Music-reading expertise alters visual spatial resolution for musical notation

Neural Correlates of Crowding in Macaque Area V4

Visual crowding refers to the phenomenon where a target object that is easily identifiable in isolation becomes difficult to recognize when surrounded by other stimuli (distractors). Many psychophysical studies have investigated this phenomenon and proposed alternative models for the underlying mechanisms. One prominent hypothesis, albeit with mixed psychophysical support, posits that crowding arises from the loss of information due to pooled encoding of features from target and distractor stimuli in the early stages of cortical visual processing. However, neurophysiological studies have not rigorously tested this hypothesis. We studied the responses of single neurons in macaque (one male, one female) area V4, an intermediate stage of the object-processing pathway, to parametrically designed crowded displays and texture statistics-matched metameric counterparts. Our investigations reveal striking parallels between how crowding parameters-number, distance, and position of distractors-influence human psychophysical performance and V4 shape selectivity. Importantly, we also found that enhancing the salience of a target stimulus could alleviate crowding effects in highly cluttered scenes, and this could be temporally protracted reflecting a dynamical process. Thus, a pooled encoding of nearby stimuli cannot explain the observed responses, and we propose an alternative model where V4 neurons preferentially encode salient stimuli in crowded displays. Overall, we conclude that the magnitude of crowding effects is determined not just by the number of distractors and target-distractor separation but also by the relative salience of targets versus distractors based on their feature attributes-the similarity of distractors and the contrast between target and distractor stimuli.

Neural correlates of crowding in macaque area V4

Visual crowding refers to the phenomenon where a target object that is easily identifiable in isolation becomes difficult to recognize when surrounded by other stimuli (distractors). Extensive psychophysical studies support two alternative possibilities for the underlying mechanisms. One hypothesis suggests that crowding results from the loss of visual information due to pooled encoding of multiple nearby stimuli in the mid-level processing stages along the ventral visual pathway. Alternatively, crowding may arise from limited resolution in decoding object information during recognition and the encoded information may remain inaccessible unless it is salient. To rigorously test these alternatives, we studied the responses of single neurons in macaque area V4, an intermediate stage of the ventral, object-processing pathway, to parametrically designed crowded displays and their texture-statistics matched metameric counterparts. Our investigations reveal striking parallels between how crowding parameters, e.g., number, distance, and position of distractors, influence human psychophysical performance and V4 shape selectivity. Importantly, we found that enhancing the salience of a target stimulus could reverse crowding effects even in highly cluttered scenes and such reversals could be protracted reflecting a dynamical process. Overall, we conclude that a pooled encoding of nearby stimuli cannot explain the observed responses and we propose an alternative model where V4 neurons preferentially encode salient stimuli in crowded displays.

Early musical training benefits to non-musical cognitive ability associated with the Gestalt principles

Musical training has been evidenced to facilitate music perception, which refers to the consistencies, boundaries, and segmentations in pieces of music that are associated with the Gestalt principles. The current study aims to test whether musical training is beneficial to non-musical cognitive ability with Gestalt principles. Three groups of Chinese participants (with early, late, and no musical training) were compared in terms of their performances on the Motor-Free Visual Perception Test (MVPT). The results show that the participants with early musical training had significantly better performance in the Gestalt-like Visual Closure subtest than those with late and no musical training, but no significances in other Gestalt-unlike subtests was identified (Visual Memory, Visual Discrimination, Spatial Relationship, Figure Ground in MVPT). This study suggests the benefit of early musical training on non-musical cognitive ability with Gestalt principles.

Experiential and Cognitive Predictors of Sight-Singing Performance in Music Higher Education

Sight-singing is prevalent in aural skill classes, where learners differ in experience and cognitive abilities. In this research, we investigated whether musical experience, level of study, and working memory capacity (WMC) can predict sight-singing performance and if there is a correlation between WMC and performance among some subgroups of participants. We hypothesized that more experienced students and those with a higher WMC might sight-sing better than those with less experience and lesser WMC. We also hypothesized that the relationship between WMC and sight-singing performance would be more salient for less experienced and less proficient sight-singers. We surveyed 56 subjects about their experience with music, assessed their WMC, and evaluated their performance on a short sight-singing task. The results showed that the age when students began learning music could predict sight-singing performance independently from the number of years of experience and the educational level, suggesting a possible developmental component to sight-singing skill. We also found a negative relationship between WMC and pitch score in the low-performing group and between rhythm and pitch score, suggesting that pitch and rhythm are processed differently. Teachers should be aware of how students' backgrounds might be related to performance and encourage them to develop strong automated skills, such as reading music or singing basic tonal patterns.

Auditory and visual category learning in musicians and nonmusicians

Across three experiments, we compare the ability of amateur musicians and nonmusicians in learning artificial auditory and visual categories that can be described as either rule-based (RB) or information-integration (II) category structures. RB categories are optimally learned using a reflective reasoning process, whereas II categories are optimally learned by integrating information from two stimulus dimensions at a reflexive, predecisional processing stage. We found that musicians have selective advantages for learning auditory RB categories, specifically when they are instructed about the dimensions that define the categories. In Experiment 1, musicians enrolled in a music college demonstrated advantages over nonmusicians in learning auditory RB categories defined on frequency and duration dimensions but did not demonstrate differences in learning auditory II categories or either visual RB or II categories. In Experiment 2, a broader online sample of musicians who were not instructed about the dimensions did not demonstrate any advantage in auditory or visual learning. In Experiment 3, an online sample of musicians when given dimension instructions demonstrated early advantages over nonmusicians for auditory RB but not visual RB categories. Musicians do not demonstrate a global categorization advantage. Musicians' category learning advantage is limited to their modality of expertise, is enhanced with dimension instructions, and is specific to categories that can be described with verbalizable rules. (PsycInfo Database Record (c) 2022 APA, all rights reserved).

Match me if you can: Evidence for a domain-general visual comparison ability

Visual comparison-comparing visual stimuli (e.g., fingerprints) side by side and determining whether they originate from the same or different source (i.e., "match")-is a complex discrimination task involving many cognitive and perceptual processes. Despite the real-world consequences of this task, which is often conducted by forensic scientists, little is understood about the psychological processes underpinning this ability. There are substantial individual differences in visual comparison accuracy amongst both professionals and novices. The source of this variation is unknown, but may reflect a domain-general and naturally varying perceptual ability. Here, we investigate this by comparing individual differences (N = 248 across two studies) in four visual comparison domains: faces, fingerprints, firearms, and artificial prints. Accuracy on all comparison tasks was significantly correlated and accounted for a substantial portion of variance (e.g., 42% in Exp. 1) in performance across all tasks. Importantly, this relationship cannot be attributed to participants' intrinsic motivation or skill in other visual-perceptual tasks (visual search and visual statistical learning). This paper provides novel evidence of a reliable, domain-general visual comparison ability.

Domain-specific and domain-general contributions to reading musical notation

Musical practice may benefit not only domain-specific abilities, such as pitch discrimination and music performance, but also domain-general abilities, like executive functioning and memory. Behavioral and neural changes in visual processing have been associated with music-reading experience. However, it is still unclear whether there is a domain-specific visual ability to process musical notation. This study investigates the specificity of the visual skills relevant to simple decisions about musical notation. Ninety-six participants varying in music-reading experience answered a short survey to quantify experience with musical notation and completed a test battery that assessed musical notation reading fluency and accuracy at the level of individual note or note sequence. To characterize how this ability may relate to domain-general abilities, we also estimated general intelligence (as measured with the Raven's Progressive Matrices) and general object-recognition ability (as measure by a recently proposed construct o). We obtained reliable measurements on our various tasks and found evidence for a domain-specific ability of the perception of musical notation. This music-reading ability and domain-general abilities were found to contribute to performance on specific tasks differently, depending on the level of experience reading music.

Perceptual expertise with Chinese characters predicts Chinese reading performance among Hong Kong Chinese children with developmental dyslexia

This study explores the theoretical proposal that developmental dyslexia involves a failure to develop perceptual expertise with words despite adequate education. Among a group of Hong Kong Chinese children diagnosed with developmental dyslexia, we investigated the relationship between Chinese word reading and perceptual expertise with Chinese characters. In a perceptual fluency task, the time of visual exposure to Chinese characters was manipulated and limited such that the speed of discrimination of a short sequence of Chinese characters at an accuracy level of 80% was estimated. Pair-wise correlations showed that perceptual fluency for characters predicted speeded and non-speeded word reading performance. Exploratory hierarchical regressions showed that perceptual fluency for characters accounted for 5.3% and 9.6% variance in speeded and non-speeded reading respectively, in addition to age, non-verbal IQ, phonological awareness, morphological awareness, rapid automatized naming (RAN) and perceptual fluency for digits. The findings suggest that perceptual expertise with words plays an important role in Chinese reading performance in developmental dyslexia, and that perceptual training is a potential remediation direction.

A reliable and valid tool for measuring visual recognition ability with musical notation

Recognizing musical notation is an important skill to a full participation of Western classical music, but remains a largely under-researched topic in the psychology of music. One plausible reason of such omission is that, in the past, the research field has heavily relied on self-report of music reading ability, which was subjective and highly variable. This paper presents a reliable and valid tool for objectively measuring individual abilities in visual recognition of musical notation. The visual fluency task measures how fast one can accurately recognize a sequence of musical notation at a desired accuracy level using the adaptive psychometric method QUEST. We checked the reliability of this task in over 200 participants in terms of Guttman's λ-2 and Cronbach's alpha. Also, we evaluated the construct validity of this task by considering the convergent validity of this task with multiple external real-world measures of one's musical training background, with numerous experimental measures of visual tendencies of musical notation recognition and with sight-reading performance. Overall, the visual fluency task achieved satisfactory reliability and validity for measuring abilities in recognizing musical notation. This opens the door for characterizing the cognitive mechanisms, development, and individual differences in musical notation recognition, for understanding music learning and music psychology and for understanding of visual perceptual expertise in general.

Reading music and words: The anatomical connectivity of musicians' visual cortex

Musical score reading and word reading have much in common, from their historical origins to their cognitive foundations and neural correlates. In the ventral occipitotemporal cortex (VOT), the specialization of the so-called Visual Word Form Area for word reading has been linked to its privileged structural connectivity to distant language regions. Here we investigated how anatomical connectivity relates to the segregation of regions specialized for musical notation or words in the VOT. In a cohort of professional musicians and non-musicians, we used probabilistic tractography combined with task-related functional MRI to identify the connections of individually defined word- and music-selective left VOT regions. Despite their close proximity, these regions differed significantly in their structural connectivity, irrespective of musical expertise. The music-selective region was significantly more connected to posterior lateral temporal regions than the word-selective region, which, conversely, was significantly more connected to anterior ventral temporal cortex. Furthermore, musical expertise had a double impact on the connectivity of the music region. First, music tracts were significantly larger in musicians than in non-musicians, associated with marginally higher connectivity to perisylvian music-related areas. Second, the spatial similarity between music and word tracts was significantly increased in musicians, consistently with the increased overlap of language and music functional activations in musicians, as compared to non-musicians. These results support the view that, for music as for words, very specific anatomical connections influence the specialization of distinct VOT areas, and that reciprocally those connections are selectively enhanced by the expertise for word or music reading.

The Effects of Visual Cues, Blindfolding, Synesthetic Experience, and Musical Training on Pure-Tone Frequency Discrimination

How perceptual limits can be reduced has long been examined by psychologists. This study investigated whether visual cues, blindfolding, visual-auditory synesthetic experience, and musical training could facilitate a smaller frequency difference limen (FDL) in a gliding frequency discrimination test. Ninety university students, with no visual or auditory impairment, were recruited for this one-between (blindfolded/visual cues) and one-within (control/experimental session) designed study. Their FDLs were tested by an alternative forced-choice task (gliding upwards/gliding downwards/no change) and two questionnaires (Vividness of Mental Imagery Questionnaire and Projector⁻Associator Test) were used to assess their tendency to synesthesia. The participants provided with visual cues and with musical training showed a significantly smaller FDL; on the other hand, being blindfolded or having a synesthetic experience before could not significantly reduce the FDL. However, no pattern was found between the perception of the gliding upwards and gliding downwards frequencies. Overall, the current study suggests that the inter-sensory perception can be enhanced through the training and facilitation of visual⁻auditory interaction under the multiple resource model. Future studies are recommended in order to verify the effects of music practice on auditory percepts, and the different mechanisms between perceiving gliding upwards and downwards frequencies.

The role of line junctions in object recognition: The case of reading musical notation

Previous work has shown that line junctions are informative features for visual perception of objects, letters, and words. However, the sources of such sensitivity and their generalizability to other object categories are largely unclear. We addressed these questions by studying perceptual expertise in reading musical notation, a domain in which individuals with different levels of expertise are readily available. We observed that removing line junctions created by the contact between musical notes and staff lines selectively impaired recognition performance in experts and intermediate readers, but not in novices. The degree of performance impairment was predicted by individual fluency in reading musical notation. Our findings suggest that line junctions provide diagnostic information about object identity across various categories, including musical notation. However, human sensitivity to line junctions does not readily transfer from familiar to unfamiliar object categories, and has to be acquired through perceptual experience with the specific objects.

Face Recognition, Musical Appraisal, and Emotional Crossmodal Bias

Recent research on the crossmodal integration of visual and auditory perception suggests that evaluations of emotional information in one sensory modality may tend toward the emotional value generated in another sensory modality. This implies that the emotions elicited by musical stimuli can influence the perception of emotional stimuli presented in other sensory modalities, through a top-down process. The aim of this work was to investigate how crossmodal perceptual processing influences emotional face recognition and how potential modulation of this processing induced by music could be influenced by the subject's musical competence. We investigated how emotional face recognition processing could be modulated by listening to music and how this modulation varies according to the subjective emotional salience of the music and the listener's musical competence. The sample consisted of 24 participants: 12 professional musicians and 12 university students (non-musicians). Participants performed an emotional go/no-go task whilst listening to music by Albeniz, Chopin, or Mozart. The target stimuli were emotionally neutral facial expressions. We examined the N170 Event-Related Potential (ERP) and behavioral responses (i.e., motor reaction time to target recognition and musical emotional judgment). A linear mixed-effects model and a decision-tree learning technique were applied to N170 amplitudes and latencies. The main findings of the study were that musicians' behavioral responses and N170 is more affected by the emotional value of music administered in the emotional go/no-go task and this bias is also apparent in responses to the non-target emotional face. This suggests that emotional information, coming from multiple sensory channels, activates a crossmodal integration process that depends upon the stimuli emotional salience and the listener's appraisal.

Perceptual expertise and top-down expectation of musical notation engages the primary visual cortex

Most theories of visual processing propose that object recognition is achieved in higher visual cortex. However, we show that category selectivity for musical notation can be observed in the first ERP component called the C1 (measured 40-60 msec after stimulus onset) with music-reading expertise. Moreover, the C1 note selectivity was observed only when the stimulus category was blocked but not when the stimulus category was randomized. Under blocking, the C1 activity for notes predicted individual music-reading ability, and behavioral judgments of musical stimuli reflected music-reading skill. Our results challenge current theories of object recognition, indicating that the primary visual cortex can be selective for musical notation within the initial feedforward sweep of activity with perceptual expertise and with a testing context that is consistent with the expertise training, such as blocking the stimulus category for music reading.