Search

The speech-to-song transformation is an illusion in which certain spoken phrases are perceived as more song-like after being repeated several times. The present study addresses whether this perceptual transformation leads to a corresponding change in how accurately participants imitate pitch/time patterns in speech. We used illusion-inducing (illusion stimuli) and non-inducing (control stimuli) spoken phrases as stimuli. In each trial, one stimulus was presented eight times in succession. Participants were asked to reproduce the phrase and rate how music-like the phrase sounded after the first and final (eighth) repetitions. The ratings of illusion stimuli reflected more song-like perception after the final repetition than the first repetition, but the ratings of control stimuli did not change over repetitions. The results from imitative production mirrored the perceptual effects: pitch matching of illusion stimuli improved from the first to the final repetition, but pitch matching of control stimuli did not improve. These findings suggest a consistent pattern of speech-to-song transformation in both perception and production, suggesting that distinctions between music and language may be more malleable than originally thought both in perception and production., (Copyright © 2024 Elsevier B.V. All rights reserved.)

This case series presents 2 Caucasian females that underwent orbital decompression surgery for symptomatic exophthalmos and postoperatively developed a change in their perception of pitch during vocal performance. One patient went as far as to undergo voice lessons in attempt to regain her pre-operative pitch perception; however, the attempt was unsuccessful. We propose the etiology of this complication is anatomic changes within the ethmoid sinus. Temporary changes in nasalance have previously been reported with functional endoscopic sinus surgery literature, but this specific complication of change in pitch perception has not., Competing Interests: Declaration of conflicting interestsThe author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Mismatch negativity (MMN) to pitch (pMMN) and to duration (dMMN) deviant stimuli is significantly more attenuated in long-term psychotic illness compared to first-episode psychosis (FEP). It was recently shown that source-modeling of magnetically recorded MMN increases the detection of left auditory cortex MMN deficits in FEP, and that computational circuit modeling of electrically recorded MMN also reveals left-hemisphere auditory cortex abnormalities. Computational modeling using dynamic causal modeling (DCM) can also be used to infer synaptic activity from EEG-based scalp recordings. We measured pMMN and dMMN with EEG from 26 FEP and 26 matched healthy controls (HCs) and used a DCM conductance-based neural mass model including α-amino-3-hydroxy-5-methyl-4-isoxazole propionic acid, N-methyl-D-Aspartate (NMDA), and Gamma-aminobutyric acid receptors to identify any changes in effective connectivity and receptor rate constants in FEP. We modeled MMN sources in bilateral A1, superior temporal gyrus, and inferior frontal gyrus (IFG). No model parameters distinguished groups for pMMN. For dMMN, reduced NMDA receptor activity in right IFG in FEP was detected. This finding is in line with literature of prefrontal NMDA receptor hypofunction in chronic schizophrenia and suggests impaired NMDA-induced synaptic plasticity may be present at psychosis onset where scalp dMMN is only moderately reduced. To the best of our knowledge, this is the first report of impaired NMDA receptor activity in FEP found through computational modeling of dMMN and shows the potential of DCM to non-invasively reveal synaptic-level abnormalities that underly subtle functional auditory processing deficits in early psychosis., Competing Interests: Declaration of Conflicting InterestsThe authors declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Perception can be highly dependent on stimulus context, but whether and how sensory areas encode the context remains uncertain. We used an ambiguous auditory stimulus - a tritone pair - to investigate the neural activity associated with a preceding contextual stimulus that strongly influenced the tritone pair's perception: either as an ascending or a descending step in pitch. We recorded single-unit responses from a population of auditory cortical cells in awake ferrets listening to the tritone pairs preceded by the contextual stimulus. We find that the responses adapt locally to the contextual stimulus, consistent with human MEG recordings from the auditory cortex under the same conditions. Decoding the population responses demonstrates that cells responding to pitch-changes are able to predict well the context-sensitive percept of the tritone pairs. Conversely, decoding the individual pitch representations and taking their distance in the circular Shepard tone space predicts the opposite of the percept. The various percepts can be readily captured and explained by a neural model of cortical activity based on populations of adapting, pitch and pitch-direction cells, aligned with the neurophysiological responses. Together, these decoding and model results suggest that contextual influences on perception may well be already encoded at the level of the primary sensory cortices, reflecting basic neural response properties commonly found in these areas., Competing Interests: BE, SA, ME, SS No competing interests declared, (© 2024, Englitz et al.)

Transcranial magnetic stimulation (TMS) is a noninvasive stimulation technique for modulating brain activity. However, selecting optimal control protocols to account for their neural and non-neural effects remains a challenge. To this end, the present event-related potential (ERP) study investigated the behavioral and neural effects of three commonly used control protocols, namely, sham stimulation and real stimulation with continuous theta burst stimulation (c-TBS) over the vertex and primary visual cortex (V1), on a given task manipulating pitch in voice auditory feedback. The results showed no significant differences in vocal and ERP responses to pitch perturbations among the three TMS control protocols, suggesting their comparable neural and non-neural influences on vocal feedback control. Compared with the baseline condition (no TMS), all three TMS control protocols led to intact vocal compensations but prolonged N1 latencies and reduced P2 amplitudes, potentially linked to nonspecific stimulation effects or placebo-like responses. These findings provide the first neurobehavioral evidence for comparable effects across different TMS control protocols on vocal pitch regulation, offering insights for selecting optimal control strategies to explore the causal mechanisms of auditory-vocal integration. They also emphasize the importance of including a baseline condition to disentangle genuine TMS effects. NEW & NOTEWORTHY This is the first study to provide neurobehavioral evidence comparing the effects of three transcranial magnetic stimulation (TMS) control protocols on vocal feedback control. The findings suggest that sham stimulation and real stimulation [continuous theta burst stimulation (c-TBS) over vertex and V1] produce similar neural and non-neural effects on vocal pitch regulation. Despite no differences in vocal responses, all protocols led to prolonged N1 latencies and reduced P2 amplitudes, emphasizing the importance of including a baseline condition to isolate genuine TMS effects.

The developmental trajectories of tone perception among tone and non-tone language learning infants have received wide attention and discussion in recent decades under the perceptual attunement framework. Nevertheless, tone perception in infants from pitch accent and bilingual language backgrounds has not been well understood. The present study examined monolingual and bilingual Norwegian-learning infants' discrimination of two Cantonese tone contrasts at 5 and 10 months, ages corresponding to the onset and offset of perceptual attunement. Results showed that while monolingual infants were sensitive to the salient contrast, bilingual infants showed sensitivity to both contrasts at 10 months. In sum, infant age and bilingual language background affected discrimination. Pitch accent language experience or contrast salience may also play a role. The finding that early bilingual experience facilitated tone perception is of particular interest. It suggests that infant perception could be enhanced by a more complex linguistic environment on a broader level. As this was observed only at 10 months, cumulative exposure may be required for infants in a complex bilingual environment. Future studies should disambiguate explanations generated from the current finding, ranging from neurocognitive plasticity to perceptual salience, and from experience-dependent to independent possibilities., Competing Interests: Declaration of Competing Interest The authors declare no conflict of interest., (Copyright © 2024 The Authors. Published by Elsevier Inc. All rights reserved.)

The human brain tracks regularities in the environment and extrapolates these to predict future events. Prior work on music cognition suggests that low-frequency (1-8 Hz) brain activity encodes melodic predictions beyond the stimulus acoustics. Building on this work, we aimed to disentangle the frequency-specific neural dynamics linked to melodic prediction uncertainty (modelled as entropy) and prediction error (modelled as surprisal) for temporal (note onset) and content (note pitch) information. By using multivariate temporal response function (TRF) models, we re-analysed the electroencephalogram (EEG) from 20 subjects (10 musicians) who listened to Western tonal music. Our results show that melodic expectation metrics improve the EEG reconstruction accuracy in all frequency bands below the gamma range (< 30 Hz). Crucially, we found that entropy contributed more strongly to the reconstruction accuracy enhancement compared to surprisal in all frequency bands. Additionally, we found that the encoding of temporal, but not content, information metrics was not limited to low frequencies, rather it extended to higher frequencies (> 8 Hz). An analysis of the TRF weights revealed that the temporal predictability of a note (entropy of note onset) may be encoded in the delta- (1-4 Hz) and beta-band (12-30 Hz) brain activity prior to the stimulus, suggesting that these frequency bands associate with temporal predictions. Strikingly, we also revealed that melodic expectations selectively enhanced EEG reconstruction accuracy in the beta band for musicians, and in the alpha band (8-12 Hz) for non-musicians, suggesting that musical expertise influences the neural dynamics underlying predictive processing in music cognition., (© 2024 The Author(s). European Journal of Neuroscience published by Federation of European Neuroscience Societies and John Wiley & Sons Ltd.)

Working memory for nonverbal auditory information is essential for everyday functioning but its cognitive organisation is not well understood. Here we addressed this issue in a musician, YA, with absolute pitch (AP, the uncommon ability to categorise and label individual musical pitches without an external reference) who developed posterior cortical atrophy. We assessed YA's AP ability and her working memory for pitch and rhythmic patterns using procedures modelled on a standard test of auditory verbal working memory (digit span), referenced to age-matched, cognitively-normal AP and non-AP possessing musicians. YA had retained AP and performed comparably to healthy older AP and non-AP musicians on all musical working memory tasks, despite impaired auditory verbal working memory. These findings suggest that the cognitive mechanisms for auditory verbal working memory, nonverbal (pitch and rhythm) working memory and AP are at least partly dissociable, and both musical working memory and AP can be spared despite posterior parietal degeneration., (Copyright © 2024 The Author(s). Published by Elsevier Ltd.. All rights reserved.)

Learning in the everyday environment often requires the flexible integration of relevant multisensory information. Previous research has demonstrated preverbal infants' capacity to extract an abstract rule from audiovisual temporal sequences matched in temporal synchrony. Interestingly, this capacity was recently reported to be modulated by crossmodal correspondence beyond spatiotemporal matching (e.g., consistent facial emotional expressions or articulatory mouth movements matched with sound). To investigate whether such modulatory influence applies to non-social and non-communicative stimuli, we conducted a critical test using audiovisual stimuli free of social information: visually upward (and downward) moving objects paired with a congruent tone of ascending or incongruent (descending) pitch. East Asian infants (8-10 months old) from a metropolitan area in Asia demonstrated successful abstract rule learning in the congruent audiovisual condition and demonstrated weaker learning in the incongruent condition. This implies that preverbal infants use crossmodal dynamic pitch-height correspondence to integrate multisensory information before rule extraction. This result confirms that preverbal infants are ready to use non-social non-communicative information in serving cognitive functions such as rule extraction in a multisensory context., (Copyright © 2024 The Author(s). Published by Elsevier Inc. All rights reserved.)

Participants tend to produce a higher or lower vocal pitch in response to upward or downward visual motion, suggesting a pitch-motion correspondence between the visual and speech production processes. However, previous studies were contaminated by factors such as the meaning of vocalized words and the intrinsic pitch or tongue movements associated with the vowels. To address these issues, we examined the pitch-motion correspondence between simple visual motion and pitched speech production. Participants were required to produce a high- or low-pitched meaningless single vowel [a] in response to the upward or downward direction of a visual motion stimulus. Using a single vowel, we eliminated the artifacts related to the meaning, intrinsic pitch, and tongue movements of multiple vocalized vowels. The results revealed that vocal responses were faster when the pitch corresponded to the visual motion (consistent condition) than when it did not (inconsistent condition). This result indicates that the pitch-motion correspondence in speech production does not depend on the stimulus meaning, intrinsic pitch, or tongue movement of the vocalized words. In other words, the present study suggests that the pitch-motion correspondence can be explained more parsimoniously as an association between simple sensory (visual motion) and motoric (vocal pitch) features. Additionally, acoustic analysis revealed that speech production aligned with visual motion exhibited lower stress, greater confidence, and higher vocal fluency.

Infants quickly recognize the sounds of their mother language, perceiving the spectrotemporal acoustic features of speech. However, the underlying neural machinery remains unclear. We used an auditory evoked potential termed frequency-following response (FFR) to unravel the neural encoding maturation for two speech sound characteristics: voice pitch and temporal fine structure. 37 healthy-term neonates were tested at birth and retested at the ages of six and twelve months. Results revealed a reduction in neural phase-locking onset to the stimulus envelope from birth to six months, stabilizing by twelve months. While neural encoding of voice pitch remained consistent across ages, temporal fine structure encoding matured rapidly from birth to six months, without further improvement from six to twelve months. Results highlight the critical importance of the first six months of life in the maturation of neural encoding mechanisms that are crucial for phoneme discrimination during early language acquisition., Competing Interests: Declaration of competing interest The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper., (Copyright © 2024 The Authors. Published by Elsevier Inc. All rights reserved.)

Importance: Cochlear implants are an effective technique for enhancing speech perception abilities in quiet environments for people with severe to profound deafness. Nevertheless, complex sound signals perception, such as music perception, remains challenging for cochlear implant users., Objective: To assess the benefit of a tonotopic map on music perception in new cochlear implant users., Design, Setting, and Participants: A prospective, randomized, double-blind, 2-period crossover study including 26 new cochlear implant users was performed over a 6-month period (June 2021 to November 2021). An anatomical tonotopic map was created using postoperative flat-panel computed tomography and a reconstruction software based on Greenwood function. New cochlear implant users older than 18 years with bilateral severe to profound sensorineural hearing loss or complete hearing loss for less than 5 years were selected in the University Hospital Centre of Rennes in France. The trial was conducted from June to November 2021 (inclusion) and to February 2022 (end of the assessment procedure at 12 weeks postactivation), and the analysis itself was completed in December 2022., Intervention: Each participant was randomized to receive a conventional map followed by a tonotopic map or vice versa., Main Outcomes and Measures: Participants performed pitch-scaling tasks (multidimensional qualitative assessment, melodic contour identification, melodic recognition test) after 6 weeks of each setting., Results: Thirteen participants were randomized to each sequence. Two of the 26 participants recruited (1 in each sequence) had to be excluded due to the COVID-19 pandemic. The multidimensional qualitative assessment (Gabrielsson test), melodic contour identification, and melodic recognition scores were significantly higher with the tonotopic setting than the conventional one (mean effect [ME], 7.8; 95% CI, 5.0-10.5; ME, 12.1%; 95% CI, 5.7%-18.4%; ME, 14.4%, 95% CI, 8.5%-20.2%; and ME, 2.1, 95% CI, 1.7-2.5, respectively). Among the different dimensions evaluated by the Gabrielsson test, the mean scores for clarity, spaciousness, fullness, nearness, and total impression were significantly higher with tonotopic fitting. Ninety-two percent of the participants kept the tonotopy-based map after the study period., Conclusions: In this randomized clinical trial of patients with new cochlear implants, a tonotopic-based fitting was associated with better results in perception of complex sound signals such as music listening experience., Trial Registration: ClinicalTrials.gov Identifier: NCT04922619.

While absolute pitch (AP)-the ability to identify musical pitches without external reference-is rare even in professional musicians, anecdotal evidence and case-report data suggest that some musicians without traditional AP can nonetheless better name notes played on their musical instrument of expertise than notes played on instruments less familiar to them. We have called this gain in AP ability "instrument-specific absolute pitch" (ISAP). Here, we report the results of the first two experiments designed to investigate ISAP in professional oboists. In Experiment 1 (n = 40), superiority for identifying the pitch of oboe over piano tones varied along a continuum, with 37.5% of oboists demonstrating significant ISAP. Variance in accuracy across pitches was higher among ISAP-possessors than ISAP-non-possessors, suggestive of internalized timbral idiosyncrasies, and the use of timbral cues was the second-most commonly reported task strategy. For both timbres, both groups performed more accurately for pitches associated with white than black piano keys. In Experiment 2 (n = 12), oboists with ISAP were less accurate in pitch identification when oboe tones were artificially pitch-shifted. The use of timbral idiosyncrasies thus may constitute a widespread mechanism of ISAP. Motor interference, conversely, did not significantly reduce accuracy. This study offers the first evidence of ISAP among highly trained musicians and that reliance on subtle timbral (or intonational) idiosyncrasies may constitute an underlying mechanism of this ability in expert oboists. This provides a path forward for future studies extending the scientific understanding of ISAP to other instrument types, expertise levels, and musical contexts. More generally, this may deepen knowledge of specialized expertise, representing a range of implicit abilities that are not addressed directly in training, but which may develop through practice of a related skill set., Competing Interests: The authors have declared that no competing interests exist., (Copyright: © 2024 Hansen, Reymore. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.)

Objectives: Individuals with dyslexia perceive and utilize statistical features in the auditory input deficiently. The present study investigates whether affected children also benefit less from repeating context tones as perceptual anchors for subsequent speech processing., Methods: In an event-related potential study, eleven-year-old children with dyslexia (n = 21) and without dyslexia (n = 20) heard syllable pairs, with the first syllable either receiving a constant pitch (anchor) or variable pitch (no-anchor), while second syllables were identical across conditions., Results: Children with and without dyslexia showed smaller auditory P2 responses to constant-pitch versus variable-pitch first syllables, while only control children additionally showed smaller N1 and faster P1 responses. This suggests less automatic processing of anchor repetitions in dyslexia. For the second syllables, both groups showed faster P2 responses following anchor than no-anchor first syllables, but only controls additionally showed smaller P2 responses., Conclusions: Children with and without dyslexia show differences in anchor effects. While both groups seem to allocate less attention to speech stimuli after contextual repetitions, children with dyslexia display less facilitation in speech processing from acoustic anchors., Significance: Altered anchoring in the linguistic domain may contribute to the difficulties of individuals with dyslexia in establishing long-term representations of speech., (Copyright © 2024 International Federation of Clinical Neurophysiology. Published by Elsevier B.V. All rights reserved.)

For individuals with hearing loss, even successful speech communication comes at a cost. Cochlear implants transmit degraded information, specifically for voice pitch, which demands extra and sustained listening effort. The current study hypothesized that abnormal pitch patterns contribute to the additional listening effort, even in non-tonal language native speaking normally hearing listeners. We manipulated the fundamental frequency (F0) within and across words, while participants listen and repeat (simple intelligibility task), or listen, repeat, and later recall (concurrent encoding task) the words. In both experiments, the F0 manipulations resulted in small changes in intelligibility but no difference in free recall or subjective effort ratings. Pupillary metrics were yet sensitive to these manipulations: pupil dilations were larger when words were monotonized (flat contour) or inverted (the natural contour flipped upside-down), and larger when successive words were organized into a melodic pattern. The most likely interpretation is that the natural or expected F0 contour of a word contributes to its identity and facilitate its matching and retrieval from the phonological representation stored in long-term memory. Consequently, degrading words' F0 contour can result in extra listening effort. Our results call for solutions to improve pitch saliency and naturalness in future development of cochlear implants' signal processing strategies, even for non-tonal languages., (© 2024. The Author(s).)

Congenital amusia is a neurodevelopmental disorder characterized by deficits of music perception and production, which are related to altered pitch processing. The present study used a wide variety of tasks to test potential patterns of processing impairment in individuals with congenital amusia (N = 18) in comparison to matched controls (N = 19), notably classical pitch processing tests (i.e., pitch change detection, pitch direction of change identification, and pitch short-term memory tasks) together with tasks assessing other aspects of pitch-related auditory cognition, such as emotion recognition in speech, sound segregation in tone sequences, and speech-in-noise perception. Additional behavioral measures were also collected, including text reading/copying tests, visual control tasks, and a subjective assessment of hearing abilities. As expected, amusics' performance was impaired for the three pitch-specific tasks compared to controls. This deficit of pitch perception had a self-perceived impact on amusics' quality of hearing. Moreover, participants with amusia were impaired in emotion recognition in vowels compared to controls, but no group difference was observed for emotion recognition in sentences, replicating previous data. Despite pitch processing deficits, participants with amusia did not differ from controls in sound segregation and speech-in-noise perception. Text reading and visual control tests did not reveal any impairments in participants with amusia compared to controls. However, the copying test revealed more numerous eye-movements and a smaller memory span. These results allow us to refine the pattern of pitch processing and memory deficits in congenital amusia, thus contributing further to understand pitch-related auditory cognition. Together with previous reports suggesting a comorbidity between congenital amusia and dyslexia, the findings call for further investigation of language-related abilities in this disorder even in the absence of neurodevelopmental language disorder diagnosis., Competing Interests: Declaration of competing interest CH is funded by a CIFRE PhD fellowship from Humans Matter and ANRT. Humans Matter holds an exclusive license to commercialize the three pitch tests used here (PCD, DCI, MCT) but had no role in study design and data analysis., (Copyright © 2024 Elsevier Ltd. All rights reserved.)

Greek uses H*, L + H*, and H* + L, all followed by L-L% edge tones, as nuclear pitch accents in statements. A previous analysis demonstrated that these accents are distinguished by F0 scaling and contour shape. This study expands the earlier investigation by exploring additional cues, namely, voice quality, amplitude, and duration, in distinguishing the pitch accents, and investigating individual variability in the selection of both F0 and non-F0 cues. Bayesian multivariate analysis and hierarchical clustering demonstrate that the accents are distinguished not only by F0 but also by additional cues at the group level, with individual variability in cue selection., (© 2024 Author(s). All article content, except where otherwise noted, is licensed under a Creative Commons Attribution (CC BY) license (https://creativecommons.org/licenses/by/4.0/).)

Estonian is a quantity language with both a primary duration cue and a secondary pitch cue, whereas Chinese is a tonal language with a dominant pitch use. Using a mismatch negativity experiment and a behavioral discrimination experiment, we investigated how native language background affects the perception of duration only, pitch only, and duration plus pitch information. Chinese participants perceived duration in Estonian as meaningless acoustic information due to a lack of phonological use of duration in their native language; however, they demonstrated a better pitch discrimination ability than Estonian participants. On the other hand, Estonian participants outperformed Chinese participants in perceiving the non-speech pure tones that resembled the Estonian quantity (i.e., containing both duration and pitch information). Our results indicate that native language background affects the perception of duration and pitch and that such an effect is not specific to processing speech sounds., Competing Interests: Declaration of competing interest The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper., (Copyright © 2024 The Authors. Published by Elsevier Inc. All rights reserved.)

Experiences with sound that make strong demands on the precision of perception, such as musical training and experience speaking a tone language, can enhance auditory neural encoding. Are high demands on the precision of perception necessary for training to drive auditory neural plasticity? Voice actors are an ideal subject population for answering this question. Voice acting requires exaggerating prosodic cues to convey emotion, character, and linguistic structure, drawing upon attention to sound, memory for sound features, and accurate sound production, but not fine perceptual precision. Here we assessed neural encoding of pitch using the frequency-following response (FFR), as well as prosody, music, and sound perception, in voice actors and a matched group of non-actors. We find that the consistency of neural sound encoding, prosody perception, and musical phrase perception are all enhanced in voice actors, suggesting that a range of neural and behavioural auditory processing enhancements can result from training which lacks fine perceptual precision. However, fine discrimination was not enhanced in voice actors but was linked to degree of musical experience, suggesting that low-level auditory processing can only be enhanced by demanding perceptual training. These findings suggest that training which taxes attention, memory, and production but is not perceptually taxing may be a way to boost neural encoding of sound and auditory pattern detection in individuals with poor auditory skills., (Copyright © 2024 The Authors. Published by Elsevier Ltd.. All rights reserved.)

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., (© 2023. The Author(s).)

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

Unpredictable deviations from an otherwise regular auditory sequence, as well as rare sounds following a period of silence, are detected automatically. Recent evidence suggests that the latter also elicit quick involuntary modulations of ongoing motor activity emerging as early as 100 ms following sound onset, which was attributed to supramodal processing. We explored such force modulations for both rare and deviant sounds. Participants (N = 29) pinched a force sensitive device and maintained a force of 1-2 N for periods of 1 min. Task-irrelevant tones were presented under two conditions. In the Rare condition, 4000 Hz tones were presented every 8-to-16 s. In the Roving condition, 4000 Hz and 2996 Hz tones were presented at rate of 1 s, with infrequent (p = 1/12) frequency changes. In the Rare condition, transient force modulations were observed with a significant increase at ~ 234 ms, and a decrease at ~ 350 ms. In the Roving condition with low frequency deviant tones, an increase in force was observed at ~ 277 ms followed by a decrease at ~ 413 ms. No significant modulations were observed during perception of high frequency deviants. These results suggest that both rare silence-breaking sounds and low-pitched deviants evoke automatic fluctuations of motor responses, which opens up the possibility that these force modulations are triggered by stimulus-specific change-detection processes., (© 2024. The Author(s).)

Research shows that high- and low-pitch sounds can be associated with various meanings. For example, high-pitch sounds are associated with small concepts, whereas low-pitch sounds are associated with large concepts. This study presents three experiments revealing that high-pitch sounds are also associated with open concepts and opening hand actions, while low-pitch sounds are associated with closed concepts and closing hand actions. In Experiment 1, this sound-meaning correspondence effect was shown using the two-alternative forced-choice task, while Experiments 2 and 3 used reaction time tasks to show this interaction. In Experiment 2, high-pitch vocalizations were found to facilitate opening hand gestures, and low-pitch vocalizations were found to facilitate closing hand gestures, when performed simultaneously. In Experiment 3, high-pitched vocalizations were produced particularly rapidly when the visual target stimulus presented an open object, and low-pitched vocalizations were produced particularly rapidly when the target presented a closed object. These findings are discussed concerning the meaning of intonational cues. They are suggested to be based on cross-modally representing conceptual spatial knowledge in sensory, motor, and affective systems. Additionally, this pitch-opening effect might share cognitive processes with other pitch-meaning effects., (© 2024 The Author(s). Cognitive Science published by Wiley Periodicals LLC on behalf of Cognitive Science Society (CSS).)

Absolute pitch is the name given to the rare ability to identify a musical note in an automatic and effortless manner without the need for a reference tone. Those individuals with absolute pitch can, for example, name the note they hear, identify all of the tones of a given chord, and/or name the pitches of everyday sounds, such as car horns or sirens. Hence, absolute pitch can be seen as providing a rare example of absolute sensory judgment in audition. Surprisingly, however, the intriguing question of whether such an ability presents unique features in the domain of sensory perception, or whether instead similar perceptual skills also exist in other sensory domains, has not been explicitly addressed previously. In this paper, this question is addressed by systematically reviewing research on absolute pitch using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) method. Thereafter, we compare absolute pitch with two rare types of sensory experience, namely synaesthesia and eidetic memory, to understand if and how these phenomena exhibit similar features to absolute pitch. Furthermore, a common absolute perceptual ability that has been often compared to absolute pitch, namely colour perception, is also discussed. Arguments are provided supporting the notion that none of the examined abilities can be considered like absolute pitch. Therefore, we conclude by suggesting that absolute pitch does indeed appear to constitute a unique kind of absolute sensory judgment in humans, and we discuss some open issues and novel directions for future research in absolute pitch., Competing Interests: Declaration of competing interest None., (Copyright © 2024 The Authors. Published by Elsevier B.V. All rights reserved.)

Brightness is among the most studied aspects of timbre perception. Psychoacoustically, sounds described as "bright" versus "dark" typically exhibit a high versus low frequency emphasis in the spectrum. However, relatively little is known about the neurocognitive mechanisms that facilitate these metaphors we listen with. Do they originate in universal magnitude representations common to more than one sensory modality? Triangulating three different interaction paradigms, we investigated using speeded classification whether intramodal, crossmodal, and amodal interference occurs when timbral brightness, as modeled by the centroid of the spectral envelope, and pitch height/visual brightness/numerical value processing are semantically congruent and incongruent. In four online experiments varying in priming strategy, onset timing, and response deadline, 189 total participants were presented with a baseline stimulus (a pitch, gray square, or numeral) then asked to quickly identify a target stimulus that is higher/lower, brighter/darker, or greater/less than the baseline after being primed with a bright or dark synthetic harmonic tone. Results suggest that timbral brightness modulates the perception of pitch and possibly visual brightness, but not numerical value. Semantically incongruent pitch height-timbral brightness shifts produced significantly slower reaction time (RT) and higher error compared to congruent pairs. In the visual task, incongruent pairings of gray squares and tones elicited slower RTs than congruent pairings (in two experiments). No interference was observed in the number comparison task. These findings shed light on the embodied and multimodal nature of experiencing timbre., (© 2024. The Author(s).)

People with single-sided deafness (SSD) or asymmetric hearing loss (AHL) have particular difficulty understanding speech in noisy listening situations and in sound localization. The objective of this multicenter study is to evaluate the effect of a cochlear implant (CI) in adults with single-sided deafness (SSD) or asymmetric hearing loss (AHL), particularly regarding sound localization and speech intelligibility with additional interest in electric-acoustic pitch matching. A prospective longitudinal study at 7 European tertiary referral centers was conducted including 19 SSD and 16 AHL subjects undergoing cochlear implantation. Sound localization accuracy was investigated in terms of root mean square error and signed bias before and after implantation. Speech recognition in quiet and speech reception thresholds in noise for several spatial configurations were assessed preoperatively and at several post-activation time points. Pitch perception with CI was tracked using pitch matching. Data up to 12 months post activation were collected. In both SSD and AHL subjects, CI significantly improved sound localization for sound sources on the implant side, and thus overall sound localization. Speech recognition in quiet with the implant ear improved significantly. In noise, a significant head shadow effect was found for SSD subjects only. However, the evaluation of AHL subjects was limited by the small sample size. No uniform development of pitch perception with the implant ear was observed. The benefits shown in this study confirm and expand the existing body of evidence for the effectiveness of CI in SSD and AHL. Particularly, improved localization was shown to result from increased localization accuracy on the implant side.

This study aims to investigate the development of pitch-matching, rhythmic entrainment, and socioemotional skills in children who received formal music instruction and other non-music based after school programs. Eighty-three children, averaging 6.81 years old at baseline, were enrolled in either a music, sports, or no after-school program and followed over four years. The music program involved formal and systematic instruction in music theory, instrumental technique, and performance. Most control participants had no music education; however, in some instances, participants received minimal music education at school or at church. Musical development was measured using a pitch-matching and drumming-based rhythmic entrainment task. Sharing behavior was measured using a variation of the dictator game, and empathy was assessed using three different assessments: the Index of Empathy for Children and Adolescence (trait empathy), the Reading the Mind in the Eyes Test (theory of mind), and a Fiction Emotion-Matching task (state empathy). Results revealed no time-related associations in pitch-matching ability; however, formal music instruction improved pitch-matching relative to controls. On the contrary, improvements in rhythmic entrainment were best explained by age-related changes rather than music instruction. This study also found limited support for a positive association between formal music instruction and socioemotional skills. That is, individuals with formal music instruction exhibited improved emotion-matching relative to those with sports training. In terms of general socioemotional development, children's trait-level affective empathy did not improve over time, while sharing, theory of mind, and state empathy did. Additionally, pitch-matching and rhythmic entrainment did not reliably predict any socioemotional measures, with associations being trivial to small. While formal music instruction benefitted pitch-matching ability and emotion-matching to an audiovisual stimulus, it was not a significant predictor of rhythmic entrainment or broader socioemotional development. These findings suggest that the transfer of music training may be most evident in near or similar domains., Competing Interests: The authors have declared that no competing interests exist., (Copyright: © 2024 Villanueva et al. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.)

Observers can discriminate between correct versus incorrect perceptual decisions with feelings of confidence. The centro-parietal positivity build-up rate (CPP slope) has been suggested as a likely neural signature of accumulated evidence, which may guide both perceptual performance and confidence. However, CPP slope also covaries with reaction time, which also covaries with confidence in previous studies, and performance and confidence typically covary; thus, CPP slope may index signatures of perceptual performance rather than confidence per se. Moreover, perceptual metacognition-including neural correlates-has largely been studied in vision, with few exceptions. Thus, we lack understanding of domain-general neural signatures of perceptual metacognition outside vision. Here we designed a novel auditory pitch identification task and collected behavior with simultaneous 32-channel EEG in healthy adults. Participants saw two tone labels which varied in tonal distance on each trial (e.g., C vs D, C vs F), then heard a single auditory tone; they identified which label was correct and rated confidence. We found that pitch identification confidence varied with tonal distance, but performance, metacognitive sensitivity (trial-by-trial covariation of confidence with accuracy), and reaction time did not. Interestingly, however, while CPP slope covaried with performance and reaction time, it did not significantly covary with confidence. We interpret these results to mean that CPP slope is likely a signature of first-order perceptual processing and not confidence-specific signals or computations in auditory tasks. Our novel pitch identification task offers a valuable method to examine the neural correlates of auditory and domain-general perceptual confidence., Competing Interests: The authors have declared that no competing interests exist., (Copyright: © 2024 Tang et al. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.)

For the auditory dimensions loudness and pitch a vertical SARC effect (Spatial Association of Response Codes) exists: When responding to loud (high) tones, participants are faster with top-sided responses compared to bottom-sided responses and vice versa for soft (low) tones. These effects are typically explained by two different spatial representations for both dimensions with pitch being represented on a helix structure and loudness being represented as spatially associated magnitude. Prior studies show incoherent results with regard to the question whether two SARC effects can occur at the same time as well as whether SARC effects interact with each other. Therefore, this study aimed to investigate the interrelation between the SARC effect for pitch and the SARC effect for loudness in a timbre discrimination task. Participants (N = 36) heard one tone per trial and had to decide whether the presented tone was a violin tone or an organ tone by pressing a top-sided or bottom-sided response key. Loudness and pitch were varied orthogonally. We tested the occurrence of SARC effects for pitch and loudness as well as their potential interaction by conducting a multiple linear regression with difference of reaction time (dRT) as dependent variable, and loudness and pitch as predictors. Frequentist and Bayesian analyses revealed that the regression coefficients of pitch and loudness were smaller than zero indicating the simultaneous occurrence of a SARC effects for both dimensions. In contrast, the interaction coefficient was not different from zero indicating an additive effect of both predictors., (© 2024. The Author(s).)

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., (© 2024. The Psychonomic Society, Inc.)

Purpose: This study aimed to investigate the effects of low frequency (LF) pitch perception on speech-in-noise and music perception performance by children with cochlear implants (CIC) and typical hearing (THC). Moreover, the relationships between speech-in-noise and music perception as well as the effects of demographic and audiological factors on present research outcomes were studied., Methods: The sample consisted of 22 CIC and 20 THC (7-10 years). Harmonic intonation (HI) and disharmonic intonation (DI) tests were used to assess LF pitch perception. Speech perception in quiet (WRSq)/noise (WRSn + 10) were tested with the Italian bisyllabic words for pediatric populations. The Gordon test was used to evaluate music perception (rhythm, melody, harmony, and overall)., Results: CIC/THC performance comparisons for LF pitch, speech-in-noise, and all music measures except harmony revealed statistically significant differences with large effect sizes. For the CI group, HI showed statistically significant correlations with melody discrimination. Melody/total Gordon scores were significantly correlated with WRSn + 10. For the overall group, HI/DI showed significant correlations with all music perception measures and WRSn + 10. Hearing thresholds showed significant effects on HI/DI scores. Hearing thresholds and WRSn + 10 scores were significantly correlated; both revealed significant effects on all music perception scores. CI age had significant effects on WRSn + 10, harmony, and total Gordon scores (p < 0.05)., Conclusion: Such findings confirmed the significant effects of LF pitch perception on complex listening performance. Significant speech-in-noise and music perception correlations were as promising as results from recent studies indicating significant positive effects of music training on speech-in-noise recognition in CIC., (© 2024. The Author(s).)

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&#95;Lopp&#95;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&#95;Lopp&#95;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.

This article investigates the processing of intonational rises and falls when presented unexpectedly in a stream of repetitive auditory stimuli. It examines the neurophysiological correlates (ERPs) of attention to these unexpected stimuli through the use of an oddball paradigm where sequences of repetitive stimuli are occasionally interspersed with a deviant stimulus, allowing for elicitation of an MMN. Whereas previous oddball studies on attention toward unexpected sounds involving pitch rises were conducted on nonlinguistic stimuli, the present study uses as stimuli lexical items in German with naturalistic intonation contours. Results indicate that rising intonation plays a special role in attention orienting at a pre-attentive processing stage, whereas contextual meaning (here a list of items) is essential for activating attentional resources at a conscious processing stage. This is reflected in the activation of distinct brain responses: Rising intonation evokes the largest MMN, whereas falling intonation elicits a less pronounced MMN followed by a P3 (reflecting a conscious processing stage). Subsequently, we also find a complex interplay between the phonological status (i.e., accent/head marking vs. boundary/edge marking) and the direction of pitch change in their contribution to attention orienting: Attention is not oriented necessarily toward a specific position in prosodic structure (head or edge). Rather, we find that the intonation contour itself and the appropriateness of the contour in the linguistic context are the primary cues to two core mechanisms of attention orienting, pre-attentive and conscious orientation respectively, whereas the phonological status of the pitch event plays only a supplementary role., (© 2024 Massachusetts Institute of Technology. Published under a Creative Commons Attribution 4.0 International (CC BY 4.0) license.)

Crossmodal correspondences (CMCs) refer to associations between seemingly arbitrary stimulus features in different sensory modalities. Pitch‑size correspondences refer to the strong association of e.g., small objects with high pitches. Pitch‑elevation correspondences refer to the strong association of e.g., visuospatial elevated objects with high pitches. We used functional magnetic resonance imaging (fMRI) to study the neural components, which underlie the CMCs in pitch‑size and spatial pitch‑elevation. This study focuses on answering the question of whether or not different CMCs are driven by similar neural mechanisms. The comparison of congruent against incongruent trials allows the estimation of CMC effects across different CMCs. The analysis of the measured neural activity in different CMCs strongly pointed toward different mechanisms which are involved in the processing of pitch‑size and pitch‑elevation correspondences. Differential, whole brain effects were observed within the superior parietal lobule (SPL), cerebellum and Heschls' gyrus (HG). Further, the angular gyrus (AnG), the intraparietal sulcus (IPS) and anterior cingulate cortex (ACC) were engaged in processing the CMCs but showed different effects for processing congruent compared to incongruent stimulus presentations. Within pitch‑size significant effects in the AnG and ACC were found for congruent stimulus presentations whereas for pitch‑elevation, significant effects in the ACC and IPS were found for incongruent stimulus presentations. In summary, the present results indicated differential neural processing in different simple audio‑visual CMCs.

Previous research has revealed congruency effects between different spatial dimensions such as right and up. In the audiovisual context, high-pitched sounds are associated with the spatial dimensions of up/above and front, while low-pitched sounds are associated with the spatial dimensions of down/below and back. This opens the question of whether there could also be a spatial association between above and front and/or below and back. Participants were presented with a high- or low-pitch stimulus at the time of the onset of the visual stimulus. In one block, participants responded according to the above/below location of the visual target stimulus if the target appeared in front of the reference object, and in the other block, they performed these above/below responses if the target appeared at the back of the reference. In general, reaction times revealed an advantage in processing the target location in the front-above and back-below locations. The front-above/back-below effect was more robust concerning the back-below component of the effect, and significantly larger in reaction times that were slower rather than faster than the median value of a participant. However, the pitch did not robustly influence responding to front/back or above/below locations. We propose that this effect might be based on the conceptual association between different spatial dimensions.

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a "musi-linguistic" continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech.

The redundancy hypothesis proposes that older listeners need a larger array of acoustic cues than younger listeners for effective speech perception. This research investigated this hypothesis by examining the aging effects on the use of prosodic cues in speech segmentation in Mandarin Chinese. We examined how younger and older listeners perceived prosodic boundaries using three main prosodic cues (pause, final lengthening, and pitch change) across eight conditions involving different cue combinations. The stimuli consisted of syntactically ambiguous phrase pairs, each containing two or three objects. Participants (22 younger listeners and 22 older listeners) performed a speech recognition task to judge the number of objects they heard. Both groups primarily relied on the pause cue for identifying prosodic boundaries, using final lengthening and pitch change as secondary cues. However, older listeners showed reduced sensitivity to these cues, compensating by integrating the primary cue pause with the secondary cue pitch change for more precise segmentation. The present study reveals older listeners' integration strategy in using prosodic cues for speech segmentation, supporting the redundancy hypothesis. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Comments on an article by Jay W. Schwartz , Kayleigh H. Pierson, and Alexander K. Reece (see record 2024-19488-001). In this issue, Schwartz et al. (2024) tackle the pitch rule in humans by testing to what extent we use pitch alone to judge emotional arousal across closely and distantly related animal species. The findings of Schwartz et al. open a number of intriguing possibilities for future research: Notably important additional steps would include to further investigate the accuracy of the pitch rule across closely and distantly related species. Upon this, in order to study the evolutionary ancestry of the pitch rule, it will be necessary to study its applicability across nonhumans. Particularly interesting would be the inclusion of subject species that have been found to eavesdrop on heterospecific alarm calls. Previous research (see Hoeschele, 2017 for a review) as well as present findings on human ratings of macaque versus cricket calls also suggest that we should additionally focus on sound features that compliment emotional arousal rating beyond pitch such as spectral information. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Hearing-in-noise (HIN) ability is crucial in speech and music communication. Recent evidence suggests that absolute pitch (AP), the ability to identify isolated musical notes, is associated with HIN benefits. A theoretical account postulates a link between AP ability and neural network indices of segregation. However, how AP ability modulates the brain activation and functional connectivity underlying HIN perception remains unclear. Here we used functional magnetic resonance imaging to contrast brain responses among a sample (n = 45) comprising 15 AP musicians, 15 non-AP musicians, and 15 non-musicians in perceiving Mandarin speech and melody targets under varying signal-to-noise ratios (SNRs: No-Noise, 0, -9 dB). Results reveal that AP musicians exhibited increased activation in auditory and superior frontal regions across both HIN domains (music and speech), irrespective of noise levels. Notably, substantially higher sensorimotor activation was found in AP musicians when the target was music compared to speech. Furthermore, we examined AP effects on neural connectivity using psychophysiological interaction analysis with the auditory cortex as the seed region. AP musicians showed decreased functional connectivity with the sensorimotor and middle frontal gyrus compared to non-AP musicians. Crucially, AP differentially affected connectivity with parietal and frontal brain regions depending on the HIN domain being music or speech. These findings suggest that AP plays a critical role in HIN perception, manifested by increased activation and functional independence between auditory and sensorimotor regions for perceiving music and speech streams., Competing Interests: Declaration of competing interest The authors declare no conflicts of interest., (Copyright © 2024 Elsevier Ltd. All rights reserved.)

A growing body of research demonstrates that humans can accurately perceive the emotional states of animals solely by listening to their calls, highlighting shared evolutionary ancestry. Yet, the cognitive and perceptual mechanisms underlying heterospecific emotion perception have remained open to investigation. One hypothesis is that humans rely on simple acoustic heuristics to make such judgments, for example, perceiving higher-pitched calls as reflecting heightened emotional arousal (the "pitch rule"). This could lead to accurate judgments of emotion since in most mammals, as in humans, vocal fundamental frequency (the acoustic determinant of the pitch percept) does objectively correlate with emotional arousal. In the present study, we used digital pitch manipulation to create pairs of animal calls that were perceptually identical except for pitch, and we measured human perceptions of the caller's emotional arousal using an online survey. Calls of six phylogenetically diverse species were included as stimuli. Participants attributed slightly but statistically significantly higher arousal to higher-pitched versions of the same calls. Variation in application of the pitch rule across species was not well explained by familiarity, and prior experience with cats did not significantly predict sensitivity to pitch in cat vocalizations. Cross-species variation also did not align with phylogenetic distance from humans, or the hypothetical usefulness of pitch for making accurate judgments. Thus, the pitch rule may be a "mammalomorphic" heuristic leading to accurate emotion judgments in some taxa and call types and erroneous judgments in others, depending in part on phylogenetic distance and the mechanisms of call production. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

We can grasp various features of the outside world using summary statistics efficiently. Among these statistics, variance is an index of information homogeneity or reliability. Previous research has shown that visual variance information in the context of spatial integration is encoded directly as a unique feature, and currently perceived variance can be distorted by that of the preceding stimuli. In this study, we focused on variance perception in temporal integration. We investigated whether any variance aftereffects occurred in visual size and auditory pitch. Furthermore, to examine the mechanism of cross-modal variance perception, we also investigated whether variance aftereffects occur between different modalities. Four experimental conditions (a combination of sensory modalities of adaptor and test: visual-to-visual, visual-to-auditory, auditory-to-auditory, and auditory-to-visual) were conducted. Participants observed a sequence of visual or auditory stimuli perturbed in size or pitch with certain variance and performed a variance classification task before and after the variance adaptation phase. We found that in visual size, within modality adaptation to small or large variance, resulted in a variance aftereffect, indicating that variance judgments are biased in the direction away from that of the adapting stimulus. In auditory pitch, within modality adaptation to small variance caused variance aftereffect. For cross-modal combinations, adaptation to small variance in visual size resulted in variance aftereffect. However, the effect was weak, and variance aftereffect did not occur in other conditions. These findings indicate that the variance information of sequentially presented stimuli is encoded independently in visual and auditory domains., (© 2023. The Author(s).)

Trust is an aspect critical to human social interaction and research has identified many cues that help in the assimilation of this social trait. Two of these cues are the pitch of the voice and the width-to-height ratio of the face (fWHR). Additionally, research has indicated that the content of a spoken sentence itself has an effect on trustworthiness; a finding that has not yet been brought into multisensory research. The current research aims to investigate previously developed theories on trust in relation to vocal pitch, fWHR, and sentence content in a multimodal setting. Twenty-six female participants were asked to judge the trustworthiness of a voice speaking a neutral or romantic sentence while seeing a face. The average pitch of the voice and the fWHR were varied systematically. Results indicate that the content of the spoken message was an important predictor of trustworthiness extending into multimodality. Further, the mean pitch of the voice and fWHR of the face appeared to be useful indicators in a multimodal setting. These effects interacted with one another across modalities. The data demonstrate that trust in the voice is shaped by task-irrelevant visual stimuli. Future research is encouraged to clarify whether these findings remain consistent across genders, age groups, and languages.

Interaural pitch matching is a common task used with bilateral cochlear implant (CI) users, although studies measuring this have largely focused on place-based pitch matches. Temporal-based pitch also plays an important role in CI users' perception, but interaural temporal-based pitch matching has not been well characterized for CI users. To investigate this, bilateral CI users were asked to match amplitude modulation frequencies of stimulation across ears. Comparisons were made to previous place-based pitch matching data that were collected using similar procedures. The results indicate that temporal-based pitch matching is particularly sensitive to the choice of reference ear., (© 2024 Author(s). All article content, except where otherwise noted, is licensed under a Creative Commons Attribution (CC BY) license (https://creativecommons.org/licenses/by/4.0/).)

This study investigates neural processes in infant speech processing, with a focus on left frontal brain regions and hemispheric lateralization in Mandarin-speaking infants' acquisition of native tonal categories. We tested 2- to 6-month-old Mandarin learners to explore age-related improvements in tone discrimination, the role of inferior frontal regions in abstract speech category representation, and left hemisphere lateralization during tone processing. Using a block design, we presented four Mandarin tones via [ta] and measured oxygenated hemoglobin concentration with functional near-infrared spectroscopy. Results showed age-related improvements in tone discrimination, greater involvement of frontal regions in older infants indicating abstract tonal representation development and increased bilateral activation mirroring native adult Mandarin speakers. These findings contribute to our broader understanding of the relationship between native speech acquisition and infant brain development during the critical period of early language learning., (© The Author(s) 2024. Published by Oxford University Press. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.)

This paper examines the perceptual threshold in patterns of tonal timing (alignment) of Falling versus Low tones. The results indicate a remarkable sensitivity among the listeners. In a perception experiment with 30 participants, we tested how native speakers of the West Nilotic language Nuer responded to stimuli in which the timing of the F0 fall that distinguishes Low versus Fall following a High target is manipulated. We measured the threshold for the responses to shift tone perception from 25% to 75%. The results show that listeners only needed an average of 19 ms to differentiate between the melodic shapes and as little as 13 ms for one item. Perceptual sensitivity this fine-grained is not expected based on what is known about the Just Noticeable Difference (JND) from previous studies. Results from non-tonal languages report a sensitivity threshold for tonal timing of at least 50 ms at category boundaries. This difference suggests that whether or not subjects speak a tone language may be a determining factor in their JND.

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

Brainstem degeneration is a prominent feature of spinocerebellar ataxia type 3 (SCA3), involving structures that execute binaural synchronization with microsecond precision. As a consequence, auditory processing may deteriorate during the course of disease. We tested whether the binaural "Huggins pitch" effect is suitable to study the temporal precision of brainstem functioning in SCA3 mutation carriers. We expected that they would have difficulties perceiving Huggins pitch at high frequencies, and that they would show attenuated neuromagnetic responses to Huggins pitch. The upper limit of Huggins pitch perception was psychoacoustically determined in 18 pre-ataxic and ataxic SCA3 mutation carriers and in 18 age-matched healthy controls. Moreover, the cortical N100 response following Huggins pitch onset was acquired by means of magnetoencephalography (MEG). MEG recordings were analyzed using dipole source modeling and comprised a monaural pitch condition and a no-pitch condition with simple binaural correlation changes. Compared with age-matched controls, ataxic but not pre-ataxic SCA3 mutation carriers had significantly lower frequency limits up to which Huggins pitch could be heard. Listeners with lower frequency limits also showed diminished MEG responses to Huggins pitch, but not in the two control conditions. Huggins pitch is a promising tool to assess brainstem functioning in ataxic SCA3 patients. Future studies should refine the psychophysiological setup to capture possible performance decrements also in pre-ataxic mutation carriers. Longitudinal observations will be needed to prove the potential of the assessment of Huggins pitch as a biomarker to track brainstem functioning during the disease course in SCA3., (© 2023. The Author(s).)

Although it has been established that cross-modal activations occur in the occipital cortex during auditory processing among congenitally and early blind listeners, it remains uncertain whether these activations in various occipital regions reflect sensory analysis of specific sound properties, non-perceptual cognitive operations associated with active tasks, or the interplay between sensory analysis and cognitive operations. This fMRI study aimed to investigate cross-modal responses in occipital regions, specifically V5/MT and V1, during passive and active pitch perception by early blind individuals compared to sighted individuals. The data showed that V5/MT was responsive to pitch during passive perception, and its activations increased with task complexity. By contrast, widespread occipital regions, including V1, were only recruited during two active perception tasks, and their activations were also modulated by task complexity. These fMRI results from blind individuals suggest that while V5/MT activations are both stimulus-responsive and task-modulated, activations in other occipital regions, including V1, are dependent on the task, indicating similarities and differences between various visual areas during auditory processing., (© 2024 The Authors. Human Brain Mapping published by Wiley Periodicals LLC.)

The auditory world is often cacophonous, with some sounds capturing attention and distracting us from our goals. Despite the universality of this experience, many questions remain about how and why sound captures attention, how rapidly behavior is disrupted, and how long this interference lasts. Here, we use a novel measure of behavioral disruption to test predictions made by models of auditory salience. Models predict that goal-directed behavior is disrupted immediately after points in time that feature a high degree of spectrotemporal change. We find that behavioral disruption is precisely time-locked to the onset of distracting sound events: Participants who tap to a metronome temporarily increase their tapping speed 750 ms after the onset of distractors. Moreover, this response is greater for more salient sounds (larger amplitude) and sound changes (greater pitch shift). We find that the time course of behavioral disruption is highly similar after acoustically disparate sound events: Both sound onsets and pitch shifts of continuous background sounds speed responses at 750 ms, with these effects dying out by 1,750 ms. These temporal distortions can be observed using only data from the first trial across participants. A potential mechanism underlying these results is that arousal increases after distracting sound events, leading to an expansion of time perception, and causing participants to misjudge when their next movement should begin., (© 2023. The Author(s).)

The appreciation of music is a universal trait of humankind. 1 , 2 , 3 Evidence supporting this notion includes the ubiquity of music across cultures 4 , 5 , 6 , 7 and the natural predisposition toward music that humans display early in development. 8 , 9 , 10 Are we musical animals because of species-specific predispositions? This question cannot be answered by relying on cross-cultural or developmental studies alone, as these cannot rule out enculturation. 11 Instead, it calls for cross-species experiments testing whether homologous neural mechanisms underlying music perception are present in non-human primates. We present music to two rhesus monkeys, reared without musical exposure, while recording electroencephalography (EEG) and pupillometry. Monkeys exhibit higher engagement and neural encoding of expectations based on the previously seeded musical context when passively listening to real music as opposed to shuffled controls. We then compare human and monkey neural responses to the same stimuli and find a species-dependent contribution of two fundamental musical features-pitch and timing 12 -in generating expectations: while timing- and pitch-based expectations 13 are similarly weighted in humans, monkeys rely on timing rather than pitch. Together, these results shed light on the phylogeny of music perception. They highlight monkeys' capacity for processing temporal structures beyond plain acoustic processing, and they identify a species-dependent contribution of time- and pitch-related features to the neural encoding of musical expectations., Competing Interests: Declaration of interests The authors declare no competing interests., (Copyright © 2023 The Authors. Published by Elsevier Inc. All rights reserved.)