Neural synchronization is strongest to the spectral flux of slow music and depends on familiarity and beat salience

Neural encoding of musical expectations in a non-human primate

The appreciation of music is a universal trait of humankind.1,2,3 Evidence supporting this notion includes the ubiquity of music across cultures4,5,6,7 and the natural predisposition toward music that humans display early in development.8,9,10 Are we musical animals because of species-specific predispositions? This question cannot be answered by relying on cross-cultural or developmental studies alone, as these cannot rule out enculturation.11 Instead, it calls for cross-species experiments testing whether homologous neural mechanisms underlying music perception are present in non-human primates. We present music to two rhesus monkeys, reared without musical exposure, while recording electroencephalography (EEG) and pupillometry. Monkeys exhibit higher engagement and neural encoding of expectations based on the previously seeded musical context when passively listening to real music as opposed to shuffled controls. We then compare human and monkey neural responses to the same stimuli and find a species-dependent contribution of two fundamental musical features-pitch and timing12-in generating expectations: while timing- and pitch-based expectations13 are similarly weighted in humans, monkeys rely on timing rather than pitch. Together, these results shed light on the phylogeny of music perception. They highlight monkeys' capacity for processing temporal structures beyond plain acoustic processing, and they identify a species-dependent contribution of time- and pitch-related features to the neural encoding of musical expectations.

Probing Beat Perception with Event-Related Potentials (ERPs) in Human Adults, Newborns, and Nonhuman Primates

The aim of this chapter is to give an overview of how the perception of rhythmic temporal regularity such as a regular beat in music can be studied in human adults, human newborns, and nonhuman primates using event-related brain potentials (ERPs). First, we discuss different aspects of temporal structure in general, and musical rhythm in particular, and we discuss the possible mechanisms underlying the perception of regularity (e.g., a beat) in rhythm. Additionally, we highlight the importance of dissociating beat perception from the perception of other types of structure in rhythm, such as predictable sequences of temporal intervals, ordinal structure, and rhythmic grouping. In the second section of the chapter, we start with a discussion of auditory ERPs elicited by infrequent and frequent sounds: ERP responses to regularity violations, such as mismatch negativity (MMN), N2b, and P3, as well as early sensory responses to sounds, such as P1 and N1, have been shown to be instrumental in probing beat perception. Subsequently, we discuss how beat perception can be probed by comparing ERP responses to sounds in regular and irregular sequences, and by comparing ERP responses to sounds in different metrical positions in a rhythm, such as on and off the beat or on strong and weak beats. Finally, we will discuss previous research that has used the aforementioned ERPs and paradigms to study beat perception in human adults, human newborns, and nonhuman primates. In doing so, we consider the possible pitfalls and prospects of the technique, as well as future perspectives.

Sing to me, baby: Infants show neural tracking and rhythmic movements to live and dynamic maternal singing

Infant-directed singing has unique acoustic characteristics that may allow even very young infants to respond to the rhythms carried through the caregiver's voice. The goal of this study was to examine neural and movement responses to live and dynamic maternal singing in 7-month-old infants and their relation to linguistic development. In total, 60 mother-infant dyads were observed during two singing conditions (playsong and lullaby). In Study 1 (n = 30), we measured infant EEG and used an encoding approach utilizing ridge regressions to measure neural tracking. In Study 2 (n =40), we coded infant rhythmic movements. In both studies, we assessed children's vocabulary when they were 20 months old. In Study 1, we found above-threshold neural tracking of maternal singing, with superior tracking of lullabies than playsongs. We also found that the acoustic features of infant-directed singing modulated tracking. In Study 2, infants showed more rhythmic movement to playsongs than lullabies. Importantly, neural coordination (Study 1) and rhythmic movement (Study 2) to playsongs were positively related to infants' expressive vocabulary at 20 months. These results highlight the importance of infants' brain and movement coordination to their caregiver's musical presentations, potentially as a function of musical variability.

The effect of familiarity on neural tracking of music stimuli is modulated by mind wandering

One way to investigate the cortical tracking of continuous auditory stimuli is to use the stimulus reconstruction approach. However, the cognitive and behavioral factors impacting this cortical representation remain largely overlooked. Two possible candidates are familiarity with the stimulus and the ability to resist internal distractions. To explore the possible impacts of these two factors on the cortical representation of natural music stimuli, forty-one participants listened to monodic natural music stimuli while we recorded their neural activity. Using the stimulus reconstruction approach and linear mixed models, we found that familiarity positively impacted the reconstruction accuracy of music stimuli and that this effect of familiarity was modulated by mind wandering.

Examining the capability for rhythmic synchronization and music production in vocal learning parrot species

Vocal production learning and beat perception and synchronization (BPS) share some common characteristics, which makes the vocal learning and rhythmic synchronization hypothesis (VLH) a reasonable explanation for the evolution of the capability for rhythmic synchronization. However, even in vocal learners, it is rare to see non-human animals demonstrate BPS to human music. Therefore, the first objective of this article is to propose some possible reasons why we do not see BPS in budgerigars, an excellent vocal learning species, while presenting some of my own findings. The second objective of this article is to propose a seamless bridge to connect the capability for vocal learning and BPS in locomotion. For this purpose, I present my own findings, wherein cockatiels spontaneously sang in synchrony with a melody of human music. This behavior can be considered a vocal version of BPS. Therefore, it can establish a connection between these two capabilities. This article agrees with the possibility that some mechanisms other than the vocal learning system may enable BPS, contrary to the original idea of VLH. Nevertheless, it is still reasonable to connect the capability for vocal learning and that for BPS. At the very least, the capability for vocal learning may contribute to the evolution of BPS. From these arguments, this article also proposes a scenario which includes vocalizing in synchrony as a driving force for the evolution of BPS and the capability for music production.

Attention, Musicality, and Familiarity Shape Cortical Speech Tracking at the Musical Cocktail Party

The "cocktail party problem" challenges our ability to understand speech in noisy environments, which often include background music. Here, we explored the role of background music in speech-in-noise listening. Participants listened to an audiobook in familiar and unfamiliar music while tracking keywords in either speech or song lyrics. We used EEG to measure neural tracking of the audiobook. When speech was masked by music, the modeled peak latency at 50 ms (P1TRF) was prolonged compared to unmasked. Additionally, P1TRF amplitude was larger in unfamiliar background music, suggesting improved speech tracking. We observed prolonged latencies at 100 ms (N1TRF) when speech was not the attended stimulus, though only in less musical listeners. Our results suggest early neural representations of speech are enhanced with both attention and concurrent unfamiliar music, indicating familiar music is more distracting. One's ability to perceptually filter "musical noise" at the cocktail party depends on objective musical abilities.

Rhythmic Entrainment Echoes in Auditory Perception

Rhythmic entrainment echoes-rhythmic brain responses that outlast rhythmic stimulation-can demonstrate endogenous neural oscillations entrained by the stimulus rhythm. Here, we tested for such echoes in auditory perception. Participants detected a pure tone target, presented at a variable delay after another pure tone that was rhythmically modulated in amplitude. In four experiments involving 154 human (female and male) participants, we tested (1) which stimulus rate produces the strongest entrainment echo and, inspired by the tonotopical organization of the auditory system and findings in nonhuman primates, (2) whether these are organized according to sound frequency. We found the strongest entrainment echoes after 6 and 8 Hz stimulation, respectively. The best moments for target detection (in phase or antiphase with the preceding rhythm) depended on whether sound frequencies of entraining and target stimuli matched, which is in line with a tonotopical organization. However, for the same experimental condition, best moments were not always consistent across experiments. We provide a speculative explanation for these differences that relies on the notion that neural entrainment and repetition-related adaptation might exercise competing opposite influences on perception. Together, we find rhythmic echoes in auditory perception that seem more complex than those predicted from initial theories of neural entrainment.SIGNIFICANCE STATEMENT Rhythmic entrainment echoes are rhythmic brain responses that are produced by a rhythmic stimulus and persist after its offset. These echoes play an important role for the identification of endogenous brain oscillations, entrained by rhythmic stimulation, and give us insights into whether and how participants predict the timing of events. In four independent experiments involving >150 participants, we examined entrainment echoes in auditory perception. We found that entrainment echoes have a preferred rate (between 6 and 8 Hz) and seem to follow the tonotopic organization of the auditory system. Although speculative, we also found evidence that several, potentially competing processes might interact to produce such echoes, a notion that might need to be considered for future experimental design.

Incorporating models of subcortical processing improves the ability to predict EEG responses to natural speech

The goal of describing how the human brain responds to complex acoustic stimuli has driven auditory neuroscience research for decades. Often, a systems-based approach has been taken, in which neurophysiological responses are modeled based on features of the presented stimulus. This includes a wealth of work modeling electroencephalogram (EEG) responses to complex acoustic stimuli such as speech. Examples of the acoustic features used in such modeling include the amplitude envelope and spectrogram of speech. These models implicitly assume a direct mapping from stimulus representation to cortical activity. However, in reality, the representation of sound is transformed as it passes through early stages of the auditory pathway, such that inputs to the cortex are fundamentally different from the raw audio signal that was presented. Thus, it could be valuable to account for the transformations taking place in lower-order auditory areas, such as the auditory nerve, cochlear nucleus, and inferior colliculus (IC) when predicting cortical responses to complex sounds. Specifically, because IC responses are more similar to cortical inputs than acoustic features derived directly from the audio signal, we hypothesized that linear mappings (temporal response functions; TRFs) fit to the outputs of an IC model would better predict EEG responses to speech stimuli. To this end, we modeled responses to the acoustic stimuli as they passed through the auditory nerve, cochlear nucleus, and inferior colliculus before fitting a TRF to the output of the modeled IC responses. Results showed that using model-IC responses in traditional systems analyzes resulted in better predictions of EEG activity than using the envelope or spectrogram of a speech stimulus. Further, it was revealed that model-IC derived TRFs predict different aspects of the EEG than acoustic-feature TRFs, and combining both types of TRF models provides a more accurate prediction of the EEG response.

Perceived rhythmic regularity is greater for song than speech: examining acoustic correlates of rhythmic regularity in speech and song

Rhythm is a key feature of music and language, but the way rhythm unfolds within each domain differs. Music induces perception of a beat, a regular repeating pulse spaced by roughly equal durations, whereas speech does not have the same isochronous framework. Although rhythmic regularity is a defining feature of music and language, it is difficult to derive acoustic indices of the differences in rhythmic regularity between domains. The current study examined whether participants could provide subjective ratings of rhythmic regularity for acoustically matched (syllable-, tempo-, and contour-matched) and acoustically unmatched (varying in tempo, syllable number, semantics, and contour) exemplars of speech and song. We used subjective ratings to index the presence or absence of an underlying beat and correlated ratings with stimulus features to identify acoustic metrics of regularity. Experiment 1 highlighted that ratings based on the term "rhythmic regularity" did not result in consistent definitions of regularity across participants, with opposite ratings for participants who adopted a beat-based definition (song greater than speech), a normal-prosody definition (speech greater than song), or an unclear definition (no difference). Experiment 2 defined rhythmic regularity as how easy it would be to tap or clap to the utterances. Participants rated song as easier to clap or tap to than speech for both acoustically matched and unmatched datasets. Subjective regularity ratings from Experiment 2 illustrated that stimuli with longer syllable durations and with less spectral flux were rated as more rhythmically regular across domains. Our findings demonstrate that rhythmic regularity distinguishes speech from song and several key acoustic features can be used to predict listeners' perception of rhythmic regularity within and across domains as well.

Incorporating models of subcortical processing improves the ability to predict EEG responses to natural speech

The goal of describing how the human brain responds to complex acoustic stimuli has driven auditory neuroscience research for decades. Often, a systems-based approach has been taken, in which neurophysiological responses are modeled based on features of the presented stimulus. This includes a wealth of work modeling electroencephalogram (EEG) responses to complex acoustic stimuli such as speech. Examples of the acoustic features used in such modeling include the amplitude envelope and spectrogram of speech. These models implicitly assume a direct mapping from stimulus representation to cortical activity. However, in reality, the representation of sound is transformed as it passes through early stages of the auditory pathway, such that inputs to the cortex are fundamentally different from the raw audio signal that was presented. Thus, it could be valuable to account for the transformations taking place in lower-order auditory areas, such as the auditory nerve, cochlear nucleus, and inferior colliculus (IC) when predicting cortical responses to complex sounds. Specifically, because IC responses are more similar to cortical inputs than acoustic features derived directly from the audio signal, we hypothesized that linear mappings (temporal response functions; TRFs) fit to the outputs of an IC model would better predict EEG responses to speech stimuli. To this end, we modeled responses to the acoustic stimuli as they passed through the auditory nerve, cochlear nucleus, and inferior colliculus before fitting a TRF to the output of the modeled IC responses. Results showed that using model-IC responses in traditional systems analyses resulted in better predictions of EEG activity than using the envelope or spectrogram of a speech stimulus. Further, it was revealed that model-IC derived TRFs predict different aspects of the EEG than acoustic-feature TRFs, and combining both types of TRF models provides a more accurate prediction of the EEG response.x.

Neural Entrainment to Musical Pulse in Naturalistic Music Is Preserved in Aging: Implications for Music-Based Interventions

Neural entrainment to musical rhythm is thought to underlie the perception and production of music. In aging populations, the strength of neural entrainment to rhythm has been found to be attenuated, particularly during attentive listening to auditory streams. However, previous studies on neural entrainment to rhythm and aging have often employed artificial auditory rhythms or limited pieces of recorded, naturalistic music, failing to account for the diversity of rhythmic structures found in natural music. As part of larger project assessing a novel music-based intervention for healthy aging, we investigated neural entrainment to musical rhythms in the electroencephalogram (EEG) while participants listened to self-selected musical recordings across a sample of younger and older adults. We specifically measured neural entrainment to the level of musical pulse-quantified here as the phase-locking value (PLV)-after normalizing the PLVs to each musical recording's detected pulse frequency. As predicted, we observed strong neural phase-locking to musical pulse, and to the sub-harmonic and harmonic levels of musical meter. Overall, PLVs were not significantly different between older and younger adults. This preserved neural entrainment to musical pulse and rhythm could support the design of music-based interventions that aim to modulate endogenous brain activity via self-selected music for healthy cognitive aging.