Auditory-motor entrainment and listening experience shape the perceptual learning of concurrent speech

Background

Plasticity from auditory experience shapes the brain's encoding and perception of sound. Though prior research demonstrates that neural entrainment (i.e., brain-to-acoustic synchronization) aids speech perception, how long- and short-term plasticity influence entrainment to concurrent speech has not been investigated. Here, we explored neural entrainment mechanisms and the interplay between short- and long-term neuroplasticity for rapid auditory perceptual learning of concurrent speech sounds in young, normal-hearing musicians and nonmusicians.

Method

Participants learned to identify double-vowel mixtures during ∼45 min training sessions with concurrent high-density EEG recordings. We examined the degree to which brain responses entrained to the speech-stimulus train (∼9 Hz) to investigate whether entrainment to speech prior to behavioral decision predicted task performance. Source and directed functional connectivity analyses of the EEG probed whether behavior was driven by group differences auditory-motor coupling.

Results

Both musicians and nonmusicians showed rapid perceptual learning in accuracy with training. Interestingly, listeners' neural entrainment strength prior to target speech mixtures predicted behavioral identification performance; stronger neural synchronization was observed preceding incorrect compared to correct trial responses. We also found stark hemispheric biases in auditory-motor coupling during speech entrainment, with greater auditory-motor connectivity in the right compared to left hemisphere for musicians (R>L) but not in nonmusicians (R=L).

Conclusions

Our findings confirm stronger neuroacoustic synchronization and auditory-motor coupling during speech processing in musicians. Stronger neural entrainment to rapid stimulus trains preceding incorrect behavioral responses supports the notion that alpha-band (∼10 Hz) arousal/suppression in brain activity is an important modulator of trial-by-trial success in perceptual processing.

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.

Temporal deployment of attention in musicians: Evidence from an attentional blink paradigm

The generalization of music training to unrelated nonmusical domains is well established and may reflect musicians' superior ability to regulate attention. We investigated the temporal deployment of attention in musicians and nonmusicians using scalp-recording of event-related potentials in an attentional blink (AB) paradigm. Participants listened to rapid sequences of stimuli and identified target and probe sounds. The AB was defined as a probe identification deficit when the probe closely follows the target. The sequence of stimuli was preceded by a neutral or informative cue about the probe position within the sequence. Musicians outperformed nonmusicians in identifying the target and probe. In both groups, cueing improved target and probe identification and reduced the AB. The informative cue elicited a sustained potential, which was more prominent in musicians than nonmusicians over left temporal areas and yielded a larger N1 amplitude elicited by the target. The N1 was larger in musicians than nonmusicians, and its amplitude over the left frontocentral cortex of musicians correlated with accuracy. Together, these results reveal musicians' superior ability to regulate attention, allowing them to prepare for incoming stimuli, thereby improving sound object identification. This capacity to manage attentional resources to optimize task performance may generalize to nonmusical activities.

Development of an adaptive test of musical scene analysis abilities for normal-hearing and hearing-impaired listeners

Auditory scene analysis (ASA) is the process through which the auditory system makes sense of complex acoustic environments by organising sound mixtures into meaningful events and streams. Although music psychology has acknowledged the fundamental role of ASA in shaping music perception, no efficient test to quantify listeners' ASA abilities in realistic musical scenarios has yet been published. This study presents a new tool for testing ASA abilities in the context of music, suitable for both normal-hearing (NH) and hearing-impaired (HI) individuals: the adaptive Musical Scene Analysis (MSA) test. The test uses a simple 'yes-no' task paradigm to determine whether the sound from a single target instrument is heard in a mixture of popular music. During the online calibration phase, 525 NH and 131 HI listeners were recruited. The level ratio between the target instrument and the mixture, choice of target instrument, and number of instruments in the mixture were found to be important factors affecting item difficulty, whereas the influence of the stereo width (induced by inter-aural level differences) only had a minor effect. Based on a Bayesian logistic mixed-effects model, an adaptive version of the MSA test was developed. In a subsequent validation experiment with 74 listeners (20 HI), MSA scores showed acceptable test-retest reliability and moderate correlations with other music-related tests, pure-tone-average audiograms, age, musical sophistication, and working memory capacities. The MSA test is a user-friendly and efficient open-source tool for evaluating musical ASA abilities and is suitable for profiling the effects of hearing impairment on music perception.

Psychophysical characterization of auditory temporal and frequency streaming capacities for listeners with different levels of musical expertise

Temporal and frequency auditory streaming capacities were assessed for non-musician (NM), expert musician (EM), and amateur musician (AM) listeners using a local-global task and an interleaved melody recognition task, respectively. Data replicate differences previously observed between NM and EM, and reveal that while AM exhibits a local-over-global processing change comparable to EM, their performance for segregating a melody embedded in a stream remains as poor as NM. The observed group partitioning along the temporal-frequency auditory streaming capacity map suggests a sequential, two-step development model of musical learning, whose contributing factors are discussed.

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.

Training Programs for Improving Speech Perception in Noise: A Review

Understanding speech in the presence of noise is difficult and challenging, even for people with normal hearing. Accurate pitch perception, coding and decoding of temporal and intensity cues, and cognitive factors are involved in speech perception in noise (SPIN); disruption in any of these can be a barrier to SPIN. Because the physiological representations of sounds can be corrected by exercises, training methods for any impairment can be used to improve speech perception. This study describes the various types of bottom-up training methods: pitch training based on fundamental frequency (F0) and harmonics; spatial, temporal, and phoneme training; and top-down training methods, such as cognitive training of functional memory. This study also discusses music training that affects both bottom-up and top-down components and speech training in noise. Given the effectiveness of all these training methods, we recommend identifying the defects underlying SPIN disorders and selecting the best training approach.

Performance on stochastic figure-ground perception varies with individual differences in speech-in-noise recognition and working memory capacity

Speech recognition in noisy environments can be challenging and requires listeners to accurately segregate a target speaker from irrelevant background noise. Stochastic figure-ground (SFG) tasks in which temporally coherent inharmonic pure-tones must be identified from a background have been used to probe the non-linguistic auditory stream segregation processes important for speech-in-noise processing. However, little is known about the relationship between performance on SFG tasks and speech-in-noise tasks nor the individual differences that may modulate such relationships. In this study, 37 younger normal-hearing adults performed an SFG task with target figure chords consisting of four, six, eight, or ten temporally coherent tones amongst a background of randomly varying tones. Stimuli were designed to be spectrally and temporally flat. An increased number of temporally coherent tones resulted in higher accuracy and faster reaction times (RTs). For ten target tones, faster RTs were associated with better scores on the Quick Speech-in-Noise task. Individual differences in working memory capacity and self-reported musicianship further modulated these relationships. Overall, results demonstrate that the SFG task could serve as an assessment of auditory stream segregation accuracy and RT that is sensitive to individual differences in cognitive and auditory abilities, even among younger normal-hearing adults.

Familiarity of Background Music Modulates the Cortical Tracking of Target Speech at the "Cocktail Party"

The "cocktail party" problem-how a listener perceives speech in noisy environments-is typically studied using speech (multi-talker babble) or noise maskers. However, realistic cocktail party scenarios often include background music (e.g., coffee shops, concerts). Studies investigating music's effects on concurrent speech perception have predominantly used highly controlled synthetic music or shaped noise, which do not reflect naturalistic listening environments. Behaviorally, familiar background music and songs with vocals/lyrics inhibit concurrent speech recognition. Here, we investigated the neural bases of these effects. While recording multichannel EEG, participants listened to an audiobook while popular songs (or silence) played in the background at a 0 dB signal-to-noise ratio. Songs were either familiar or unfamiliar to listeners and featured either vocals or isolated instrumentals from the original audio recordings. Comprehension questions probed task engagement. We used temporal response functions (TRFs) to isolate cortical tracking to the target speech envelope and analyzed neural responses around 100 ms (i.e., auditory N1 wave). We found that speech comprehension was, expectedly, impaired during background music compared to silence. Target speech tracking was further hindered by the presence of vocals. When masked by familiar music, response latencies to speech were less susceptible to informational masking, suggesting concurrent neural tracking of speech was easier during music known to the listener. These differential effects of music familiarity were further exacerbated in listeners with less musical ability. Our neuroimaging results and their dependence on listening skills are consistent with early attentional-gain mechanisms where familiar music is easier to tune out (listeners already know the song's expectancies) and thus can allocate fewer attentional resources to the background music to better monitor concurrent speech material.

Neural correlates of concurrent sound perception: A review and guidelines for future research

The perception of concurrent sound sources depends on processes (i.e., auditory scene analysis) that fuse and segregate acoustic features according to harmonic relations, temporal coherence, and binaural cues (encompass dichotic pitch, location difference, simulated echo). The object-related negativity (ORN) and P400 are electrophysiological indices of concurrent sound perception. Here, we review the different paradigms used to study concurrent sound perception and the brain responses obtained from these paradigms. Recommendations regarding the design and recording parameters of the ORN and P400 are made, and their clinical applications in assessing central auditory processing ability in different populations are discussed.

The effects of aging and musicianship on the use of auditory streaming cues

Auditory stream segregation, or separating sounds into their respective sources and tracking them over time, is a fundamental auditory ability. Previous research has separately explored the impacts of aging and musicianship on the ability to separate and follow auditory streams. The current study evaluated the simultaneous effects of age and musicianship on auditory streaming induced by three physical features: intensity, spectral envelope and temporal envelope. In the first study, older and younger musicians and non-musicians with normal hearing identified deviants in a four-note melody interleaved with distractors that were more or less similar to the melody in terms of intensity, spectral envelope and temporal envelope. In the second study, older and younger musicians and non-musicians participated in a dissimilarity rating paradigm with pairs of melodies that differed along the same three features. Results suggested that auditory streaming skills are maintained in older adults but that older adults rely on intensity more than younger adults while musicianship is associated with increased sensitivity to spectral and temporal envelope, acoustic features that are typically less effective for stream segregation, particularly in older adults.

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.

Music in Quarantine: Connections Between Changes in Lifestyle, Psychological States, and Musical Behaviors During COVID-19 Pandemic

Music is not only the art of organized sound but also a compound of social interaction among people, built upon social and environmental foundations. Since the beginning of the COVID-19 outbreak, containment measures such as shelter-in-place, lockdown, social distancing, and self-quarantine have severely impacted the foundation of human society, resulting in a drastic change in our everyday experience. In this paper, the relationships between musical behavior, lifestyle, and psychological states during the shelter-in-place period of the COVID-19 pandemic are investigated. An online survey on musical experience, lifestyle changes, stress level, musical behaviors, media usage, and environmental sound perception was conducted. The survey was conducted in early June 2020. Responses from 620 people in 24 countries were collected, with the large proportion of the responses coming from the U.S. (55.5%) and India (21.4%). Structural equation modeling (SEM) analysis revealed causal relationships between lifestyle, stress, and music behaviors. Elements such as stress-level change, work risk, and staying home contribute to changes in musical experiences, such as moderating emotion with music, feeling emotional with music, and being more attentive to music. Stress-level change was correlated with work risk and income change, and people who started living with others due to the outbreak, especially with their children, indicated less change in stress level. People with more stress-level change tended to use music more purposefully for their mental well-being, such as to moderate emotions, to influence mood, and to relax. In addition, people with more stress-level change tend to be more annoyed by neighbors' noise. Housing type was not directly associated with annoyance; however, attention to environmental sounds decreased when the housing type was smaller. Attention to environmental and musical sounds and the emotional responses to them are highly inter-correlated. Multi-group SEM based on musicians showed that the causal relationship structure for professional musicians differs from that of less-experienced musicians. For professional musicians, staying at home was the only component that caused all musical behavior changes; stress did not cause musical behavior changes. Regarding Internet use, listening to music via YouTube and streaming was preferred over TV and radio, especially among less-experienced musicians, while participation in the online music community was preferred by more advanced musicians. This work suggests that social, environmental, and personal factors and limitations influence the changes in our musical behavior, perception of sonic experience, and emotional recognition, and that people actively accommodated the unusual pandemic situations using music and Internet technologies.

Structural connectivity predicts sequential processing differences in music perception ability

To relate individual differences in music perception ability with whole brain white matter connectivity, we scanned a group of 27 individuals with varying degrees of musical training and assessed musical ability in sensory and sequential music perception domains using the Profile of Music Perception Skills-Short version (PROMS-S). Sequential processing ability was estimated by combining performance on tasks for Melody, Standard Rhythm, Embedded Rhythm, and Accent subscores while sensory processing ability was ascertained via tasks of Tempo, Pitch, Timbre, and Tuning. Controlling for musical training, gender, and years of training, network-based statistics revealed positive linear associations between total PROMS-S scores and increased interhemispheric fronto-temporal and parieto-frontal white matter connectivity, suggesting a distinct segregated structural network for music perception. Secondary analysis revealed two subnetworks for sequential processing ability, one comprising ventral fronto-temporal and subcortical regions and the other comprising dorsal fronto-temporo-parietal regions. A graph-theoretic analysis to characterize the structural network revealed a positive association of modularity of the whole brain structural connectome with the d' total score. In addition, the nodal degree of the right posterior cingulate cortex also showed a significant positive correlation with the total d' score. Our results suggest that a distinct structural network of connectivity across fronto-temporal, cerebellar, and cerebro-subcortical regions is associated with music processing abilities and the right posterior cingulate cortex mediates the connectivity of this network.

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.

Processing of Degraded Speech in Brain Disorders

The speech we hear every day is typically "degraded" by competing sounds and the idiosyncratic vocal characteristics of individual speakers. While the comprehension of "degraded" speech is normally automatic, it depends on dynamic and adaptive processing across distributed neural networks. This presents the brain with an immense computational challenge, making degraded speech processing vulnerable to a range of brain disorders. Therefore, it is likely to be a sensitive marker of neural circuit dysfunction and an index of retained neural plasticity. Considering experimental methods for studying degraded speech and factors that affect its processing in healthy individuals, we review the evidence for altered degraded speech processing in major neurodegenerative diseases, traumatic brain injury and stroke. We develop a predictive coding framework for understanding deficits of degraded speech processing in these disorders, focussing on the "language-led dementias"-the primary progressive aphasias. We conclude by considering prospects for using degraded speech as a probe of language network pathophysiology, a diagnostic tool and a target for therapeutic intervention.

Evaluation of Auditory Stream Segregation in Musicians and Nonmusicians

Introduction  One of the major cues that help in auditory stream segregation is spectral profiling. Musicians are trained to perceive a fine structural variation in the acoustic stimuli and have enhanced temporal perception and speech perception in noise.

Objective  To analyze the differences in spectral profile thresholds in musicians and nonmusicians.

Methods  The spectral profile analysis threshold was compared between 2 groups (musicians and nonmusicians) in the age range between 15 and 30 years old. The stimuli had 5 harmonics, all at the same amplitude (f0 = 330 Hz, mi4). The third (variable tone) has a similar harmonic structure; however, the amplitude of the third harmonic component was higher, producing a different timbre in comparison with the standards. The subject had to identify the odd timbre tone. The testing was performed at 60 dB HL in a sound-treated room.

Results  The results of the study showed that the profile analysis thresholds were significantly better in musicians compared with nonmusicians. The result of the study also showed that the profile analysis thresholds were better with an increase in the duration of music training. Thus, improved auditory processing in musicians could have resulted in a better profile analysis threshold.

Conclusions  Auditory stream segregation was found to be better in musicians compared with nonmusicians, and the performance improved with an increase in several years of training. However, further studies are essential on a larger group with more variables for validation of the results.

Auditory cognition and perception of action video game players

A training method to improve speech hearing in noise has proven elusive, with most methods failing to transfer to untrained tasks. One common approach to identify potentially viable training paradigms is to make use of cross-sectional designs. For instance, the consistent finding that people who chose to avidly engage with action video games as part of their normal life also show enhanced performance on non-game visual tasks has been used as a foundation to test the causal impact of such game play via true experiments (e.g., in more translational designs). However, little work has examined the association between action video game play and untrained auditory tasks, which would speak to the possible utility of using such games to improve speech hearing in noise. To examine this possibility, 80 participants with mixed action video game experience were tested on a visual reaction time task that has reliably shown superior performance in action video game players (AVGPs) compared to non-players (≤ 5 h/week across game categories) and multi-genre video game players (> 5 h/week across game categories). Auditory cognition and perception were tested using auditory reaction time and two speech-in-noise tasks. Performance of AVGPs on the visual task replicated previous positive findings. However, no significant benefit of action video game play was found on the auditory tasks. We suggest that, while AVGPs interact meaningfully with a rich visual environment during play, they may not interact with the games' auditory environment. These results suggest that far transfer learning during action video game play is modality-specific and that an acoustically relevant auditory environment may be needed to improve auditory probabilistic thinking.

No Influence of Musicianship on the Effect of Contralateral Stimulation on Frequency Selectivity

The efferent system may control the gain of the cochlea and thereby influence frequency selectivity. This effect can be assessed using contralateral stimulation (CS) applied to the ear opposite to that used to assess frequency selectivity. The effect of CS may be stronger for musicians than for nonmusicians. To assess whether this was the case, psychophysical tuning curves (PTCs) were compared for 12 musicians and 12 nonmusicians. The PTCs were measured with and without a 60-dB sound pressure level (SPL) pink-noise CS, using signal frequencies of 2 and 4 kHz. The sharpness of the PTCs was quantified using the measure Q10, the signal frequency divided by the PTC bandwidth measured 10 dB above the level at the tip. Q10 values were lower in the presence of the CS, but this effect did not differ significantly for musicians and nonmusicians. The main effect of group (musicians vs. nonmusicians) on the Q10 values was not significant. Overall, these results do not support the idea that musicianship enhances contralateral efferent gain control as measured using the effect of CS on PTCs.

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.

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.

Short-Term Choir Singing Supports Speech-in-Noise Perception and Neural Pitch Strength in Older Adults With Age-Related Hearing Loss

Prior studies have demonstrated musicianship enhancements of various aspects of auditory and cognitive processing in older adults, but musical training has rarely been examined as an intervention for mitigating age-related declines in these abilities. The current study investigates whether 10 weeks of choir participation can improve aspects of auditory processing in older adults, particularly speech-in-noise (SIN) perception. A choir-singing group and an age- and audiometrically-matched do-nothing control group underwent pre- and post-testing over a 10-week period. Linear mixed effects modeling in a regression analysis showed that choir participants demonstrated improvements in speech-in-noise perception, pitch discrimination ability, and the strength of the neural representation of speech fundamental frequency. Choir participants' gains in SIN perception were mediated by improvements in pitch discrimination, which was in turn predicted by the strength of the neural representation of speech stimuli (FFR), suggesting improvements in pitch processing as a possible mechanism for this SIN perceptual improvement. These findings support the hypothesis that short-term choir participation is an effective intervention for mitigating age-related hearing losses.

DEVELOPMENT AND VALIDATION OF A METHOD TO ENHANCE AUDITORY ATTENTION DURING CONTINUOUS SPEECH-SHAPED NOISE ENVIRONMENT

Auditory training (AT) may strengthen auditory skills that help human not only in on-task auditory perception performance but in continuous speech-shaped noise (SSN) environment. AT based on musical material has provided some evidence for an “auditory advantage” in understanding speech-in-noise (SIN), but with a long period training and complex procedure. Experimental research is essential to develop a simplified method named auditory target tracking training (ATT) which refined from musical material is necessary to determine the benefits of training. We developed two kinds of refined AT method: basic auditory target tracking (BAT) training and enhanced auditory target tracking (EAT) training to adult participants ([Formula: see text]) separately for 20 units, assessing performance to perceive speech in noise environment after training. The EAT group presented better speech perception performance than the other groups and no significant differences between BAT group and control group. The training effect of EAT is the most significant when uni-gender SSN and [Formula: see text] dB. Outcomes suggest that efficacy of trained EAT can improve speech perception performance and selective attention during SSN environment. These findings provide an important link between musical-based training and auditory selective attention in real-world, and extended to special vocational training.

Sensitivity to Melody, Rhythm, and Beat in Supporting Speech-in-Noise Perception in Young Adults

OBJECTIVES

Musicians appear to have an enhanced ability to perceive speech-in-noise, prompting suggestions that musical training could be used to help people who struggle to communicate in noisy environments. This study assessed the role of sensitivity to beat, rhythm, and melody in supporting speech-in-noise perception.

DESIGN

This is an exploratory study based on correlation. The study included 24 normally hearing young adult participants with a wide range of musical training and experience. Formal and informal musical experience was measured with the training subscale of the Goldsmiths' Musical Sophistication Index. Speech reception thresholds (SRT) were measured using the Matrix Sentence Test and three different speech-spectrum-shaped noise maskers: unmodulated and sinusoidally amplitude-modulated (modulation frequency, fm = 8 Hz; modulation depths: 60 and 80%). Primary predictors were measures of sensitivity to beat, rhythm, and melody. Secondary predictors were pure-tone frequency discrimination and auditory working memory (digit span). Any contributions from these two predictors were to be controlled for as appropriate.

RESULTS

Participants with more musical experience and greater sensitivity to rhythm, beat, and melody had better SRTs. Sensitivity to beat was more strongly linked with SRT than sensitivity to either rhythm or melody. This relationship remained strong even after factoring out contributions from frequency discrimination and auditory working memory.

CONCLUSIONS

Sensitivity to beat predicted SRTs in unmodulated and modulated noise. We propose that this sensitivity maximizes benefit from fluctuations in signal-to-noise ratio through temporal orienting of attention to perceptually salient parts of the signal. Beat perception may be a good candidate for targeted training aimed at enhancing speech perception when listening in noise.

Plasticity in auditory categorization is supported by differential engagement of the auditory-linguistic network

To construct our perceptual world, the brain categorizes variable sensory cues into behaviorally-relevant groupings. Categorical representations are apparent within a distributed fronto-temporo-parietal brain network but how this neural circuitry is shaped by experience remains undefined. Here, we asked whether speech and music categories might be formed within different auditory-linguistic brain regions depending on listeners' auditory expertise. We recorded EEG in highly skilled (musicians) vs. less experienced (nonmusicians) perceivers as they rapidly categorized speech and musical sounds. Musicians showed perceptual enhancements across domains, yet source EEG data revealed a double dissociation in the neurobiological mechanisms supporting categorization between groups. Whereas musicians coded categories in primary auditory cortex (PAC), nonmusicians recruited non-auditory regions (e.g., inferior frontal gyrus, IFG) to generate category-level information. Functional connectivity confirmed nonmusicians' increased left IFG involvement reflects stronger routing of signal from PAC directed to IFG, presumably because sensory coding is insufficient to construct categories in less experienced listeners. Our findings establish auditory experience modulates specific engagement and inter-regional communication in the auditory-linguistic network supporting categorical perception. Whereas early canonical PAC representations are sufficient to generate categories in highly trained ears, less experienced perceivers broadcast information downstream to higher-order linguistic brain areas (IFG) to construct abstract sound labels.

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

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

The Music-In-Noise Task (MINT): A Tool for Dissecting Complex Auditory Perception

The ability to segregate target sounds in noisy backgrounds is relevant both to neuroscience and to clinical applications. Recent research suggests that hearing-in-noise (HIN) problems are solved using combinations of sub-skills that are applied according to task demand and information availability. While evidence is accumulating for a musician advantage in HIN, the exact nature of the reported training effect is not fully understood. Existing HIN tests focus on tasks requiring understanding of speech in the presence of competing sound. Because visual, spatial and predictive cues are not systematically considered in these tasks, few tools exist to investigate the most relevant components of cognitive processes involved in stream segregation. We present the Music-In-Noise Task (MINT) as a flexible tool to expand HIN measures beyond speech perception, and for addressing research questions pertaining to the relative contributions of HIN sub-skills, inter-individual differences in their use, and their neural correlates. The MINT uses a match-mismatch trial design: in four conditions (Baseline, Rhythm, Spatial, and Visual) subjects first hear a short instrumental musical excerpt embedded in an informational masker of "multi-music" noise, followed by either a matching or scrambled repetition of the target musical excerpt presented in silence; the four conditions differ according to the presence or absence of additional cues. In a fifth condition (Prediction), subjects hear the excerpt in silence as a target first, which helps to anticipate incoming information when the target is embedded in masking sound. Data from samples of young adults show that the MINT has good reliability and internal consistency, and demonstrate selective benefits of musicianship in the Prediction, Rhythm, and Visual subtasks. We also report a performance benefit of multilingualism that is separable from that of musicianship. Average MINT scores were correlated with scores on a sentence-in-noise perception task, but only accounted for a relatively small percentage of the variance, indicating that the MINT is sensitive to additional factors and can provide a complement and extension of speech-based tests for studying stream segregation. A customizable version of the MINT is made available for use and extension by the scientific community.

Music and Visual Art Training Modulate Brain Activity in Older Adults

Cognitive decline is an unavoidable aspect of aging that impacts important behavioral and cognitive skills. Training programs can improve cognition, yet precise characterization of the psychological and neural underpinnings supporting different training programs is lacking. Here, we assessed the effect and maintenance (3-month follow-up) of 3-month music and visual art training programs on neuroelectric brain activity in older adults using a partially randomized intervention design. During the pre-, post-, and follow-up test sessions, participants completed a brief neuropsychological assessment. High-density EEG was measured while participants were presented with auditory oddball paradigms (piano tones, vowels) and during a visual GoNoGo task. Neither training program significantly impacted psychometric measures, compared to a non-active control group. However, participants enrolled in the music and visual art training programs showed enhancement of auditory evoked responses to piano tones that persisted for up to 3 months after training ended, suggesting robust and long-lasting neuroplastic effects. Both music and visual art training also modulated visual processing during the GoNoGo task, although these training effects were relatively short-lived and disappeared by the 3-month follow-up. Notably, participants enrolled in the visual art training showed greater changes in visual evoked response (i.e., N1 wave) amplitude distribution than those from the music or control group. Conversely, those enrolled in music showed greater response associated with inhibitory control over the right frontal scalp areas than those in the visual art group. Our findings reveal a causal relationship between art training (music and visual art) and neuroplastic changes in sensory systems, with some of the neuroplastic changes being specific to the training regimen.

The Effects of Musical Training on Speech Detection in the Presence of Informational and Energetic Masking

Recent research has suggested that musicians have an advantage in some speech-in-noise paradigms, but not all. Whether musicians outperform nonmusicians on a given speech-in-noise task may well depend on the type of noise involved. To date, few groups have specifically studied the role that informational masking plays in the observation of a musician advantage. The current study investigated the effect of musicianship on listeners’ ability to overcome informational versus energetic masking of speech. Monosyllabic words were presented in four conditions that created similar energetic masking but either high or low informational masking. Two of these conditions used noise-vocoded target and masking stimuli to determine whether the absence of natural fine structure and spectral variations influenced any musician advantage. Forty young normal-hearing listeners (20 musicians and 20 nonmusicians) completed the study. There was a significant overall effect of participant group collapsing across the four conditions; however, planned comparisons showed musicians’ thresholds were only significantly better in the high informational masking natural speech condition, where the musician advantage was approximately 3 dB. These results add to the mounting evidence that informational masking plays a role in the presence and amount of musician benefit.

Inherent auditory skills rather than formal music training shape the neural encoding of speech

Musical training is associated with a myriad of neuroplastic changes in the brain, including more robust and efficient neural processing of clean and degraded speech signals at brainstem and cortical levels. These assumptions stem largely from cross-sectional studies between musicians and nonmusicians which cannot address whether training itself is sufficient to induce physiological changes or whether preexisting superiority in auditory function before training predisposes individuals to pursue musical interests and appear to have similar neuroplastic benefits as musicians. Here, we recorded neuroelectric brain activity to clear and noise-degraded speech sounds in individuals without formal music training but who differed in their receptive musical perceptual abilities as assessed objectively via the Profile of Music Perception Skills. We found that listeners with naturally more adept listening skills ("musical sleepers") had enhanced frequency-following responses to speech that were also more resilient to the detrimental effects of noise, consistent with the increased fidelity of speech encoding and speech-in-noise benefits observed previously in highly trained musicians. Further comparisons between these musical sleepers and actual trained musicians suggested that experience provides an additional boost to the neural encoding and perception of speech. Collectively, our findings suggest that the auditory neuroplasticity of music engagement likely involves a layering of both preexisting (nature) and experience-driven (nurture) factors in complex sound processing. In the absence of formal training, individuals with intrinsically proficient auditory systems can exhibit musician-like auditory function that can be further shaped in an experience-dependent manner.

Change detection in complex auditory scenes is predicted by auditory memory, pitch perception, and years of musical training

Our world is a sonically busy place and we use both acoustic information and experience-based knowledge to make sense of the sounds arriving at our ears. The knowledge we gain through experience has the potential to shape what sounds are prioritized in a complex scene. There are many examples of how visual expertise influences how we perceive objects in visual scenes, but few studies examine how auditory expertise is associated with attentional biases toward familiar real-world sounds in complex scenes. In the current study, we investigated whether musical expertise is associated with the ability to detect changes to real-world sounds in complex auditory scenes, and whether any such benefit is specific to musical instrument sounds. We also examined whether change detection is better for human-generated sounds in general or only communicative human sounds. We found that musicians had less change deafness overall. All listeners were better at detecting human communicative sounds compared to human non-communicative sounds, but this benefit was driven by speech sounds and sounds that were vocally generated. Musical listening skill, speech-in-noise, and executive function abilities were used to predict rates of change deafness. Auditory memory, musical training, fine-grained pitch processing, and an interaction between training and pitch processing accounted for 45.8% of the variance in change deafness. To better understand perceptual and cognitive expertise, it may be more important to measure various auditory skills and relate them to each other, as opposed to comparing experts to non-experts.

Brainstem-cortical functional connectivity for speech is differentially challenged by noise and reverberation

Everyday speech perception is challenged by external acoustic interferences that hinder verbal communication. Here, we directly compared how different levels of the auditory system (brainstem vs. cortex) code speech and how their neural representations are affected by two acoustic stressors: noise and reverberation. We recorded multichannel (64 ch) brainstem frequency-following responses (FFRs) and cortical event-related potentials (ERPs) simultaneously in normal hearing individuals to speech sounds presented in mild and moderate levels of noise and reverb. We matched signal-to-noise and direct-to-reverberant ratios to equate the severity between classes of interference. Electrode recordings were parsed into source waveforms to assess the relative contribution of region-specific brain areas [i.e., brainstem (BS), primary auditory cortex (A1), inferior frontal gyrus (IFG)]. Results showed that reverberation was less detrimental to (and in some cases facilitated) the neural encoding of speech compared to additive noise. Inter-regional correlations revealed associations between BS and A1 responses, suggesting subcortical speech representations influence higher auditory-cortical areas. Functional connectivity analyses further showed that directed signaling toward A1 in both feedforward cortico-collicular (BS→A1) and feedback cortico-cortical (IFG→A1) pathways were strong predictors of degraded speech perception and differentiated "good" vs. "poor" perceivers. Our findings demonstrate a functional interplay within the brain's speech network that depends on the form and severity of acoustic interference. We infer that in addition to the quality of neural representations within individual brain regions, listeners' success at the "cocktail party" is modulated based on how information is transferred among subcortical and cortical hubs of the auditory-linguistic network.

Effects of Long-Term Musical Training on Cortical Auditory Evoked Potentials

OBJECTIVE

Evidence suggests that musicians, as a group, have superior frequency resolution abilities when compared with nonmusicians. It is possible to assess auditory discrimination using either behavioral or electrophysiologic methods. The purpose of this study was to determine if the acoustic change complex (ACC) is sensitive enough to reflect the differences in spectral processing exhibited by musicians and nonmusicians.

DESIGN

Twenty individuals (10 musicians and 10 nonmusicians) participated in this study. Pitch and spectral ripple discrimination were assessed using both behavioral and electrophysiologic methods. Behavioral measures were obtained using a standard three interval, forced choice procedure. The ACC was recorded and used as an objective (i.e., nonbehavioral) measure of discrimination between two auditory signals. The same stimuli were used for both psychophysical and electrophysiologic testing.

RESULTS

As a group, musicians were able to detect smaller changes in pitch than nonmusician. They also were able to detect a shift in the position of the peaks and valleys in a ripple noise stimulus at higher ripple densities than non-musicians. ACC responses recorded from musicians were larger than those recorded from non-musicians when the amplitude of the ACC response was normalized to the amplitude of the onset response in each stimulus pair. Visual detection thresholds derived from the evoked potential data were better for musicians than non-musicians regardless of whether the task was discrimination of musical pitch or detection of a change in the frequency spectrum of the ripple noise stimuli. Behavioral measures of discrimination were generally more sensitive than the electrophysiologic measures; however, the two metrics were correlated.

CONCLUSIONS

Perhaps as a result of extensive training, musicians are better able to discriminate spectrally complex acoustic signals than nonmusicians. Those differences are evident not only in perceptual/behavioral tests but also in electrophysiologic measures of neural response at the level of the auditory cortex. While these results are based on observations made from normal-hearing listeners, they suggest that the ACC may provide a non-behavioral method of assessing auditory discrimination and as a result might prove useful in future studies that explore the efficacy of participation in a musically based, auditory training program perhaps geared toward pediatric or hearing-impaired listeners.

Effects of noise exposure on young adults with normal audiograms II: Behavioral measures

An estimate of lifetime noise exposure was used as the primary predictor of performance on a range of behavioral tasks: frequency and intensity difference limens, amplitude modulation detection, interaural phase discrimination, the digit triplet speech test, the co-ordinate response speech measure, an auditory localization task, a musical consonance task and a subjective report of hearing ability. One hundred and thirty-eight participants (81 females) aged 18-36 years were tested, with a wide range of self-reported noise exposure. All had normal pure-tone audiograms up to 8 kHz. It was predicted that increased lifetime noise exposure, which we assume to be concordant with noise-induced cochlear synaptopathy, would elevate behavioral thresholds, in particular for stimuli with high levels in a high spectral region. However, the results showed little effect of noise exposure on performance. There were a number of weak relations with noise exposure across the test battery, although many of these were in the opposite direction to the predictions, and none were statistically significant after correction for multiple comparisons. There were also no strong correlations between electrophysiological measures of synaptopathy published previously and the behavioral measures reported here. Consistent with our previous electrophysiological results, the present results provide no evidence that noise exposure is related to significant perceptual deficits in young listeners with normal audiometric hearing. It is possible that the effects of noise-induced cochlear synaptopathy are only measurable in humans with extreme noise exposures, and that these effects always co-occur with a loss of audiometric sensitivity.

Auditory Perceptual Abilities Are Associated with Specific Auditory Experience

The extent to which auditory experience can shape general auditory perceptual abilities is still under constant debate. Some studies show that specific auditory expertise may have a general effect on auditory perceptual abilities, while others show a more limited influence, exhibited only in a relatively narrow range associated with the area of expertise. The current study addresses this issue by examining experience-dependent enhancement in perceptual abilities in the auditory domain. Three experiments were performed. In the first experiment, 12 pop and rock musicians and 15 non-musicians were tested in frequency discrimination (DLF), intensity discrimination, spectrum discrimination (DLS), and time discrimination (DLT). Results showed significant superiority of the musician group only for the DLF and DLT tasks, illuminating enhanced perceptual skills in the key features of pop music, in which miniscule changes in amplitude and spectrum are not critical to performance. The next two experiments attempted to differentiate between generalization and specificity in the influence of auditory experience, by comparing subgroups of specialists. First, seven guitar players and eight percussionists were tested in the DLF and DLT tasks that were found superior for musicians. Results showed superior abilities on the DLF task for guitar players, though no difference between the groups in DLT, demonstrating some dependency of auditory learning on the specific area of expertise. Subsequently, a third experiment was conducted, testing a possible influence of vowel density in native language on auditory perceptual abilities. Ten native speakers of German (a language characterized by a dense vowel system of 14 vowels), and 10 native speakers of Hebrew (characterized by a sparse vowel system of five vowels), were tested in a formant discrimination task. This is the linguistic equivalent of a DLS task. Results showed that German speakers had superior formant discrimination, demonstrating highly specific effects for auditory linguistic experience as well. Overall, results suggest that auditory superiority is associated with the specific auditory exposure.

Musical training modulates the early but not the late stage of rhythmic syntactic processing

Syntactic processing is essential for musical understanding. Although the processing of harmonic syntax has been well studied, very little is known about the neural mechanisms underlying rhythmic syntactic processing. The present study investigated the neural processing of rhythmic syntax and whether and to what extent long-term musical training impacts such processing. Fourteen musicians and 14 nonmusicians listened to syntactic-regular or syntactic-irregular rhythmic sequences and judged the completeness of these sequences. Nonmusicians, as well as musicians, showed a P600 effect to syntactic-irregular endings, indicating that musical exposure and perceptual learning of music are sufficient to enable nonmusicians to process rhythmic syntax at the late stage. However, musicians, but not nonmusicians, also exhibited an early right anterior negativity (ERAN) response to syntactic-irregular endings, which suggests that musical training only modulates the early but not the late stage of rhythmic syntactic processing. These findings revealed for the first time the neural mechanisms underlying the processing of rhythmic syntax in music, which has important implications for theories of hierarchically organized music cognition and comparative studies of syntactic processing in music and language.

Speech-in-noise perception in musicians: A review

The ability to understand speech in the presence of competing sound sources is an important neuroscience question in terms of how the nervous system solves this computational problem. It is also a critical clinical problem that disproportionally affects the elderly, children with language-related learning disorders, and those with hearing loss. Recent evidence that musicians have an advantage on this multifaceted skill has led to the suggestion that musical training might be used to improve or delay the decline of speech-in-noise (SIN) function. However, enhancements have not been universally reported, nor have the relative contributions of different bottom-up versus top-down processes, and their relation to preexisting factors been disentangled. This information that would be helpful to establish whether there is a real effect of experience, what exactly is its nature, and how future training-based interventions might target the most relevant components of cognitive processes. These questions are complicated by important differences in study design and uneven coverage of neuroimaging modality. In this review, we aim to systematize recent results from studies that have specifically looked at musician-related differences in SIN by their study design properties, to summarize the findings, and to identify knowledge gaps for future work.

Interindividual variability in auditory scene analysis revealed by confidence judgements

Because musicians are trained to discern sounds within complex acoustic scenes, such as an orchestra playing, it has been hypothesized that musicianship improves general auditory scene analysis abilities. Here, we compared musicians and non-musicians in a behavioural paradigm using ambiguous stimuli, combining performance, reaction times and confidence measures. We used 'Shepard tones', for which listeners may report either an upward or a downward pitch shift for the same ambiguous tone pair. Musicians and non-musicians performed similarly on the pitch-shift direction task. In particular, both groups were at chance for the ambiguous case. However, groups differed in their reaction times and judgements of confidence. Musicians responded to the ambiguous case with long reaction times and low confidence, whereas non-musicians responded with fast reaction times and maximal confidence. In a subsequent experiment, non-musicians displayed reduced confidence for the ambiguous case when pure-tone components of the Shepard complex were made easier to discern. The results suggest an effect of musical training on scene analysis: we speculate that musicians were more likely to discern components within complex auditory scenes, perhaps because of enhanced attentional resolution, and thus discovered the ambiguity. For untrained listeners, stimulus ambiguity was not available to perceptual awareness.This article is part of the themed issue 'Auditory and visual scene analysis'.

Musical training shapes neural responses to melodic and prosodic expectation

Current research on music processing and syntax or semantics in language suggests that music and language share partially overlapping neural resources. Pitch also constitutes a common denominator, forming melody in music and prosody in language. Further, pitch perception is modulated by musical training. The present study investigated how music and language interact on pitch dimension and whether musical training plays a role in this interaction. For this purpose, we used melodies ending on an expected or unexpected note (melodic expectancy being estimated by a computational model) paired with prosodic utterances which were either expected (statements with falling pitch) or relatively unexpected (questions with rising pitch). Participants' (22 musicians, 20 nonmusicians) ERPs and behavioural responses in a statement/question discrimination task were recorded. Participants were faster for simultaneous expectancy violations in the melodic and linguistic stimuli. Further, musicians performed better than nonmusicians, which may be related to their increased pitch tracking ability. At the neural level, prosodic violations elicited a front-central positive ERP around 150 ms after the onset of the last word/note, while musicians presented reduced P600 in response to strong incongruities (questions on low-probability notes). Critically, musicians' P800 amplitudes were proportional to their level of musical training, suggesting that expertise might shape the pitch processing of language. The beneficial aspect of expertise could be attributed to its strengthening effect of general executive functions. These findings offer novel contributions to our understanding of shared higher-order mechanisms between music and language processing on pitch dimension, and further demonstrate a potential modulation by musical expertise.

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Melodic expectancy influences the processing of prosodic expectancy.

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Musical expertise modulates pitch processing in music and language.

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Musicians have a more refined response to pitch.

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Musicians' neural responses are proportional to their level of musical expertise.

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Possible association between the P200 neural component and behavioural facilitation.

Multistable perception of ambiguous melodies and the role of musical expertise

Whereas visual demonstrations of multistability are ubiquitous, there are few auditory examples. The purpose of the current study was to determine whether simultaneously presented melodies, such as underlie the scale illusion [Deutsch (1975). J. Acoust. Soc. Am. 57(5), 1156-1160], can elicit multiple mutually exclusive percepts, and whether reported perceptions are mediated by musical expertise. Participants listened to target melodies and reported whether the target was embedded in subsequent test melodies. Target sequences were created such that they would only be heard if the listener interpreted the test melody according to various perceptual cues. Critically, and in contrast with previous examinations of the scale illusion, an objective measure of target detection was obtained by including target-absent test melodies. As a result, listeners could reliably identify target sequences from different perceptual organizations when presented with the same test melody on different trials. This result demonstrates an ability to alternate between mutually exclusive percepts of an unchanged stimulus. However, only perceptual organizations consistent with frequency and spatial cues were available and musical expertise did mediate target detection, limiting the organizations available to non-musicians. The current study provides the first known demonstration of auditory multistability using simultaneously presented melodies and provides a unique experimental method for measuring auditory perceptual competition.

Executive Function, Visual Attention and the Cocktail Party Problem in Musicians and Non-Musicians

The goal of this study was to investigate how cognitive factors influence performance in a multi-talker, “cocktail-party” like environment in musicians and non-musicians. This was achieved by relating performance in a spatial hearing task to cognitive processing abilities assessed using measures of executive function (EF) and visual attention in musicians and non-musicians. For the spatial hearing task, a speech target was presented simultaneously with two intelligible speech maskers that were either colocated with the target (0° azimuth) or were symmetrically separated from the target in azimuth (at ±15°). EF assessment included measures of cognitive flexibility, inhibition control and auditory working memory. Selective attention was assessed in the visual domain using a multiple object tracking task (MOT). For the MOT task, the observers were required to track target dots (n = 1,2,3,4,5) in the presence of interfering distractor dots. Musicians performed significantly better than non-musicians in the spatial hearing task. For the EF measures, musicians showed better performance on measures of auditory working memory compared to non-musicians. Furthermore, across all individuals, a significant correlation was observed between performance on the spatial hearing task and measures of auditory working memory. This result suggests that individual differences in performance in a cocktail party-like environment may depend in part on cognitive factors such as auditory working memory. Performance in the MOT task did not differ between groups. However, across all individuals, a significant correlation was found between performance in the MOT and spatial hearing tasks. A stepwise multiple regression analysis revealed that musicianship and performance on the MOT task significantly predicted performance on the spatial hearing task. Overall, these findings confirm the relationship between musicianship and cognitive factors including domain-general selective attention and working memory in solving the “cocktail party problem”.

How musical expertise shapes speech perception: evidence from auditory classification images

It is now well established that extensive musical training percolates to higher levels of cognition, such as speech processing. However, the lack of a precise technique to investigate the specific listening strategy involved in speech comprehension has made it difficult to determine how musicians' higher performance in non-speech tasks contributes to their enhanced speech comprehension. The recently developed Auditory Classification Image approach reveals the precise time-frequency regions used by participants when performing phonemic categorizations in noise. Here we used this technique on 19 non-musicians and 19 professional musicians. We found that both groups used very similar listening strategies, but the musicians relied more heavily on the two main acoustic cues, at the first formant onset and at the onsets of the second and third formants onsets. Additionally, they responded more consistently to stimuli. These observations provide a direct visualization of auditory plasticity resulting from extensive musical training and shed light on the level of functional transfer between auditory processing and speech perception.

Functional changes in inter- and intra-hemispheric cortical processing underlying degraded speech perception

Previous studies suggest that at poorer signal-to-noise ratios (SNRs), auditory cortical event-related potentials are weakened, prolonged, and show a shift in the functional lateralization of cerebral processing from left to right hemisphere. Increased right hemisphere involvement during speech-in-noise (SIN) processing may reflect the recruitment of additional brain resources to aid speech recognition or alternatively, the progressive loss of involvement from left linguistic brain areas as speech becomes more impoverished (i.e., nonspeech-like). To better elucidate the brain basis of SIN perception, we recorded neuroelectric activity in normal hearing listeners to speech sounds presented at various SNRs. Behaviorally, listeners obtained superior SIN performance for speech presented to the right compared to the left ear (i.e., right ear advantage). Source analysis of neural data assessed the relative contribution of region-specific neural generators (linguistic and auditory brain areas) to SIN processing. We found that left inferior frontal brain areas (e.g., Broca's areas) partially disengage at poorer SNRs but responses do not right lateralize with increasing noise. In contrast, auditory sources showed more resilience to noise in left compared to right primary auditory cortex but also a progressive shift in dominance from left to right hemisphere at lower SNRs. Region- and ear-specific correlations revealed that listeners' right ear SIN advantage was predicted by source activity emitted from inferior frontal gyrus (but not primary auditory cortex). Our findings demonstrate changes in the functional asymmetry of cortical speech processing during adverse acoustic conditions and suggest that "cocktail party" listening skills depend on the quality of speech representations in the left cerebral hemisphere rather than compensatory recruitment of right hemisphere mechanisms.

Neural entrainment to the rhythmic structure of music

The neural resonance theory of musical meter explains musical beat tracking as the result of entrainment of neural oscillations to the beat frequency and its higher harmonics. This theory has gained empirical support from experiments using simple, abstract stimuli. However, to date there has been no empirical evidence for a role of neural entrainment in the perception of the beat of ecologically valid music. Here we presented participants with a single pop song with a superimposed bassoon sound. This stimulus was either lined up with the beat of the music or shifted away from the beat by 25% of the average interbeat interval. Both conditions elicited a neural response at the beat frequency. However, although the on-the-beat condition elicited a clear response at the first harmonic of the beat, this frequency was absent in the neural response to the off-the-beat condition. These results support a role for neural entrainment in tracking the metrical structure of real music and show that neural meter tracking can be disrupted by the presentation of contradictory rhythmic cues.