Selective attention to sound features mediates cross-modal activation of visual cortices.

Contemporary schemas of brain organization now include multisensory processes both in low-level cortices as well as at early stages of stimulus processing. Evidence has also accumulated showing that unisensory stimulus processing can result in cross-modal effects. For example, task-irrelevant and lateralised sounds can activate visual cortices; a phenomenon referred to as the auditory-evoked contralateral occipital positivity (ACOP). Some claim this is an example of automatic attentional capture in visual cortices. Other results, however, indicate that context may play a determinant role. Here, we investigated whether selective attention to spatial features of sounds is a determining factor in eliciting the ACOP. We recorded high-density auditory evoked potentials (AEPs) while participants selectively attended and discriminated sounds according to four possible stimulus attributes: location, pitch, speaker identity or syllable. Sound acoustics were held constant, and their location was always equiprobable (50% left, 50% right). The only manipulation was to which sound dimension participants attended. We analysed the AEP data from healthy participants within an electrical neuroimaging framework. The presence of sound-elicited activations of visual cortices depended on the to-be-discriminated, goal-based dimension. The ACOP was elicited only when participants were required to discriminate sound location, but not when they attended to any of the non-spatial features. These results provide a further indication that the ACOP is not automatic. Moreover, our findings showcase the interplay between task-relevance and spatial (un)predictability in determining the presence of the cross-modal activation of visual cortices

Midbrain adaptation may set the stage for the perception of musical beat

The ability to spontaneously feel a beat in music is a phenomenon widely believed to be unique to humans. Though beat perception involves the coordinated engagement of sensory, motor and cognitive processes in humans, the contribution of low-level auditory processing to the activation of these networks in a beat-specific manner is poorly understood. Here, we present evidence from a rodent model that midbrain preprocessing of sounds may already be shaping where the beat is ultimately felt. For the tested set of musical rhythms, on-beat sounds on average evoked higher firing rates than off-beat sounds, and this difference was a defining feature of the set of beat interpretations most commonly perceived by human listeners over others. Basic firing rate adaptation provided a sufficient explanation for these results. Our findings suggest that midbrain adaptation, by encoding the temporal context of sounds, creates points of neural emphasis that may influence the perceptual emergence of a beat

Temporal processing in audition: insights from music

Music is a curious example of a temporally patterned acoustic stimulus, and a compelling pan-cultural phenomenon. This review strives to bring some insights from decades of music psychology and sensorimotor synchronization literature into the mainstream auditory domain, arguing that musical rhythm perception is shaped in important ways by temporal processing mechanisms in the brain. The feature that unites these disparate disciplines is an appreciation of the central importance of timing, sequencing, and anticipation. Perception of musical rhythms relies on an ability to form temporal predictions, a general feature of temporal processing that is equally relevant to auditory scene analysis, pattern detection, and speech perception. By bringing together findings from the music and auditory literature, we hope to inspire researchers to look beyond the conventions of their respective fields and consider the crossdisciplinary implications of studying auditory temporal sequence processing.We begin by highlighting music as an interesting sound stimulus that may provide clues to how temporal patterning in sound drives perception. Next, we review the sensorimotor synchronization literature and discuss possible neural substrates for the perception of, and synchronization to, musical beat. We then move away from music to explore the perceptual effects of rhythmic timing in pattern detection, auditory scene analysis, and speech perception. Finally, we review the neurophysiology of general timing processes that may underlie aspects of the perception of rhythmic patterns. We conclude with a brief summary and outlook for future research.</p

Exploring the distribution of statistical feature parameters for natural sound textures

Sounds like "running water" and "buzzing bees" are classes of sounds which are a collective result of many similar acoustic events and are known as "sound textures". A recent psychoacoustic study using sound textures has reported that natural sounding textures can be synthesized from white noise by imposing statistical features such as marginals and correlations computed from the outputs of cochlear models responding to the textures. The outputs being the envelopes of bandpass filter responses, the 'cochlear envelope'. This suggests that the perceptual qualities of many natural sounds derive directly from such statistical features, and raises the question of how these statistical features are distributed in the acoustic environment. To address this question, we collected a corpus of 200 sound textures from public online sources and analyzed the distributions of the textures' marginal statistics (mean, variance, skew, and kurtosis), cross-frequency correlations and modulation power statistics. A principal component analysis of these parameters revealed a great deal of redundancy in the texture parameters. For example, just two marginal principal components, which can be thought of as measuring the sparseness or burstiness of a texture, capture as much as 64% of the variance of the 128 dimensional marginal parameter space, while the first two principal components of cochlear correlations capture as much as 88% of the variance in the 496 correlation parameters. Knowledge of the statistical distributions documented here may help guide the choice of acoustic stimuli with high ecological validity in future research

Temporal processing in audition: insights from music

Music is a curious example of a temporally patterned acoustic stimulus, and a compelling pan-cultural phenomenon. This review strives to bring some insights from decades of music psychology and sensorimotor synchronization literature into the mainstream auditory domain, arguing that musical rhythm perception is shaped in important ways by temporal processing mechanisms in the brain. The feature that unites these disparate disciplines is an appreciation of the central importance of timing, sequencing, and anticipation. Perception of musical rhythms relies on an ability to form temporal predictions, a general feature of temporal processing that is equally relevant to auditory scene analysis, pattern detection, and speech perception. By bringing together findings from the music and auditory literature, we hope to inspire researchers to look beyond the conventions of their respective fields and consider the crossdisciplinary implications of studying auditory temporal sequence processing.We begin by highlighting music as an interesting sound stimulus that may provide clues to how temporal patterning in sound drives perception. Next, we review the sensorimotor synchronization literature and discuss possible neural substrates for the perception of, and synchronization to, musical beat. We then move away from music to explore the perceptual effects of rhythmic timing in pattern detection, auditory scene analysis, and speech perception. Finally, we review the neurophysiology of general timing processes that may underlie aspects of the perception of rhythmic patterns. We conclude with a brief summary and outlook for future research.</p

What's what in auditory cortices?

Distinct anatomical and functional pathways are postulated for analysing a sound's object-related ('what') and space-related ('where') information. It remains unresolved to which extent distinct or overlapping neural resources subserve specific object-related dimensions (i.e. who is speaking and what is being said can both be derived from the same acoustic input). To address this issue, we recorded high-density auditory evoked potentials (AEPs) while participants selectively attended and discriminated sounds according to their pitch, speaker identity, uttered syllable ('what' dimensions) or their location ('where'). Sound acoustics were held constant across blocks; the only manipulation involved the sound dimension that participants had to attend to. The task-relevant dimension was varied across blocks. AEPs from healthy participants were analysed within an electrical neuroimaging framework to differentiate modulations in response strength from modulations in response topography; the latter of which forcibly follow from changes in the configuration of underlying sources. There were no behavioural differences in discrimination of sounds across the 4 feature dimensions. As early as 90ms post-stimulus onset, AEP topographies differed across 'what' conditions, supporting a functional sub-segregation within the auditory 'what' pathway. This study characterises the spatio-temporal dynamics of segregated, yet parallel, processing of multiple sound object-related feature dimensions when selective attention is directed to them