Sondage national des résidents en médecine et directeurs de programme canadiens sur le congé parental durant la résidence

Background: Despite the advantages of having a child as a medical resident, the transition back to residency after parental leave can be challenging. This study is the first to investigate this issue using a nation-wide Canadian sample of both residents and program directors. Method: A questionnaire was developed and made available online. Respondents included 437 female residents, 33 male residents, and 172 residency program directors. The mean length of parental leave was nine months for female residents and six weeks for male residents. Almost all female residents (97.5%) breastfed with an average duration of 12 months. The top challenges reported by residents were feeling guilty for being away from their family, long and unpredictable work hours, sleep deprivation, and finding time to study. When female residents and program directors were matched to both school and program (N = 99 pairs), there was no difference in the total number of challenges reported, but program directors reported offering significantly more accommodations than female residents reported being offered, t(196) = 13.06, p < .001. Results: Our data indicate there is a need for better communication between resident parents and program directors, as well as clear program-specific parental leave policies, particularly for supporting breastfeeding mothers as they return to work

Autodidacticism and Music: Do Self-Taught Musicians Exhibit the Same Auditory Processing Advantages as Formally Trained Musicians?

Multiple studies have demonstrated that musicians have enhanced auditory processing abilities compared to non-musicians. In these studies, musicians are usually defined as having received some sort of formal music training. One issue with this definition is that there are many musicians who are self-taught. The goal of the current study was to determine if self-taught musicians exhibit different auditory enhancements as their formally trained counterparts. Three groups of participants were recruited: formally trained musicians, who received formal music training through the conservatory or private lessons; self-taught musicians, who learned to play music through informal methods, such as with books, videos, or by ear; non-musicians, who had little or no music experience. Auditory processing abilities were assessed using a speech-in-noise task, a passive pitch oddball task done while recording electrical brain activity, and a melodic tonal violation task, done both actively and passively while recording electrical brain activity. For the melodic tonal violation task, formally trained musicians were better at detecting a tonal violation compared to self-taught musicians, who were in turn better than non-musicians. The P600 evoked by a tonal violation was enhanced in formally trained musicians compared to non-musicians. The P600 evoked by an out-of-key note did not differ between formally trained and self-taught musicians, while the P600 evoked by an out-of-tune note was smaller in self-taught musicians compared to formally trained musicians. No differences were observed between the groups for the other tasks. This pattern of results suggests that music training format impacts auditory processing abilities in musical tasks; however, it is possible that these differences arose due to pre-existing factors and not due to the training itself

Tracking the emergence of a pitch hierarchy using an artificial grammar requires extended exposure

Introduction: The tonal hierarchy is a perceived musical structure implicitly learned through exposure. Previous studies have demonstrated that new grammars, for example based on the Bohlen-Pierce scale, can be learned in as little as 20 minutes. Methods: In this study, we created two grammars derived from the Bohlen-Pierce scale similar in complexity to the western tonal hierarchy. Participants rated the goodness-of-fit of all Bohlen-Pierce scale notes in a probe tone paradigm before and after 30 minutes of exposure to one of the two grammars. Participants were then asked about their experience in a short interview. Results: Results do not support the learning of the artificial grammar: correlations between goodness-of-fit ratings and pitch frequency distribution of a grammar were no different before and after exposure to a grammar. Interviews suggest that participants are bad at identifying the strategy they used to complete the task. Testing the strategies reported on the data revealed that ratings decreased with increasing distance of the probe tone from the tonic. Discussion: This is consistent with early brain responses to chromatic pitches of the tonal hierarchy. We suggest that longer exposure time is necessary to learn more complex grammars

The Effect of Lifelong Musicianship on Age-related Changes in Auditory Processing

Age-related declines in hearing abilities are common and can be attributed to changes in the peripheral and central levels of the auditory system. Although central auditory processing is enhanced in younger musicians, the influence of lifelong musicianship on age-related decline in central auditory processing has not yet been investigated. Therefore, the purpose of this dissertation was to investigate whether lifelong musicianship can mitigate age-related decline in central auditory processing. In the first experiment, age-related declines on four hearing assessments were compared between musicians and non-musicians. Speech-in-noise and gap-detection thresholds were found to decline at a slower rate in musicians, providing an increasing advantage with age. Furthermore, musicians had a lifelong advantage in detecting a mistuned harmonic, although the rate of age-related decline was similar for both musicians and non-musicians. Importantly, there was no significant effect of musicianship on pure-tone thresholds, suggesting that lifelong musicianship can mitigate age-related decline in central but not peripheral auditory processing. To test this hypothesis, a second experiment compared auditory evoked responses (AERs) between groups of older and younger musicians and non-musicians. Results indicated that exogenous neural activity was enhanced in musicians, but that age-related changes were similar between musicians and nonmusicians. Furthermore, endogenous, attention-dependent neural activity was enhanced in older adults, suggesting a compensatory cognitive strategy. Importantly, endogenous activity was preferentially enhanced in older musicians, suggesting that lifelong musicianship enhanced cognitive processes related to auditory perception. In the final experiment, the ability to segregate simultaneous sounds was tested in older and younger musicians and non-musicians by using a mistuned harmonic paradigm, where AERs to harmonic complexes were compared to AERs when one of the harmonics was mistuned. Results indicated that musical training in older adults has little effect on early automatic registration of the mistuned harmonic. In contrast, late attention-dependent activity, associated with the perception of the mistuned harmonic as a separate sound, was influenced by musical training in older adults, suggesting that lifelong musicianship preserves or enhances cognitive components of concurrent sound segregation. In summary, musical training was found to reduce age-related decline in hearing abilities due to enhanced central processing of auditory information.Ph

Neurophysiological and Behavioral Differences between Older and Younger Adults When Processing Violations of Tonal Structure in Music

Aging is associated with decline in both cognitive and auditory abilities. However, evidence suggests that music perception is relatively spared, despite relying on auditory and cognitive abilities that tend to decline with age. It is therefore likely that older adults engage compensatory mechanisms which should be evident in the underlying functional neurophysiology related to processing music. In other words, the perception of musical structure would be similar or enhanced in older compared to younger adults, while the underlying functional neurophysiology would be different. The present study aimed to compare the electrophysiological brain responses of younger and older adults to melodic incongruities during a passive and active listening task. Older and younger adults had a similar ability to detect an out-of-tune incongruity (i.e., non-chromatic), while the amplitudes of the ERAN and P600 were reduced in older adults compared to younger adults. On the other hand, out-of-key incongruities (i.e., non-diatonic), were better detected by older adults compared to younger adults, while the ERAN and P600 were comparable between the two age groups. This pattern of results indicates that perception of tonal structure is preserved in older adults, despite age-related neurophysiological changes in how melodic violations are processed

Mapping Tonal Hierarchy in the Brain

In Western tonal music, pitches are organized hierarchically based on their perceived fit in a specific tonal context. This hierarchy forms scales that are commonly used in Western tonal music. The hierarchical nature of tonal structure is well established behaviourally; however, the neural underpinnings are largely unknown. In this study, EEG data and goodness-of-fit ratings were collected from 34 participants who listened to an arpeggio followed by a probe tone, where the probe tone could be any chromatic scale degree and the context any of the major keys. Goodness-of-fit ratings corresponded to the classic tonal hierarchy. N1, P2 and the Early Right Anterior Negativity (ERAN) were significantly modulated by scale degree. Furthermore, neural marker amplitudes and latencies were significantly correlated with similar magnitude to both pitch height and goodness-of-fit ratings. This is different from the clearer divide between pitch height correlating with early neural markers (100–200 ms) and tonal hierarchy correlating with late neural markers (200–1000 ms) reported by Sankaran et al. (2020) and Quiroga-Martinez et al. (2019). Finally, individual differences were greater than any main effects detected when pooling participants and brain-behavior correlations vary widely (i.e. r = −0.8 to 0.8)

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

Random feedback makes listeners tone-deaf

The mental representation of pitch structure (tonal knowledge) is a core component of musical experience and is learned implicitly through exposure to music. One theory of congenital amusia (tone deafness) posits that conscious access to tonal knowledge is disrupted, leading to a severe deficit of music cognition. We tested this idea by providing random performance feedback to neurotypical listeners while they listened to melodies for tonal incongruities and had their electrical brain activity monitored. The introduction of random feedback was associated with a reduction of accuracy and confidence, and a suppression of the late positive brain response usually elicited by conscious detection of a tonal violation. These effects mirror the behavioural and neurophysiological profile of amusia. In contrast, random feedback was associated with an increase in the amplitude of the early right anterior negativity, possibly due to heightened attention to the experimental task. This successful simulation of amusia in a normal brain highlights the key role of feedback in learning, and thereby provides a new avenue for the rehabilitation of learning disorders