Levels-of-processing effects on "remember" responses in recognition for familiar and unfamiliar tunes

We investigated the effect of level-of-processing manipulations on “remember” and “know” responses in episodic melody recognition (Experiments 1 and 2) and how this effect is modulated by item familiarity (Experiment 2). In Experiment 1, participants performed 2 conceptual and 2 perceptual orienting tasks while listening to familiar melodies: judging the mood, continuing the tune, tracing the pitch contour, and counting long notes. The conceptual mood task led to higher d' rates for “remember” but not “know” responses. In Experiment 2, participants either judged the mood or counted long notes of tunes with high and low familiarity. A level-of-processing effect emerged again in participants’ “remember” d' rates regardless of melody familiarity. Results are discussed within the distinctive processing framework.

Absolute pitch and planum temporale

An increased leftward asymmetry of the planum temporale (PT) in absolute-pitch (AP) musicians has been previously reported, with speculation that early exposure to music influences the degree of PT asymmetry. To test this hypothesis and to determine whether a larger left PT or a smaller right PT actually accounts for the increased overall PT asymmetry in AP musicians, anatomical magnetic resonance images were taken from a right-handed group of 27 AP musicians, 27 nonmusicians, and 22 non-AP musicians. A significantly greater leftward PT asymmetry and a significantly smaller right absolute PT size for the AP musicians compared to the two control groups was found, while the left PT was only marginally larger in the AP group. The absolute size of the right PT and not the left PT was a better predictor of music group membership, possibly indicating “pruning” of the right PT rather than expansion of the left underlying the increased PT asymmetry in AP musicians. Although early exposure to music may be a prerequisite for acquiring AP, the increased PT asymmetry in AP musicians may be determined in utero, implicating possible genetic influences on PT asymmetry. This may explain why the increased PT asymmetry of AP musicians was not seen in the group of early beginning non-AP musicians.

Perception of mode, rhythm, and contour in unfamiliar melodies: Effects of age and experience

We explored the ability of older (60-80 years old) and younger (18-23 years old) musicians and nonmusicians to judge the similarity of transposed melodies varying on rhythm, mode, and/or contour (Experiment 1) and to discriminate among melodies differing only in rhythm, mode, or contour (Experiment 2). Similarity ratings did not vary greatly among groups, with tunes differing only by mode being rated as most similar. In the same/different discrimination task, musicians performed better than nonmusicians, but we found no age differences. We also found that discrimination of major from minor tunes was difficult for everyone, even for musicians. Mode is apparently a subtle dimension in music, despite its deliberate use in composition and despite people's ability to label minor as "sad" and major as "happy."

Memory for the absolute pitch of familiar songs

Four experiments were conducted to examine the ability of people without "perfect pitch" to retain the absolute pitch offamiliar tunes. In Experiment 1, participants imagined given tunes, and then hummed their first notes four times either between or within sessions. The variability of these productions was very low. Experiment 2 used a recognition paradigm, with results similar to those in Experiment 1 for musicians, but with some additional variability shown for unselected subjects. In Experiment 3, subjects rated the suitability ofvarious pitches to start familiar tunes. Previously given preferred notes were rated high, as were notes three or four semitones distant from the preferred notes, but not notes one or two semitones distant. In Experiment 4, subjects mentally transformed the pitches of familiar tunes to the highest and lowest levels possible. These experiments suggest some retention of the absolute pitch of tunes despite a paucity of verbal or visual cues for the pitch.

Common parietal activation in musical mental transformations across pitch and time

We previously observed that mental manipulation of the pitch level or temporal organization of melodies results in functional activation in the human intraparietal sulcus (IPS), a region also associated with visuospatial transformation and numerical calculation. Two outstanding questions about these musical transformations are whether pitch and time depend on separate or common processing in IPS, and whether IPS recruitment in melodic tasks varies depending upon the degree of transformation required (as it does in mental rotation). In the present study we sought to answer these questions by applying functional magnetic resonance imaging while musicians performed closely matched mental transposition (pitch transformation) and melody reversal (temporal transformation) tasks. A voxel-wise conjunction analysis showed that in individual subjects, both tasks activated overlapping regions in bilateral IPS, suggesting that a common neural substrate subserves both types of mental transformation. Varying the magnitude of mental pitch transposition resulted in variation of IPS BOLD signal in correlation with the musical key-distance of the transposition, but not with the pitch distance, indicating that the cognitive metric relevant for this type of operation is an abstract one, well described by music-theoretic concepts. These findings support a general role for the IPS in systematically transforming auditory stimulus representations in a nonspatial context. (C) 2013 Elsevier Inc. All rights reserved.

Auditory Imagery and the Poor-Pitch Singer

The vocal imitation of pitch by singing requires one to plan laryngeal movements on the basis of anticipated target pitch events. This process may rely on auditory imagery, which has been shown to activate motor planning areas. As such, we hypothesized that poor-pitch singing, although not typically associated with deficient pitch perception, may be associated with deficient auditory imagery. Participants vocally imitated simple pitch sequences by singing, discriminated pitch pairs on the basis of pitch height, and completed an auditory imagery self-report questionnaire (the Bucknell Auditory Imagery Scale). The percentage of trials participants sung in tune correlated significantly with self-reports of vividness for auditory imagery, although not with the ability to control auditory imagery. Pitch discrimination was not predicted by auditory imagery scores. The results thus support a link between auditory imagery and vocal imitation.

The effects of aging and musical experience on the representation of tonal hierarchies

Two experiments explored the representation of the tonal hierarchy in Western music among older (aged 60 to 80) and younger (aged 15 to 22) musicians and nonmusicians. A probe tone technique was used: 4 notes from the major triad were presented, followed by 1 note chosen from the 12 notes of the chromatic scale. Whereas musicians had a better sense of the tonal hierarchy than nonmusicians, older adults were no worse than younger adults in differentiating the notes according to musical principles. However, older adults were more prone than younger adults to classify the notes by frequency proximity (pitch height) when proximity was made more salient, as were nonmusicians compared with musicians. With notes having ambiguous pitch height, pitch height effects disappeared among older adults but not nonmusicians. Older adults seem to have internalized tonal structure, but they sometimes fail to inhibit less musically relevant information.

Identification, discrimination, and selective adaptation of simultaneous musical intervals

Four experiments investigated perception of major and minor thirds whose component tones were sounded simultaneously. Effects akin to categorical perception of speech sounds were found. In the first experiment, musicians demonstrated relatively sharp category boundaries in identification and peaks near the boundary in discrimination tasks of an interval continuum where the bottom note was always an F and the top note varied from A to A flat in seven equal logarithmic steps. Nonmusicians showed these effects only to a small extent. The musicians showed higher than predicted discrimination performance overall, and reaction time increases at category boundaries. In the second experiment, musicians failed to consistently identify or discriminate thirds which varied in absolute pitch, but retained the proper interval ratio. In the last two experiments, using selective adaptation, consistent shifts were found in both identification and discrimination, similar to those found in speech experiments. Manipulations of adapting and test showed that the mechanism underlying the effect appears to be centrally mediated and confined to a frequency-specific level. A multistage model of interval perception, where the first stages deal only with specific pitches may account for the results.

Effect of unilateral temporal-lobe excision on perception and imagery of songs

Auditory imagery for songs was studied in two groups of patients with left or right temporal-lobe excision for control of epilepsy, and a group of matched normal control subjects. Two tasks were used. In the perceptual task, subjects saw the text of a familiar song and simultaneously heard it sung. On each trial they judged if the second of two capitalized lyrics was higher or lower in pitch than the first. The imagery task was identical in all respects except that no song was presented, so that subjects had to generate an auditory image of the song. The results indicated that all subjects found the imagery task more difficult than the perceptual task, but patients with right temporal-lobe damage performed significantly worse on both tasks than either patients with left temporal-lobe lesions or normal control subjects. These results support the idea that imagery arises from activation of a neural substrate shared with perceptual mechanisms, and provides evidence for a right temporal- lobe specialization for this type of auditory imaginal processing.

Hearing in the mind's ear: A PET investigation of musical imagery and perception

Neuropsychological studies have suggested that imagery processes may be mediated by neuronal mechanisms similar to those used in perception. To test this hypothesis, and to explore the neural basis for song imagery, 12 normal subjects were scanned using the water bolus method to measure cerebral blood flow (CBF) during the performance of three tasks. In the control condition subjects saw pairs of words on each trial and judged which word was longer. In the perceptual condition subjects also viewed pairs of words, this time drawn from a familiar song; simultaneously they heard the corresponding song, and their task was to judge the change in pitch of the two cued words within the song. In the imagery condition, subjects performed precisely the same judgment as in the perceptual condition, but with no auditory input. Thus, to perform the imagery task correctly an internal auditory representation must be accessed. Paired-image subtraction of the resulting pattern of CBF, together with matched MRI for anatomical localization, revealed that both perceptual and imagery. tasks produced similar patterns of CBF changes, as compared to the control condition, in keeping with the hypothesis. More specifically, both perceiving and imagining songs are associated with bilateral neuronal activity in the secondary auditory cortices, suggesting that processes within these regions underlie the phenomenological impression of imagined sounds. Other CBF foci elicited in both tasks include areas in the left and right frontal lobes and in the left parietal lobe, as well as the supplementary motor area. This latter region implicates covert vocalization as one component of musical imagery. Direct comparison of imagery and perceptual tasks revealed CBF increases in the inferior frontal polar cortex and right thalamus. We speculate that this network of regions may be specifically associated with retrieval and/or generation of auditory information from memory.

Can You Hear the Shape of a Drum?

If you had perfect pitch and listened to a recording of the sounds a drum made when struck, could you determine the shape of the drum? This question is an example of an inverse problem; inverse problems arise in medical imaging, oil prospecting, spectroscopy, and many other fields. We’ll first discuss the analogous question in the simpler setting of plucking a string. Then we’ll tackle the problem for drums and see that there are some surprises. Finally, I will give a brief indication of how this problem relates to some of my recent research. The emphasis will be on the ideas rather than on the technical details, so there will be pretty pictures instead of equations.

Visual Speech Segmentation: Using Facial Cues to Locate Word Boundaries in Continuous Speech

Speech is typically a multimodal phenomenon, yet few studies have focused on the exclusive contributions of visual cues to language acquisition. To address this gap, we investigated whether visual prosodic information can facilitate speech segmentation. Previous research has demonstrated that language learners can use lexical stress and pitch cues to segment speech and that learners can extract this information from talking faces. Thus, we created an artificial speech stream that contained minimal segmentation cues and paired it with two synchronous facial displays in which visual prosody was either informative or uninformative for identifying word boundaries. Across three familiarisation conditions (audio stream alone, facial streams alone, and paired audiovisual), learning occurred only when the facial displays were informative to word boundaries, suggesting that facial cues can help learners solve the early challenges of language acquisition.

The Role of Features and Context in Recognition of Novel Melodies

WE INVESTIGATED HOW WELL STRUCTURAL FEATURES such as note density or the relative number of changes in the melodic contour could predict success in implicit and explicit memory for unfamiliar melodies. We also analyzed which features are more likely to elicit increasingly confident judgments of "old" in a recognition memory task. An automated analysis program computed structural aspects of melodies, both independent of any context, and also with reference to the other melodies in the testset and the parent corpus of pop music. A few features predicted success in both memory tasks, which points to a shared memory component. However, motivic complexity compared to a large corpus of pop music had different effects on explicit and implicit memory. We also found that just a few features are associated with different rates of "old" judgments, whether the items were old or new. Rarer motives relative to the testset predicted hits and rarer motives relative to the corpus predicted false alarms. This data-driven analysis provides further support for both shared and separable mechanisms in implicit and explicit memory retrieval, as well as the role of distinctiveness in true and false judgments of familiarity.