Pitch Discrimination in Musicians and Non-Musicians: Effects of Harmonic Resolvability and Processing Effort

Listening Effort for Speech in Noise Perception Using Pupil Dilation: A Comparison Among Percussionists, Non-Percussionists, and Non-Musicians

BACKGROUND AND OBJECTIVES

Most studies in literature attribute the benefits of musical training on speech in noise (SIN) perception to "experience-based" plasticity, which assists in the activation of speech-processing networks. However, whether musicianship provides an advantage for the listening effort (LE) required to comprehend speech in degraded environments has received less attention. The current study aimed to understand the influence of Indian classical music training on SIN perception and its related LE across percussionists, non-percussionists, and non-musicians.

SUBJECTS AND METHODS

A quasi-experiment was conducted on 16 percussionists, 17 non-percussionists, and 26 non-musicians aged 18-35 years with normal hearing. In phase 1, musical abilities were assessed using Mini-Profile of Music Perception Skills (Mini-PROMS). Phase 2 examined SIN using Tamil Phonemically-Balanced Words and Tamil Matrix Sentence Test at +5 dB, 0 dB, and -5 dB SNR and LE using pupillometry, measuring pupil dilations with an eye-tracker.

RESULTS

Fractional Logit and Linear Regression models demonstrated that percussionists outperformed non-percussionists in Tuning and Speed subsets of Mini-PROMS. Percussionists outperformed non-percussionists and non-musicians in SIN and LE at -5 dB SNR for words and at 0 dB and -5 dB SNR for sentences.

CONCLUSIONS

Percussionists have the greatest advantage in decoding SIN with reduced LE followed by non-percussionists and non-musicians, demonstrating musician-advantage in most challenging listening conditions.

Musical training is not associated with spectral context effects in instrument sound categorization

Musicians display a variety of auditory perceptual benefits relative to people with little or no musical training; these benefits are collectively referred to as the "musician advantage." Importantly, musicians consistently outperform nonmusicians for tasks relating to pitch, but there are mixed reports as to musicians outperforming nonmusicians for timbre-related tasks. Due to their experience manipulating the timbre of their instrument or voice in performance, we hypothesized that musicians would be more sensitive to acoustic context effects stemming from the spectral changes in timbre across a musical context passage (played by a string quintet then filtered) and a target instrument sound (French horn or tenor saxophone; Experiment 1). Additionally, we investigated the role of a musician's primary instrument of instruction by recruiting French horn and tenor saxophone players to also complete this task (Experiment 2). Consistent with the musician advantage literature, musicians exhibited superior pitch discrimination to nonmusicians. Contrary to our main hypothesis, there was no difference between musicians and nonmusicians in how spectral context effects shaped instrument sound categorization. Thus, musicians may only outperform nonmusicians for some auditory skills relevant to music (e.g., pitch perception) but not others (e.g., timbre perception via spectral differences).

Benefits of Harmonicity for Hearing in Noise Are Limited to Detection and Pitch-Related Discrimination Tasks

Harmonic complex tones are easier to detect in noise than inharmonic complex tones, providing a potential perceptual advantage in complex auditory environments. Here, we explored whether the harmonic advantage extends to other auditory tasks that are important for navigating a noisy auditory environment, such as amplitude- and frequency-modulation detection. Sixty young normal-hearing listeners were tested, divided into two equal groups with and without musical training. Consistent with earlier studies, harmonic tones were easier to detect in noise than inharmonic tones, with a signal-to-noise ratio (SNR) advantage of about 2.5 dB, and the pitch discrimination of the harmonic tones was more accurate than that of inharmonic tones, even after differences in audibility were accounted for. In contrast, neither amplitude- nor frequency-modulation detection was superior with harmonic tones once differences in audibility were accounted for. Musical training was associated with better performance only in pitch-discrimination and frequency-modulation-detection tasks. The results confirm a detection and pitch-perception advantage for harmonic tones but reveal that the harmonic benefits do not extend to suprathreshold tasks that do not rely on extracting the fundamental frequency. A general theory is proposed that may account for the effects of both noise and memory on pitch-discrimination differences between harmonic and inharmonic tones.

Musician-Advantage on Listening Effort for Speech in Noise Perception: A Dual-Task Paradigm Measure

BACKGROUND AND OBJECTIVES

Speech in noise (SIN) perception is essential for effective day-to-day communication, as everyday conversations seldom transpire in silent environments. Numerous studies have documented how musical training can aid in SIN discrimination through various neural-pathways, such as experience-dependent plasticity and overlapping processes between music and speech perception. However, empirical evidence regarding the impact of musical training on SIN perception remains inconclusive. This study aimed to investigate whether musicians trained in South Indian classical "Carnatic" style of music exhibited a distinct advantage over their non-musician counterparts in SIN perception. The study also attempted to explore whether the listening effort (LE) associated in this process was different across musicians and non-musicians, an area that has received limited attention.

SUBJECTS AND METHODS

A quasi-experimental design was employed, involving two groups comprising 25 musicians and 35 non-musicians, aged 18-35 years, with normal hearing. In phase 1, participants' musical abilities were assessed using the Mini-Profile of Music Perception Skills (Mini-PROMS). In phase 2, SIN abilities were tested using the Tamil phonemically balanced words and Tamil Matrix Sentence Test at -5 dB, 0 dB, and +5 dB SNR. Phase 3 tested LE using a dual-task paradigm including auditory and visual stimuli as primary and secondary tasks.

RESULTS

Fractional logit and linear regression models demonstrated that musicians outperformed non-musicians in the Mini-PROMS assessment. Musicians also fared better than non-musicians in SIN and LE at 0 dB SNR for words and +5 dB SNR for sentences.

CONCLUSIONS

The findings of this study provided limited evidence to support the claim that musical training improves speech perception in noisy environments or reduces the associated listening effort.

The role of carrier spectral composition in the perception of musical pitch

Temporal envelope fluctuations of natural sounds convey critical information to speech and music processing. In particular, musical pitch perception is assumed to be primarily underlined by temporal envelope encoding. While increasing evidence demonstrates the importance of carrier fine structure to complex pitch perception, how carrier spectral information affects musical pitch perception is less clear. Here, transposed tones designed to convey identical envelope information across different carriers were used to assess the effects of carrier spectral composition to pitch discrimination and musical-interval and melody identifications. Results showed that pitch discrimination thresholds became lower (better) with increasing carrier frequencies from 1k to 10k Hz, with performance comparable to that of pure sinusoids. Musical interval and melody defined by the periodicity of sine- or harmonic complex envelopes across carriers were identified with greater than 85% accuracy even on a 10k-Hz carrier. Moreover, enhanced interval and melody identification performance was observed with increasing carrier frequency up to 6k Hz. Findings suggest a perceptual enhancement of temporal envelope information with increasing carrier spectral region in musical pitch processing, at least for frequencies up to 6k Hz. For carriers in the extended high-frequency region (8-20k Hz), the use of temporal envelope information to music pitch processing may vary depending on task requirement. Collectively, these results implicate the fidelity of temporal envelope information to musical pitch perception is more pronounced than previously considered, with ecological implications.

No Musician Advantage in the Perception of Degraded-Fundamental Frequency Speech in Noisy Environments

PURPOSE

Pitch variations of the fundamental frequency (f_o) contour contribute to speech perception in noisy environments, but whether musicians confer an advantage in speech in noise (SIN) with altered f_o information remains unclear. This study investigated the effects of different levels of degraded f_o contour (i.e., conveying lexical tone or intonation information) on musician advantage in speech-in-noise perception.

METHOD

A cohort of native Mandarin Chinese speakers, comprising 30 trained musicians and 30 nonmusicians, were tested on the intelligibility of Mandarin Chinese sentences with natural, flattened-tone, flattened-intonation, and flattened-all f_o contours embedded in background noise masked under three signal-to-noise ratios (0, -5, and -9 dB). Pitch difference thresholds and innate musical skills associated with speech-in-noise benefits were also assessed.

RESULTS

Speech intelligibility score improved with increasing signal-to-noise level for both musicians and nonmusicians. However, no musician advantage was observed for identifying any type of flattened-f_o contour SIN. Musicians exhibited smaller f_o pitch discrimination limens than nonmusicians, which correlated with benefits for perceiving speech with intact tone-level f_o information. Regardless of musician status, performance on the pitch and accent musical-skill subtests correlated with speech intelligibility score.

CONCLUSIONS

Collectively, these results provide no evidence for a musician advantage for perceiving speech with distorted f_o information in noisy environments. Results further show that perceptual musical skills on pitch and accent processing may benefit the perception of SIN, independent of formal musical training. Our findings suggest that the potential application of music training in speech perception in noisy backgrounds is not contingent on the ability to process f_o pitch contours, at least for Mandarin Chinese speakers.

SUPPLEMENTAL MATERIAL

https://doi.org/10.23641/asha.23706354.

Auditory Processing in Musicians, a Cross-Sectional Study, as a Basis for Auditory Training Optimization

Μusicians are reported to have enhanced auditory processing. This study aimed to assess auditory perception in Greek musicians with respect to their musical specialization and to compare their auditory processing with that of non-musicians. Auditory processing elements evaluated were speech recognition in babble, rhythmic advantage in speech recognition, short-term working memory, temporal resolution, and frequency discrimination threshold detection. All groups were of 12 participants. Three distinct experimental groups tested included western classical musicians, Byzantine chanters, and percussionists. The control group consisted of 12 non-musicians. The results revealed: (i) a rhythmic advantage for word recognition in noise for classical musicians (M = 12.42) compared to Byzantine musicians (M = 9.83), as well as for musicians compared to non-musicians (U = 120.50, p = 0.019), (ii) better frequency discrimination threshold of Byzantine musicians (M = 3.17, p = 0.002) compared to the other two musicians' group for the 2000 Hz region, (iii) statistically significant better working memory for musicians (U = 123.00, p = 0.025) compared to non-musicians. Musical training enhances elements of auditory processing and may be used as an additional rehabilitation approach during auditory training, focusing on specific types of music for specific auditory processing deficits.

Relative pitch representations and invariance to timbre

Information in speech and music is often conveyed through changes in fundamental frequency (f0), perceived by humans as "relative pitch". Relative pitch judgments are complicated by two facts. First, sounds can simultaneously vary in timbre due to filtering imposed by a vocal tract or instrument body. Second, relative pitch can be extracted in two ways: by measuring changes in constituent frequency components from one sound to another, or by estimating the f0 of each sound and comparing the estimates. We examined the effects of timbral differences on relative pitch judgments, and whether any invariance to timbre depends on whether judgments are based on constituent frequencies or their f0. Listeners performed up/down and interval discrimination tasks with pairs of spoken vowels, instrument notes, or synthetic tones, synthesized to be either harmonic or inharmonic. Inharmonic sounds lack a well-defined f0, such that relative pitch must be extracted from changes in individual frequencies. Pitch judgments were less accurate when vowels/instruments were different compared to when they were the same, and were biased by the associated timbre differences. However, this bias was similar for harmonic and inharmonic sounds, and was observed even in conditions where judgments of harmonic sounds were based on f0 representations. Relative pitch judgments are thus not invariant to timbre, even when timbral variation is naturalistic, and when such judgments are based on representations of f0.

Differences in a Musician's Advantage for Speech-in-Speech Perception Based on Age and Task

PURPOSE

This study investigates the debate that musicians have an advantage in speech-in-noise perception from years of targeted auditory training. We also consider the effect of age on any such advantage, comparing musicians and nonmusicians (age range: 18-66 years), all of whom had normal hearing. We manipulate the degree of fundamental frequency (f _o) separation between the competing talkers, as well as use different tasks, to probe attentional differences that might shape a musician's advantage across ages.

METHOD

Participants (ranging in age from 18 to 66 years) included 29 musicians and 26 nonmusicians. They completed two tasks varying in attentional demands: (a) a selective attention task where listeners identify the target sentence presented with a one-talker interferer (Experiment 1), and (b) a divided attention task where listeners hear two vowels played simultaneously and identify both competing vowels (Experiment 2). In both paradigms, f _o separation was manipulated between the two voices (Δf _o = 0, 0.156, 0.306, 1, 2, 3 semitones).

RESULTS

Results show that increasing differences in f _o separation lead to higher accuracy on both tasks. Additionally, we find evidence for a musician's advantage across the two studies. In the sentence identification task, younger adult musicians show higher accuracy overall, as well as a stronger reliance on f _o separation. Yet, this advantage declines with musicians' age. In the double vowel identification task, musicians of all ages show an across-the-board advantage in detecting two vowels-and use f _o separation more to aid in stream separation-but show no consistent difference in double vowel identification.

CONCLUSIONS

Overall, we find support for a hybrid auditory encoding-attention account of music-to-speech transfer. The musician's advantage includes f _o, but the benefit also depends on the attentional demands in the task and listeners' age. Taken together, this study suggests a complex relationship between age, musical experience, and speech-in-speech paradigm on a musician's advantage.

SUPPLEMENTAL MATERIAL

https://doi.org/10.23641/asha.21956777.

Salient omissions-pupil dilation in response to unexpected omissions of sound and touch

Introduction

Recent theories describe perception as an inferential process based on internal predictive models adjusted by means of prediction violations (prediction error). To study and demonstrate predictive processing in the brain the use of unexpected stimulus omissions has been suggested as a promising approach as the evoked brain responses are uncontaminated by responses to stimuli. Here, we aimed to investigate the pupil's response to unexpected stimulus omissions in order to better understand surprise and orienting of attention resulting from prediction violation. So far only few studies have used omission in pupillometry research and results have been inconsistent.

Methods

This study adapted an EEG paradigm that has been shown to elicit omission responses in auditory and somatosensory modalities. Healthy adults pressed a button at their own pace, which resulted in the presentation of sounds or tactile stimuli in either 88%, 50% or 0% (motor-control) of cases. Pupil size was recorded continuously and averaged to analyze the pupil dilation response associated with each condition.

Results

Results revealed that omission responses were observed in both modalities in the 88%-condition compared to motor-control. Similar pupil omission responses were observed between modalities, suggesting modality-unspecific activation of the underlying brain circuits.

Discussion

In combination with previous omission studies using EEG, the findings demonstrate predictive models in brain processing and point to the involvement of subcortical structures in the omission response. Our pupillometry approach is especially suitable to study sensory prediction in vulnerable populations within the psychiatric field.

Harmonicity aids hearing in noise

Hearing in noise is a core problem in audition, and a challenge for hearing-impaired listeners, yet the underlying mechanisms are poorly understood. We explored whether harmonic frequency relations, a signature property of many communication sounds, aid hearing in noise for normal hearing listeners. We measured detection thresholds in noise for tones and speech synthesized to have harmonic or inharmonic spectra. Harmonic signals were consistently easier to detect than otherwise identical inharmonic signals. Harmonicity also improved discrimination of sounds in noise. The largest benefits were observed for two-note up-down "pitch" discrimination and melodic contour discrimination, both of which could be performed equally well with harmonic and inharmonic tones in quiet, but which showed large harmonic advantages in noise. The results show that harmonicity facilitates hearing in noise, plausibly by providing a noise-robust pitch cue that aids detection and discrimination.

Enhancement of loudness discrimination acuity for self-generated sound is independent of musical experience

Musicians tend to have better auditory and motor performance than non-musicians because of their extensive musical experience. In a previous study, we established that loudness discrimination acuity is enhanced when sound is produced by a precise force generation task. In this study, we compared the enhancement effect between experienced pianists and non-musicians. Without the force generation task, loudness discrimination acuity was better in pianists than non-musicians in the condition. However, the force generation task enhanced loudness discrimination acuity similarly in both pianists and non-musicians. The reaction time was also reduced with the force control task, but only in the non-musician group. The results suggest that the enhancement of loudness discrimination acuity with the precise force generation task is independent of musical experience and is, therefore, a fundamental function in auditory-motor interaction.

Cognitive and Physiological Measures of Listening Effort During Degraded Speech Perception: Relating Dual-Task and Pupillometry Paradigms

Purpose Listening effort is quickly becoming an important metric for assessing speech perception in less-than-ideal situations. However, the relationship between the construct of listening effort and the measures used to assess it remains unclear. We compared two measures of listening effort: a cognitive dual task and a physiological pupillometry task. We sought to investigate the relationship between these measures of effort and whether engaging effort impacts speech accuracy. Method In Experiment 1, 30 participants completed a dual task and a pupillometry task that were carefully matched in stimuli and design. The dual task consisted of a spoken word recognition task and a visual match-to-sample task. In the pupillometry task, pupil size was monitored while participants completed a spoken word recognition task. Both tasks presented words at three levels of listening difficulty (unmodified, eight-channel vocoding, and four-channel vocoding) and provided response feedback on every trial. We refined the pupillometry task in Experiment 2 (n = 31); crucially, participants no longer received response feedback. Finally, we ran a new group of subjects on both tasks in Experiment 3 (n = 30). Results In Experiment 1, accuracy in the visual task decreased with increased signal degradation in the dual task, but pupil size was sensitive to accuracy and not vocoding condition. After removing feedback in Experiment 2, changes in pupil size were predicted by listening condition, suggesting the task was now sensitive to engaged effort. Both tasks were sensitive to listening difficulty in Experiment 3, but there was no relationship between the tasks and neither task predicted speech accuracy. Conclusions Consistent with previous work, we found little evidence for a relationship between different measures of listening effort. We also found no evidence that effort predicts speech accuracy, suggesting that engaging more effort does not lead to improved speech recognition. Cognitive and physiological measures of listening effort are likely sensitive to different aspects of the construct of listening effort. Supplemental Material https://doi.org/10.23641/asha.16455900.

Time-dependent discrimination advantages for harmonic sounds suggest efficient coding for memory

Perceptual systems have finite memory resources and must store incoming signals in compressed formats. To explore whether representations of a sound's pitch might derive from this need for compression, we compared discrimination of harmonic and inharmonic sounds across delays. In contrast to inharmonic spectra, harmonic spectra can be summarized, and thus compressed, using their fundamental frequency (f0). Participants heard two sounds and judged which was higher. Despite being comparable for sounds presented back-to-back, discrimination was better for harmonic than inharmonic stimuli when sounds were separated in time, implicating memory representations unique to harmonic sounds. Patterns of individual differences (correlations between thresholds in different conditions) indicated that listeners use different representations depending on the time delay between sounds, directly comparing the spectra of temporally adjacent sounds, but transitioning to comparing f0s across delays. The need to store sound in memory appears to determine reliance on f0-based pitch and may explain its importance in music, in which listeners must extract relationships between notes separated in time.

Auditory and frontal anatomic correlates of pitch discrimination in musicians, non-musicians, and children without musical training

Individual differences in pitch discrimination have been associated with the volume of both the bilateral Heschl's gyrus and the right inferior frontal gyrus (IFG). However, most of these studies used samples composed of individuals with different amounts of musical training. Here, we investigated the relationship between pitch discrimination and individual differences in the gray matter (GM) volume of these brain structures in 32 adult musicians, 28 adult non-musicians, and 32 children without musical training. The results showed that (i) the individuals without musical training (whether children or adults) who were better at pitch discrimination had greater volume of auditory regions, whereas (ii) musicians with better pitch discrimination had greater volume of the IFG. These results suggest that the relationship between pitch discrimination and the volume of auditory regions is innately established early in life, and that musical training modulates the volume of the IFG, probably improving audio-motor connectivity. This is the first study to detect a relationship between pitch discrimination ability and GM volume before beginning any musical training in children and adults.

Speech-in-noise detection is related to auditory working memory precision for frequency

Speech-in-noise (SiN) perception is a critical aspect of natural listening, deficits in which are a major contributor to the hearing handicap in cochlear hearing loss. Studies suggest that SiN perception correlates with cognitive skills, particularly phonological working memory: the ability to hold and manipulate phonemes or words in mind. We consider here the idea that SiN perception is linked to a more general ability to hold sound objects in mind, auditory working memory, irrespective of whether the objects are speech sounds. This process might help combine foreground elements, like speech, over seconds to aid their separation from the background of an auditory scene. We investigated the relationship between auditory working memory precision and SiN thresholds in listeners with normal hearing. We used a novel paradigm that tests auditory working memory for non-speech sounds that vary in frequency and amplitude modulation (AM) rate. The paradigm yields measures of precision in frequency and AM domains, based on the distribution of participants’ estimates of the target. Across participants, frequency precision correlated significantly with SiN thresholds. Frequency precision also correlated with the number of years of musical training. Measures of phonological working memory did not correlate with SiN detection ability. Our results demonstrate a specific relationship between working memory for frequency and SiN. We suggest that working memory for frequency facilitates the identification and tracking of foreground objects like speech during natural listening. Working memory performance for frequency also correlated with years of musical instrument experience suggesting that the former is potentially modifiable.

Musical training sharpens behavioral tuning more saliently than peripheral tuning

Musical training appears to enhance performance at both peripheral and central auditory sites. We compared behavioral and peripheral frequency tuning in normal-hearing musicians and nonmusicians, whose native language is Mandarin. The results indicate that, at higher probe frequencies, musical training sharpens behavioral tuning more saliently than peripheral tuning. The improved peripheral tuning for musician appears to result principally from efferent top-down control rather than local cochlear changes.

Characteristic of Stimulus Frequency Otoacoustic Emissions: Detection Rate, Musical Training Influence, and Gain Function

Stimulus frequency otoacoustic emission (SFOAE) is an active acoustic signal emitted by the inner ear providing salient information about cochlear function and dysfunction. To provide a basis for laboratory investigation and clinical use, we investigated the characteristics of SFOAEs, including detection rate, musical training influence, and gain function. Sixty-five normal hearing subjects (15 musicians and 50 non-musicians, aged 16-45 years) were tested and analyzed at the probe level of 30 and 50 dB sound pressure levels (SPL) in the center frequency of 1 and 4 kHz in the study. The results indicate that (1) the detection rates of SFOAE are sensitive to the gender, (2) musicians reveal enhanced hearing capacity and SFOAE amplitudes compared with non-musicians, and (3) probe frequency has a significant effect on the compression threshold of SFOAE. Our findings highlight the importance of SFOAE in the clinical hearing screening and diagnosis and emphasize the use of musical training for the rehabilitation enhancement of the auditory periphery and hearing threshold.

The effect of musicianship, contralateral noise, and ear of presentation on the detection of changes in temporal fine structure

Musicians are better than non-musicians at discriminating changes in the fundamental frequency (F0) of harmonic complex tones. Such discrimination may be based on place cues derived from low resolved harmonics, envelope cues derived from high harmonics, and temporal fine structure (TFS) cues derived from both low and high harmonics. The present study compared the ability of highly trained violinists and non-musicians to discriminate changes in complex sounds that differed primarily in their TFS. The task was to discriminate harmonic (H) and frequency-shifted inharmonic (I) tones that were bandpass filtered such that the components were largely or completely unresolved. The effect of contralateral noise and ear of presentation was also investigated. It was hypothesized that contralateral noise would activate the efferent system, helping to preserve the neural representation of envelope fluctuations in the H and I stimuli, thereby improving their discrimination. Violinists were significantly better than non-musicians at discriminating the H and I tones. However, contralateral noise and ear of presentation had no effect. It is concluded that, compared to non-musicians, violinists have a superior ability to discriminate complex sounds based on their TFS, and this ability is unaffected by contralateral stimulation or ear of presentation.

Effects of Musical Training and Hearing Loss on Fundamental Frequency Discrimination and Temporal Fine Structure Processing: Psychophysics and Modeling

Several studies have shown that musical training leads to improved fundamental frequency (F0) discrimination for young listeners with normal hearing (NH). It is unclear whether a comparable effect of musical training occurs for listeners whose sensory encoding of F0 is degraded. To address this question, the effect of musical training was investigated for three groups of listeners (young NH, older NH, and older listeners with hearing impairment, HI). In a first experiment, F0 discrimination was investigated using complex tones that differed in harmonic content and phase configuration (sine, positive, or negative Schroeder). Musical training was associated with significantly better F0 discrimination of complex tones containing low-numbered harmonics for all groups of listeners. Part of this effect was caused by the fact that musicians were more robust than non-musicians to harmonic roving. Despite the benefit relative to their non-musicians counterparts, the older musicians, with or without HI, performed worse than the young musicians. In a second experiment, binaural sensitivity to temporal fine structure (TFS) cues was assessed for the same listeners by estimating the highest frequency at which an interaural phase difference was perceived. Performance was better for musicians for all groups of listeners and the use of TFS cues was degraded for the two older groups of listeners. These findings suggest that musical training is associated with an enhancement of both TFS cues encoding and F0 discrimination in young and older listeners with or without HI, although the musicians' benefit decreased with increasing hearing loss. Additionally, models of the auditory periphery and midbrain were used to examine the effect of HI on F0 encoding. The model predictions reflected the worsening in F0 discrimination with increasing HI and accounted for up to 80 % of the variance in the data.

The Pupil Dilation Response to Auditory Stimuli: Current State of Knowledge

The measurement of cognitive resource allocation during listening, or listening effort, provides valuable insight in the factors influencing auditory processing. In recent years, many studies inside and outside the field of hearing science have measured the pupil response evoked by auditory stimuli. The aim of the current review was to provide an exhaustive overview of these studies. The 146 studies included in this review originated from multiple domains, including hearing science and linguistics, but the review also covers research into motivation, memory, and emotion. The present review provides a unique overview of these studies and is organized according to the components of the Framework for Understanding Effortful Listening. A summary table presents the sample characteristics, an outline of the study design, stimuli, the pupil parameters analyzed, and the main findings of each study. The results indicate that the pupil response is sensitive to various task manipulations as well as interindividual differences. Many of the findings have been replicated. Frequent interactions between the independent factors affecting the pupil response have been reported, which indicates complex processes underlying cognitive resource allocation. This complexity should be taken into account in future studies that should focus more on interindividual differences, also including older participants. This review facilitates the careful design of new studies by indicating the factors that should be controlled for. In conclusion, measuring the pupil dilation response to auditory stimuli has been demonstrated to be sensitive method applicable to numerous research questions. The sensitivity of the measure calls for carefully designed stimuli.

The Effects of Visual Cues, Blindfolding, Synesthetic Experience, and Musical Training on Pure-Tone Frequency Discrimination

How perceptual limits can be reduced has long been examined by psychologists. This study investigated whether visual cues, blindfolding, visual-auditory synesthetic experience, and musical training could facilitate a smaller frequency difference limen (FDL) in a gliding frequency discrimination test. Ninety university students, with no visual or auditory impairment, were recruited for this one-between (blindfolded/visual cues) and one-within (control/experimental session) designed study. Their FDLs were tested by an alternative forced-choice task (gliding upwards/gliding downwards/no change) and two questionnaires (Vividness of Mental Imagery Questionnaire and Projector⁻Associator Test) were used to assess their tendency to synesthesia. The participants provided with visual cues and with musical training showed a significantly smaller FDL; on the other hand, being blindfolded or having a synesthetic experience before could not significantly reduce the FDL. However, no pattern was found between the perception of the gliding upwards and gliding downwards frequencies. Overall, the current study suggests that the inter-sensory perception can be enhanced through the training and facilitation of visual⁻auditory interaction under the multiple resource model. Future studies are recommended in order to verify the effects of music practice on auditory percepts, and the different mechanisms between perceiving gliding upwards and downwards frequencies.

No otoacoustic evidence for a peripheral basis of absolute pitch

Absolute pitch (AP) is the ability to identify the perceived pitch of a sound without an external reference. Relatively rare, with an incidence of approximately 1/10,000, the mechanisms underlying AP are not well understood. This study examined otoacoustic emissions (OAEs) to determine if there is evidence of a peripheral (i.e., cochlear) basis for AP. Two OAE types were examined: spontaneous emissions (SOAEs) and stimulus-frequency emissions (SFOAEs). Our motivations to explore a peripheral foundation for AP were several-fold. First is the observation that pitch judgment accuracy has been reported to decrease with age due to age-dependent physiological changes cochlear biomechanics. Second is the notion that SOAEs, which are indirectly related to perception, could act as a fixed frequency reference. Third, SFOAE delays, which have been demonstrated to serve as a proxy measure for cochlear frequency selectivity, could indicate tuning differences between groups. These led us to the hypotheses that AP subjects would (relative to controls) exhibit a. greater SOAE activity and b. sharper cochlear tuning. To test these notions, measurements were made in normal-hearing control (N = 33) and AP-possessor (N = 20) populations. In short, no substantial difference in SOAE activity was found between groups, indicating no evidence for one or more strong SOAEs that could act as a fixed cue. SFOAE phase-gradient delays, measured at several different probe levels (20-50 dB SPL), also showed no significant differences between groups. This observation argues against sharper cochlear frequency selectivity in AP subjects. Taken together, these data support the prevailing view that AP mechanisms predominantly arise at a processing level in the central nervous system (CNS) at the brainstem or higher, not within the cochlea.

Physiological methods as indexes of listening effort measurement: an integrative literature review

ABSTRACT Purpose: to review the scientific literature and present existing instruments and methods for the objective assessment of the listening effort in normal hearing individuals worldwide. Methods: a literature integrative review whose purpose was to gather and summarize the scientific knowledge regarding the objective methods theme for measuring the listening effort, developed through the search of articles in specialized national and international journals, in the English and Portuguese languages, available in the databases: PUBMED, Cochrane Library, LILACS and SCIELO. Results: 18 articles which used physiological methods to measure the listening effort in individuals with normal hearing were reviewed. The main findings described in those articles refer to the author(s) and purpose(s) of the research, country where the research was conducted, casuistry, physiological method used and results. Conclusion: there is no consensus among the researchers about the best physiological method to measure this parameter, that is, this effort in the speech perception tasks, although the level of skin conductance is considered the most accurate measure to date.

Effect of harmonic rank on sequential sound segregation

The ability to segregate sounds from different sound sources is thought to depend on the perceptual salience of differences between the sounds, such as differences in frequency or fundamental frequency (F0). F0 discrimination of complex tones is better for tones with low harmonics than for tones that only contain high harmonics, suggesting greater pitch salience for the former. This leads to the expectation that the sequential stream segregation (streaming) of complex tones should be better for tones with low harmonics than for tones with only high harmonics. However, the results of previous studies are conflicting about whether this is the case. The goals of this study were to determine the effect of harmonic rank on streaming and to establish whether streaming is related to F0 discrimination. Thirteen young normal-hearing participants were tested. Streaming was assessed for pure tones and complex tones containing harmonics with various ranks using sequences of ABA triplets, where A and B differed in frequency or in F0. The participants were asked to try to hear two streams and to indicate when they heard one and when they heard two streams. F0 discrimination was measured for the same tones that were used as A tones in the streaming experiment. Both streaming and F0 discrimination worsened significantly with increasing harmonic rank. There was a significant relationship between streaming and F0 discrimination, indicating that good F0 discrimination is associated with good streaming. This supports the idea that the extent of stream segregation depends on the salience of the perceptual difference between successive sounds.

Learning for pitch and melody discrimination in congenital amusia

Congenital amusia is currently thought to be a life-long neurogenetic disorder in music perception, impervious to training in pitch or melody discrimination. This study provides an explicit test of whether amusic deficits can be reduced with training. Twenty amusics and 20 matched controls participated in four sessions of psychophysical training involving either pure-tone (500 Hz) pitch discrimination or a control task of lateralization (interaural level differences for bandpass white noise). Pure-tone pitch discrimination at low, medium, and high frequencies (500, 2000, and 8000 Hz) was measured before and after training (pretest and posttest) to determine the specificity of learning. Melody discrimination was also assessed before and after training using the full Montreal Battery of Evaluation of Amusia, the most widely used standardized test to diagnose amusia. Amusics performed more poorly than controls in pitch but not localization discrimination, but both groups improved with practice on the trained stimuli. Learning was broad, occurring across all three frequencies and melody discrimination for all groups, including those who trained on the non-pitch control task. Following training, 11 of 20 amusics no longer met the global diagnostic criteria for amusia. A separate group of untrained controls (n = 20), who also completed melody discrimination and pretest, improved by an equal amount as trained controls on all measures, suggesting that the bulk of learning for the control group occurred very rapidly from the pretest. Thirty-one trained participants (13 amusics) returned one year later to assess long-term maintenance of pitch and melody discrimination. On average, there was no change in performance between posttest and one-year follow-up, demonstrating that improvements on pitch- and melody-related tasks in amusics and controls can be maintained. The findings indicate that amusia is not always a life-long deficit when using the current standard diagnostic criteria.

Best Practices and Advice for Using Pupillometry to Measure Listening Effort: An Introduction for Those Who Want to Get Started

Within the field of hearing science, pupillometry is a widely used method for quantifying listening effort. Its use in research is growing exponentially, and many labs are (considering) applying pupillometry for the first time. Hence, there is a growing need for a methods paper on pupillometry covering topics spanning from experiment logistics and timing to data cleaning and what parameters to analyze. This article contains the basic information and considerations needed to plan, set up, and interpret a pupillometry experiment, as well as commentary about how to interpret the response. Included are practicalities like minimal system requirements for recording a pupil response and specifications for peripheral, equipment, experiment logistics and constraints, and different kinds of data processing. Additional details include participant inclusion and exclusion criteria and some methodological considerations that might not be necessary in other auditory experiments. We discuss what data should be recorded and how to monitor the data quality during recording in order to minimize artifacts. Data processing and analysis are considered as well. Finally, we share insights from the collective experience of the authors and discuss some of the challenges that still lie ahead.

Musicians do not benefit from differences in fundamental frequency when listening to speech in competing speech backgrounds

Recent studies disagree on whether musicians have an advantage over non-musicians in understanding speech in noise. However, it has been suggested that musicians may be able to use differences in fundamental frequency (F0) to better understand target speech in the presence of interfering talkers. Here we studied a relatively large (N = 60) cohort of young adults, equally divided between non-musicians and highly trained musicians, to test whether the musicians were better able to understand speech either in noise or in a two-talker competing speech masker. The target speech and competing speech were presented with either their natural F0 contours or on a monotone F0, and the F0 difference between the target and masker was systematically varied. As expected, speech intelligibility improved with increasing F0 difference between the target and the two-talker masker for both natural and monotone speech. However, no significant intelligibility advantage was observed for musicians over non-musicians in any condition. Although F0 discrimination was significantly better for musicians than for non-musicians, it was not correlated with speech scores. Overall, the results do not support the hypothesis that musical training leads to improved speech intelligibility in complex speech or noise backgrounds.

A sliding two-alternative forced-choice paradigm for pitch discrimination

Studies that measure frequency discrimination often use 2, 3, or 4 tones per trial. This paper shows an investigation of a two-alternative forced choice (2AFC) task in which each tone of a series is judged relative to the previous tone ("sliding 2AFC"). Potential advantages are a greater yield (number of responses per unit time), and a more uniform history of stimulation for the study of context effects, or to relate time-varying performance to cortical activity. The new task was evaluated relative to a classic 2-tone-per-trial 2AFC task with similar stimulus parameters. For each task, conditions with different stimulus parameters were compared. The main results were as follows: (1) thresholds did not differ significantly between tasks when similar parameters were used. (2) Thresholds did differ between conditions for the new task, showing a deleterious effect of inserting relatively large steps in the frequency sequence. (3) Thresholds also differed between conditions for the classic task, showing an advantage for a fixed frequency standard. There was no indication that results were more variable with either task, and no reason was found not to use the new sliding 2AFC task in lieu of the classic 2-tone-per-trial 2AFC task.

Self-Administered Tinnitus Pitch Matching versus a Conventional Audiometric Procedure

Objective: Obtaining an accurate tinnitus pitch match is an initial and critical requirement for tinnitus evaluation and treatment, particularly for applying tailor-made notched music training. We investigated whether computer-based self-administered tinnitus pitch matching (CSTPM) is comparable with a conventional audiometric procedure (CAP). Methods: In total, 82 patients (mean age 45.52 years; 42 females) with tonal tinnitus participated. The CAP was performed by the same audiologist using a 2-alternative forced choice method with a frequency range of 0.25-16 kHz. In the CSTPM, the subjects used personal computer software with a scrolling slider to select the sound closest to their tinnitus pitch. After each matching procedure, an octave challenge test was applied. A multivariate logistic regression was performed to determine factors associated with the difference between the CSTPM and CAP. Results: The subjects' mean hearing threshold was 21.25 ± 17.61 dB HL; the mean tinnitus handicap inventory score was 35.56 ± 24.09. The mean pitches measured with the CSTPM and CAP were 6.29 ± 4.30 and 6.98 ± 5.33 kHz, respectively. In total, 57 (69.5%) subjects matched their tinnitus with less than half an octave difference between the procedures. The results of the 2 methods correlated significantly with each other (Pearson r = 0.793, p < 0.001). Octave confusion was a significant factor affecting the difference between the procedures (odds ratio 8.92, p < 0.05). Conclusions: The CSTPM appears to be as accurate as the standard audiological procedure, and may be used instead of the CAP when octave confusion is minimized.

Complex-Tone Pitch Discrimination in Listeners With Sensorineural Hearing Loss

Physiological studies have shown that noise-induced sensorineural hearing loss (SNHL) enhances the amplitude of envelope coding in auditory-nerve fibers. As pitch coding of unresolved complex tones is assumed to rely on temporal envelope coding mechanisms, this study investigated pitch-discrimination performance in listeners with SNHL. Pitch-discrimination thresholds were obtained for 14 normal-hearing (NH) and 10 hearing-impaired (HI) listeners for sine-phase (SP) and random-phase (RP) complex tones. When all harmonics were unresolved, the HI listeners performed, on average, worse than NH listeners in the RP condition but similarly to NH listeners in the SP condition. The increase in pitch-discrimination performance for the SP relative to the RP condition (F₀DL ratio) was significantly larger in the HI as compared with the NH listeners. Cochlear compression and auditory-filter bandwidths were estimated in the same listeners. The estimated reduction of cochlear compression was significantly correlated with the increase in the F₀DL ratio, while no correlation was found with filter bandwidth. The effects of degraded frequency selectivity and loss of compression were considered in a simplified peripheral model as potential factors in envelope enhancement. The model revealed that reducing cochlear compression significantly enhanced the envelope of an unresolved SP complex tone, while not affecting the envelope of a RP complex tone. This envelope enhancement in the SP condition was significantly correlated with the increased pitch-discrimination performance for the SP relative to the RP condition in the HI listeners.