Musicians and non-musicians consonant/dissonant perception investigated by EEG and fMRI

The perception of two (or more) simultaneous musical notes, depending on their pitch interval(s), could be broadly categorized as consonant or dissonant. Previous studies have suggested that musicians and non-musicians adopt different strategies when discerning music intervals: the frequency ratio (perfect fifth or tritone) for the former, and frequency differences (e.g., roughness vs. non-roughness) for the latter. To extend and replicate this previous finding, in this follow-up study we reran the ElectroEncephaloGraphy (EEG) experiment, and separately collected functional magnetic resonance imaging (fMRI) data of the same protocol. The behavioral results replicated our previous findings that musicians used pitch intervals and nonmusicians roughness for consonant judgments. And the ERP amplitude differences between groups in both frequency ratio and frequency differences were primarily around N1 and P2 periods along the midline channels. The fMRI results, with the joint analyses by univariate, multivariate, and connectivity approaches, further reinforce the involvement of midline and related-brain regions in consonant/dissonance judgments. Additional representational similarity analysis (or RSA), and the final spatio-temporal searchlight RSA (or ss-RSA), jointly combined the fMRI-EEG into the same representational space, providing final support on the neural substrates of neurophysiological signatures. Together, these analyses not just exemplify the importance of replication, that musicians rely more on top-down knowledge for consonance/dissonance perception; but also demonstrate the advantages of multiple analyses in constraining the findings from both EEG and fMRI.

Song imitation in congenital amusia: Performance partially facilitated by melody familiarity but not by phonetic content

Congenital amusia is a neurogenetic disorder of pitch perception that may also compromise pitch production. We explored whether vocal imitation of song in amusia is influenced by melody familiarity and phonetic content. Thirteen Mandarin-speaking amusics and 13 matched controls imitated novel song segments with lyrics and on the syllable /la/ while their output was recorded. Eleven out of these participants in each group also imitated segments of a familiar song. Subsequent acoustic analysis was conducted to measure pitch and timing matching accuracy. While amusics’ performance was facilitated by melody familiarity in terms of pitch interval deviation, signed interval deviation and number of contour errors, they showed compromised performance compared to controls in absolute pitch deviation, number of pitch interval errors, duration difference, interonset interval difference, and number of time errors in both familiar and novel song conditions. The presence of lyrics did not affect either group’s performance substantially. While a stronger relationship between music perception and novel melody imitation was observed in amusics as opposed to familiar melody imitation, controls showed the opposite pattern. We discuss the implications of the study in terms of music familiarity, memory demands, the relevance of lexical information and the link between perception and production.

Decomposing neural responses to melodic surprise in musicians and non-musicians: evidence for a hierarchy of predictions in the auditory system

Neural responses to auditory surprise are typically studied with highly unexpected, disruptive sounds. Consequently, little is known about auditory prediction in everyday contexts that are characterized by fine-grained, non-disruptive fluctuations of auditory surprise. To address this issue, we used IDyOM, a computational model of auditory expectation, to obtain continuous surprise estimates for a set of newly composed melodies. Our main goal was to assess whether the neural correlates of non-disruptive surprising sounds in a musical context are affected by musical expertise. Using magnetoencephalography (MEG), auditory responses were recorded from musicians and non-musicians while they listened to the melodies. Consistent with a previous study, the amplitude of the N1m component increased with higher levels of computationally estimated surprise. This effect, however, was not different between the two groups. Further analyses offered an explanation for this finding: Pitch interval size itself, rather than probabilistic prediction, was responsible for the modulation of the N1m, thus pointing to low-level sensory adaptation as the underlying mechanism. In turn, the formation of auditory regularities and proper probabilistic prediction were reflected in later components: the mismatch negativity (MMNm) and the P3am, respectively. Overall, our findings reveal a hierarchy of expectations in the auditory system and highlight the need to properly account for sensory adaptation in research addressing statistical learning.Highlights- In melodies, sound expectedness (modeled with IDyOM) is associated with the amplitude of the N1m.- This effect is not different between musicians and non-musicians.- Sensory adaptation related to melodic pitch intervals explains better the N1m effect.- Auditory regularities and the expectations captured by IDyOM are reflected in the MMNm and P3am.- Evidence for a hierarchy of auditory predictions during melodic listening.

Task-Based Variability in Children’s Singing Accuracy

The purpose of this study was to explore the effect of task demands on children’s singing accuracy. A 2 × 4 factorial design was used to examine the performance of fourth-grade children ( N = 120) in solo and doubled response conditions. Each child sang four task types: single pitch, interval, pattern, and the song “Jingle Bells.” The results indicated that children’s singing accuracy varied by task type, with poorer performance on patterns and songs than on single pitches and intervals. Performance was significantly better for all tasks in the doubled condition than in the solo condition, and a significant interaction indicated task-based performance varied by response mode. Students who indicated some history of private lessons ( n = 54) performed significantly better than those without. Internal reliability using five test items for each type of singing task was satisfactory. Application of the Spearman-Brown formula suggests that a minimum of three items can be included in each task in future research for a reliability coefficient of .75, and four items for a coefficient greater than .80. Performance on these singing tasks was significantly intercorrelated.

The effect of repeated attempts and test-retest reliability in children’s singing accuracy

The purpose of this study was to examine the effect of repeated attempts at singing accuracy tasks. Test-retest reliability of singing accuracy was examined in a second administration of the test. A secondary purpose was to analyze individual variability in children’s singing accuracy. Test stimuli were designed using five attempts each at a single pitch, interval, and four-note pattern, and song singing. Children aged 6–11 were given the one-on-one singing accuracy test, and an identical form of the test was administered again within 1–6 weeks. Pitch matching items were scored by measuring the deviation in Hertz from the stimuli. The song singing item was scored by singing teachers using an 8-point scale with acceptable inter-rater reliability ( r = .86). Participants’ individual best attempt out of five was equally distributed, with overall performance increasing across subsequent attempts measured in signed cent deviation. A repeated-measures ANOVA with the task type (single, interval, and pattern) and attempt (1, 2, 3, 4, and 5) as the within-subjects variables indicated no main effect for task type ( p = .129), but a significant main effect for attempt ( p < .001, [Formula: see text] = .087). Test-retest reliability was considered high ( r = .69).

The Evaluation of Vocal Pitch Accuracy

The objective analysis of Western operatic singing voices indicates that professional singers can be particularly “out of tune.” This study aims to better understand the evaluation of operatic voices, which have particularly complex acoustical signals. Twenty-two music experts were asked to evaluate the vocal pitch accuracy of 14 sung performances with a pairwise comparison paradigm, in a test and a retest. In addition to the objective measurement of pitch accuracy (pitch interval deviation), several performance parameters (average tempo, fundamental frequency of the starting note) and quality parameters (energy distribution, vibrato rate and extent) were observed and compared to the judges’ perceptual rating. The results show high intra and interjudge reliability when rating the pitch accuracy of operatic singing voices. Surprisingly, all the parameters were significantly related to the ratings and explain 78.8% of the variability of the judges’ rating. The pitch accuracy evaluation of operatic voices is thus not based exclusively on the precision of performed music intervals but on a complex combination of performance and quality parameters.