Musicians and non-musicians are equally adept at perceiving masked speech

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.

Compensation or Preservation? Different Roles of Functional Lateralization in Speech Perception of Older Non-musicians and Musicians

Musical training can counteract age-related decline in speech perception in noisy environments. However, it remains unclear whether older non-musicians and musicians rely on functional compensation or functional preservation to counteract the adverse effects of aging. This study utilized resting-state functional connectivity (FC) to investigate functional lateralization, a fundamental organization feature, in older musicians (OM), older non-musicians (ONM), and young non-musicians (YNM). Results showed that OM outperformed ONM and achieved comparable performance to YNM in speech-in-noise and speech-in-speech tasks. ONM exhibited reduced lateralization than YNM in lateralization index (LI) of intrahemispheric FC (LI_intra) in the cingulo-opercular network (CON) and LI of interhemispheric heterotopic FC (LI_he) in the language network (LAN). Conversely, OM showed higher neural alignment to YNM (i.e., a more similar lateralization pattern) compared to ONM in CON, LAN, frontoparietal network (FPN), dorsal attention network (DAN), and default mode network (DMN), indicating preservation of youth-like lateralization patterns due to musical experience. Furthermore, in ONM, stronger left-lateralized and lower alignment-to-young of LI_intra in the somatomotor network (SMN) and DAN and LI_he in DMN correlated with better speech performance, indicating a functional compensation mechanism. In contrast, stronger right-lateralized LI_intra in FPN and DAN and higher alignment-to-young of LI_he in LAN correlated with better performance in OM, suggesting a functional preservation mechanism. These findings highlight the differential roles of functional preservation and compensation of lateralization in speech perception in noise among elderly individuals with and without musical expertise, offering insights into successful aging theories from the lens of functional lateralization and speech perception.

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).

Generalization of auditory expertise in audio engineers and instrumental musicians

From auditory perception to general cognition, the ability to play a musical instrument has been associated with skills both related and unrelated to music. However, it is unclear if these effects are bound to the specific characteristics of musical instrument training, as little attention has been paid to other populations such as audio engineers and designers whose auditory expertise may match or surpass that of musicians in specific auditory tasks or more naturalistic acoustic scenarios. We explored this possibility by comparing students of audio engineering (n = 20) to matched conservatory-trained instrumentalists (n = 24) and to naive controls (n = 20) on measures of auditory discrimination, auditory scene analysis, and speech in noise perception. We found that audio engineers and performing musicians had generally lower psychophysical thresholds than controls, with pitch perception showing the largest effect size. Compared to controls, audio engineers could better memorise and recall auditory scenes composed of non-musical sounds, whereas instrumental musicians performed best in a sustained selective attention task with two competing streams of tones. Finally, in a diotic speech-in-babble task, musicians showed lower signal-to-noise-ratio thresholds than both controls and engineers; however, a follow-up online study did not replicate this musician advantage. We also observed differences in personality that might account for group-based self-selection biases. Overall, we showed that investigating a wider range of forms of auditory expertise can help us corroborate (or challenge) the specificity of the advantages previously associated with musical instrument training.

Exploring the role of singing, semantics, and amusia screening in speech-in-noise perception in musicians and non-musicians

Sentence repetition has been the focus of extensive psycholinguistic research. The notion that music training can bolster speech perception in adverse auditory conditions has been met with mixed results. In this work, we sought to gauge the effect of babble noise on immediate repetition of spoken and sung phrases of varying semantic content (expository, narrative, and anomalous), initially in 100 English-speaking monolinguals with and without music training. The two cohorts also completed some non-musical cognitive tests and the Montreal Battery of Evaluation of Amusia (MBEA). When disregarding MBEA results, musicians were found to significantly outperform non-musicians in terms of overall repetition accuracy. Sung targets were recalled significantly better than spoken ones across groups in the presence of babble noise. Sung expository targets were recalled better than spoken expository ones, and semantically anomalous content was recalled more poorly in noise. Rerunning the analysis after eliminating thirteen participants who were diagnosed with amusia showed no significant group differences. This suggests that the notion of enhanced speech perception-in noise or otherwise-in musicians needs to be evaluated with caution. Musicianship aside, this study showed for the first time that sung targets presented in babble noise seem to be recalled better than spoken ones. We discuss the present design and the methodological approach of screening for amusia as factors which may partially account for some of the mixed results in the field.

Heightened OAEs in young adult musicians: Influence of current noise exposure and training recency

Otoacoustic emissions (OAEs) are a non-invasive metric of cochlear function. Studies of OAEs in musicians have yielded mixed results, ranging from evidence of diminished OAEs in musicians-suggesting noise-induced hearing loss-to no difference when compared to non-musicians, or even a trend for stronger OAEs in musicians. The goal of this study was to use a large sample of college students with normal hearing (n = 160) to compare OAE SNRs in musicians and non-musicians and to explore potential effects of training recency and noise exposure on OAEs in these cohorts. The musician cohort included both active musicians (who at the time of enrollment practiced at least weekly) and past musicians (who had at least 6 years of training). All participants completed a questionnaire about recent noise exposure (previous 12 months), and a subset of participants (71 musicians and 15 non-musicians) wore a personal noise dosimeter for one week to obtain a more nuanced and objective measure of exposure to assess how different exposure levels may affect OAEs before the emergence of a clinically significant hearing loss. OAEs were tested using both transient-evoked OAEs (TEOAEs) and distortion-product OAEs (DPOAEs). As predicted from the literature, musicians experienced significantly higher noise levels than non-musicians based on both subjective (self-reported) and objective measures. Yet we found stronger TEOAEs and DPOAEs in musicians compared to non-musicians in the ∼1-5 kHz range. Comparisons between past and active musicians suggest that enhanced cochlear function in young adult musicians does not require active, ongoing musical practice. Although there were no significant relations between OAEs and noise exposure as measured by dosimetry or questionnaire, active musicians had weaker DPOAEs than past musicians when the entire DPOAE frequency range was considered (up to ∼16 kHz), consistent with a subclinical noise-induced hearing loss that only becomes apparent when active musicians are contrasted with a cohort of individuals with comparable training but without the ongoing risks of noise exposure. Our findings suggest, therefore, that separate norms should be developed for musicians for earlier detection of incipient hearing loss. Potential explanations for enhanced cochlear function in musicians include pre-existing (inborn or demographic) differences, training-related enhancements of cochlear function (e.g., upregulation of prestin, stronger efferent feedback mechanisms), or a combination thereof. Further studies are needed to determine if OAE enhancements offer musicians protection against damage caused by noise exposure.

The modulating effect of musical expertise on lexical-semantic prediction in speech-in-noise comprehension: Evidence from an EEG study

Musical expertise has been proposed to facilitate speech perception and comprehension in noisy environments. This study further examined the open question of whether musical expertise modulates high-level lexical-semantic prediction to aid online speech comprehension in noisy backgrounds. Musicians and nonmusicians listened to semantically strongly/weakly constraining sentences during EEG recording. At verbs prior to target nouns, both groups showed a positivity-ERP effect (Strong vs. Weak) associated with the predictability of incoming nouns; this correlation effect was stronger in musicians than in nonmusicians. After the target nouns appeared, both groups showed an N400 reduction effect (Strong vs. Weak) associated with noun predictability, but musicians exhibited an earlier onset latency and stronger effect size of this correlation effect than nonmusicians. To determine whether musical expertise enhances anticipatory semantic processing in general, the same group of participants participated in a control reading comprehension experiment. The results showed that, compared with nonmusicians, musicians demonstrated more delayed ERP correlation effects of noun predictability at words preceding the target nouns; musicians also exhibited more delayed and reduced N400 decrease effects correlated with noun predictability at the target nouns. Taken together, these results suggest that musical expertise enhances lexical-semantic predictive processing in speech-in-noise comprehension. This musical-expertise effect may be related to the strengthened hierarchical speech processing in particular.

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.

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.

Musical Expertise and Executive Functions in Experienced Musicians

Extensive music practice has been suggested to enhance the development of cognitive abilities over and above musical expertise. Executive functions (EFs) have been particularly investigated, given their generalizability across different domains and their crucial role in almost all aspects of cognition. However, the relationship between musical expertise and EFs is still not completely understood, as several studies have reported conflicting results. The present study aims to investigate the relationship between musical expertise and EFs, determining which facets-if any-of EFs might be particularly relevant to extensive music practice. Thirty-five student pianists completed a set of neuropsychological tasks which assessed EFs (the Trail Making Task, Design Fluency, Numerical Stroop, and the Tower of London). They also performed a short musical excerpt inspired by the piano literature. Musical expertise was assessed by considering three parameters, namely the highest academic degree in music, the lifetime amount of music practice, and the quality of the sample-based musical performance. The results indicate that postgraduate piano students did not show advantages in EFs compared to undergraduate piano students. More extensive lifetime practice in music was solely associated with faster visual reaction times on the Numerical Stroop task. The Trail Making and Design Fluency scores were significant predictors of the quality of the sample-based musical performance. In conclusion, the present data suggests that EFs and the amount of music practice do not seem to be correlated in student pianists. Nevertheless, some facets of EFs and the quality of musical performance may share substantial amounts of variance.

Successful aging of musicians: Preservation of sensorimotor regions aids audiovisual speech-in-noise perception

Musicianship can mitigate age-related declines in audiovisual speech-in-noise perception. We tested whether this benefit originates from functional preservation or functional compensation by comparing fMRI responses of older musicians, older nonmusicians, and young nonmusicians identifying noise-masked audiovisual syllables. Older musicians outperformed older nonmusicians and showed comparable performance to young nonmusicians. Notably, older musicians retained similar neural specificity of speech representations in sensorimotor areas to young nonmusicians, while older nonmusicians showed degraded neural representations. In the same region, older musicians showed higher neural alignment to young nonmusicians than older nonmusicians, which was associated with their training intensity. In older nonmusicians, the degree of neural alignment predicted better performance. In addition, older musicians showed greater activation in frontal-parietal, speech motor, and visual motion regions and greater deactivation in the angular gyrus than older nonmusicians, which predicted higher neural alignment in sensorimotor areas. Together, these findings suggest that musicianship-related benefit in audiovisual speech-in-noise processing is rooted in preserving youth-like representations in sensorimotor regions.

Auditory Electrophysiological and Perceptual Measures in Student Musicians with High Sound Exposure

This study aimed to determine (a) the influence of noise exposure background (NEB) on the peripheral and central auditory system functioning and (b) the influence of NEB on speech recognition in noise abilities in student musicians. Twenty non-musician students with self-reported low NEB and 18 student musicians with self-reported high NEB completed a battery of tests that consisted of physiological measures, including auditory brainstem responses (ABRs) at three different stimulus rates (11.3 Hz, 51.3 Hz, and 81.3 Hz), and P300, and behavioral measures including conventional and extended high-frequency audiometry, consonant-vowel nucleus-consonant (CNC) word test and AzBio sentence test for assessing speech perception in noise abilities at -9, -6, -3, 0, and +3 dB signal to noise ratios (SNRs). The NEB was negatively associated with performance on the CNC test at all five SNRs. A negative association was found between NEB and performance on the AzBio test at 0 dB SNR. No effect of NEB was found on the amplitude and latency of P300 and the ABR wave I amplitude. More investigations of larger datasets with different NEB and longitudinal measurements are needed to investigate the influence of NEB on word recognition in noise and to understand the specific cognitive processes contributing to the impact of NEB on word recognition in noise.

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.

Evidence for a Musician Speech-Perception-in-Noise Advantage in School-Age Children

PURPOSE

The objective of this study was to evaluate whether child musicians are better at listening to speech in noise (SPIN) than nonmusicians of the same age. In addition, we aimed to explore whether the musician SPIN advantage in children was related to general intelligence (IQ).

METHOD

Fifty-one children aged 8.2-11.8 years and with different levels of music training participated in the study. A between-group design and correlational analyses were used to determine differences in SPIN skills as they relate to music training. IQ was used as a covariate to explore the relationship between intelligence and SPIN ability.

RESULTS

More years of music training were associated with better SPIN skills than fewer years of music training. Furthermore, this difference in SPIN skills remained even when accounting for IQ. These results were found at the group level and also when years of instrument training was treated as a continuous variable (i.e., correlational analyses).

CONCLUSIONS

We confirmed results from previous studies in which child musicians outperformed nonmusicians in SPIN skills. We also showed that this effect was not related to differences in IQ between the musicians and nonmusicians for this cohort of children. However, confirmation of this finding with a cohort of children from more diverse socioeconomic statuses and cognitive profiles is warranted.

Domain-specific hearing-in-noise performance is associated with absolute pitch proficiency

Recent evidence suggests that musicians may have an advantage over non-musicians in perceiving speech against noisy backgrounds. Previously, musicians have been compared as a homogenous group, despite demonstrated heterogeneity, which may contribute to discrepancies between studies. Here, we investigated whether “quasi”-absolute pitch (AP) proficiency, viewed as a general trait that varies across a spectrum, accounts for the musician advantage in hearing-in-noise (HIN) performance, irrespective of whether the streams are speech or musical sounds. A cohort of 12 non-musicians and 42 trained musicians stratified into high, medium, or low AP proficiency identified speech or melody targets masked in noise (speech-shaped, multi-talker, and multi-music) under four signal-to-noise ratios (0, − 3, − 6, and − 9 dB). Cognitive abilities associated with HIN benefits, including auditory working memory and use of visuo-spatial cues, were assessed. AP proficiency was verified against pitch adjustment and relative pitch tasks. We found a domain-specific effect on HIN perception: quasi-AP abilities were related to improved perception of melody but not speech targets in noise. The quasi-AP advantage extended to tonal working memory and the use of spatial cues, but only during melodic stream segregation. Overall, the results do not support the putative musician advantage in speech-in-noise perception, but suggest a quasi-AP advantage in perceiving music under noisy environments.

Does music training enhance auditory and linguistic processing? A systematic review and meta-analysis of behavioral and brain evidence

It is often claimed that music training improves auditory and linguistic skills. Results of individual studies are mixed, however, and most evidence is correlational, precluding inferences of causation. Here, we evaluated data from 62 longitudinal studies that examined whether music training programs affect behavioral and brain measures of auditory and linguistic processing (N = 3928). For the behavioral data, a multivariate meta-analysis revealed a small positive effect of music training on both auditory and linguistic measures, regardless of the type of assignment (random vs. non-random), training (instrumental vs. non-instrumental), and control group (active vs. passive). The trim-and-fill method provided suggestive evidence of publication bias, but meta-regression methods (PET-PEESE) did not. For the brain data, a narrative synthesis also documented benefits of music training, namely for measures of auditory processing and for measures of speech and prosody processing. Thus, the available literature provides evidence that music training produces small neurobehavioral enhancements in auditory and linguistic processing, although future studies are needed to confirm that such enhancements are not due to publication bias.

Musical Training and Its Association With Age-Related Changes in Binaural, Temporal, and Spatial Processing

OBJECTIVE

This article aimed to assess the relationship between musical training and age-related changes in binaural, temporal, and spatial processing abilities.

DESIGN

A standard group comparison study was conducted involving both musicians and nonmusicians. The effect of musical training was assessed using a battery of psychoacoustical tests (interaural time and level difference thresholds: ITD & ILD, binaural gap detection threshold, and virtual auditory space identification test) and subjective ratings (Spatial-Hearing subsection of Speech, Spatial, and Quality of Hearing scale in Kannada).

STUDY SAMPLE

A total of 60 participants, between 41 and 70 years, were divided into three groups of 20 each, based on their age (41-50, 51-60, and 61-70 years). Each of these three groups was subdivided into two, one comprising 10 musicians (vocalists practicing South-Indian classical music) and the other comprising 10 nonmusicians.

RESULTS

Multivariate analyses of variance revealed that musicians performed significantly better (p < .001) than nonmusicians in all the tests. Analyses of variance showed that whereas age had no effect (p > .05) on performance in any of the tests in musicians, age affected the performance of nonmusicians significantly in terms of ITD (p = .02) and ILD (p = .01) thresholds.

CONCLUSION

Musical training appears to have the potential to slow down age-related decline in binaural, temporal, and spatial processing.

The importance of the motor system in the development of music-based forms of auditory rehabilitation

Hearing abilities decline with age, and one of the most commonly reported hearing issues in older adults is a difficulty understanding speech when there is loud background noise. Understanding speech in noise relies on numerous cognitive processes, including working memory, and is supported by numerous brain regions, including the motor and motor planning systems. Indeed, many working memory processes are supported by motor and premotor cortical regions. Interestingly, lifelong musicians and nonmusicians given music training over the course of weeks or months show an improved ability to understand speech when there is loud background noise. These benefits are associated with enhanced working memory abilities, and enhanced activity in motor and premotor cortical regions. Accordingly, it is likely that music training improves the coupling between the auditory and motor systems and promotes plasticity in these regions and regions that feed into auditory/motor areas. This leads to an enhanced ability to dynamically process incoming acoustic information, and is likely the reason that musicians and those who receive laboratory-based music training are better able to understand speech when there is background noise. Critically, these findings suggest that music-based forms of auditory rehabilitation are possible and should focus on tasks that promote auditory-motor interactions.

Effects of Psychoacoustic Training on the Pre-Attentive Processing of Harmonic Sounds and Syllables

PURPOSE

This article aimed at investigating the neural underpinnings of music-to-language transfer effects at the pre-attentive level of processing.

METHOD

We conducted a longitudinal experiment with a test-training-retest procedure. Nonmusician adults were trained either on frequency (experimental group) or on intensity (control group) of harmonic tones using methods from psychophysics. Pre- and posttraining, we recorded brain electrical activity and we analyzed the mismatch negativity (MMN) and the P3a component both to harmonic complex sounds and to syllables varying in frequency.

RESULTS

Frequency training influenced the pre-attentive perception of pitch for large harmonic deviant sounds but not for syllables.

CONCLUSION

Results are discussed in terms of near and far transfer effects from psychoacoustic training to pre-attentive pitch processing and as possibly showing some limits to transfer effects.

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.

Music training is associated with better clause segmentation during spoken language processing

Musical expertise is known to affect speech perception at units below clause/sentence. This study investigated whether the musician's advantage extends to a higher and more central level of speech processing (i.e., clause segmentation). Two groups of participants (musician vs. nonmusician) were presented with sentences that contain an internal clause boundary. The acoustic correlates of the boundary were manipulated in six conditions: all-cue, pause-only, final-lengthening-only, pitch-reset-only, pause-and-final-lengthening-in-combination, and no-cue conditions. Participants were asked to judge whether the sentence they heard had an internal boundary. Results showed that the musicians detected more boundaries than the nonmusicians in the all-cue and the pause-only conditions, but fewer boundaries in the no-cue condition. Further analyses of cue weight showed that both musicians and nonmusicians placed more importance on pause than the other two cues, but this weighting bias was more pronounced for the musicians. These results suggest that music training is associated with increased perceptual acuity not only to the acoustic markings of speech boundaries but also to the weighting of the cues. Our findings extend the role of musical expertise to sentence-level speech processing.

Speech-in-noise perception in musicians and non-musicians: A multi-level meta-analysis

Speech-in-noise perception, the ability to hear a relevant voice within a noisy background, is important for successful communication. Musicians have been reported to perform better than non-musicians on speech-in-noise tasks. This meta-analysis uses a multi-level design to assess the claim that musicians have superior speech-in-noise abilities compared to non-musicians. Across 31 studies and 62 effect sizes, the overall effect of musician status on speech-in-noise ability is significant, with a moderate effect size (g = 0.58), 95% CI [0.42, 0.74]. The overall effect of musician status was not moderated by within-study IQ equivalence, target stimulus, target contextual information, type of background noise, or age. We conclude that musicians show superior speech-in-noise abilities compared to non-musicians, not modified by age, IQ, or speech task parameters. These effects may reflect changes due to music training or predisposed auditory advantages that encourage musicianship.

Music Perception Abilities and Ambiguous Word Learning: Is There Cross-Domain Transfer in Nonmusicians?

Perception of music and speech is based on similar auditory skills, and it is often suggested that those with enhanced music perception skills may perceive and learn novel words more easily. The current study tested whether music perception abilities are associated with novel word learning in an ambiguous learning scenario. Using a cross-situational word learning (CSWL) task, nonmusician adults were exposed to word-object pairings between eight novel words and visual referents. Novel words were either non-minimal pairs differing in all sounds or minimal pairs differing in their initial consonant or vowel. In order to be successful in this task, learners need to be able to correctly encode the phonological details of the novel words and have sufficient auditory working memory to remember the correct word-object pairings. Using the Mistuning Perception Test (MPT) and the Melodic Discrimination Test (MDT), we measured learners’ pitch perception and auditory working memory. We predicted that those with higher MPT and MDT values would perform better in the CSWL task and in particular for novel words with high phonological overlap (i.e., minimal pairs). We found that higher musical perception skills led to higher accuracy for non-minimal pairs and minimal pairs differing in their initial consonant. Interestingly, this was not the case for vowel minimal pairs. We discuss the results in relation to theories of second language word learning such as the Second Language Perception model (L2LP).

Amateur singing benefits speech perception in aging under certain conditions of practice: behavioural and neurobiological mechanisms

Limited evidence has shown that practising musical activities in aging, such as choral singing, could lessen age-related speech perception in noise (SPiN) difficulties. However, the robustness and underlying mechanism of action of this phenomenon remain unclear. In this study, we used surface-based morphometry combined with a moderated mediation analytic approach to examine whether singing-related plasticity in auditory and dorsal speech stream regions is associated with better SPiN capabilities. 36 choral singers and 36 non-singers aged 20-87 years underwent cognitive, auditory, and SPiN assessments. Our results provide important new insights into experience-dependent plasticity by revealing that, under certain conditions of practice, amateur choral singing is associated with age-dependent structural plasticity within auditory and dorsal speech regions, which is associated with better SPiN performance in aging. Specifically, the conditions of practice that were associated with benefits on SPiN included frequent weekly practice at home, several hours of weekly group singing practice, singing in multiple languages, and having received formal singing training. These results suggest that amateur choral singing is associated with improved SPiN through a dual mechanism involving auditory processing and auditory-motor integration and may be dose dependent, with more intense singing associated with greater benefit. Our results, thus, reveal that the relationship between singing practice and SPiN is complex, and underscore the importance of considering singing practice behaviours in understanding the effects of musical activities on the brain-behaviour relationship.

Musical Sophistication and Speech Auditory-Motor Coupling: Easy Tests for Quick Answers

Musical training enhances auditory-motor cortex coupling, which in turn facilitates music and speech perception. How tightly the temporal processing of music and speech are intertwined is a topic of current research. We investigated the relationship between musical sophistication (Goldsmiths Musical Sophistication index, Gold-MSI) and spontaneous speech-to-speech synchronization behavior as an indirect measure of speech auditory-motor cortex coupling strength. In a group of participants (n = 196), we tested whether the outcome of the spontaneous speech-to-speech synchronization test (SSS-test) can be inferred from self-reported musical sophistication. Participants were classified as high (HIGHs) or low (LOWs) synchronizers according to the SSS-test. HIGHs scored higher than LOWs on all Gold-MSI subscales (General Score, Active Engagement, Musical Perception, Musical Training, Singing Skills), but the Emotional Attachment scale. More specifically, compared to a previously reported German-speaking sample, HIGHs overall scored higher and LOWs lower. Compared to an estimated distribution of the English-speaking general population, our sample overall scored lower, with the scores of LOWs significantly differing from the normal distribution, with scores in the ∼30th percentile. While HIGHs more often reported musical training compared to LOWs, the distribution of training instruments did not vary across groups. Importantly, even after the highly correlated subscores of the Gold-MSI were decorrelated, particularly the subscales Musical Perception and Musical Training allowed to infer the speech-to-speech synchronization behavior. The differential effects of musical perception and training were observed, with training predicting audio-motor synchronization in both groups, but perception only in the HIGHs. Our findings suggest that speech auditory-motor cortex coupling strength can be inferred from training and perceptual aspects of musical sophistication, suggesting shared mechanisms involved in speech and music perception.

Dimension-selective attention and dimensional salience modulate cortical tracking of acoustic dimensions

Some theories of auditory categorization suggest that auditory dimensions that are strongly diagnostic for particular categories - for instance voice onset time or fundamental frequency in the case of some spoken consonants - attract attention. However, prior cognitive neuroscience research on auditory selective attention has largely focused on attention to simple auditory objects or streams, and so little is known about the neural mechanisms that underpin dimension-selective attention, or how the relative salience of variations along these dimensions might modulate neural signatures of attention. Here we investigate whether dimensional salience and dimension-selective attention modulate the cortical tracking of acoustic dimensions. In two experiments, participants listened to tone sequences varying in pitch and spectral peak frequency; these two dimensions changed at different rates. Inter-trial phase coherence (ITPC) and amplitude of the EEG signal at the frequencies tagged to pitch and spectral changes provided a measure of cortical tracking of these dimensions. In Experiment 1, tone sequences varied in the size of the pitch intervals, while the size of spectral peak intervals remained constant. Cortical tracking of pitch changes was greater for sequences with larger compared to smaller pitch intervals, with no difference in cortical tracking of spectral peak changes. In Experiment 2, participants selectively attended to either pitch or spectral peak. Cortical tracking was stronger in response to the attended compared to unattended dimension for both pitch and spectral peak. These findings suggest that attention can enhance the cortical tracking of specific acoustic dimensions rather than simply enhancing tracking of the auditory object as a whole.

The Impact of Music Training and Working Memory on Speech Recognition in Older Age

Purpose Music training has been proposed as a possible tool for auditory training in older adults, as it may improve both auditory and cognitive skills. However, the evidence to support such benefits is mixed. The goal of this study was to determine the differential effects of lifelong musical training and working memory on speech recognition in noise, in older adults. Method A total of 31 musicians and nonmusicians aged 65-78 years took part in this cross-sectional study. Participants had a normal pure-tone average, with most having high-frequency hearing loss. Working memory (memory capacity) was assessed with the backward Digit Span test, and speech recognition in noise was assessed with three clinical tests (Quick Speech in Noise, Hearing in Noise Test, and Revised Speech Perception in Noise). Results Findings from this sample of older adults indicate that neither music training nor working memory was associated with differences on the speech recognition in noise measures used in this study. Similarly, duration of music training was not associated with speech-in-noise recognition. Conclusions Results from this study do not support the hypothesis that lifelong music training benefits speech recognition in noise. Similarly, an effect of working memory (memory capacity) was not apparent. While these findings may be related to the relatively small sample size, results across previous studies that investigated these effects have also been mixed. Prospective randomized music training studies may be able to better control for variability in outcomes associated with pre-existing and music training factors, as well as to examine the differential impact of music training and working memory for speech-in-noise recognition in older adults.

Musical Aptitude as a Variable in the Assessment of Working Memory and Selective Attention Tasks

Background and Objectives

The influence of musical aptitude on cognitive test performance in musicians is a long-debated research question. Evidence points to the low performance of nonmusicians in visual and auditory cognitive tasks (working memory and attention) compared with musicians. This cannot be generalized to all nonmusicians, as a sub-group in this population can have innate musical abilities even without any formal musical training. The present study aimed to study the effect of musical aptitude on the working memory and selective attention.

Subjects and Methods

Three groups of 20 individuals each (a total of 60 participants), including trained-musicians, nonmusicians with good musical aptitude, and nonmusicians with low musical aptitude, participated in the present study. Cognitive-based visual (Flanker’s selective attention test) and auditory (working memory tests: backward digit span and operation span) tests were administered.

Results

MANOVA (followed by ANOVA) revealed a benefit of musicianship and musical aptitude on backward digit span and Flanker’s reaction time (p<0.05). Discriminant function analyses showed that the groups could be effectively (accuracy, 80%) segregated based on the backward digit span and Flanker’s selective attention test. Trained musicians and nonmusicians with good musical aptitude were distinguished as one cluster and nonmusicians with low musical aptitude formed another cluster, hinting the role of musical aptitude in working memory and selective attention.

Conclusions

Nonmusicians with good musical aptitude can have enhanced working memory and selective attention skills like musicians. Hence, caution is required when these individuals are included as controls in cognitive-based visual and auditory experiments.

Multiple Cases of Auditory Neuropathy Illuminate the Importance of Subcortical Neural Synchrony for Speech-in-noise Recognition and the Frequency-following Response

OBJECTIVES

The role of subcortical synchrony in speech-in-noise (SIN) recognition and the frequency-following response (FFR) was examined in multiple listeners with auditory neuropathy. Although an absent FFR has been documented in one listener with idiopathic neuropathy who has severe difficulty recognizing SIN, several etiologies cause the neuropathy phenotype. Consequently, it is necessary to replicate absent FFRs and concomitant SIN difficulties in patients with multiple sources and clinical presentations of neuropathy to elucidate fully the importance of subcortical neural synchrony for the FFR and SIN recognition.

DESIGN

Case series. Three children with auditory neuropathy (two males with neuropathy attributed to hyperbilirubinemia, one female with a rare missense mutation in the OPA1 gene) were compared to age-matched controls with normal hearing (52 for electrophysiology and 48 for speech recognition testing). Tests included standard audiological evaluations, FFRs, and sentence recognition in noise. The three children with neuropathy had a range of clinical presentations, including moderate sensorineural hearing loss, use of a cochlear implant, and a rapid progressive hearing loss.

RESULTS

Children with neuropathy generally had good speech recognition in quiet but substantial difficulties in noise. These SIN difficulties were somewhat mitigated by a clear speaking style and presenting words in a high semantic context. In the children with neuropathy, FFRs were absent from all tested stimuli. In contrast, age-matched controls had reliable FFRs.

CONCLUSION

Subcortical synchrony is subject to multiple forms of disruption but results in a consistent phenotype of an absent FFR and substantial difficulties recognizing SIN. These results support the hypothesis that subcortical synchrony is necessary for the FFR. Thus, in healthy listeners, the FFR may reflect subcortical neural processes important for SIN recognition.

Self-reported music perception is related to quality of life and self-reported hearing abilities in cochlear implant users

OBJECTIVES

To investigate the relationship between self-reported music perception and appreciation and (1) quality of life (QoL), and (2) self-assessed hearing ability in 98 post-lingually deafened cochlear implant (CI) users with a wide age range.

METHODS

Participants filled three questionnaires: (1) the Dutch Musical Background Questionnaire (DMBQ), which measures the music listening habits, the quality of the sound of music and the self-assessed perception of elements of music; (2) the Nijmegen Cochlear Implant Questionnaire (NCIQ), which measures health-related QoL; (3) the Speech, Spatial and Qualities (SSQ) of hearing scale, which measures self-assessed hearing ability. Additionally, speech perception was behaviorally measured with a phoneme-in-word identification.

RESULTS

A decline in music listening habits and a low rating of the quality of music after implantation are reported in DMBQ. A significant relationship is found between the music measures and the NCIQ and SSQ; no significant relationships are observed between the DMBQ and speech perception scores.

CONCLUSIONS

The findings suggest some relationship between CI users' self-reported music perception ability and QoL and self-reported hearing ability. While the causal relationship is not currently evaluated, the findings may imply that music training programs and/or device improvements that improve music perception may improve QoL and hearing ability.

The Effect of Musical Training and Working Memory in Adverse Listening Situations

OBJECTIVES

Speech-in-noise (SIN) perception is essential for everyday communication. In most communication situations, the listener requires the ability to process simultaneous complex auditory signals to understand the target speech or target sound. As the listening situation becomes more difficult, the ability to distinguish between speech and noise becomes dependent on recruiting additional cognitive resources, such as working memory (WM). Previous studies have explored correlations between WM and SIN perception in musicians and nonmusicians, with mixed findings. However, no study to date has examined the speech perception abilities of musicians and nonmusicians with similar WM capacity. The objectives of this study were to investigate (1) whether musical experience results in improved listening in adverse listening situations, and (2) whether the benefit of musical experience can be separated from the effect of greater WM capacity.

DESIGN

Forty-nine young musicians and nonmusicians were assigned to subgroups of high versus low WM, based on the performance on the backward digit span test. To investigate the effects of music training and WM on SIN perception, performance was assessed on clinical tests of speech perception in background noise. Listening effort (LE) was assessed in a dual-task paradigm and via self-report. We hypothesized that musicians would have an advantage when listening to SIN, at least in terms of reduced LE.

RESULTS

There was no statistically significant difference between musicians and nonmusicians, and no significant interaction between music training and WM on any of the outcome measures used in this study. However, a significant effect of WM on SIN ability was found on both the Quick Speech-In-Noise test (QuickSIN) and the Hearing in Noise Test (HINT) tests.

CONCLUSION

The results of this experiment suggest that music training does not provide an advantage in adverse listening situations either in terms of improved speech understanding or reduced LE. While musicians have been shown to have heightened basic auditory abilities, the effect on SIN performance may be more subtle. Our results also show that regardless of prior music training, listeners with high WM capacity are able to perform significantly better on speech-in-noise tasks.

Benefit of Musical Training for Speech Perception and Cognition Later in Life

Purpose The aim of this study was to determine the long-term associations of musical training with speech perception in adverse conditions and cognition in a longitudinal cohort study of middle-age to older adults. Method This study is based on Epidemiology of Hearing Loss Study participants. We asked participants at baseline (1993-1995) about their musical training. Speech perception (word recognition in competing message; Northwestern University Auditory Test Number 6), cognitive function (cognitive test battery), and impairment (self-report or surrogate report of Alzheimer's disease or dementia, and/or a Mini-Mental State Examination score ≤ 24) were assessed up to 5 times over the 20-year follow-up. We included 2,938 Epidemiology of Hearing Loss Study participants who had musical training data and at least one follow-up of speech perception and/or cognitive assessment. We used linear mixed-effects models to determine associations between musicianship and decline in speech perception and cognitive function over time and Cox regression models to evaluate associations of musical training with 20-year cumulative incidence of speech perception and cognitive impairment. Models were adjusted for age, sex, and occupation and repeated with additional adjustment for health-related confounders and education. Results Musicians showed less speech perception decline over time with stronger effects in women (0.16% difference, 95% confidence interval [CI] [0.05, 0.26]). Among men, musicians had, on average, better speech perception than nonmusicians (3.41% difference, 95% CI [0.62, 6.20]) and were less likely to develop a cognitive impairment than nonmusicians (hazard ratio = 0.58, 95% CI [0.37, 0.91]). Conclusions Musicians showed an advantage in speech perception abilities and cognition later in life and less decline over time with different magnitudes of effect sizes in men and women. Associations remained with further adjustment, indicating that some degree of the advantage of musical training is independent of socioeconomic or health differences. If confirmed, these findings could have implications for developing speech perception intervention and prevention strategies. Supplemental Material https://doi.org/10.23641/asha.14825454.

Learning and Retention of Novel Words in Musicians and Nonmusicians

Purpose The purpose of this study was to determine whether long-term musical training enhances the ability to perceive and learn new auditory information. Listeners with extensive musical experience were expected to detect, learn, and retain novel words more effectively than participants without musical training. Advantages of musical training were expected to be greater for words learned in multitalker babble compared to quiet. Method Participants consisted of 20 young adult musicians and 20 age-matched nonmusicians, all with normal hearing. In addition to completing word recognition and nonword detection tasks, each participant learned 10 novel words in a rapid word-learning paradigm. All tasks were completed in quiet and in multitalker babble. Next-day retention of the learned words was examined in isolation (recall) and in the context of continuous discourse (detection). Performance was compared across groups and listening conditions. Results Performance was significantly poorer in babble than in quiet on word recognition and nonword detection, but not on word learning, learned-word recall, or learned-word detection. No differences were observed between groups (musicians vs. nonmusicians) on any of the tasks. Conclusions For young normal-hearing adults, auditory experience resulting from long-term music training did not enhance their learning of new auditory information in either favorable (quiet) or unfavorable (babble) listening conditions. This suggests that the formation of semantic and musical representations in memory may be supported by the same underlying auditory processes, such that musical training is simply an extension of an auditory expertise that both musicians and nonmusicians possess.

Improved Speech in Noise Perception in the Elderly After 6 Months of Musical Instruction

Understanding speech in background noise poses a challenge in daily communication, which is a particular problem among the elderly. Although musical expertise has often been suggested to be a contributor to speech intelligibility, the associations are mostly correlative. In the present multisite study conducted in Germany and Switzerland, 156 healthy, normal-hearing elderly were randomly assigned to either piano playing or music listening/musical culture groups. The speech reception threshold was assessed using the International Matrix Test before and after a 6 month intervention. Bayesian multilevel modeling revealed an improvement of both groups over time under binaural conditions. Additionally, the speech reception threshold of the piano group decreased during stimuli presentation to the left ear. A right ear improvement only occurred in the German piano group. Furthermore, improvements were predominantly found in women. These findings are discussed in the light of current neuroscientific theories on hemispheric lateralization and biological sex differences. The study indicates a positive transfer from musical training to speech processing, probably supported by the enhancement of auditory processing and improvement of general cognitive functions.

Auditory Temporal Processing in Dancers

While many studies have examined the auditory abilities of musicians, this study uniquely asks whether dance training, a similar yet understudied type of early-life training, also benefits auditory abilities. We focused this investigation on temporal resolution, given the importance of subtle temporal cues in synchronizing movement. We found that, compared to untrained controls, novice adult dancers who have trained continuously since childhood had enhanced temporal resolution, measured with a gap detection task. In an analysis involving current and former dancers, total years of training was a significant predictor of temporal resolution thresholds. The association between dance experience and improved auditory skills has implications for current theories of experience-dependent auditory plasticity and the design of sound-based educational and rehabilitation activities.

No Evidence That Music Training Benefits Speech Perception in Hearing-Impaired Listeners: A Systematic Review

As musicians have been shown to have a range of superior auditory skills to non-musicians (e.g., pitch discrimination ability), it has been hypothesized by many researchers that music training can have a beneficial effect on speech perception in populations with hearing impairment. This hypothesis relies on an assumption that the benefits seen in musicians are due to their training and not due to innate skills that may support successful musicianship. This systematic review examined the evidence from 13 longitudinal training studies that tested the hypothesis that music training has a causal effect on speech perception ability in hearing-impaired listeners. The papers were evaluated for quality of research design and appropriate analysis techniques. Only 4 of the 13 papers used a research design that allowed a causal relation between music training and outcome benefits to be validly tested, and none of those 4 papers with a better quality study design demonstrated a benefit of music training for speech perception. In spite of the lack of valid evidence in support of the hypothesis, 10 of the 13 papers made claims of benefits of music training, showing a propensity for confirmation bias in this area of research. It is recommended that future studies that aim to evaluate the association of speech perception ability and music training use a study design that differentiates the effects of training from those of innate perceptual and cognitive skills in the participants.

Do Musicians and Non-musicians Differ in Speech-on-Speech Processing?

Earlier studies have shown that musically trained individuals may have a benefit in adverse listening situations when compared to non-musicians, especially in speech-on-speech perception. However, the literature provides mostly conflicting results. In the current study, by employing different measures of spoken language processing, we aimed to test whether we could capture potential differences between musicians and non-musicians in speech-on-speech processing. We used an offline measure of speech perception (sentence recall task), which reveals a post-task response, and online measures of real time spoken language processing: gaze-tracking and pupillometry. We used stimuli of comparable complexity across both paradigms and tested the same groups of participants. In the sentence recall task, musicians recalled more words correctly than non-musicians. In the eye-tracking experiment, both groups showed reduced fixations to the target and competitor words' images as the level of speech maskers increased. The time course of gaze fixations to the competitor did not differ between groups in the speech-in-quiet condition, while the time course dynamics did differ between groups as the two-talker masker was added to the target signal. As the level of two-talker masker increased, musicians showed reduced lexical competition as indicated by the gaze fixations to the competitor. The pupil dilation data showed differences mainly in one target-to-masker ratio. This does not allow to draw conclusions regarding potential differences in the use of cognitive resources between groups. Overall, the eye-tracking measure enabled us to observe that musicians may be using a different strategy than non-musicians to attain spoken word recognition as the noise level increased. However, further investigation with more fine-grained alignment between the processes captured by online and offline measures is necessary to establish whether musicians differ due to better cognitive control or sound processing.

Attentional modulation of neural entrainment to sound streams in children with and without ADHD

To extract meaningful information from complex auditory scenes like a noisy playground, rock concert, or classroom, children can direct attention to different sound streams. One means of accomplishing this might be to align neural activity with the temporal structure of a target stream, such as a specific talker or melody. However, this may be more difficult for children with ADHD, who can struggle with accurately perceiving and producing temporal intervals. In this EEG study, we found that school-aged children's attention to one of two temporally-interleaved isochronous tone 'melodies' was linked to an increase in phase-locking at the melody's rate, and a shift in neural phase that aligned the neural responses with the attended tone stream. Children's attention task performance and neural phase alignment with the attended melody were linked to performance on temporal production tasks, suggesting that children with more robust control over motor timing were better able to direct attention to the time points associated with the target melody. Finally, we found that although children with ADHD performed less accurately on the tonal attention task than typically developing children, they showed the same degree of attentional modulation of phase locking and neural phase shifts, suggesting that children with ADHD may have difficulty with attentional engagement rather than attentional selection.

Can You Hear Out the Melody? Testing Musical Scene Perception in Young Normal-Hearing and Older Hearing-Impaired Listeners

It is well known that hearing loss compromises auditory scene analysis abilities, as is usually manifested in difficulties of understanding speech in noise. Remarkably little is known about auditory scene analysis of hearing-impaired (HI) listeners when it comes to musical sounds. Specifically, it is unclear to which extent HI listeners are able to hear out a melody or an instrument from a musical mixture. Here, we tested a group of younger normal-hearing (yNH) and older HI (oHI) listeners with moderate hearing loss in their ability to match short melodies and instruments presented as part of mixtures. Four-tone sequences were used in conjunction with a simple musical accompaniment that acted as a masker (cello/piano dyads or spectrally matched noise). In each trial, a signal-masker mixture was presented, followed by two different versions of the signal alone. Listeners indicated which signal version was part of the mixture. Signal versions differed either in terms of the sequential order of the pitch sequence or in terms of timbre (flute vs. trumpet). Signal-to-masker thresholds were measured by varying the signal presentation level in an adaptive two-down/one-up procedure. We observed that thresholds of oHI listeners were elevated by on average 10 dB compared with that of yNH listeners. In contrast to yNH listeners, oHI listeners did not show evidence of listening in dips of the masker. Musical training of participants was associated with a lowering of thresholds. These results may indicate detrimental effects of hearing loss on central aspects of musical scene perception.

Long-Term Musical Training Alters Auditory Cortical Activity to the Frequency Change

Objective: The ability to detect frequency variation is a fundamental skill necessary for speech perception. It is known that musical expertise is associated with a range of auditory perceptual skills, including discriminating frequency change, which suggests the neural encoding of spectral features can be enhanced by musical training. In this study, we measured auditory cortical responses to frequency change in musicians to examine the relationships between N1/P2 responses and behavioral performance/musical training. Methods: Behavioral and electrophysiological data were obtained from professional musicians and age-matched non-musician participants. Behavioral data included frequency discrimination detection thresholds for no threshold-equalizing noise (TEN), +5, 0, and -5 signal-to-noise ratio settings. Auditory-evoked responses were measured using a 64-channel electroencephalogram (EEG) system in response to frequency changes in ongoing pure tones consisting of 250 and 4,000 Hz, and the magnitudes of frequency change were 10%, 25% or 50% from the base frequencies. N1 and P2 amplitudes and latencies as well as dipole source activation in the left and right hemispheres were measured for each condition. Results: Compared to the non-musician group, behavioral thresholds in the musician group were lower for frequency discrimination in quiet conditions only. The scalp-recorded N1 amplitudes were modulated as a function of frequency change. P2 amplitudes in the musician group were larger than in the non-musician group. Dipole source analysis showed that P2 dipole activity to frequency changes was lateralized to the right hemisphere, with greater activity in the musician group regardless of the hemisphere side. Additionally, N1 amplitudes to frequency changes were positively related to behavioral thresholds for frequency discrimination while enhanced P2 amplitudes were associated with a longer duration of musical training. Conclusions: Our results demonstrate that auditory cortical potentials evoked by frequency change are related to behavioral thresholds for frequency discrimination in musicians. Larger P2 amplitudes in musicians compared to non-musicians reflects musical training-induced neural plasticity.

Musicians Show Improved Speech Segregation in Competitive, Multi-Talker Cocktail Party Scenarios

Studies suggest that long-term music experience enhances the brain’s ability to segregate speech from noise. Musicians’ “speech-in-noise (SIN) benefit” is based largely on perception from simple figure-ground tasks rather than competitive, multi-talker scenarios that offer realistic spatial cues for segregation and engage binaural processing. We aimed to investigate whether musicians show perceptual advantages in cocktail party speech segregation in a competitive, multi-talker environment. We used the coordinate response measure (CRM) paradigm to measure speech recognition and localization performance in musicians vs. non-musicians in a simulated 3D cocktail party environment conducted in an anechoic chamber. Speech was delivered through a 16-channel speaker array distributed around the horizontal soundfield surrounding the listener. Participants recalled the color, number, and perceived location of target callsign sentences. We manipulated task difficulty by varying the number of additional maskers presented at other spatial locations in the horizontal soundfield (0–1–2–3–4–6–8 multi-talkers). Musicians obtained faster and better speech recognition amidst up to around eight simultaneous talkers and showed less noise-related decline in performance with increasing interferers than their non-musician peers. Correlations revealed associations between listeners’ years of musical training and CRM recognition and working memory. However, better working memory correlated with better speech streaming. Basic (QuickSIN) but not more complex (speech streaming) SIN processing was still predicted by music training after controlling for working memory. Our findings confirm a relationship between musicianship and naturalistic cocktail party speech streaming but also suggest that cognitive factors at least partially drive musicians’ SIN advantage.

Musical Experience Offsets Age-Related Decline in Understanding Speech-in-Noise: Type of Training Does Not Matter, Working Memory Is the Key

OBJECTIVES

Speech comprehension under "cocktail party" scenarios deteriorates with age even in the absence of measurable hearing loss. Musical training is suggested to counteract the age-related decline in speech-in-noise (SIN) perception, yet which aspect of musical plasticity contributes to this compensation remains unclear. This study aimed to investigate the effects of musical experience and aging on SIN perception ability. We hypothesized a key mediation role of auditory working memory in ameliorating deficient SIN perception in older adults by musical training.

DESIGN

Forty-eight older musicians, 29 older nonmusicians, 48 young musicians, and 24 young nonmusicians all with (near) normal peripheral hearing were recruited. The SIN task was recognizing nonsense speech sentences either perceptually colocated or separated with a noise masker (energetic masking) or a two-talker speech masker (informational masking). Auditory working memory was measured by auditory digit span. Path analysis was used to examine the direct and indirect effects of musical expertise and age on SIN perception performance.

RESULTS

Older musicians outperformed older nonmusicians in auditory working memory and all SIN conditions (noise separation, noise colocation, speech separation, speech colocation), but such musician advantages were absent in young adults. Path analysis showed that age and musical training had opposite effects on auditory working memory, which played a significant mediation role in SIN perception. In addition, the type of musical training did not differentiate SIN perception regardless of age.

CONCLUSIONS

These results provide evidence that musical training offsets age-related speech perception deficit at adverse listening conditions by preserving auditory working memory. Our findings highlight auditory working memory in supporting speech perception amid competing noise in older adults, and underline musical training as a means of "cognitive reserve" against declines in speech comprehension and cognition in aging populations.

Autodidacticism and Music: Do Self-Taught Musicians Exhibit the Same Auditory Processing Advantages as Formally Trained Musicians?

Multiple studies have demonstrated that musicians have enhanced auditory processing abilities compared to non-musicians. In these studies, musicians are usually defined as having received some sort of formal music training. One issue with this definition is that there are many musicians who are self-taught. The goal of the current study was to determine if self-taught musicians exhibit different auditory enhancements as their formally trained counterparts. Three groups of participants were recruited: formally trained musicians, who received formal music training through the conservatory or private lessons; self-taught musicians, who learned to play music through informal methods, such as with books, videos, or by ear; non-musicians, who had little or no music experience. Auditory processing abilities were assessed using a speech-in-noise task, a passive pitch oddball task done while recording electrical brain activity, and a melodic tonal violation task, done both actively and passively while recording electrical brain activity. For the melodic tonal violation task, formally trained musicians were better at detecting a tonal violation compared to self-taught musicians, who were in turn better than non-musicians. The P600 evoked by a tonal violation was enhanced in formally trained musicians compared to non-musicians. The P600 evoked by an out-of-key note did not differ between formally trained and self-taught musicians, while the P600 evoked by an out-of-tune note was smaller in self-taught musicians compared to formally trained musicians. No differences were observed between the groups for the other tasks. This pattern of results suggests that music training format impacts auditory processing abilities in musical tasks; however, it is possible that these differences arose due to pre-existing factors and not due to the training itself.

Musicians at the Cocktail Party: Neural Substrates of Musical Training During Selective Listening in Multispeaker Situations

Musical training has been demonstrated to benefit speech-in-noise perception. It is however unknown whether this effect translates to selective listening in cocktail party situations, and if so what its neural basis might be. We investigated this question using magnetoencephalography-based speech envelope reconstruction and a sustained selective listening task, in which participants with varying amounts of musical training attended to 1 of 2 speech streams while detecting rare target words. Cortical frequency-following responses (FFR) and auditory working memory were additionally measured to dissociate musical training-related effects on low-level auditory processing versus higher cognitive function. Results show that the duration of musical training is associated with a reduced distracting effect of competing speech on target detection accuracy. Remarkably, more musical training was related to a robust neural tracking of both the to-be-attended and the to-be-ignored speech stream, up until late cortical processing stages. Musical training-related increases in FFR power were associated with a robust speech tracking in auditory sensory areas, whereas training-related differences in auditory working memory were linked to an increased representation of the to-be-ignored stream beyond auditory cortex. Our findings suggest that musically trained persons can use additional information about the distracting stream to limit interference by competing speech.

Investigating the effects of noise exposure on self-report, behavioral and electrophysiological indices of hearing damage in musicians with normal audiometric thresholds

Musicians are at risk of hearing loss due to prolonged noise exposure, but they may also be at risk of early sub-clinical hearing damage, such as cochlear synaptopathy. In the current study, we investigated the effects of noise exposure on electrophysiological, behavioral and self-report correlates of hearing damage in young adult (age range = 18-27 years) musicians and non-musicians with normal audiometric thresholds. Early-career musicians (n = 76) and non-musicians (n = 47) completed a test battery including the Noise Exposure Structured Interview, pure-tone audiometry (PTA; 0.25-8 kHz), extended high-frequency (EHF; 12 and 16 kHz) thresholds, otoacoustic emissions (OAEs), auditory brainstem responses (ABRs), speech perception in noise (SPiN), and self-reported tinnitus, hyperacusis and hearing in noise difficulties. Total lifetime noise exposure was similar between musicians and non-musicians, the majority of which could be accounted for by recreational activities. Musicians showed significantly greater ABR wave I/V ratios than non-musicians and were also more likely to report experience of - and/or more severe - tinnitus, hyperacusis and hearing in noise difficulties, irrespective of noise exposure. A secondary analysis revealed that individuals with the highest levels of noise exposure had reduced outer hair cell function compared to individuals with the lowest levels of noise exposure, as measured by OAEs. OAE level was also related to PTA and EHF thresholds. High levels of noise exposure were also associated with a significant increase in ABR wave V latency, but only for males, and a higher prevalence and severity of hyperacusis. These findings suggest that there may be sub-clinical effects of noise exposure on various hearing metrics even at a relatively young age, but do not support a link between lifetime noise exposure and proxy measures of cochlear synaptopathy such as ABR wave amplitudes and SPiN. Closely monitoring OAEs, PTA and EHF thresholds when conventional PTA is within the clinically 'normal' range could provide a useful early metric of noise-induced hearing damage. This may be particularly relevant to early-career musicians as they progress through a period of intensive musical training, and thus interventions to protect hearing longevity may be vital.

Perceptual fusion of musical notes by native Amazonians suggests universal representations of musical intervals

Music perception is plausibly constrained by universal perceptual mechanisms adapted to natural sounds. Such constraints could arise from our dependence on harmonic frequency spectra for segregating concurrent sounds, but evidence has been circumstantial. We measured the extent to which concurrent musical notes are misperceived as a single sound, testing Westerners as well as native Amazonians with limited exposure to Western music. Both groups were more likely to mistake note combinations related by simple integer ratios as single sounds (‘fusion’). Thus, even with little exposure to Western harmony, acoustic constraints on sound segregation appear to induce perceptual structure on note combinations. However, fusion did not predict aesthetic judgments of intervals in Westerners, or in Amazonians, who were indifferent to consonance/dissonance. The results suggest universal perceptual mechanisms that could help explain cross-cultural regularities in musical systems, but indicate that these mechanisms interact with culture-specific influences to produce musical phenomena such as consonance.

Music varies across cultures, but some features are widespread, consistent with biological constraints. Here, the authors report that both Western and native Amazonian listeners perceptually fuse concurrent notes related by simple-integer ratios, suggestive of one such biological constraint.

Tailored perception: Individuals' speech and music perception strategies fit their perceptual abilities

Perception involves integration of multiple dimensions that often serve overlapping, redundant functions, for example, pitch, duration, and amplitude in speech. Individuals tend to prioritize these dimensions differently (stable, individualized perceptual strategies), but the reason for this has remained unclear. Here we show that perceptual strategies relate to perceptual abilities. In a speech cue weighting experiment (trial N = 990), we first demonstrate that individuals with a severe deficit for pitch perception (congenital amusics; N = 11) categorize linguistic stimuli similarly to controls (N = 11) when the main distinguishing cue is duration, which they perceive normally. In contrast, in a prosodic task where pitch cues are the main distinguishing factor, we show that amusics place less importance on pitch and instead rely more on duration cues-even when pitch differences in the stimuli are large enough for amusics to discern. In a second experiment testing musical and prosodic phrase interpretation (N = 16 amusics; 15 controls), we found that relying on duration allowed amusics to overcome their pitch deficits to perceive speech and music successfully. We conclude that auditory signals, because of their redundant nature, are robust to impairments for specific dimensions, and that optimal speech and music perception strategies depend not only on invariant acoustic dimensions (the physical signal), but on perceptual dimensions whose precision varies across individuals. Computational models of speech perception (indeed, all types of perception involving redundant cues e.g., vision and touch) should therefore aim to account for the precision of perceptual dimensions and characterize individuals as well as groups. (PsycInfo Database Record (c) 2020 APA, all rights reserved).