Pitch perception: A dynamical-systems perspective

Two and a half millennia ago Pythagoras initiated the scientific study of the pitch of sounds; yet our understanding of the mechanisms of pitch perception remains incomplete. Physical models of pitch perception try to explain from elementary principles why certain physical characteristics of the stimulus lead to particular pitch sensations. There are two broad categories of pitch-perception models: place or spectral models consider that pitch is mainly related to the Fourier spectrum of the stimulus, whereas for periodicity or temporal models its characteristics in the time domain are more important. Current models from either class are usually computationally intensive, implementing a series of steps more or less supported by auditory physiology. However, the brain has to analyze and react in real time to an enormous amount of information from the ear and other senses. How is all this information efficiently represented and processed in the nervous system? A proposal of nonlinear and complex systems research is that dynamical attractors may form the basis of neural information processing. Because the auditory system is a complex and highly nonlinear dynamical system, it is natural to suppose that dynamical attractors may carry perceptual and functional meaning. Here we show that this idea, scarcely developed in current pitch models, can be successfully applied to pitch perception.

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.

Polarity-Dependent Transcranial Direct Current Stimulation Effects on Central Auditory Processing

Given the polarity dependent effects of transcranial direct current stimulation (tDCS) in facilitating or inhibiting neuronal processing, and tDCS effects on pitch perception, we tested the effects of tDCS on temporal aspects of auditory processing. We aimed to change baseline activity of the auditory cortex using tDCS as to modulate temporal aspects of auditory processing in healthy subjects without hearing impairment. Eleven subjects received 2mA bilateral anodal, cathodal and sham tDCS over auditory cortex in a randomized and counterbalanced order. Subjects were evaluated by the Random Gap Detection Test (RGDT), a test measuring temporal processing abilities in the auditory domain, before and during the stimulation. Statistical analysis revealed a significant interaction effect of time vs. tDCS condition for 4000 Hz and for clicks. Post-hoc tests showed significant differences according to stimulation polarity on RGDT performance: anodal improved 22.5% and cathodal decreased 54.5% subjects' performance, as compared to baseline. For clicks, anodal also increased performance in 29.4% when compared to baseline. tDCS presented polarity-dependent effects on the activity of the auditory cortex, which results in a positive or negative impact in a temporal resolution task performance. These results encourage further studies exploring tDCS in central auditory processing disorders.

The prevalence of congenital amusia

L’amusie congénitale est un trouble neurogénétique qui se caractérise par une inhabileté à acquérir des habiletés musicales de base, telles que la perception musicale et la reconnaissance musicale normales, malgré une audition, un développement du langage et une intelligence normaux (Ayotte, Peretz & Hyde, 2002). Récemment, une éude d’aggrégation familiale a démontré que 39% des membres de familles d’individus amusiques démontrent le trouble, comparativement à 3% des membres de familles d’individus normaux (Peretz et al., 2007). Cette conclusion est intéressante puisqu’elle démontre une prévalence de l’amusie congénitale dans la population normale. Kalmus et Fry (1980) ont évalué cette prévalence à 4%, en utilisant le Distorted Tunes Test (DTT). Par contre, ce test présente certaines lacunes méthodologiques et statistiques, telles un effet plafond important, ainsi que l’usage de mélodies folkloriques, désavantageant les amusiques puisque ceux-ci ne peuvent pas assimiler ces mélodies correctement. L’étude présente visait à réévaluer la prévalence de l’amusie congénitale en utilisant un test en ligne récemment validé par Peretz et ses collègues (2008). Mille cent participants, d’un échantillon homogène, ont complété le test en ligne. Les résultats démontrent une prévalence globale de 11.6%, ainsi que quatre profiles de performance distincts: pitch deafness (1.5%), pitch memory amusia (3.2%), pitch perception amusia (3.3%), et beat deafness (3.3%). La variabilité des résultats obtenus avec le test en ligne démontre l’existence de quatre types d’amusies avec chacune une prévalence individuelle, indiquant une hétérogénéité dans l’expression de l’amusie congénitale qui devra être explorée ultérieurement.

Bases génétiques de l'amusie congénitale : une étude de jumeaux

L’amusie congénitale est un trouble neuro-développemental se définissant par des difficultés à percevoir la musique, et ce malgré une ouïe et une intelligence normales. Un déficit de discrimination fine des hauteurs serait à l’origine de ce trouble, qui se traduit notamment par une incapacité à détecter les fausses notes. afin de mieux comprendre les facteurs génétiques contribuant à la manifestation de l’amusie congénitale, la présente étude avait pour objectif: (a) de déterminer si la performance sur diverses tâches musicales et auditives était plus similaire chez les jumeaux identiques (monozygotes ; MZ) que chez les jumeaux non-identiques (dizygotes ; DZ) et (b) d’explorer les variables relatives à l’environnement musical des jumeaux, afin de mieux comprendre les contributions de l’environnement et de la génétique dans les différences sous-tendant les habiletés musicales. De plus, le profil des sujets amusiques a été analysé afin de vérifier s’il correspondait à celui décrit dans la littérature, faisant état de difficultés tonales, mais non rythmiques. Huit paires de jumeaux MZ et six paires de jumeaux DZ, parmi lesquelles au moins un des co-jumeaux était potentiellement amusique, ont pris part à cette étude. Les tâches consistaient en un test en ligne de perception mélodique et rythmique, un test de détection des différences de hauteurs, ainsi qu’un test de chant. L’analyse de la performance et de l’environnement musical des jumeaux MZ et DZ ne révèle aucune distinction comportementale entre ces deux groupes en ce qui concerne les habiletés musicales. Cela suggère que celles-ci puissent être davantage influencées par l’environnement partagé que par les facteurs génétiques. Enfin, les jumeaux amusiques ont le profil habituel d’habiletés musicales. En effet, ils commettent des erreurs de perception et de production musicale au niveau mélodique, mais ont une perception rythmique préservée. D’autres études, notamment avec de plus grands échantillons de jumeaux, seront nécessaires afin d’élucider la possible étiologie génétique sous-tendant l’amusie congénitale.

Le chant des amusiques : prédictions d'une dissociation entre les habiletés perceptives et vocales

L’objectif de cette étude était d’évaluer l’influence des habiletés perceptives sur les capacités de production vocale dans l’amusie congénitale. Treize amusiques et douze contrôles appariés ont réalisé quatre tâches : deux tâches de discrimination perceptive et deux tâches de production vocale. Les stimuli utilisés pour les tâches étaient des enregistrements vocaux provenant des participants, rendant les tâches plus écologiques et enlevant le besoin pour les participants de modifier le timbre des stimuli lorsqu’ils chantent. Les résultats ont démontré que, malgré le fait que les contrôles aient surpassé la performance des amusiques dans toutes les tâches, il y avait beaucoup plus de variabilité dans les performances des amusiques que prévu. La moitié des amusiques avaient des performances égales à celles des contrôles sur les deux tâches perceptives. D’autres amusiques montraient des performances égales ou semblables à celles des contrôles sur au moins une des tâches d’imitation vocale. Ces résultats mènent à croire qu’il serait possible que ces deux types d’habiletés musicales soient dissociables.

Pre-attentive auditory sensory processing in autistic spectrum disorder:are electromagnetic measurements telling us a coherent story?

Sensory processing is a crucial underpinning of the development of social cognition, a function which is compromised in variable degree in patients with pervasive developmental disorders (PDD). In this manuscript, we review some of the most recent and relevant contributions, which have looked at auditory sensory processing derangement in PDD. The variability in the clinical characteristics of the samples studied so far, in terms of severity of the associated cognitive deficits and associated limited compliance, underlying aetiology and demographic features makes a univocal interpretation arduous. We hypothesise that, in patients with severe mental deficits, the presence of impaired auditory sensory memory as expressed by the mismatch negativity could be a non-specific indicator of more diffuse cortical deficits rather than causally related to the clinical symptomatology. More consistent findings seem to emerge from studies on less severely impaired patients, in whom increased pitch perception has been interpreted as an indicator of increased local processing, probably as compensatory mechanism for the lack of global processing (central coherence). This latter hypothesis seems extremely attractive and future trials in larger cohorts of patients, possibly standardising the characteristics of the stimuli are a much-needed development. Finally, specificity of the role of the auditory derangement as opposed to other sensory channels needs to be assessed more systematically using multimodal stimuli in the same patient group. (c) 2006 Elsevier B.V. All rights reserved.

The role of musical aptitude in the pronunciation of English vowels among Polish learners of English

It has long been held that people who have musical training or talent acquire L2 pronunciation more successfully than those that do not. Indeed, there have been empirical studies to support this hypothesis (Pastuszek-Lipińska 2003, Fonseca-Mora et al. 2011, Zatorre and Baum 2012). However, in many of such studies, musical abilities in subjects were mostly verified through questionnaires rather than tested in a reliable, empirical manner. Therefore, we run three different musical hearing tests, i.e. pitch perception test, musical memory test, and rhythm perception test (Mandell 2009) to measure the actual musical aptitude in our subjects. The main research question is whether a better musical ear correlates with a higher rate of acquisition of English vowels in Polish EFL learners. Our group consists of 40 Polish university students studying English as their major who learn the British pronunciation model during an intense pronunciation course. 10 male and 30 female subjects with mean age of 20.1 were recorded in a recording studio. The procedure comprised spontaneous conversations, reading passages and reading words in isolation. Vowel measurements were conducted in Praat in all three speech styles and several consonantal contexts. The assumption was that participants who performed better in musical tests would produce vowels that are closer to the Southern British English model. We plotted them onto vowel charts and calculated the Euclidean distances. Preliminary results show that there is potential correlation between specific aspects of musical hearing and different elements of pronunciation. The study is a longitudinal project and will encompass two more years, during which we will repeat the recording procedure twice to measure the participants’ progress in mastering the English pronunciation and comparing it with their musical aptitude.

A BACKING DEVICE BASED ON AN EMBEDDED STIFFENER AND RETRACTABLE INSERTION TOOL FOR THIN-FILM COCHLEAR ARRAYS

Intracochlear trauma from surgical insertion of bulky electrode arrays and inadequate pitch perception are areas of concern with current hand-assembled commercial cochlear implants. Parylene thin-film arrays with higher electrode densities and lower profiles are a potential solution, but lack rigidity and hence depend on manually fabricated permanently attached polyethylene terephthalate (PET) tubing based bulky backing devices. As a solution, we investigated a new backing device with two sub-systems. The first sub-system is a thin poly(lactic acid) (PLA) stiffener that will be embedded in the parylene array. The second sub-system is an attaching and detaching mechanism, utilizing a poly(N-vinylpyrrolidone)-block-poly(d,l-lactide) (PVP-b-PDLLA) copolymer-based biodegradable and water soluble adhesive, that will help to retract the PET insertion tool after implantation. As a proof-of-concept of sub-system one, a microfabrication process for patterning PLA stiffeners embedded in parylene has been developed. Conventional hotembossing, mechanical micromachining, and standard cleanroom processes were integrated for patterning fully released and discrete stiffeners coated with parylene. The released embedded stiffeners were thermoformed to demonstrate that imparting perimodiolar shapes to stiffener-embedded arrays will be possible. The developed process when integrated with the array fabrication process will allow fabrication of stiffener-embedded arrays in a single process. As a proof-of-concept of sub-system two, the feasibility of the attaching and detaching mechanism was demonstrated by adhering 1x and 1.5x scale PET tube-based insertion tools and PLA stiffeners embedded in parylene using the copolymer adhesive. The attached devices survived qualitative adhesion tests, thermoforming, and flexing. The viability of the detaching mechanism was tested by aging the assemblies in-vitro in phosphate buffer solution. The average detachment times, 2.6 minutes and 10 minutes for 1x and 1.5x scale devices respectively, were found to be clinically relevant with respect to the reported array insertion times during surgical implantation. Eventually, the stiffener-embedded arrays would not need to be permanently attached to current insertion tools which are left behind after implantation and congest the cochlear scala tympani chamber. Finally, a simulation-based approach for accelerated failure analysis of PLA stiffeners and characterization of PVP-b-PDLLA copolymer adhesive has been explored. The residual functional life of embedded PLA stiffeners exposed to body-fluid and thereby subjected to degradation and erosion has been estimated by simulating PLA stiffeners with different parylene coating failure types and different PLA types for a given parylene coating failure type. For characterizing the PVP-b-PDLLA copolymer adhesive, several formulations of the copolymer adhesive were simulated and compared based on the insertion tool detachment times that were predicted from the dissolution, degradation, and erosion behavior of the simulated adhesive formulations. Results indicate that the simulation-based approaches could be used to reduce the total number of time consuming and expensive in-vitro tests that must be conducted.

TRAVELLING THROUGH PITCH SPACE SPEEDS UP MUSICAL TIME

SEVERAL MODELS OF TIME ESTIMATION HAVE BEEN developed in psychology; a few have been applied to music. In the present study, we assess the influence of the distances travelled through pitch space on retrospective time estimation. Participants listened to an isochronous chord sequence of 20-s duration. They were unexpectedly asked to reproduce the time interval of the sequence. The harmonic structure of the stimulus was manipulated so that the sequence either remained in the same key (CC) or travelled through a closely related key (CFC) or distant key (CGbC). Estimated times were shortened when the sequence modulated to a very distant key. This finding is discussed in light of Lerdahl's Tonal Pitch Space Theory (2001), Firmino and Bueno's Expected Development Fraction Model (in press), and models of time estimation.

Noise in Brain Activity Engenders Perception and Influences Discrimination Sensitivity.

Behavioral and brain responses to identical stimuli can vary with experimental and task parameters, including the context of stimulus presentation or attention. More surprisingly, computational models suggest that noise-related random fluctuations in brain responses to stimuli would alone be sufficient to engender perceptual differences between physically identical stimuli. In two experiments combining psychophysics and EEG in healthy humans, we investigated brain mechanisms whereby identical stimuli are (erroneously) perceived as different (higher vs lower in pitch or longer vs shorter in duration) in the absence of any change in the experimental context. Even though, as expected, participants' percepts to identical stimuli varied randomly, a classification algorithm based on a mixture of Gaussians model (GMM) showed that there was sufficient information in single-trial EEG to reliably predict participants' judgments of the stimulus dimension. By contrasting electrical neuroimaging analyses of auditory evoked potentials (AEPs) to the identical stimuli as a function of participants' percepts, we identified the precise timing and neural correlates (strength vs topographic modulations) as well as intracranial sources of these erroneous perceptions. In both experiments, AEP differences first occurred ∼100 ms after stimulus onset and were the result of topographic modulations following from changes in the configuration of active brain networks. Source estimations localized the origin of variations in perceived pitch of identical stimuli within right temporal and left frontal areas and of variations in perceived duration within right temporoparietal areas. We discuss our results in terms of providing neurophysiologic evidence for the contribution of random fluctuations in brain activity to conscious perception.

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.

Comparison of music perception in bilateral and unilateral cochlear implant users and normal-hearing subjects

Music plays an important role in the daily life of cochlear implant (CI) users, but electrical hearing and speech processing pose challenges for enjoying music. Studies of unilateral CI (UCI) users' music perception have found that these subjects have little difficulty recognizing tempo and rhythm but great difficulty with pitch, interval and melody. The present study is an initial step towards understanding music perception in bilateral CI (BCI) users. The Munich Music Questionnaire was used to investigate music listening habits and enjoyment in 23 BCI users compared to 2 control groups: 23 UCI users and 23 normal-hearing (NH) listeners. Bilateral users appeared to have a number of advantages over unilateral users, though their enjoyment of music did not reach the level of NH listeners.

Seeing music performance: Visual influences on perception and experience

Drawing from ethnographic, empirical, and historical/cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably influence perceptions of musical structure (pitch related features) and affective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies.