A Melodic Contour Repeatedly Experienced by Human Near-Term Fetuses Elicits a Profound Cardiac Reaction One Month after Birth

Human hearing develops progressively during the last trimester of gestation. Near-term fetuses can discriminate acoustic features, such as frequencies and spectra, and process complex auditory streams. Fetal and neonatal studies show that they can remember frequently recurring sounds. However, existing data can only show retention intervals up to several days after birth.Here we show that auditory memories can last at least six weeks. Experimental fetuses were given precisely controlled exposure to a descending piano melody twice daily during the 35(th), 36(th), and 37(th) weeks of gestation. Six weeks later we assessed the cardiac responses of 25 exposed infants and 25 naive control infants, while in quiet sleep, to the descending melody and to an ascending control piano melody. The melodies had precisely inverse contours, but similar spectra, identical duration, tempo and rhythm, thus, almost identical amplitude envelopes. All infants displayed a significant heart rate change. In exposed infants, the descending melody evoked a cardiac deceleration that was twice larger than the decelerations elicited by the ascending melody and by both melodies in control infants.Thus, 3-weeks of prenatal exposure to a specific melodic contour affects infants 'auditory processing' or perception, i.e., impacts the autonomic nervous system at least six weeks later, when infants are 1-month old. Our results extend the retention interval over which a prenatally acquired memory of a specific sound stream can be observed from 3-4 days to six weeks. The long-term memory for the descending melody is interpreted in terms of enduring neurophysiological tuning and its significance for the developmental psychobiology of attention and perception, including early speech perception, is discussed

Implicit learning and acquisition of music

Implicit learning is a core process for the acquisition of a complex, rule-based environment from mere interaction, such as motor action, skill acquisition, or language. A body of evidence suggests that implicit knowledge governs music acquisition and perception in nonmusicians and musicians, and that both expert and nonexpert participants acquire complex melodic, harmonic, and other features from mere exposure. While current findings and computational modeling largely support the learning of chunks, some results indicate learning of more complex structures. Despite the body of evidence, more research is required to support the cross-cultural validity of implicit learning and to show that core and more complex music theoretical features are acquired implicitly

Audiotactile interactions in temporal perception.

In the present review, we focus on how commonalities in the ontogenetic development of the auditory and tactile sensory systems may inform the interplay between these signals in the temporal domain. In particular, we describe the results of behavioral studies that have investigated temporal resolution (in temporal order, synchrony/asynchrony, and simultaneity judgment tasks), as well as temporal numerosity perception, and similarities in the perception of frequency across touch and hearing. The evidence reviewed here highlights features of audiotactile temporal perception that are distinctive from those seen for other pairings of sensory modalities. For instance, audiotactile interactions are characterized in certain tasks (e.g., temporal numerosity judgments) by a more balanced reciprocal influence than are other modality pairings. Moreover, relative spatial position plays a different role in the temporal order and temporal recalibration processes for audiotactile stimulus pairings than for other modality pairings. The effect exerted by both the spatial arrangement of stimuli and attention on temporal order judgments is described. Moreover, a number of audiotactile interactions occurring during sensory-motor synchronization are highlighted. We also look at the audiotactile perception of rhythm and how it may be affected by musical training. The differences emerging from this body of research highlight the need for more extensive investigation into audiotactile temporal interactions. We conclude with a brief overview of some of the key issues deserving of further research in this area