Search

Introduction and Objective: Music is a universal, cross-cultural phenomenon. Perception and enjoyment of music are still not solved with current technological objectives of cochlear implants. The objective of this article was to advance the development and validation of a method of programming of cochlear implants that implements a frequency allocation strategy. We compared standard programming vs frequency programming in every subject., Methods: We studied a total of 40 patients with cochlear implants. Each patient was programmed with a optimal version of the standard program, using the Custom Sound Suite 3.2 cochlear platform. Speech tests in quiet were performed using syllable word lists from the protocol for the assessment of hearing in the Spanish language. Patients implanted bilaterally were tested in both ears at the same time. For assessing music listening habits we used the Munich Music Questionnaire and «MACarena»(minimum auditory capability) software., Results: All patients achieved better results in recognition, instrument tests and tonal scales with frequency programming (P<.005). Likewise, there were better results with frequency programming in recognising harmonics and pitch test (P<.005)., Conclusions: Frequency programming achieves better perception and recognition results in patients in comparison with standard programming. Bilateral stimulation patients have better perception of musical patterns and better performance in recognition of tonal scales, harmonics and musical instruments compared with patients with unilateral stimulation. Modification and frequency allocation during programming allows decreased levels of current intensity and increase the dynamic range, which allows mapping of each audio band less obtrusively and improves the quality of representation of the signal., (Copyright © 2013 Elsevier España, S.L.U. y Sociedad Española de Otorrinolaringología y Patología Cérvico-Facial. All rights reserved.)

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]

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]

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]

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]

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]

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]

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]

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]

Purpose: The present study examined whether participants respond to unperturbed parameters while experiencing specific perturbations in auditory feedback. For instance, we aim to determine if speakers adjust voice loudness when only pitch is artificially altered in auditory feedback. This phenomenon is referred to as the “accompanying effect” in the present study. Method: Thirty native Mandarin speakers were asked to sustain the vowel /ɛ/ for 3 s while their auditory feedback underwent single shifts in one of the three distinct ways: pitch shift (±100 cents; coded as PT), loudness shift (±6 dB; coded as LD), or first formant (F1) shift (±100 Hz; coded as FM). Participants were instructed to ignore the perturbations in their auditory feedback. Response types were categorized based on pitch, loudness, and F1 for each individual trial, such as Popp_Lopp_Fopp indicating opposing responses in all three domains. Results: The accompanying effect appeared 93% of the time. Bayesian Poisson regression models indicate that opposing responses in all three domains (Popp_Lopp_Fopp) were the most prevalent response type across the conditions (PT, LD, and FM). The more frequently used response types exhibited opposing responses and significantly larger response curves than the less frequently used response types. Following responses became more prevalent only when the perturbed stimuli were perceived as voices from someone else (external references), particularly in the FM condition. In terms of isotropy, loudness and F1 tended to change in the same direction rather than loudness and pitch. Conclusion: The presence of the accompanying effect suggests that the motor systems responsible for regulating pitch, loudness, and formants are not entirely independent but rather interconnected to some degree. [ABSTRACT FROM AUTHOR]

Time discrimination, a critical aspect of auditory perception, is influenced by numerous factors. Previous research has suggested that musical experience can restructure the brain, thereby enhancing time discrimination. However, this phenomenon remains underexplored. In this study, we seek to elucidate the enhancing effect of musical experience on time discrimination, utilizing both behavioral and electroencephalogram methodologies. Additionally, we aim to explore, through brain connectivity analysis, the role of increased connectivity in brain regions associated with auditory perception as a potential contributory factor to time discrimination induced by musical experience. The results show that the music‐experienced group demonstrated higher behavioral accuracy, shorter reaction time, and shorter P3 and mismatch response latencies as compared to the control group. Furthermore, the music‐experienced group had higher connectivity in the left temporal lobe. In summary, our research underscores the positive impact of musical experience on time discrimination and suggests that enhanced connectivity in brain regions linked to auditory perception may be responsible for this enhancement. [ABSTRACT FROM AUTHOR]

Music information retrieval (MIR) is an interdisciplinary research field that focuses on the extraction, processing, and knowledge discovery of information contained in music. While previous studies have utilized Spotify audio features and Last.fm tags as input values for classification tasks, such as music genre recognition, their potential as target values has remained unexplored. In this article, we address this notable gap in the research landscape by proposing a novel approach to predict Spotify audio features based on a set of Last.fm tags. By predicting audio features, we aim to explore the relationship between subjective perception and concrete musical features, shedding light on patterns and hidden correlations between how music is perceived, consumed, and discovered. Additionally, the predicted audio features can be leveraged in recommendation systems to provide users with explainable recommendations, bridging the gap between algorithmic suggestions and user understanding. Our experiments involve training models such as GPT-2, XGBRegressor, and Bayesian Ridge regressor to predict Spotify audio features from Last.fm tags. Through our findings, we contribute to the advancement of MIR research by demonstrating the potential of Last.fm tags as target values and paving the way for future research on the connection between subjective and objective music characterization. Our approach holds promise for both listeners and researchers, offering new insights into the intricate relationship between perception and audio signal in music. Our study aims to explore the feasibility and efficacy of this unique approach, where we intentionally refrain from using traditional audio-based or metadata-driven methods. [ABSTRACT FROM AUTHOR]

Background and aims: Fascinations for or aversions to particular sounds are a familiar feature of autism, as is an ability to reproduce another person's utterances, precisely copying the other person's prosody as well as their words. Such observations seem to indicate not only that autistic people can pay close attention to what they hear, but also that they have the ability to perceive the finer details of auditory stimuli. This is consistent with the previously reported consensus that absolute pitch is more common in autistic individuals than in neurotypicals. We take this to suggest that autistic people have perception that allows them to pay attention to fine details. It is important to establish whether or not this is so as autism is often presented as a deficit rather than a difference. We therefore undertook a narrative literature review of studies of auditory perception, in autistic and nonautistic individuals, focussing on any differences in processing linguistic and nonlinguistic sounds. Main contributions: We find persuasive evidence that nonlinguistic auditory perception in autistic children differs from that of nonautistic children. This is supported by the additional finding of a higher prevalence of absolute pitch and enhanced pitch discriminating abilities in autistic children compared to neurotypical children. Such abilities appear to stem from atypical perception, which is biased toward local-level information necessary for processing pitch and other prosodic features. Enhanced pitch discriminating abilities tend to be found in autistic individuals with a history of language delay, suggesting possible reciprocity. Research on various aspects of language development in autism also supports the hypothesis that atypical pitch perception may be accountable for observed differences in language development in autism. Conclusions: The results of our review of previously published studies are consistent with the hypothesis that auditory perception, and particularly pitch perception, in autism are different from the norm but not always impaired. Detail-oriented pitch perception may be an advantage given the right environment. We speculate that unusually heightened sensitivity to pitch differences may be at the cost of the normal development of the perception of the sounds that contribute most to early language development. Implications: The acquisition of speech and language may be a process that normally involves an enhanced perception of speech sounds at the expense of the processing of nonlinguistic sounds, but autistic children may not give speech sounds this same priority. [ABSTRACT FROM AUTHOR]

Musical training has been linked to changes in early attentional and perceptual processing. Thus, such an altered attentional and perceptual processing has enabled musicians to judge the duration differently than non-musicians. Although these claims seem intriguing, there are many questions that are not addressed yet, for example, how would the performance of musically-trained differ from that of untrained on visual and auditory temporal judgments? Is there any advantage to musically-trained person in temporal processing? To understand these questions, we thus conducted a series of Auditory and Visual Temporal Bisection Tasks on 32 musically-trained and 32 musically-untrained participants. We hypothesized that if music training modulates general sensitivity to temporal dimensions, then the temporal judgments of musically-trained participants would differ from those of untrained participants in both visual and auditory tasks. Each participant performed a total of 140 trials (70 visual and 70 auditory) in two different blocks. For each participant, a Point of Subjective Equality (PSE) was obtained for visual and auditory conditions. The findings revealed a significant modality effect on time perception, with auditory stimuli being consistently overestimated compared to visual stimuli. Surprisingly, the musically-trained group exhibited a tendency to underestimate duration relative to the musically-untrained participants. Although these results may appear counterintuitive at first glance, a detailed analysis indicates that the length of musical training plays a significant role in modulating temporal processing within the musically-trained group. [ABSTRACT FROM AUTHOR]

Music training is associated with better beat processing in the auditory modality. However, it is unknown how rhythmic training that emphasizes visual rhythms, such as dance training, might affect beat processing, nor whether training effects in general are modality specific. Here we examined how music and dance training interacted with modality during audiovisual integration and synchronization to auditory and visual isochronous sequences. In two experiments, musicians, dancers, and controls completed an audiovisual integration task and an audiovisual target-distractor synchronization task using dynamic visual stimuli (a bouncing figure). The groups performed similarly on the audiovisual integration tasks (Experiments 1 and 2). However, in the finger-tapping synchronization task (Experiment 1), musicians were more influenced by auditory distractors when synchronizing to visual sequences, while dancers were more influenced by visual distractors when synchronizing to auditory sequences. When participants synchronized with whole-body movements instead of finger-tapping (Experiment 2), all groups were more influenced by the visual distractor than the auditory distractor. Taken together, this study highlights how training is associated with audiovisual processing, and how different types of visual rhythmic stimuli and different movements alter beat perception and production outcome measures. Implications for the modality appropriateness hypothesis are discussed. [ABSTRACT FROM AUTHOR]

Many autistic children show musical interests and good musical skills including pitch and melodic memory. Autistic children may also perceive temporal regularities in music such as the primary beat underlying the rhythmic structure of music given some work showing preserved rhythm processing in the context of basic, nonverbal auditory stimuli. The temporal regularity and prediction of musical beats can potentially serve as an excellent framework for building skills in non-musical areas of growth for autistic children. We examine if autistic children are perceptually sensitive to the primary beat of music by comparing the musical beat perception skills of autistic and neurotypical children. Twenty-three autistic children and 23 neurotypical children aged 6–13 years with no group differences in chronological age and verbal and nonverbal mental ages completed a musical beat perception task where they identified whether beeps superimposed on musical excerpts were on or off the musical beat. Overall task performance was above the theoretical chance threshold of 50% but not the statistical chance threshold of 70% across groups. On-beat (versus off-beat) accuracy was higher for the autistic group but not the neurotypical group. The autistic group was just as accurate at detecting beat alignments (on-beat) but less precise at detecting beat misalignments (off-beat) compared to the neurotypical group. Perceptual sensitivity to beat alignments provides support for spared music processing among autistic children and informs on the accessibility of using musical beats and rhythm for cultivating related skills and behaviours (e.g., language and motor abilities). [ABSTRACT FROM AUTHOR]

Objective: Music has a complex structure consisting of auditory elements such as sound, rhythm and melody. The ability to perceive, understand and evaluate music is among the auditory skills. This study aims to investigate the effects of musical interest on temporal pattern recognition, auditory processing, and cognitive skills in young adults with normal hearing. Material and Methods: The study included sixty volunteer young adults with normal hearing between the ages of 18-30 ages. Young adults were divided into two groups, below (n=30) and above (n=30) average, according to their "Music Interest Scale" scores. "Frequency and Duration Pattern Tests" were applied to evaluate the participants' temporal pattern recognition skills. "STROOP Test" was used to evaluate selective attention, disruptive effect and memory skills among cognitive skills. The findings were analyzed statistically with the SPSS program, and the type 1 error level was determined as 0.05. Results: There were significant differences in STROOP subtests in terms of attention skills (p < 0.05). On the other hand, no statistically significant difference was obtained between the groups in terms of frequency and duration pattern recognition skills (p > 0.05). Conclusion: Young adults who were interested in music completed tests of selective attention, interference, and short-term memory in less time and performed better. The current study revealed that musical interest in young adults may provide positive effects on these cognitive skills. [ABSTRACT FROM AUTHOR]

Exploring non-linguistic predictors of phonological awareness, such as musical beat perception, is valuable for children who present with language difficulties and diverse support needs. Studies on the musical abilities of children on the autism spectrum show that they have average or above-average musical production and auditory processing abilities. This study aimed to explore the relationship between musical beat perception and phonological awareness skills of children on the autism spectrum with a wide range of cognitive abilities. A total of 21 autistic children between the ages of 6 to 11 years old (M = 8.9, SD = 1.5) with full scale IQs ranging from 52 to 105 (M = 74, SD = 16) completed a beat perception and a phonological awareness task. Results revealed that phonological awareness and beat perception are positively correlated for children on the autism spectrum. Findings lend support to the potential use of beat and rhythm perception as a screening tool for early literacy skills, specifically for phonological awareness, for children with diverse support needs as an alternative to traditional verbal tasks that tend to underestimate the potential of children on the autism spectrum. [ABSTRACT FROM AUTHOR]

Introduction: Previous work on audio quality evaluation has demonstrated a developing convergence of the key perceptual attributes underlying judgments of quality, such as timbral, spatial and technical attributes. However, across existing research there remains a limited understanding of the crucial perceptual attributes that inform audio quality evaluation for people with hearing loss, and those who use hearing aids. This is especially the case with music, given the unique problems it presents in contrast to human speech. Method: This paper presents a sensory evaluation study utilising descriptive analysis methods, in which a panel of hearing aid users collaborated, through consensus, to identify the most important perceptual attributes of music audio quality and developed a series of rating scales for future listening tests. Participants (N = 12), with a hearing loss ranging from mild to severe, first completed an online elicitation task, providing single-word terms to describe the audio quality of original and processed music samples; this was completed twice by each participant, once with hearing aids, and once without. Participants were then guided in discussing these raw terms across three focus groups, in which they reduced the term space, identified important perceptual groupings of terms, and developed perceptual attributes from these groups (including rating scales and definitions for each). Results: Findings show that there were seven key perceptual dimensions underlying music audio quality (clarity, harshness, distortion, spaciousness, treble strength, middle strength, and bass strength), alongside a music audio quality attribute and possible alternative frequency balance attributes. Discussion: We outline how these perceptual attributes align with extant literature, how attribute rating instruments might be used in future work, and the importance of better understanding the music listening difficulties of people with varied profiles of hearing loss. [ABSTRACT FROM AUTHOR]

Purpose: This study set out to investigate whether individuals with dysphonia, as determined by either self-assessment or clinician-based auditory-perceptual judgment, exhibited differences in perilaryngeal muscle activities using surface electromyography (sEMG) during various phonatory tasks. Additionally, the study aimed to assess the effectiveness of sEMG in identifying dysphonic cases. Method: A total of 77 adults (44 women, 33 men, Mage = 30.4 years) participated in this study, with dysphonic cases identified separately using either a 10-item Voice Handicap Index (VHI-10) or clinician-based auditory-perceptual voice quality (APVQ) evaluation. sEMG activities were measured from the areas of suprahyoid and sternocleidomastoid muscles during prolonged vowel /i/ phonations at different pitch and loudness levels. Normalized root-mean-square value against the maximal voluntary contraction (RMS %MVC) of the sEMG signals was obtained for each phonation and compared between subject groups and across phonatory tasks. Additionally, binary logistic regression analysis was performed to determine how the sEMG measures could predict the VHI-10-based or APVQ-based dysphonic cases. Results: Participants who scored above the criteria on either the VHI-10 (n = 29) or APVQ judgment (n = 17) exhibited significantly higher RMS %MVC in the right suprahyoid muscles compared to the corresponding control groups. Although the RMS %MVC value from the right suprahyoid muscles alone was not a significant predictor of self-evaluated dysphonic cases, a combination of the RMS %MVC values from both the right and left suprahyoid muscles significantly predicted APVQ-based dysphonic cases with a 69.66% fair level. Conclusions: This study found that individuals with dysphonia, as determined by either self-assessment or APVQ judgment, displayed more imbalanced suprahyoid muscle activities in voice production compared to nondysphonic groups. The combination of the sEMG measures from both left and right suprahyoid muscles showed potential as a predictor of dysphonia with a fair level of confidence. Supplemental Material: https://doi.org/10.23641/asha.25112804 [ABSTRACT FROM AUTHOR]

Music is closely related to soundscape. The present study employs methods and tools for assessing soundscape perception to compare the evaluation of soundscape perception between students who had not been taught general music courses (n = 80, equal into N1, N2) with that of students who had been taught general music courses (n = 40, MU) in four distinct audio-visual environments. According to the results of the questionnaire in four scenes and eight perceptual dimensions, there are significant differences between MU and N1 N2 (4-5 items), whereas there is only a slight difference between N1 and N2 (1 item). The difference in soundscape perception is reflected in those students who had been taught general music courses having a higher evaluation of the diversity of soundscape elements (as eventful), and different emotional judgments of the sound environment (as calm). These differences are visualized using the soundscape analysis tool, Soundscapy. Overall, the findings suggest that taking a general music course promotes richer sound perceptions and clearer affective associations with sound and that these enhancements could be presented using the soundscape perception measurement method. The findings also presented could inform the effectiveness of teaching in a general music course. [ABSTRACT FROM AUTHOR]

The field of multimodal robotic musical performing arts has garnered significant interest due to its innovative potential. Conventional robots face limitations in understanding emotions and artistic expression in musical performances. Therefore, this paper explores the application of multimodal robots that integrate visual and auditory perception to enhance the quality and artistic expression in music performance. Our approach involves integrating GRU (Gated Recurrent Unit) and GoogLeNet models for sentiment analysis. The GRU model processes audio data and captures the temporal dynamics of musical elements, including long-term dependencies, to extract emotional information. The GoogLeNet model excels in image processing, extracting complex visual details and aesthetic features. This synergy deepens the understanding of musical and visual elements, aiming to produce more emotionally resonant and interactive robot performances. Experimental results demonstrate the effectiveness of our approach, showing significant improvements in music performance by multimodal robots. These robots, equipped with our method, deliver high-quality, artistic performances that effectively evoke emotional engagement from the audience. Multimodal robots that merge audio-visual perception in music performance enrich the art form and offer diverse human-machine interactions. This research demonstrates the potential of multimodal robots in music performance, promoting the integration of technology and art. It opens new realms in performing arts and human-robot interactions, offering a unique and innovative experience. Our findings provide valuable insights for the development of multimodal robots in the performing arts sector. [ABSTRACT FROM AUTHOR]

The average attention span of humans is decreasing. To adapt to the change, researchers investigate visual and auditory techniques that alter the perception of time passing. However, the auditory technique is underexplored in comparison to visual techniques, which are becoming increasingly important as voice assistants, speech interfaces or time-aware computational/robotic systems proliferate. This paper investigated the effect of pitch and interval variables on time perception. Three pitch levels (static, falling, rising) and two interval patterns (static, narrowing) for a total of six auditory stimuli were compared. Principal findings indicated that rising/falling pitch and interval narrowing, as well as their combinations, can be used to shorten the perception of time. This research contributes to a better understanding of end-users' subjective temporal estimation of auditory stimuli, which can be used to further develop audio-based interactive devices/agents. [ABSTRACT FROM AUTHOR]

Purpose: Dynamic pitch, which is defined as the variation in fundamental frequency in speech, is one of the acoustic cues that affect speech recognition in noise. Built on the evidence that a symmetrical manipulation of dynamic pitch led to poorer speech recognition, the present study examined the effect of an asymmetrical manipulation method on speech recognition in noise by younger and older adults. Method: Speech recognition accuracy in noise was measured from younger adults with normal hearing in Experiment 1, and speech reception threshold (in dB SNR) from older adults with normal hearing to mild–moderate hearing loss in Experiment 2. The dynamic pitch contours of the speech stimuli were manipulated using both symmetrical and asymmetrical methods. Results: Younger adults recognized speech better in noise with asymmetrical than symmetrical manipulation, and with weakened than strengthened dynamic pitch. A substantial amount of variability was observed in a group of older listeners. This variability was predominately predicted by the listeners’ age but not hearing thresholds or their ability to perceive dynamic pitch in fluctuating noise. Conclusions: The asymmetrical manipulation of dynamic pitch had a less negative effect than the symmetrical manipulation. This effect also interacted with pitch-change direction. These findings suggest the influence of perceptual naturalness on speech recognition with signal modification. Directions for future research are also discussed. [ABSTRACT FROM AUTHOR]

Simple Summary: Harmonic tones are known to be more detectable in noise than inharmonic tones, providing an ecological advantage to periodic sounds, such as voiced speech and many animal vocalizations, over aperiodic sounds. Little is known about the extent to which this harmonic advantage extends to other auditory tasks beyond simple detection. Here, we tested young adults with and without musical training on the detection of harmonic and inharmonic tones in noise, as well as on other tasks that are important for auditory perception, including pitch discrimination, frequency-modulation detection, and amplitude-modulation detection. Consistent with earlier results, detection in noise was superior for harmonic over inharmonic tones, and an additional benefit beyond detection was found for pitch discrimination. However, neither amplitude- nor frequency-modulation detection was improved in harmonic conditions, beyond the predicted effects of audibility. Listeners with musical training performed better in pitch-related tasks (pitch discrimination and frequency-modulation detection), but evidence for a musician benefit of harmonicity was weak. The results show that harmonicity aids tone detection and pitch perception in noise, but that the harmonicity advantage does not extend to other important auditory domains, such as modulation detection, beyond the improvements accounted for by greater audibility in noise. Harmonic complex tones are easier to detect in noise than inharmonic complex tones, providing a potential perceptual advantage in complex auditory environments. Here, we explored whether the harmonic advantage extends to other auditory tasks that are important for navigating a noisy auditory environment, such as amplitude- and frequency-modulation detection. Sixty young normal-hearing listeners were tested, divided into two equal groups with and without musical training. Consistent with earlier studies, harmonic tones were easier to detect in noise than inharmonic tones, with a signal-to-noise ratio (SNR) advantage of about 2.5 dB, and the pitch discrimination of the harmonic tones was more accurate than that of inharmonic tones, even after differences in audibility were accounted for. In contrast, neither amplitude- nor frequency-modulation detection was superior with harmonic tones once differences in audibility were accounted for. Musical training was associated with better performance only in pitch-discrimination and frequency-modulation-detection tasks. The results confirm a detection and pitch-perception advantage for harmonic tones but reveal that the harmonic benefits do not extend to suprathreshold tasks that do not rely on extracting the fundamental frequency. A general theory is proposed that may account for the effects of both noise and memory on pitch-discrimination differences between harmonic and inharmonic tones. [ABSTRACT FROM AUTHOR]

The purpose of this study was to explore the effect of vocalic behavior in resolving high-conflict situations. A quantitative study was employed using 277 university students from California and Florida. We experimentally tested a vocal coding system using passive, aggressive, and assertive audio clips presented to research subjects, which included volume, pitch, rate, pausing, and vocal variety. Participants rated these audio clips based on vocal qualities, relational outcomes, appropriateness, and resolving conflict. Results revealed that the assertive vocal style was associated with higher ratings to resolve conflict and perceptions of verbal assertiveness and appropriateness than were passive or aggressive vocal styles. Implications and applications are discussed to stimulate future research among researchers and practitioners when addressing conflict situations. Public Significance Statement: This study tested the effects of different vocal qualities on perceptions of conflict. The results found that the assertive vocal style (as opposed to aggressive or passive) was most conducive to resolving conflict and wanting to work with a partner in the future. [ABSTRACT FROM AUTHOR]

Purpose: The practice of removing “following” responses from speech perturbation analyses is increasingly common, despite no clear evidence as to whether these responses represent a unique response type. This study aimed to determine if the distribution of responses to auditory perturbation paradigms represents a bimodal distribution, consisting of two distinct response types, or a unimodal distribution. Method: This mega-analysis pooled data from 22 previous studies to examine the distribution and magnitude of responses to auditory perturbations across four tasks: adaptive pitch, adaptive formant, reflexive pitch, and reflexive formant. Data included at least 150 unique participants for each task, with studies comprising younger adult, older adult, and Parkinson’s disease populations. A Silverman’s unimodality test followed by a smoothed bootstrap resampling technique was performed for each task to evaluate the number of modes in each distribution. Wilcoxon signed-ranks tests were also performed for each distribution to confirm significant compensation in response to the perturbation. Results: Modality analyses were not significant (p > .05) for any group or task, indicating unimodal distributions. Our analyses also confirmed compensatory reflexive responses to pitch and formant perturbations across all groups, as well as adaptive responses to sustained formant perturbations. However, analyses of sustained pitch perturbations only revealed evidence of adaptation in studies with younger adults. Conclusion: The demonstration of a clear unimodal distribution across all tasks suggests that following responses do not represent a distinct response pattern, but rather the tail of a unimodal distribution. [ABSTRACT FROM AUTHOR]

Recent research suggests that speaking a tone language confers benefits in processing pitch in nonlinguistic contexts such as music. This research largely compares speakers of nontone European languages (English, French) with speakers of tone languages in East Asia (Mandarin, Cantonese, Vietnamese, Thai). However, tone languages exist on multiple continents—notably, languages indigenous to Africa and the Americas. With one exception (Bradley, Psychomusicology, 26(4), 337–345, 2016), no research has assessed whether these tone languages also confer pitch processing advantages. Two studies presented a melody change detection task, using quasirandom note sequences drawn from Western major scale tone probabilities. Listeners were speakers of Akan, a tone language of Ghana, plus speakers from previously tested populations (nontone language speakers and East Asian tone language speakers). In both cases, East Asian tone language speakers showed the strongest musical pitch processing, but Akan speakers did not exceed nontone speakers, despite comparable or better instrument change detection. Results suggest more nuanced effects of tone languages on pitch processing. Greater numbers of tones, presence of contour tones in a language's tone inventory, or possibly greater functional load of tone may be more likely to confer pitch processing benefits than mere presence of tone contrasts. [ABSTRACT FROM AUTHOR]

In daily life, failure to perceive emotional expressions can result in maladjusted behaviour. For cochlear implant users, perceiving emotional cues in sounds remains challenging, and the factors explaining the variability in patients' sensitivity to emotions are currently poorly understood. Understanding how these factors relate to auditory proficiency is a major challenge of cochlear implant research and is critical in addressing patients' limitations. To fill this gap, we evaluated different auditory perception aspects in implant users (pitch discrimination, music processing and speech intelligibility) and correlated them to their performance in an emotion recognition task. Eighty-four adults (18–76 years old) participated in our investigation; 42 cochlear implant users and 42 controls. Cochlear implant users performed worse than their controls on all tasks, and emotion perception abilities were correlated to their age and their clinical outcome as measured in the speech intelligibility task. As previously observed, emotion perception abilities declined with age (here by about 2–3% in a decade). Interestingly, even when emotional stimuli were musical, CI users' skills relied more on processes underlying speech intelligibility. These results suggest that speech processing remains a clinical priority even when one is interested in affective skills. [ABSTRACT FROM AUTHOR]

The octave illusion (Deutsch, 1974) is a well-known auditory illusion elicited by presenting a dichotic sequence of two tones separated by an octave during which the high and low tones alternate between both ears. This illusion engages an important mechanism of auditory perception, which is pitch perception. Previous studies used central frequencies of the useful musical spectrum to elicit the illusion. However, these studies did not cover part of that spectrum where musical pitch perception decreases (below 200 and above 1600 Hz). The present study aimed to investigate how the relative frequency distribution of percepts changes across a greater proportion of the musical scale to better understand the influence of pitch on illusion perception. Participants were presented with 7 pairs of frequencies from 40–80 Hz to 2000–4000 Hz and had to select a choice (octave, simple, complex) corresponding to their perception. When using pairs of stimuli towards the upper and lower boundaries of the selected range: (1) distributions of percepts significantly differ from the classic 400–800 Hz, (2) the octave percept was reported less frequently, particularly at very low frequencies. Results from this study revealed that the illusion perception differs significantly at the low and high limits of the musical spectrum where reduced accuracy of pitch perception is known to occur. These results support past studies who investigated pitch perception. Furthermore, these results support the model proposed by Deutsch where pitch perception is one of the central frameworks of illusion perception. [ABSTRACT FROM AUTHOR]

Humans readily recognize familiar rhythmic patterns, such as isochrony (equal timing between events) across a wide range of rates. This reflects a facility with perceiving the relative timing of events, not just absolute interval durations. Several lines of evidence suggest this ability is supported by precise temporal predictions arising from forebrain auditory–motor interactions. We have shown previously that male zebra finches, Taeniopygia guttata , which possess specialized auditory–motor networks and communicate with rhythmically patterned sequences, share our ability to flexibly recognize isochrony across rates. To test the hypothesis that flexible rhythm pattern perception is linked to vocal learning, we ask whether female zebra finches, which do not learn to sing, can also recognize global temporal patterns. We find that females can flexibly recognize isochrony across a wide range of rates but perform slightly worse than males on average. These findings are consistent with recent work showing that while females have reduced forebrain song regions, the overall network connectivity of vocal premotor regions is similar to males and may support predictions of upcoming events. Comparative studies of male and female songbirds thus offer an opportunity to study how individual differences in auditory–motor connectivity influence perception of relative timing, a hallmark of human music perception. • Female zebra finches can recognize temporal regularity across a wide range of rates. • Regularity detection extends to tempi far outside conspecific male song rates. • Females were slightly worse than males at flexibly detecting temporal regularity. [ABSTRACT FROM AUTHOR]

This study investigated whether individuals with high autistic traits rely on psychoacoustic abilities in affective prosody recognition (APR). In 94 college students, Autism Spectrum Quotient (AQ) and psychoacoustic abilities were measured. Results indicated that higher AQ, higher rapid auditory processing (RAP), and maleness were associated with a lower APR accuracy for low-intensity prosodies. There was a strong positive association between RAP and APR for participants with high AQ, whereas low-AQ participants showed no such pattern. The findings suggest a reliance on psychoacoustic abilities as compensatory mechanism for deficits in higher-order processing of emotional signals in social interactions, and imply potential benefits of auditory interventions in improving APR among individuals with high autistic traits. [ABSTRACT FROM AUTHOR]

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

Three studies investigated how speakers' pitch affects listeners' attribution of mental capacity (e.g., the ability to feel emotions and physical sensations such as pain and pleasure; Gray et al., Science, 315, 2007, 619) to them and further explored downstream effects on social judgements. In Study 1 (N = 234), participants perceived more experience in higher‐(vs. lower‐)pitched speakers, whereas there was no significant difference in perception of agency to lower pitched or higher pitched speakers. In later studies, we expanded the relationship between male speakers' pitch and attributed experience in diverse contexts and observed that participants attributed more experience to higher pitched male victims, which was related to higher estimation of harm severity, leading to more negative judgement of the harmdoers (Study 2; N = 121) as well as recommendation for stronger treatment for the speakers (Study 3; N = 116). Our findings indicate that mind perception can vary as a function of targets' voice pitch, and in turn may influence people's judgements involving the speakers, as well as behavioural intentions towards them. [ABSTRACT FROM AUTHOR]

Simple Summary: Music therapy seems to exhibit beneficial properties for a variety of human medical conditions, with some benefits being reported even throughout the perioperative period. In accordance with the human literature, the responses of animals' exposure to musical auditory stimuli as a means of environmental enrichment seem to be encouraging, but very little is known about the effect of music when used as an adjuvant to anaesthetics. The aim of this study was to evaluate the effect of classical music on the depth of sedation and propofol requirements for the induction of anaesthesia in 20 healthy dogs. Each dog was sedated three times, using a mild premedication protocol, and was exposed to Chopin, Mozart and no-music treatments for 90 min via loudspeakers, with a 3-month gap between each one of the three auditory interventions. The dogs' exposure to classical music resulted in higher sedation scores and approximately 20% lower propofol dose requirements for the intubation of the trachea. This study proposes that music may prove a simple, safe and effective nonpharmacologic adjunct when used as part of a mild premedication protocol. The main objective of this prospective, randomized, blind, cross-over experimental study was to evaluate the effect of classical music on the depth of sedation and propofol requirements for the induction of anaesthesia in dogs. Twenty dogs were involved, and each was subjected to three different treatments with a 3-month gap: Chopin music, Mozart music, and no music, via loudspeakers. The dogs were premedicated with acepromazine and butorphanol by intramuscular injection, and anaesthesia was induced using propofol intravenously. To compare the depth of sedation and propofol requirements for the induction of anaesthesia among the different treatments, we utilized non-parametric tests (Kruskal–Wallis test) for the depth of sedation due to a slight deviation from the normal distribution and parametric (ANOVA) for propofol requirements. When exposed to music (Chopin or Mozart), dogs exhibited deeper sedation and required less propofol for their intubation compared to the no-music treatment (p < 0.05). Exposure to classical music had a positive impact on the level of sedation, and more profound central nervous system depression seemed to contribute to approximately 20% lower propofol dose requirements for tracheal intubation. Therefore, classical music during the preoperative period appeared to exert a beneficial effect, at least when applying the specific pre-anaesthetic medications used in the present study. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Investigación e Innovación en Ciencias de la Salud (RIICS) is the property of Fundacion Universitaria Maria Cano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Introduction: Musical aptitude is the innate ability of an individual to understand, appreciate, improvise, and have a good sense of pitch and rhythm, even without undergoing formal musical training. The present study aimed to understand the effect of musical aptitude on auditory spatial perception. Method: Forty nonmusicians were subjected to a musical aptitude test Mini Profile of Music Perception Skills(Mini‑PROMS) based on which they were divided into two groups. Group I included 20 nonmusicians with good musical aptitude (NM-GA) and Group II comprised 20 nonmusicians with poor musical aptitude (NM‑PA). Auditory spatial tests included interaural time difference (ITD) and interaural level difference (ILD) threshold tests and a closed‑field spatial test called virtual acoustic space identification (VASI) test. Results: Kruskal–Wallis test revealed a significant difference between Group I (NM‑GA) and Group II (NM‑PA) in ITD (p < 0.001), ILD (p = 0.002), and VASI (p = 0.012) tests, suggesting the role of musical aptitude in auditory spatial perception. Correlational analyses showed a moderate positive correlation between Mini-PROMS scores with VASI (r = 0.31, p = 0.04) and a moderate negative correlation with ILD (r = −0.3, p = 0.04) and ITD (r = −0.5, p = 0.001). Conclusion: This study defines a positive association between musical aptitude and auditory spatial perception. Further research should include a comparison of spatial skills among musicians and nonmusicians with good musical aptitude. [ABSTRACT FROM AUTHOR]

Introduction: The study aims to test whether an increase in memory load could improve the efficacy in detection of Alzheimer’s disease and prediction of the Mini-Mental State Examination (MMSE) score. Methods: Speech from 45 mild-to-moderate Alzheimer’s disease patients and 44 healthy older adults were collected using three speech tasks with varying memory loads. We investigated and compared speech characteristics of Alzheimer’s disease across speech tasks to examine the effect of memory load on speech characteristics. Finally, we built Alzheimer’s disease classification models and MMSE prediction models to assess the diagnostic value of speech tasks. Results: The speech characteristics of Alzheimer’s disease in pitch, loudness, and speech rate were observed and the high-memory-load task intensified such characteristics. The high-memory-load task outperformed in AD classification with an accuracy of 81.4% and MMSE prediction with a mean absolute error of 4.62. Discussion: The high-memory-load recall task is an effective method for speechbased Alzheimer’s disease detection. [ABSTRACT FROM AUTHOR]

THE DOMINANT RESEARCH STRATEGY WITHIN THE field of music perception and cognition has typically involved new data collection and primary analysis techniques. As a result, numerous information-rich yet underexplored datasets exist in publicly accessible online repositories. In this paper we contribute two secondary analysis methodologies to overcome two common challenges in working with previously collected data: lack of participant stimulus ratings and lack of physiological baseline recordings. Specifically, we focus on methodologies that unlock previously unexplored musical preference questions. Preferred music plays important roles in our personal, social, and emotional well-being, and is capable of inducing emotions that result in psychophysiological responses. Therefore, we select the Study Forrest dataset ‘‘auditory perception’’ extension as a case study, which provides physiological and self-report demographics data for participants (N = 20) listening to clips from different musical genres. In Method 1, we quantitatively model self-report genre preferences using the MUSIC five-factor model: a tool recognized for genre-free characterization of musical preferences. In Method 2, we calculate synthetic baselines for each participant, allowing us to compare physiological responses (pulse and respiration) across individuals. With these methods, we uncover average changes in breathing rate as high as 4.8%, which correlate with musical genres in this dataset (p < .001). Highlevel musical characteristics from the MUSIC model (mellowness and intensity) further reveal a linear breathing rate trend among genres (p < .001). Although no causation can be inferred given the nature of the analysis, the significant results obtained demonstrate the potential for previous datasets to be more productively harnessed for novel research. [ABSTRACT FROM AUTHOR]

The purpose of this instrumental case study was to examine preservice music educators' perceptions of teaching voice lessons to elementary and secondary students during an online synchronous fieldwork experience. I used Garrison et al.'s Community of Inquiry (CoI) framework to analyze the participants' perceptions of cognitive presence (i.e., triggering events, exploration, integration, and resolution), social presence (i.e., emotional expression, open communication, and group cohesion), and teaching presence (i.e., structure and design of the fieldwork experience). During initial lessons, participants cited mostly triggering events and exploration, which occurred alongside indicators of social presence. Participants cited technological challenges associated with online synchronous learning (i.e., teaching presence) may have hindered instances of integration and resolution. Music teacher educators may consider using the CoI framework to structure collaborative and supportive online synchronous fieldwork experiences. [ABSTRACT FROM AUTHOR]

A growing body of evidence suggests that steady‐state evoked potentials may be a useful measure of beat perception, particularly when obtaining traditional, explicit measures of beat perception is difficult, such as with infants or non‐human animals. Although attending to a stimulus is not necessary for most traditional applications of steady‐state evoked potentials, it is unknown how attention affects steady‐state evoked potentials that arise in response to beat perception. Additionally, most applications of steady‐state evoked potentials to measure beat perception have used repeating rhythms or real music. Therefore, it is unclear how the steady‐state response relates to the robust beat perception that occurs with non‐repeating rhythms. Here, we used electroencephalography to record participants' brain activity as they listened to non‐repeating musical rhythms while either attending to the rhythms or while distracted by a concurrent visual task. Non‐repeating auditory rhythms elicited steady‐state evoked potentials at perceived beat frequencies (perception was validated in a separate sensorimotor synchronization task) that were larger when participants attended to the rhythms compared with when they were distracted by the visual task. Therefore, although steady‐state evoked potentials appear to index beat perception to non‐repeating musical rhythms, this technique may be limited to when participants are known to be attending to the stimulus. [ABSTRACT FROM AUTHOR]

The article focuses on the coordination of articulator movements in the motor cortex. Topics include the complex motor behavior of singing, precise control and timing required for sound production, the role of the sensorimotor cortex in pitch processing and motor control, and the influence of language on articulator positioning.

Acoustic Change Complex (ACC) is a cortical auditory evoked potential elicited in response to a change in an ongoing sound. Since it is supposed to reflect auditory discrimination at the cortical level, recording of this potential has recently gained much attention. From a technical standpoint, the stimulus used should be long enough to accommodate the needed change. This research addresses the development and standardization of short duration tonal stimuli which can be implemented in most of the Evoked Potential (EP) equipment used in regular Audiology clinics. Short duration tonal stimuli (500 msec.) were generated and edited using Audacity software. Temporal change was done using gap-in-tones stimuli (6, 10, 30 and 50 msec. in 1000 Hz tone). Frequency change was represented by frequency pairs (2%, 4%, 10% and 25% change from 1000 Hz base frequency). The developed stimuli were then used to generate ACC potential in 41 normal hearing children ranging in age from 2 to 10 years. A comparison was held between ACC response recorded using the different stimuli in reference to percent identifiability, morphology, latency and amplitude measures. Gap-in-tones at 10 msec. and 4% frequency change could elicit ACC response in 100% of subjects. ACC had the same morphology of the onset response in the majority of subjects, with longer latency and smaller amplitude. ACC amplitude was consistently affected by magnitude of change. ACC was successfully recorded in 100% of normal hearing children using the developed short duration tonal stimuli for temporal change (10 msec.) and frequency change (4%). These stimuli can be uploaded in clinical EP equipment. ACC amplitude could be a better indicator of cortical discrimination compared to latency. [ABSTRACT FROM AUTHOR]

Numerous studies have reported both cortical and functional changes for visual, tactile, and auditory brain areas in musicians, which have been attributed to long-term training induced neuroplasticity. Previous investigations have reported advantages for musicians in multisensory processing at the behavioural level, however, multisensory integration with tasks requiring higher level cognitive processing has not yet been extensively studied. Here, we investigated the association between musical expertise and the processing of audiovisual crossmodal correspondences in a decision reaction-time task. The visual display varied in three dimensions (elevation, symbolic and non-symbolic magnitude), while the auditory stimulus varied in pitch. Congruency was based on a set of newly learned abstract rules: "The higher the spatial elevation, the higher the tone", "the more dots presented, the higher the tone", and "the higher the number presented, the higher the tone", and accuracy and reaction times were recorded. Musicians were significantly more accurate in their responses than non-musicians, suggesting an association between long-term musical training and audiovisual integration. Contrary to what was hypothesized, no differences in reaction times were found. The musicians' advantage on accuracy was also observed for rule-based congruency in seemingly unrelated stimuli (pitch-magnitude). These results suggest an interaction between implicit and explicit processing–as reflected on reaction times and accuracy, respectively. This advantage was generalised on congruency in otherwise unrelated stimuli (pitch-magnitude pairs), suggesting an advantage on processes requiring higher order cognitive functions. The results support the notion that accuracy and latency measures may reflect different processes. [ABSTRACT FROM AUTHOR]

Background and Objectives: Recently, the improvement of music perception abilities for emo-tional stability and high quality of life has become important for the hearing loss group. This study aimed to examine and compare the music perception abilities of the normal hearing (NH) and hearing amplification system (HAS) groups to find the needs and methods of music reha-bilitation. Subjects and Methods: The data were collected from 15 NH adults (33.1±11.4 years) and 15 HAS adults (38.7±13.4 years), of whom eight wore cochlear implant [CI] systems and seven wore CI and hearing aid systems depending on pitch, melody, rhythm, timbre, emotional reaction, and harmony perception tests. A mismatch negativity test was also conducted, and attitudes toward and satisfaction with listening to music were measured. Results: The correc-tion percentages for the NH and HAS groups were 94.0%±6.1% and 75.3%±23.2% in the pitch test; 94.0%±7.1% and 30.3%±25.9% in the melody test; 99.3%±1.8% and 94.0%± 7.6% in the rhythm test; 78.9%±41.8% and 64.4%±48.9% in the timbre test; 96.7%±10.4% and 81.7%±16.3% in the emotional reaction test; and 85.7%±14.1% and 58.4%±13.9% in the harmony test, respectively, showing statistical significance (p<0.05). For the mismatch negativity test, the area of the waveform was smaller in the HAS groups than in the NH groups, with 70 dB of stimulation showing no statistical significance. The response rates for satisfac-tion with listening to music were 80% and 93.3% for the NH and HAS groups, showing no statistical significance. Conclusions: Although the HAS group showed lower music percep-tion ability than the NH group overall, they showed a strong desire for music listening. Also, the HAS group revealed a higher degree of satisfaction even when listening to unfamiliar music played with unusual instruments. It is suggested that systematic and constant musical rehabil-itation based on musical elements and different listening experiences will improve music per-ception qualities and abilities for HAS users. [ABSTRACT FROM AUTHOR]

Purpose: The purpose of this study was to determine the feasibility of online testing in a quiet room for three auditory perception experiments in normal-hearing listeners: speech, music, and binaural cue. Method: Under Experiment 1, sentence perception was measured using fixed signal-to-noise ratios (SNRs: +10 dB, 0 dB, and -10 dB) and using adaptive speech reception threshold (SRT) procedures. The correct scores were compared between quiet room and soundproof booth listening environments. Experiment 2 was designed to compare melodic contour identification between the two listening environments. Melodic contour identification was assessed with 1, 2, and 4 semitone spacings. Under Experiment 3, interaural level difference (ILD) and interaural time differences (ITD) were measured as a function of carrier frequency. For both measures, two modulated tones (400-ms duration and 100-Hz modulation rate) were sequentially presented through headphones to both ears, and subjects were asked to indicate whether the sound moved to the left or right ear. The measured ITD and ILD were then compared between the two listening environments. Results: There were no significant differences in any outcome measures (SNR-and SRT-based speech perception, melodic contour identification, and ITD/ILD) between the two listening environments. Conclusions: These results suggest that normal-hearing listeners may not require a controlled listening environment in any of the three auditory assessments. As comparable data can be obtained via the online testing tool, using the online auditory experiments is recommended. [ABSTRACT FROM AUTHOR]