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Madsen SMK, Oxenham AJ. Mistuning perception in music is asymmetric and relies on both beats and inharmonicity. COMMUNICATIONS PSYCHOLOGY 2024; 2:91. [PMID: 39358548 PMCID: PMC11447020 DOI: 10.1038/s44271-024-00141-1] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Subscribe] [Scholar Register] [Received: 05/05/2024] [Accepted: 09/23/2024] [Indexed: 10/04/2024]
Abstract
An out-of-tune singer or instrument can ruin the enjoyment of music. However, there is disagreement on how we perceive mistuning in natural music settings. To address this question, we presented listeners with in-tune and out-of-tune passages of two-part music and manipulated the two primary candidate acoustic cues: beats (fluctuations caused by interactions between nearby frequency components) and inharmonicity (non-integer harmonic frequency relationships) across seven experiments (Exp 1: N = 101; Exp 2: N = 63; Exp 3a: N = 87; Exp 3b: N = 28; Exp 3c: N = 69; Exp 4: N = 160; Exp 5: N = 105). Mistuning detection worsened markedly when removing either beating or inharmonicity cues, suggesting important contributions from both. The relative importance of the two cues varied reliably between listeners but was unaffected by musical experience. Finally, a general asymmetry in sensitivity to mistuning was discovered, with compressed pitch differences being more easily detected than stretched ones, thereby demonstrating a generalization of the previously found stretched-octave effect. Overall, the results reveal the acoustic underpinnings of the critical perceptual phenomenon of dissonance through mistuning in natural music.
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Affiliation(s)
- Sara M K Madsen
- Department of Psychology, University of Minnesota, Minneapolis, MN, USA.
- Hearing Systems Group, Department of Health Technology, Technical University of Denmark, Lyngby, Denmark.
| | - Andrew J Oxenham
- Department of Psychology, University of Minnesota, Minneapolis, MN, USA
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Wagner B, Toro JM, Mayayo F, Hoeschele M. Do rats ( Rattus norvegicus) perceive octave equivalence, a critical human cross-cultural aspect of pitch perception? ROYAL SOCIETY OPEN SCIENCE 2024; 11:221181. [PMID: 39076801 PMCID: PMC11286135 DOI: 10.1098/rsos.221181] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Figures] [Subscribe] [Scholar Register] [Received: 01/12/2022] [Revised: 11/23/2022] [Accepted: 03/27/2024] [Indexed: 07/31/2024]
Abstract
Octave equivalence describes the perception that two notes separated by a doubling in frequency have a similar quality. In humans, octave equivalence is important to both music and language learning and is found cross-culturally. Cross-species studies comparing human and non-human animals can help illuminate the necessary pre-conditions to developing octave equivalence. Here, we tested whether rats (Rattus norvegicus) perceive octave equivalence using a standardized cross-species paradigm. This allowed us to disentangle concurring hypotheses regarding the evolutionary roots of this phenomenon. One hypothesis is that octave equivalence is directly connected to vocal learning, but this hypothesis is only partially supported by data. According to another hypothesis, the harmonic structure of mammalian vocalizations may be more important. If rats perceive octave equivalence, this would support the importance of vocal harmonic structure. If rats do not perceive octave equivalence, this would suggest that octave equivalence evolved independently in several mammalian clades due to a more complex interplay of different factors such as-but not exclusively-the ability to vocally learn. Evidence from our study suggests that rats do perceive octave equivalence, thereby suggesting that the harmonic vocal structure found in mammals may be a key pre-requisite for octave equivalence. Stage 1 approved protocol: the study reported here was originally accepted as a Registered Report and the study design was approved in Stage 1. We hereby confirm that the completed experiment(s) have been executed and analysed in the manner originally approved with any unforeseen changes in those approved methods and analyses clearly noted. The approved Stage 1 protocol can be found at: https://osf.io/gvf7c/?view_only=76dc1840f31c4f9ab59eb93cbadb98b7.
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Affiliation(s)
- Bernhard Wagner
- Austrian Academy of Sciences, Acoustics Research Institute, Vienna1040, Austria
| | - Juan Manuel Toro
- Passeig de Lluís Companys, Institució Catalana de Recerca i Estudis Avançats (ICREA), Barcelona08010, Spain
- C. Ramon Trias Fargas, Universitat Pompeu Fabra, Barcelona08005, Spain
| | - Ferran Mayayo
- C. Ramon Trias Fargas, Universitat Pompeu Fabra, Barcelona08005, Spain
| | - Marisa Hoeschele
- Austrian Academy of Sciences, Acoustics Research Institute, Vienna1040, Austria
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McBride JM, Passmore S, Tlusty T. Convergent evolution in a large cross-cultural database of musical scales. PLoS One 2023; 18:e0284851. [PMID: 38091315 PMCID: PMC10718441 DOI: 10.1371/journal.pone.0284851] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/25/2022] [Accepted: 07/21/2023] [Indexed: 12/18/2023] Open
Abstract
Scales, sets of discrete pitches that form the basis of melodies, are thought to be one of the most universal hallmarks of music. But we know relatively little about cross-cultural diversity of scales or how they evolved. To remedy this, we assemble a cross-cultural database (Database of Musical Scales: DaMuSc) of scale data, collected over the past century by various ethnomusicologists. Statistical analyses of the data highlight that certain intervals (e.g., the octave, fifth, second) are used frequently across cultures. Despite some diversity among scales, it is the similarities across societies which are most striking: step intervals are restricted to 100-400 cents; most scales are found close to equidistant 5- and 7-note scales. We discuss potential mechanisms of variation and selection in the evolution of scales, and how the assembled data may be used to examine the root causes of convergent evolution.
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Affiliation(s)
- John M. McBride
- Center for Soft and Living Matter, Institute for Basic Science, Ulsan, South Korea
| | - Sam Passmore
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
- Evolution of Cultural Diversity Initiative, College of Asia and the Pacific, Australian National University, Canberra, Australia
| | - Tsvi Tlusty
- Center for Soft and Living Matter, Institute for Basic Science, Ulsan, South Korea
- Departments of Physics and Chemistry, Ulsan National Institute of Science and Technology, Ulsan, South Korea
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Wagner B, Šlipogor V, Oh J, Varga M, Hoeschele M. A comparison between common marmosets (Callithrix jacchus) and human infants sheds light on traits proposed to be at the root of human octave equivalence. Dev Sci 2023; 26:e13395. [PMID: 37101383 DOI: 10.1111/desc.13395] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/02/2022] [Revised: 02/28/2023] [Accepted: 03/20/2023] [Indexed: 04/28/2023]
Abstract
Two notes separated by a doubling in frequency sound similar to humans. This "octave equivalence" is critical to perception and production of music and speech and occurs early in human development. Because it also occurs cross-culturally, a biological basis of octave equivalence has been hypothesized. Members of our team previousy suggested four human traits are at the root of this phenomenon: (1) vocal learning, (2) clear octave information in vocal harmonics, (3) differing vocal ranges, and (4) vocalizing together. Using cross-species studies, we can test how relevant these respective traits are, while controlling for enculturation effects and addressing questions of phylogeny. Common marmosets possess forms of three of the four traits, lacking differing vocal ranges. We tested 11 common marmosets by adapting an established head-turning paradigm, creating a parallel test to an important infant study. Unlike human infants, marmosets responded similarly to tones shifted by an octave or other intervals. Because previous studies with the same head-turning paradigm produced differential results to discernable acoustic stimuli in common marmosets, our results suggest that marmosets do not perceive octave equivalence. Our work suggests differing vocal ranges between adults and children and men and women and the way they are used in singing together may be critical to the development of octave equivalence. RESEARCH HIGHLIGHTS: A direct comparison of octave equivalence tests with common marmosets and human infants Marmosets show no octave equivalence Results emphasize the importance of differing vocal ranges between adults and infants.
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Affiliation(s)
- Bernhard Wagner
- Acoustics Research Institute, Austrian Academy of the Sciences, Vienna, Austria
| | - Vedrana Šlipogor
- Department of Zoology, Faculty of Science, University of South Bohemia, České Budějovice, Czech Republic
- Department of Behavioral and Cognitive Biology, Faculty of Life Sciences, University of Vienna, Vienna, Austria
| | - Jinook Oh
- Cremer Group, Institute of Science and Technology Austria, Klosterneuburg, Austria
| | - Marion Varga
- Department of Behavioral and Cognitive Biology, Faculty of Life Sciences, University of Vienna, Vienna, Austria
| | - Marisa Hoeschele
- Acoustics Research Institute, Austrian Academy of the Sciences, Vienna, Austria
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Bravard R, Demany L, Pressnitzer D. Controlling audibility with noise for online experiments using sound. JASA EXPRESS LETTERS 2023; 3:064402. [PMID: 37379207 DOI: 10.1121/10.0019807] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Subscribe] [Scholar Register] [Received: 03/22/2023] [Accepted: 06/06/2023] [Indexed: 06/30/2023]
Abstract
Online auditory experiments use the sound delivery equipment of each participant, with no practical way to calibrate sound level or frequency response. Here, a method is proposed to control sensation level across frequencies: embedding stimuli in threshold-equalizing noise. In a cohort of 100 online participants, noise could equate detection thresholds from 125 to 4000 Hz. Equalization was successful even for participants with atypical thresholds in quiet, due either to poor quality equipment or unreported hearing loss. Moreover, audibility in quiet was highly variable, as overall level was uncalibrated, but variability was much reduced with noise. Use cases are discussed.
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Affiliation(s)
- Rodrigue Bravard
- Laboratoire des Systèmes Perceptifs, Département d'Études Cognitives, École Normale Supérieure, Paris Sciences et Lettres University, Centre National de la Recherche Scientifique, 75005 Paris, France
| | - Laurent Demany
- Institut de Neurosciences Cognitives et Intégratives d'Aquitaine, Centre National de la Recherche Scientifique, École Pratique des Hautes Études, and Université de Bordeaux, 33076 Bordeaux, , ,
| | - Daniel Pressnitzer
- Laboratoire des Systèmes Perceptifs, Département d'Études Cognitives, École Normale Supérieure, Paris Sciences et Lettres University, Centre National de la Recherche Scientifique, 75005 Paris, France
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de Cheveigné A. Why is the perceptual octave stretched? An account based on mismatched time constants within the auditory brainstem. THE JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA 2023; 153:2600. [PMID: 37129672 DOI: 10.1121/10.0017978] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Subscribe] [Scholar Register] [Received: 03/03/2023] [Accepted: 04/12/2023] [Indexed: 05/03/2023]
Abstract
This paper suggests an explanation for listeners' greater tolerance to positive than negative mistuning of the higher tone within an octave pair. It hypothesizes a neural circuit tuned to cancel the lower tone that also cancels the higher tone if that tone is in tune. Imperfect cancellation is the cue to mistuning of the octave. The circuit involves two neural pathways, one delayed with respect to the other, that feed a coincidence-sensitive neuron via excitatory and inhibitory synapses. A mismatch between the time constants of these two synapses results in an asymmetry in sensitivity to mismatch. Specifically, if the time constant of the delayed pathway is greater than that of the direct pathway, there is a greater tolerance to positive mistuning than to negative mistuning. The model is directly applicable to the harmonic octave (concurrent tones) but extending it to the melodic octave (successive tones) requires additional assumptions that are discussed. The paper reviews evidence from auditory psychophysics and physiology in favor-or against-this explanation.
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Affiliation(s)
- Alain de Cheveigné
- Laboratoire des Systèmes Perceptifs, Unité Mixte de Recherche 8248, Centre National de la Recherche Scientifique, Paris, France
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Hoeschele M, Wagner B, Mann DC. Lessons learned in animal acoustic cognition through comparisons with humans. Anim Cogn 2023; 26:97-116. [PMID: 36574158 PMCID: PMC9877085 DOI: 10.1007/s10071-022-01735-0] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/17/2022] [Revised: 11/21/2022] [Accepted: 12/06/2022] [Indexed: 12/28/2022]
Abstract
Humans are an interesting subject of study in comparative cognition. While humans have a lot of anecdotal and subjective knowledge about their own minds and behaviors, researchers tend not to study humans the way they study other species. Instead, comparisons between humans and other animals tend to be based on either assumptions about human behavior and cognition, or very different testing methods. Here we emphasize the importance of using insider knowledge about humans to form interesting research questions about animal cognition while simultaneously stepping back and treating humans like just another species as if one were an alien researcher. This perspective is extremely helpful to identify what aspects of cognitive processes may be interesting and relevant across the animal kingdom. Here we outline some examples of how this objective human-centric approach has helped us to move forward knowledge in several areas of animal acoustic cognition (rhythm, harmonicity, and vocal units). We describe how this approach works, what kind of benefits we obtain, and how it can be applied to other areas of animal cognition. While an objective human-centric approach is not useful when studying traits that do not occur in humans (e.g., magnetic spatial navigation), it can be extremely helpful when studying traits that are relevant to humans (e.g., communication). Overall, we hope to entice more people working in animal cognition to use a similar approach to maximize the benefits of being part of the animal kingdom while maintaining a detached and scientific perspective on the human species.
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Affiliation(s)
- Marisa Hoeschele
- Acoustics Research Institute, Austrian Academy of Sciences, Wohllebengasse 12-14, 1040, Vienna, Austria.
| | - Bernhard Wagner
- Acoustics Research Institute, Austrian Academy of Sciences, Wohllebengasse 12-14, 1040, Vienna, Austria
| | - Dan C Mann
- Konrad Lorenz Institute of Ethology, University of Veterinary Medicine, Vienna, Savoyenstrasse 1, 1160, Vienna, Austria
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Homma NY, Bajo VM. Lemniscal Corticothalamic Feedback in Auditory Scene Analysis. Front Neurosci 2021; 15:723893. [PMID: 34489635 PMCID: PMC8417129 DOI: 10.3389/fnins.2021.723893] [Citation(s) in RCA: 3] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/11/2021] [Accepted: 07/30/2021] [Indexed: 12/15/2022] Open
Abstract
Sound information is transmitted from the ear to central auditory stations of the brain via several nuclei. In addition to these ascending pathways there exist descending projections that can influence the information processing at each of these nuclei. A major descending pathway in the auditory system is the feedback projection from layer VI of the primary auditory cortex (A1) to the ventral division of medial geniculate body (MGBv) in the thalamus. The corticothalamic axons have small glutamatergic terminals that can modulate thalamic processing and thalamocortical information transmission. Corticothalamic neurons also provide input to GABAergic neurons of the thalamic reticular nucleus (TRN) that receives collaterals from the ascending thalamic axons. The balance of corticothalamic and TRN inputs has been shown to refine frequency tuning, firing patterns, and gating of MGBv neurons. Therefore, the thalamus is not merely a relay stage in the chain of auditory nuclei but does participate in complex aspects of sound processing that include top-down modulations. In this review, we aim (i) to examine how lemniscal corticothalamic feedback modulates responses in MGBv neurons, and (ii) to explore how the feedback contributes to auditory scene analysis, particularly on frequency and harmonic perception. Finally, we will discuss potential implications of the role of corticothalamic feedback in music and speech perception, where precise spectral and temporal processing is essential.
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Affiliation(s)
- Natsumi Y. Homma
- Center for Integrative Neuroscience, University of California, San Francisco, San Francisco, CA, United States
- Coleman Memorial Laboratory, Department of Otolaryngology – Head and Neck Surgery, University of California, San Francisco, San Francisco, CA, United States
| | - Victoria M. Bajo
- Department of Physiology, Anatomy and Genetics, University of Oxford, Oxford, United Kingdom
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