Audio-visual interactions uniquely contribute to resolution of visual conflict in people possessing absolute pitch

Prior conscious experience modulates the impact of audiovisual temporal correspondence on unconscious visual processing

Conscious visual experiences are enriched by concurrent auditory information, implying audiovisual interactions. In the present study, we investigated how prior conscious experience of auditory and visual information influences the subsequent audiovisual temporal integration under the surface of awareness. We used continuous flash suppression (CFS) to render perceptually invisible a ball-shaped object constantly moving and bouncing inside a square frame window. To examine whether audiovisual temporal correspondence facilitates the ball stimulus to enter awareness, the visual motion was accompanied by click sounds temporally congruent or incongruent with the bounces of the ball. In Experiment 1, where no prior experience of the audiovisual events was given, we found no significant impact of audiovisual correspondence on visual detection time. However, when the temporally congruent or incongruent bounce-sound relations were consciously experienced prior to CFS in Experiment 2, congruent sounds yielded faster detection time compared to incongruent sounds during CFS. In addition, in Experiment 3, explicit processing of the incongruent bounce-sound relation prior to CFS slowed down detection time when the ball bounces became later congruent with sounds during CFS. These findings suggest that audiovisual temporal integration may take place outside of visual awareness though its potency is modulated by previous conscious experiences of the audiovisual events. The results are discussed in light of the framework of multisensory causal inference.

Articulatory motor planning and timbral idiosyncrasies as underlying mechanisms of instrument-specific absolute pitch in expert musicians

The study of musical expertise illustrates how intense training in a specialized domain may instigate development of implicit skills. While absolute pitch, or the ability to identify musical pitches without external reference, is rare even in professional musicians and is understood to have a genetic component, anecdotal evidence and pilot data suggest that some musicians without traditional absolute pitch are nonetheless better able to name notes played on their musical instrument of expertise than notes played on less familiar instruments. We have previously termed this particular gain in absolute pitch identification ability “instrument-specific absolute pitch” (ISAP) and have proposed that this skill is related to learned instrument type-specific timbral and intonational idiosyncrasies and articulatory motor planning activated by the timbre of the instrument. In this Registered Report Protocol, we describe two experiments designed to investigate ISAP in professional oboists. Experiment 1 tests for ISAP ability by comparing oboists’ pitch identification accuracies for notes played on the oboe and on the piano. A subset of the participants from Experiment 1 who demonstrate this ability will be recruited for Experiment 2; the purpose of Experiment 2 is to test hypotheses concerning a mechanistic explanation for ISAP. The outcome of these experiments may provide support for the theory that some individuals have ISAP and that the underlying mechanisms of this ability may rely on the perception of subtle timbral/intonational idiosyncrasies and on articulatory motor planning developed through intensive long-term training. In general, this work will contribute to the understanding of specialized expertise, specifically of implicit abilities and biases that are not addressed directly in training, but that may yet develop through practice of a related skill set.

Judging Relative Onsets and Offsets of Audiovisual Events

This study assesses the fidelity with which people can make temporal order judgments (TOJ) between auditory and visual onsets and offsets. Using an adaptive staircase task administered to a large sample of young adults, we find that the ability to judge temporal order varies widely among people, with notable difficulty created when auditory events closely follow visual events. Those findings are interpretable within the context of an independent channels model. Visual onsets and offsets can be difficult to localize in time when they occur within the temporal neighborhood of sound onsets or offsets.

Testing Motivational Theories in Music Education: The Role of Effort and Gratitude

Acquiring musical skills requires sustained effort over long periods of time. This work aims to explore the variables involved in sustaining motivation in music students, including perceptions about one's own skills, satisfaction with achievements, effort, the importance of music in one's life, and perception of the sacrifice made. Two models were developed in which the variable of gratitude was included to integrate positive psychology into the motivational area of music education. The first predicts effort, while the second predicts gratitude. The models were tested using a sample of 84 music students. Both models were fitted using Bayesian analysis techniques to examine the relationship between variables and showed adequate goodness of fit. These models emphasize the role of cognition and motivation in music education and, more precisely, the relationship between effort and gratitude.