related to music. It highlights the growing interest in studying the representation of music in the brain and presents a research topic that covers a range of neuroscience and psychoacoustics topics related to music perception and sound. The editorial also mentions the exploration of the healing potential of music and includes brief introductions to seven contributions in the research topic. Additionally, the summary briefly describes three articles related to the perception and processing of music, which contribute to our understanding of various aspects of music perception and processing. [Extracted from the article]

External motivational stimuli have been shown to improve athletic performance. However, the neurophysiological mechanisms underlying this improvement remain poorly understood. This randomized crossover study investigated the effects of music and verbal encouragement on measures of muscle excitation and myoelectric manifestations of fatigue in the biceps brachii and brachioradialis muscles during an endurance task. Fifteen untrained (mean age 29.57 ± 2.77 years) and 13 trained individuals (mean age 32.92 ± 2.90 years) were included. The endurance task, performed to exhaustion, consisted of keeping the dominant arm flexed to 90 degrees while holding a dumbbell loaded to 80% of 1RM with a supine grip in three randomized conditions: standard, with self-selected music, and with verbal encouragement. The untrained subjects showed an increase in task duration of 15.26% (p < 0.003) with music and 15.85% (p < 0.002) with verbal encouragement compared to the condition without external stimuli. There were no significant differences in the myoelectric manifestations of fatigue between the different conditions. Regarding the muscle excitation metrics, although the mean amplitude, peak value, and area under the curve remained unchanged across conditions, a significant reduction in the trend coefficient, indicating motor unit recruitment over time, was observed with both music (biceps brachii: −10.39%, p < 0.001; brachioradialis: −9.40%, p < 0.001) and verbal encouragement (biceps brachii: −7.61%, p < 0.001; brachioradialis: −6.51%, p < 0.001) compared to the standard condition. For the trained participants, no significant differences were observed between conditions in terms of task duration and outcome measures related to muscle excitation and myoelectric manifestations of fatigue, suggesting the possible presence of a ceiling effect on motivation. These results highlight the important role of external motivational stimuli, such as music and verbal encouragement, in improving task performance in untrained subjects, probably through more effective and efficient recruitment of motor units. [ABSTRACT FROM AUTHOR]

This research discusses that cognitive processes such as memory, attention and creativity differ in students and professionals, among musicians and non-musicians, dealing with musical performance. The purpose of the study was to evaluate and compare the role of memory, attention and creativity as cognitive processes in musical performance, focusing on the differences between non-musicians and musicians. The sample involved 400 individuals, students and professionals, specialising in music and economics. The research instruments used by the scholars were the Wechsler Memory Scale, the Conners Performance Test, and the Torrance Tests of Creative Thinking. Musical students possessed better-developed auditory and short-term memory, while professional musicians had better auditory, visual working and short-term memory. Analysis of attention reveals that music students score better than non-musicians on all four aspects: inattention, impulsivity, sustained attention, and vigilance. For professionals, the key aspects are impulsivity and sustained attention with better results revealed in musicians. Creative thinking was the only factor where the differences were statistically significant in all five scales and the findings proved that creativity was better developed among musicians. This study provides an in-depth analysis and adds new knowledge to existing literature and empirical data on the cognitive processes associated with musical performance, focusing on memory, attention and creativity. By examining the differences between non-musicians and musicians, as well as students and professionals, the study provides insight into how musical performance can be used as a way to develop these cognitive processes. [ABSTRACT FROM AUTHOR]

Voices arguably occupy a superior role in auditory processing. Specifically, studies have reported that singing voices are processed faster and more accurately and possess greater salience in musical scenes compared to instrumental sounds. However, the underlying acoustic features of this superiority and the generality of these effects remain unclear. This study investigates the impact of frequency micro-modulations (FMM) and the influence of interfering sounds on sound recognition. Thirty young participants, half with musical training, engage in three sound recognition experiments featuring short vocal and instrumental sounds in a go/no-go task. Accuracy and reaction times are measured for sounds from recorded samples and excerpts of popular music. Each sound is presented in separate versions with and without FMM, in isolation or accompanied by a piano. Recognition varies across sound categories, but no general vocal superiority emerges and no effects of FMM. When presented together with interfering sounds, all sounds exhibit degradation in recognition. However, whereas /a/ sounds stand out by showing a distinct robustness to interference (i.e., less degradation of recognition), /u/ sounds lack this robustness. Acoustical analysis implies that recognition differences can be explained by spectral similarities. Together, these results challenge the notion of general vocal superiority in auditory perception. [ABSTRACT FROM AUTHOR]

Purpose: We investigated speech and nonspeech auditory processing of temporal and spectral cues in people who do and do not stutter. We also asked whether self-reported stuttering severity was predicted by performance on the auditory processing measures. Method: People who stutter (n = 23) and people who do not stutter (n = 28) completed a series of four auditory processing tasks online. These tasks consisted of speech and nonspeech stimuli differing in spectral or temporal cues. We then used independent-samples t-tests to assess differences in phonetic categorization slopes between groups and linear mixed-effects models to test differences in nonspeech auditory processing between stuttering and nonstuttering groups, and stuttering severity as a function of performance on all auditory processing tasks. Results: We found statistically significant differences between people who do and do not stutter in phonetic categorization of a continuum differing in a temporal cue and in discrimination of nonspeech stimuli differing in a spectral cue. A significant proportion of variance in self-reported stuttering severity was predicted by performance on the auditory processing measures. Conclusions: Taken together, these results suggest that people who stutter process both speech and nonspeech auditory information differently than people who do not stutter and may point to subtle differences in auditory processing that could contribute to stuttering. We also note that these patterns could be the consequence of listening to one's own speech, rather than the cause of production differences. [ABSTRACT FROM AUTHOR]

The objective of this study was to investigate the impact of music training on the processing of temporal order in Mandarin sentence reading using event-related potentials (ERPs). Two-clause sentences with temporal connectives ("before" or "after") were presented to both musicians and non-musicians. Additionally, a verbal N-back task was utilized to evaluate the participants' working memory capacities. The findings revealed that musicians, but not nonmusicians, demonstrated a more negative amplitude in the second clauses of "before" sentences compared with "after" sentences. In the N-back task, musicians exhibited faster reaction times than nonmusicians in the two-back condition. Furthermore, a correlation was observed between the ERP amplitude differences (before vs. after) and reaction time differences in the N-back task (0-back vs. 2-back) among musicians. These findings suggested that music training enhances the depth of temporal order processing, potentially mediated by improvements in working memory capacity. [ABSTRACT FROM AUTHOR]

Background: Understanding the nature and extent of sensorimotor decline in aging individuals and those with neurocognitive disorders (NCD), such as Alzheimer's disease, is essential for designing effective music-based interventions. Our understanding of rhythmic functions remains incomplete, particularly in how aging and NCD affect sensorimotor synchronization and adaptation to tempo changes. Objective: This study aimed to investigate how aging and NCD severity impact tapping to metronomes and music, with and without tempo changes. Methods: Patients from a memory clinic participated in a tapping task, synchronizing with metronomic and musical sequences, some of which contained sudden tempo changes. After exclusions, 51 patients were included in the final analysis. Results: Participants' Mini-Mental State Examination scores were associated with tapping consistency. Additionally, age negatively influenced consistency when synchronizing with a musical beat, whereas consistency remained stable across age when tapping with a metronome. Conclusions: The results indicate that the initial decline of attention and working memory with age may impact perception and synchronization to a musical beat, whereas progressive NCD-related cognitive decline results in more widespread sensorimotor decline, affecting tapping irrespective of audio type. These findings underline the importance of customizing rhythm-based interventions to the needs of older adults and individuals with NCD, taking into consideration their cognitive as well as their rhythmic aptitudes. [ABSTRACT FROM AUTHOR]

Background: A common complaint in older adults is trouble with their memory, especially for new information. Current knowledge about normal aging and changes in memory identify a divide between memory tasks that are unaffected by aging and those that are. Among the unaffected are recognition tasks. These memory tasks rely on accessing well-known information, often include environmental support, and tend to be automatic. Negative age effects on memory are often observed at both encoding and during recall. Older adults often have difficulty with recall tasks, particularly those that require effortful self-initiated processing, episodic memory, and retention of information about contextual cues. Research in memory for music in healthy aging suggests a skill-invariance hypothesis: that age effects dominate when general-purpose cognitive mechanisms are needed to perform the musical task at hand, while experience effects dominate when music-specific knowledge is needed to perform the task [1]. Aims: The goals of this pair of studies were to investigate the effects of age and familiarity on musical memory in the context of real pieces of music, and to compare a live concert experimental setting with a lab-based experimental setting. Method: Participants' task was to click a button (or press the spacebar) when they heard the target theme in three pieces of music. One was Mozart's Eine Kleine Nachtmusik and the others were original pieces commissioned for this study, one tonal and one atonal. Participants heard the relevant theme three times before listening to a piece of music. The music was performed by the Newfoundland Symphony Orchestra; participants either attended the concert, or watched a recording of the concert in the lab. Participants also completed two short cognitive tests and filled out a questionnaire collecting demographic information and a hearing abilities self-assessment. Results: We find a significant effect of familiarity and setting but not of age or musical training on recognition performance as measured by d'. More specifically, performance is best for the familiar, tonal piece, moderate for the unfamiliar tonal piece and worst for the unfamiliar atonal piece. Performance was better in the live setting than the lab setting. Conclusions: The absence of an age effect provides encouraging evidence that music's diverse cues may encourage cognitive scaffolding, in turn improving encoding and subsequent recognition. Better performance in an ecological versus lab setting supports the expansion of ecological studies in the field. [ABSTRACT FROM AUTHOR]

Background: Music learning induces significant neural changes, enhancing auditory, verbal, and visuospatial skills, IQ, and speech perception. Research studies reveal structural and functional brain plasticity due to music training in adults and children. While musical abilities are linked to formal training, the existence of "musical sleepers" with heightened speech perception without formal training is noteworthy in adults. This study addresses the gap in understanding such phenomena in children, exploring psychophysical abilities in musically adept children, and aiming to impact rehabilitation models. Materials and method: A pre-experimental study involved 164 typically developing children (mean age: 9.93) without musical training. Musical abilities were evaluated using the abbreviated version of Montreal Battery for Evaluation of Musical Abilities (MBEMA) test in DMDX software, covering melody, rhythm, and memory subtests. Psychophysical tests in MATLAB assessed temporal, frequency, intensity, timbre, and binaural resolution. Results: Using a median split based on MBEMA test scores (median: 42), 84 children exhibited poor musical abilities, while 80 showed good ones. Descriptive statistics for MBEMA scores and psychophysical tests were conducted. As data did not follow normal distribution, non-parametric inferential statistics were employed. Mann–Whitney U tests revealed significant differences favouring good musical abilities in all assessments: gap deduction (p = 0.01), pitch discrimination at 500 Hz and 4 kHz (p = 0.00), intensity discrimination at 500 Hz (p = 0.00) and 4 kHz (p = 0.01), profile analysis (p = 0.01), interaural level difference (p = 0.023), and interaural time difference (p = 0.038). Spearman correlation showed highest correlation with pitch discrimination at 500 Hz (r = − 0.538), 4 kHz (− 0.416), intensity discrimination at 4 kHz (r = − 0.367), and 500 Hz (r = − 0.311), profile analysis (r = − 0.313), interaural level difference (r = − 0.276), and gap deduction (r = − 0.235). All were significant (p < 0.01), except for the interaural time difference. Conclusion: Children excelling in music surpassed those with weaker abilities in psychophysical tasks. This echoes past research, underscoring auditory discrimination's influence on musical skills in untrained children. These results potentially support the concept of musical sleepers in children. Key predictors include pitch discrimination, while interaural time difference exhibited minimal correlation. Utilising such assessments may predict musical training outcomes for children with auditory disorders, but additional robust statistical investigation is necessary. [ABSTRACT FROM AUTHOR]

Music is ubiquitous, both in its instrumental and vocal forms. While speech perception at birth has been at the core of an extensive corpus of research, the origins of the ability to discriminate instrumental or vocal melodies is still not well investigated. In previous studies comparing vocal and musical perception, the vocal stimuli were mainly related to speaking, including language, and not to the non‐language singing voice. In the present study, to better compare a melodic instrumental line with the voice, we used singing as a comparison stimulus, to reduce the dissimilarities between the two stimuli as much as possible, separating language perception from vocal musical perception. In the present study, 45 newborns were scanned, 10 full‐term born infants and 35 preterm infants at term‐equivalent age (mean gestational age at test = 40.17 weeks, SD = 0.44) using functional magnetic resonance imaging while listening to five melodies played by a musical instrument (flute) or sung by a female voice. To examine the dynamic task‐based effective connectivity, we employed a psychophysiological interaction of co‐activation patterns (PPI‐CAPs) analysis, using the auditory cortices as seed region, to investigate moment‐to‐moment changes in task‐driven modulation of cortical activity during an fMRI task. Our findings reveal condition‐specific, dynamically occurring patterns of co‐activation (PPI‐CAPs). During the vocal condition, the auditory cortex co‐activates with the sensorimotor and salience networks, while during the instrumental condition, it co‐activates with the visual cortex and the superior frontal cortex. Our results show that the vocal stimulus elicits sensorimotor aspects of the auditory perception and is processed as a more salient stimulus while the instrumental condition activated higher‐order cognitive and visuo‐spatial networks. Common neural signatures for both auditory stimuli were found in the precuneus and posterior cingulate gyrus. Finally, this study adds knowledge on the dynamic brain connectivity underlying the newborns capability of early and specialized auditory processing, highlighting the relevance of dynamic approaches to study brain function in newborn populations. [ABSTRACT FROM AUTHOR]

This paper explored the effectiveness of ensemble performance on the development of adolescent's life skills. An explorative qualitative study investigated young musicians' self-perception about the benefits and challenges of learning and playing music together. A convenience sampling technique was adopted for interviewing 15 adolescents (12–18 years old) who participated in a long-term music education programme led by a charity in the North-West of England. The data were analysed using NVivo, employing a thematic analysis approach. Two main themes emerged from the analyses: (1) the main benefits of playing and learning in an ensemble: the development of music and life skills; (2) the challenges experienced by the musicians learning in the ensemble. The findings suggest that participants were conscious of the positive effects of playing in an ensemble on their lives. This extended beyond merely learning a musical instrument, i.e. acquiring music skills. In particular, young musicians recognised they had developed greater self-confidence and cognitive skills such as critical thinking and self-awareness. Primarily, they developed effective communication and interpersonal skills. At the same time, these young musicians recognised they had to face challenges related to the process of learning music in an ensemble, such as managing emotions of frustration and adapting to different music learning styles and techniques. Finally, suggestions are made for the implementation and evaluation of future projects to explore the impact and effectiveness of classical music programmes, with a particular emphasis on ensemble-based initiatives and their influence on life skills. [ABSTRACT FROM AUTHOR]

Objectives: To investigate the association of musical activity with mental health during the COVID-19 pandemic. Methods: A total of 3,666 participants reported their musical activity before and mental health indicators before and during the pandemic. Depression was assessed with the Patient Health Questionnaire, anxiety with the Generalized Anxiety Disorder scale. The association between mental health scores and musical activities was investigated using linear regression. Results: Within the last 12 months, 22.1% of the participants reported musical activity (15.1% singing, 14.5% playing an instrument). Individuals with frequent singing as their main musical activity had higher scores before the pandemic than non-musicians and the worsening during the pandemic was more pronounced compared to non-musicians. Instrumentalists tended to have slightly lower scores than non-musicians indicating a possible beneficial effect of playing an instrument on mental health. Conclusion: The pandemic led to a worsening of mental health, with singers being particularly affected. Singers showed poorer mental health before the pandemic. The tendency for instrumentalists to report lower depression scores compared to non-musicians may support the hypothesis that music-making has a beneficial effect on health. [ABSTRACT FROM AUTHOR]

Objective Auditory processing disorder (APD) tests, based on the deviation of results from standard benchmarks, can distinguish children suspected of having APD. Some of these tests directly relate to the ability to discriminate sound pitch, while others may be indirectly affected. Accordingly, this study investigates the impact of pitch discrimination-based rehabilitation on diagnostic indices of APD tests. Materials & Methods In this study, we selected 19 children suspected of APD who were identified based on tests of pitch pattern, dichotic digits, and monaural selective auditory attention as the intervention group. These children received pitch discrimination-based training, for about three months, two to three sessions a week, each session up to 1 h. After completing the rehabilitation phases, diagnostic tests were administered again. We also selected 26 children with similar diagnostic criteria for APD as the control group. No intervention was applied to this group, and after a comparable period to the intervention group, diagnostic tests were re-administered. The results before and after the interventions were compared within the intervention group and with the 26 children in the control group. Results The rehabilitation showed significant improvements in the pitch pattern and monaural selective auditory attention tests. In the monaural selective auditory attention test, significant improvements were observed in both ears (P=0.001). In the pitch pattern test, effective improvements were also observed for both ears (P=0.001). The effects were such that nearly 37% of children suspected of APD, based on the diagnostic criteria used in the study, no longer met the criteria for this disorder. Hence, if the same tests are re-administered to them, these children will be diagnosed as having no auditory processing disorder. Conclusion Discrimination-based rehabilitation impacts the results of APD tests. Accordingly, some children who are classified as suspected auditory processing disorder with such tests, are removed from this subgroup after the intervention. [ABSTRACT FROM AUTHOR]

A large body of research establishes the efficacy of musical intervention in many aspects of physical, cognitive, communication, social, and emotional rehabilitation. However, the underlying neural mechanisms for musical therapy remain elusive. This study aimed to investigate the potential neural correlates of musical therapy, focusing on the changes in the topology of emotion brain network. To this end, a Bayesian statistical approach and a cross-over experimental design were employed together with two resting-state magnetoencephalography (MEG) as controls. MEG recordings of 30 healthy subjects were acquired while listening to five auditory stimuli in random order. Two resting-state MEG recordings of each subject were obtained, one prior to the first stimulus (pre) and one after the final stimulus (post). Time series at the level of brain regions were estimated using depth-weighted minimum norm estimation (wMNE) source reconstruction method and the functional connectivity between these regions were computed. The resultant connectivity matrices were used to derive two topological network measures: transitivity and global efficiency which are important in gauging the functional segregation and integration of brain network respectively. The differences in these measures between pre- and post-stimuli resting MEG were set as the equivalence regions. We found that the network measures under all auditory stimuli were equivalent to the resting state network measures in all frequency bands, indicating that the topology of the functional brain network associated with emotional regulation in healthy subjects remains unchanged following these auditory stimuli. This suggests that changes in the emotion network topology may not be the underlying neural mechanism of musical therapy. Nonetheless, further studies are required to explore the neural mechanisms of musical interventions especially in the populations with neuropsychiatric disorders. [ABSTRACT FROM AUTHOR]

Timbre is a central aspect of music that allows listeners to identify musical sounds and conveys musical emotion, but also allows for the recognition of actions and is an important structuring property of music. The former functions are known to be implemented in a ventral auditory stream in processing musical timbre. While the latter functions are commonly attributed to areas in a dorsal auditory processing stream in other musical domains, its involvement in musical timbre processing is so far unknown. To investigate if musical timbre processing involves both dorsal and ventral auditory pathways, we carried out an activation likelihood estimation (ALE) meta-analysis of 18 experiments from 17 published neuroimaging studies on musical timbre perception. We identified consistent activations in Brodmann areas (BA) 41, 42, and 22 in the bilateral transverse temporal gyri, the posterior superior temporal gyri and planum temporale, in BA 40 of the bilateral inferior parietal lobe, in BA 13 in the bilateral posterior Insula, and in BA 13 and 22 in the right anterior insula and superior temporal gyrus. The vast majority of the identified regions are associated with the dorsal and ventral auditory processing streams. We therefore propose to frame the processing of musical timbre in a dual-stream model. Moreover, the regions activated in processing timbre show similarities to the brain regions involved in processing several other fundamental aspects of music, indicating possible shared neural bases of musical timbre and other musical domains. [ABSTRACT FROM AUTHOR]

The study investigates the temporal perceptions of the listeners within the structural framework of North Indian Classical Music exploring the connection between the present-day ragas and the time theory that exists. A pilot study was conducted with twenty diverse participants. The study examines the contemporary relevance of the time theory of ragas, assessing their alignment with the traditional temporal associations and thereby exploring the perceptions of the listeners. The results demonstrated the aspects of the temporal perception that are influenced by factors such as preferences of music, cultural knowledge, upbringing, musical training, etc. The study contributes to understanding of the traditional time theory of the ragas and its complex interactions with the listeners. [ABSTRACT FROM AUTHOR]

The paper investigates pre-service primary general teacher-students’ perceptions of how music can act as a stimulus for writing, through short story group writing activities. More specifically, we look at their attitudes regarding i) team collaboration, ii) the enhancement of their creativity, iii) classroom atmosphere, iv) the suitability of the activities for their implementation in primary school classes in the future and v) the advantages the use of music can have for language development. In our study, pre-service primary general teacher-students’ views were shaped by the experiences they gained from their participation in group activities which were implemented as part of an undergraduate elective course, entitled “Music Education”. The participants recorded their ideas on worksheets. Data were collected through observation, diaries and questionnaires with open and closed-ended questions. The results revealed that the pre-service primary general teacher-students had a positive attitude towards story inventing and story writing activities based on musical stimuli. Such activities boosted their creativity and gave them the opportunity to develop their teamwork skills as well as to participate in a pleasant and innovative classroom atmosphere. Finally, they were positive about the suitability of the activities for their future students and the advantages the use of music can have in language lessons for teachers, students and the educational process. [ABSTRACT FROM AUTHOR]

An automatic composition system that includes music generation and music assessment is designed in this paper. In terms of music generation, we modify the Transformer-XL model for generating music. The Mask mechanism based on Transformer-XL is improved to make the attention of model tend to pay on the bidirectional information, so that the generated popular piano music forms a coherent whole. In terms of music assessment, we combine objective and subjective assessment to judge the generated music in a comprehensive way. Meanwhile, we put forward a new objective assessment method, namely the piano roll classification scoring network. It converts music into pictures and uses classification models in the CV, enabling the network itself to classify and score the generated music. The assessment results from subjective and objective experiments show that by improving the Mask mechanism of Transformer-XL, the model is trained to be better and the generated music could achieve the effect of imitating the real music. [ABSTRACT FROM AUTHOR]

This research, carried out between 2020 and 2021, involves an online questionnaire and individual interviews with undergraduate music students at universities and conservatoires in the UK, to examine student experiences of receiving and delivering instrumental and singing tuition. There is no regulation of instrumental teaching in the UK, and individuals are able to teach without formal training or qualification. Existing literature suggests that musicians often begin teaching while still in education, though there is limited research concerning the experience of this process. This research confirms that students are involved in delivering instrumental and singing lessons before and during their undergraduate studies, often beginning with peer learning initiatives in school or 'helping' family and friends. The study identifies positive perceptions of the role of teaching in portfolio careers in music and highlights the influence of both instrumental teachers and classroom music teachers in shaping understandings and providing guidance and opportunities for students. [ABSTRACT FROM AUTHOR]

This article examines the connection between Johann Sebastian Bach's hands and his musical notation. It challenges the traditional view that notation is solely a visual representation of sound and argues for a broader interpretation that considers the physicality embedded in musical notation. The article explores Bach's handwriting and the embodied practice of music-making, emphasizing the role of his hands in his musical activities. It suggests that musical notation should be seen as a somatic script that influences bodily engagement. The text also discusses the relationship between neural processes and hand movements, highlighting the integrated cognitive system formed by the hand and the brain. It emphasizes the importance of considering the physicality and materiality of written documents, rather than focusing solely on their linguistic and semantic meanings. The article also explores the relationship between the physicality of keyboard playing and the abstract nature of Bach's music, highlighting the symbiotic relationship between the body, instrument, and musical gestures in his compositions. It discusses how Bach's musical notation reflects the physical actions of a performer's hands and fingers, capturing the physical gestures and bodily actions involved in playing the music. The text also explores the process of writing music in Bach's time, emphasizing the materiality of the tools used and the physical engagement of the arms and hands. It argues that the notation serves as a tangible representation of the physicality and embodied nature of musical performance. The article delves into the use of beaming and stem notation in Bach's music, particularly in his Well-Tempered Clavier, and how these visual elements [Extracted from the article]

Most individuals, regardless of formal musical training, have long-term absolute pitch memory (APM) for familiar musical recordings, though with varying levels of accuracy. The present study followed up on recent evidence suggesting an association between singing accuracy and APM (Halpern & Pfordresher, 2022, Attention, Perception, & Psychophysics, 84(1), 260–269), as well as tonal short-term memory (STM) and APM (Van Hedger et al., 2018, Quarterly Journal of Experimental Psychology, 71(4), 879–891). Participants from three research sites (n = 108) completed a battery of tasks including APM, tonal STM, singing accuracy, and self-reported auditory imagery. Both tonal STM and singing accuracy predicted APM, replicating prior results. Tonal STM also predicted singing accuracy, music training, and auditory imagery. Further tests suggested that the association between APM and singing accuracy was fully mediated by tonal STM. This pattern comports well with models of vocal pitch matching that include STM for pitch as a mechanism for sensorimotor translation. [ABSTRACT FROM AUTHOR]