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.

Central Representation of Cervical Vestibular Evoked Myogenic Potentials

Sensitivity of vestibular system to sounds (SVSS) can be measureable by cervical vestibular evoked myogenic potentials (cVEMPs). The aim of this study is to investigate central representation of vestibular system sensitivity to sound. The research was conducted in 2022-2023 by searching English language databases. The criterion for selecting documents was their overlap with the aim of this work. The animals studies were not included. The saccule is stimulated by sounds, that are transmitted through air and bone conduction. Utricle and semicircular canals are activated only by the vibrations. The afferent nerve fibers of the vestibular system project to the temporal, frontal, parietal, primary visual cortex, insula and the cingulate cortex. There is a relationship between normal results of the cVEMPs and these parameters. Improved phonemes recognition scores and word recognition scores in white noise, the efficiency of auditory training, incraed amplitude of the auditory brainstem responses to 500 HZ tone burst. Learning the first words is not only based on the hearing and other senses participate. The auditory object is a three-dimensional imaging in people's minds, when they hear a word. The words expressed by a speaker create different auditory objects in people's minds. Each of these auditory objects has its own color, shape, aroma and characteristics. For the formation of the auditory objects, all senses and whole areas of the brain contribute. Like other senses, central representation of vestibular system sensitivity to sound are also involved in the formation of auditory objects.

Accuracy of Tempo Judgments in Disk Jockeys Compared to Musicians and Untrained Individuals

Professional disk jockeys (DJs) are an under-studied population whose performance involves creating new musical experiences by combining existing musical materials with a high level of temporal precision. In contemporary electronic dance music, these materials have a stable tempo and are composed with the expectation for further transformation during performance by a DJ for the audience of dancers. Thus, a fundamental aspect of DJ performance is synchronizing the tempo and phase of multiple pieces of music, so that over seconds or even minutes, they may be layered and transitioned without disrupting the rhythmic pulse. This has been accomplished traditionally by manipulating the speed of individual music pieces “by ear,” without additional technological synchronization aids. However, the cumulative effect of this repeated practice on auditory tempo perception has not yet been evaluated. Well-known phenomena of experience-dependent plasticity in other populations, such as musicians, prompts the question of whether such effects exist in DJs in their domain of expertise. This pilot study examined auditory judgments of tempo in 10 professional DJs with experience mixing by ear, compared to 7 percussionists, 12 melodic instrumental musicians, and 11 untrained controls. Participants heard metronome sequences between 80 and 160 beats per minute (BPM) and estimated the tempo. In their most-trained tempo range, 120–139 BPM, DJs were more accurate (lower absolute percent error) than untrained participants. Within the DJ group, 120–139 BPM exhibited greater accuracy than slower tempos of 80–99 or 100–119 BPM. DJs did not differ in accuracy compared to percussionists or melodic musicians on any BPM range. Percussionists were more accurate than controls for 100–119 and 120–139 BPM. The results affirm the experience-dependent skill of professional DJs in temporal perception, with comparable performance to conventionally trained percussionists and instrumental musicians. Additionally, the pattern of results suggests a tempo-specific aspect to this training effect that may be more pronounced in DJs than percussionists and musicians. As one of the first demonstrations of enhanced auditory perception in this unorthodox music expert population, this work opens the way to testing whether DJs also have enhanced rhythmic production abilities, and investigating the neural substrates of this skill compared to conventional musicians.

Inferior Auditory Time Perception in Children With Motor Difficulties

Accurate time perception is crucial for hearing (speech, music) and action (walking, catching). Motor brain regions are recruited during auditory time perception. Therefore, the hypothesis was tested that children (age 6-7) at risk for developmental coordination disorder (rDCD), a neurodevelopmental disorder involving motor difficulties, would show nonmotor auditory time perception deficits. Psychophysical tasks confirmed that children with rDCD have poorer duration and rhythm perception than typically developing children (N = 47, d = 0.95-1.01). Electroencephalography showed delayed mismatch negativity or P3a event-related potential latency in response to duration or rhythm deviants, reflecting inefficient brain processing (N = 54, d = 0.71-0.95). These findings are among the first to characterize perceptual timing deficits in DCD, suggesting important theoretical and clinical implications.

The beneficial effect of synchronized action on motor and perceptual timing in children

We examined the role of action in motor and perceptual timing across development. Adults and children aged 5 or 8 years old learned the duration of a rhythmic interval with or without concurrent action. We compared the effects of sensorimotor versus visual learning on subsequent timing behaviour in three different tasks: rhythm reproduction (Experiment 1), rhythm discrimination (Experiment 2) and interval discrimination (Experiment 3). Sensorimotor learning consisted of sensorimotor synchronization (tapping) to an isochronous visual rhythmic stimulus (ISI = 800 ms), whereas visual learning consisted of simply observing this rhythmic stimulus. Results confirmed our hypothesis that synchronized action during learning systematically benefitted subsequent timing performance, particularly for younger children. Action-related improvements in accuracy were observed for both motor and perceptual timing in 5 years olds and for perceptual timing in the two older age groups. Benefits on perceptual timing tasks indicate that action shapes the cognitive representation of interval duration. Moreover, correlations with neuropsychological scores indicated that while timing performance in the visual learning condition depended on motor and memory capacity, sensorimotor learning facilitated an accurate representation of time independently of individual differences in motor and memory skill. Overall, our findings support the idea that action helps children to construct an independent and flexible representation of time, which leads to coupled sensorimotor coding for action and time.

Rhythm and melody as social signals for infants

Infants typically experience music through social interactions with others. One such experience involves caregivers singing to infants while holding and bouncing them rhythmically. These highly social interactions shape infant music perception and may also influence social cognition and behavior. Moving in time with others-interpersonal synchrony-can direct infants' social preferences and prosocial behavior. Infants also show social preferences and selective prosociality toward singers of familiar, socially learned melodies. Here, we discuss recent studies of the influence of musical engagement on infant social cognition and behavior, highlighting the importance of rhythmic movement and socially relevant melodies.

Measuring Neural Entrainment to Beat and Meter in Infants: Effects of Music Background

Caregivers often engage in musical interactions with their infants. For example, parents across cultures sing lullabies and playsongs to their infants from birth. Behavioral studies indicate that infants not only extract beat information, but also group these beats into metrical hierarchies by as early as 6 months of age. However, it is not known how this is accomplished in the infant brain. An EEG frequency-tagging approach has been used successfully with adults to measure neural entrainment to auditory rhythms. The current study is the first to use this technique with infants in order to investigate how infants' brains encode rhythms. Furthermore, we examine how infant and parent music background is associated with individual differences in rhythm encoding. In Experiment 1, EEG was recorded while 7-month-old infants listened to an ambiguous rhythmic pattern that could be perceived to be in two different meters. In Experiment 2, EEG was recorded while 15-month-old infants listened to a rhythmic pattern with an unambiguous meter. In both age groups, information about music background (parent music training, infant music classes, hours of music listening) was collected. Both age groups showed clear EEG responses frequency-locked to the rhythms, at frequencies corresponding to both beat and meter. For the younger infants (Experiment 1), the amplitudes at duple meter frequencies were selectively enhanced for infants enrolled in music classes compared to those who had not engaged in such classes. For the older infants (Experiment 2), amplitudes at beat and meter frequencies were larger for infants with musically-trained compared to musically-untrained parents. These results suggest that the frequency-tagging method is sensitive to individual differences in beat and meter processing in infancy and could be used to track developmental changes.