Musicians show enhanced perception, but not production, of native lexical tones

Examining the cognitive and perceptual perspectives of music-to-language transfer: A study of Cantonese-English bilingual children

Motivated by theories of music-to-language transfer, we investigated whether and how musicianship benefits phonological and lexical prosodic awareness in first language (L1) Cantonese and second language (L2) English. We assessed 86 Cantonese-English bilingual children on rhythmic sensitivity, pitch sensitivity, nonverbal intelligence, inhibitory control, working memory, Cantonese phonological awareness, Cantonese tone awareness, English phonological awareness, and English stress awareness. Based on their prior music learning experience, we classified the children as musicians and non-musicians. The musicians performed better than the non-musicians on Cantonese phonological awareness, Cantonese tone awareness, and English phonological awareness. In addition, the musicians had superior pitch sensitivity, nonverbal intelligence, inhibitory control, and working memory than the non-musicians. For Cantonese and English phonological awareness, neither cognitive abilities nor pitch and rhythmic sensitivities turned out to be a unique predictor. However, working memory uniquely predicted Cantonese tone awareness, with age, rhythmic sensitivity, and pitch sensitivity controlled. From a theoretical perspective, our findings on Cantonese tone awareness favors the cognitive perspective of music-to-language transfer, in which working memory enhancement could explain the musicians' superior performance in Cantonese tone awareness. However, our findings on phonological awareness do not favor the cognitive perspective, nor do they favor the perceptual perspective, in which enhanced rhythmic and pitch sensitivities could explain musicians' advantage.

Instrumental music training relates to intensity assessment but not emotional prosody recognition in Mandarin

Building on research demonstrating the benefits of music training for emotional prosody recognition in nontonal languages, this study delves into its unexplored influence on tonal languages. In tonal languages, the acoustic similarity between lexical tones and music, along with the dual role of pitch in conveying lexical and affective meanings, create a unique interplay. We evaluated 72 participants, half of whom had extensive instrumental music training, with the other half serving as demographically matched controls. All participants completed an online test consisting of 210 Chinese pseudosentences, each designed to express one of five emotions: happiness, sadness, fear, anger, or neutrality. Our robust statistical analyses, which included effect size estimates and Bayesian factors, revealed that music and nonmusic groups exhibit similar abilities in identifying the emotional prosody of various emotions. However, the music group attributed higher intensity ratings to emotional prosodies of happiness, fear, and anger compared to the nonmusic group. These findings suggest that while instrumental music training is not related to emotional prosody recognition, it does appear to be related to perceived emotional intensity. This dissociation between emotion recognition and intensity evaluation adds a new piece to the puzzle of the complex relationship between music training and emotion perception in tonal languages.

Weighting of cues to categorization of song versus speech in tone-language and non-tone-language speakers

One of the most important auditory categorization tasks a listener faces is determining a sound's domain, a process which is a prerequisite for successful within-domain categorization tasks such as recognizing different speech sounds or musical tones. Speech and song are universal in human cultures: how do listeners categorize a sequence of words as belonging to one or the other of these domains? There is growing interest in the acoustic cues that distinguish speech and song, but it remains unclear whether there are cross-cultural differences in the evidence upon which listeners rely when making this fundamental perceptual categorization. Here we use the speech-to-song illusion, in which some spoken phrases perceptually transform into song when repeated, to investigate cues to this domain-level categorization in native speakers of tone languages (Mandarin and Cantonese speakers residing in the United Kingdom and China) and in native speakers of a non-tone language (English). We find that native tone-language and non-tone-language listeners largely agree on which spoken phrases sound like song after repetition, and we also find that the strength of this transformation is not significantly different across language backgrounds or countries of residence. Furthermore, we find a striking similarity in the cues upon which listeners rely when perceiving word sequences as singing versus speech, including small pitch intervals, flat within-syllable pitch contours, and steady beats. These findings support the view that there are certain widespread cross-cultural similarities in the mechanisms by which listeners judge if a word sequence is spoken or sung.

Enduring musician advantage among former musicians in prosodic pitch perception

Musical training has been associated with various cognitive benefits, one of which is enhanced speech perception. However, most findings have been based on musicians taking part in ongoing music lessons and practice. This study thus sought to determine whether the musician advantage in pitch perception in the language domain extends to individuals who have ceased musical training and practice. To this end, adult active musicians (n = 22), former musicians (n = 27), and non-musicians (n = 47) were presented with sentences spoken in a native language, English, and a foreign language, French. The final words of the sentences were either prosodically congruous (spoken at normal pitch height), weakly incongruous (pitch was increased by 25%), or strongly incongruous (pitch was increased by 110%). Results of the pitch discrimination task revealed that although active musicians outperformed former musicians, former musicians outperformed non-musicians in the weakly incongruous condition. The findings suggest that the musician advantage in pitch perception in speech is retained to some extent even after musical training and practice is discontinued.

Internal structure of intonational categories: The (dis)appearance of a perceptual magnet effect

The question of whether intonation events are speech categories like phonemes and lexical tones has long been a puzzle in prosodic research. In past work, researchers have studied categoricality of pitch accents and boundary tones by examining perceptual phenomena stemming from research on phoneme categories (i.e., intonation boundary effects-peaks in discrimination sensitivity at category boundaries, perceptual magnet effects-sensitivity minima near the best exemplar or prototype of a category). Both lines of research have yielded mixed results. However, boundary effects are not necessarily related to categoricality of speech. Using improved methodology, the present study examines whether pitch accents have domain-general internal structure of categories by testing the perceptual magnet effect. Perceived goodness and discriminability of re-synthesized productions of Dutch rising pitch accent (L*H) were evaluated by native speakers of Dutch in three experiments. The variation between these stimuli was quantified using a polynomial-parametric modeling approach. A perceptual magnet effect was detected: (1) rated "goodness" decreased as acoustic-perceptual distance relative to the prototype increased (Experiment 1), and (2) equally spaced items far from the prototype were more frequently discriminated than equally spaced items in the neighborhood of the prototype (Experiment 2). These results provide first evidence for internal structure of pitch accents, similar to that found in color and phoneme categories. However, the discrimination accuracy gathered here was lower than that reported for phonemes. The discrimination advantage in the neighborhood far from the prototype disappeared when participants were tested on a very large number of stimuli (Experiment 3), similar to findings on phonemes and different from findings for lexical tones in neutral network simulations of distributional learning. These results suggest a more transient nature of the perceptual magnet effect in the perception of pitch accents and arguably weaker categoricality of pitch accents, compared to that of phonemes and in particular of lexical tones.

Explaining L2 Lexical Learning in Multiple Scenarios: Cross-Situational Word Learning in L1 Mandarin L2 English Speakers

Adults commonly struggle with perceiving and recognizing the sounds and words of a second language (L2), especially when the L2 sounds do not have a counterpart in the learner's first language (L1). We examined how L1 Mandarin L2 English speakers learned pseudo English words within a cross-situational word learning (CSWL) task previously presented to monolingual English and bilingual Mandarin-English speakers. CSWL is ambiguous because participants are not provided with direct mappings of words and object referents. Rather, learners discern word-object correspondences through tracking multiple co-occurrences across learning trials. The monolinguals and bilinguals tested in previous studies showed lower performance for pseudo words that formed vowel minimal pairs (e.g., /dit/-/dɪt/) than pseudo word which formed consonant minimal pairs (e.g., /bɔn/-/pɔn/) or non-minimal pairs which differed in all segments (e.g., /bɔn/-/dit/). In contrast, L1 Mandarin L2 English listeners struggled to learn all word pairs. We explain this seemingly contradicting finding by considering the multiplicity of acoustic cues in the stimuli presented to all participant groups. Stimuli were produced in infant-directed-speech (IDS) in order to compare performance by children and adults and because previous research had shown that IDS enhances L1 and L2 acquisition. We propose that the suprasegmental pitch variation in the vowels typical of IDS stimuli might be perceived as lexical tone distinctions for tonal language speakers who cannot fully inhibit their L1 activation, resulting in high lexical competition and diminished learning during an ambiguous word learning task. Our results are in line with the Second Language Linguistic Perception (L2LP) model which proposes that fine-grained acoustic information from multiple sources and the ability to switch between language modes affects non-native phonetic and lexical development.

Individual differences in nonnative lexical tone perception: Effects of tone language repertoire and musical experience

This study sought to understand the effects of tone language repertoire and musical experience on nonnative lexical tone perception and production. Thirty-one participants completed a tone discrimination task, an imitation task, and a musical abilities task. Results showed that a larger tone language repertoire and musical experience both enhanced tone discrimination performance. However, the effects were not additive, as musical experience was associated with tone discrimination performance for single-tone language speakers, but such association was not seen for dual-tone language speakers. Furthermore, among single-tone language speakers, but not among dual-tone language speakers, musical experience and musical aptitude positively correlated with tone discrimination accuracy. It is thus concluded that individuals with varying extents of tone language experience may adopt different strategies when performing tone discrimination tasks; single-tone language speakers may draw on their musical expertise while dual-tone language speakers may rely on their extensive tone language experience instead.

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).

Musicality and Age Interaction in Tone Development

Vocal pitch, which involves not only F0 but also multiple covarying acoustic cues is central to linguistic perception and production at various levels of prosodic structure. Recent studies on language development have shown that differences in learners' musicality affect the F0 cue development in perception of sentence-level intonation or in prosodic realization of focus. This study aims to contribute toward a fuller understanding of the effect of musicality on linguistic pitch development via a close investigation of the relationship between musicality, age, and lexical tone production covering both F0 and spectral cues in children. Forty-three native Mandarin-speaking children between the ages of 4 and 6 years are recruited to participate in both a semi-spontaneous tone production task and a musicality test. For each age (4, 5, and 6 years) and musicality (below or above the median score of each age group) group, the contrastivity of the four tones is evaluated by performing automatic tone classification using three sets of acoustic cues (F0, spectral cues, and both). It has been found that higher musicality is associated with higher contrastivity of the tones produced at the age of 4 and 5 years, but not at the age of 6 years. These results suggest that musicality promotes earlier development of tone production only in earlier stages of prosodic development; by the age of 6 years, the musicality advantage in tone production subsides.

Categorical Perception of Mandarin Pitch Directions by Cantonese-Speaking Musicians and Non-musicians

Purpose: This study is to investigate whether Cantonese-speaking musicians may show stronger CP than Cantonese-speaking non-musicians in perceiving pitch directions generated based on Mandarin tones. It also aims to examine whether musicians may be more effective in processing stimuli and more sensitive to subtle differences caused by vowel quality.

Methods: Cantonese-speaking musicians and non-musicians performed a categorical identification and a discrimination task on rising and falling continua of fundamental frequency generated based on Mandarin level, rising and falling tones on two vowels with nine duration values.

Results: Cantonese-speaking musicians exhibited a stronger categorical perception (CP) of pitch contours than non-musicians based on the identification and discrimination tasks. Compared to non-musicians, musicians were also more sensitive to the change of stimulus duration and to the intrinsic F₀ in pitch perception in pitch processing.

Conclusion: The CP was strengthened due to musical experience and musicians benefited more from increased stimulus duration and were more efficient in pitch processing. Musicians might be able to better use the extra time to form an auditory representation with more acoustic details. Even with more efficiency in pitch processing, musicians' ability to detect subtle pitch changes caused by intrinsic F₀ was not undermined, which is likely due to their superior ability to process temporal information. These results thus suggest musicians may have a great advantage in learning tones of a second language.

Effects of Amateur Musical Experience on Categorical Perception of Lexical Tones by Native Chinese Adults: An ERP Study

Music impacting on speech processing is vividly evidenced in most reports involving professional musicians, while the question of whether the facilitative effects of music are limited to experts or may extend to amateurs remains to be resolved. Previous research has suggested that analogous to language experience, musicianship also modulates lexical tone perception but the influence of amateur musical experience in adulthood is poorly understood. Furthermore, little is known about how acoustic information and phonological information of lexical tones are processed by amateur musicians. This study aimed to provide neural evidence of cortical plasticity by examining categorical perception of lexical tones in Chinese adults with amateur musical experience relative to the non-musician counterparts. Fifteen adult Chinese amateur musicians and an equal number of non-musicians participated in an event-related potential (ERP) experiment. Their mismatch negativities (MMNs) to lexical tones from Mandarin Tone 2–Tone 4 continuum and non-speech tone analogs were measured. It was hypothesized that amateur musicians would exhibit different MMNs to their non-musician counterparts in processing two aspects of information in lexical tones. Results showed that the MMN mean amplitude evoked by within-category deviants was significantly larger for amateur musicians than non-musicians regardless of speech or non-speech condition. This implies the strengthened processing of acoustic information by adult amateur musicians without the need of focused attention, as the detection of subtle acoustic nuances of pitch was measurably improved. In addition, the MMN peak latency elicited by across-category deviants was significantly shorter than that by within-category deviants for both groups, indicative of the earlier processing of phonological information than acoustic information of lexical tones at the pre-attentive stage. The results mentioned above suggest that cortical plasticity can still be induced in adulthood, hence non-musicians should be defined more strictly than before. Besides, the current study enlarges the population demonstrating the beneficial effects of musical experience on perceptual and cognitive functions, namely, the effects of enhanced speech processing from music are not confined to a small group of experts but extend to a large population of amateurs.