The ability to move to a beat is linked to the consistency of neural responses to sound

The ability to synchronize movement to a steady beat is a fundamental skill underlying musical performance and has been studied for decades as a model of sensorimotor synchronization. Nevertheless, little is known about the neural correlates of individual differences in the ability to synchronize to a beat. In particular, links between auditory-motor synchronization ability and characteristics of the brain's response to sound have not yet been explored. Given direct connections between the inferior colliculus (IC) and subcortical motor structures, we hypothesized that consistency of the neural response to sound within the IC is linked to the ability to tap consistently to a beat. Here, we show that adolescent humans who demonstrate less variability when tapping to a beat have auditory brainstem responses that are less variable as well. One of the sources of this enhanced consistency in subjects who can steadily tap to a beat may be decreased variability in the timing of the response, as these subjects also show greater between-trial phase-locking in the auditory brainstem response. Thus, musical training with a heavy emphasis on synchronization of movement to musical beats may improve auditory neural synchrony, potentially benefiting children with auditory-based language impairments characterized by excessively variable neural responses

Getting back on the beat: links between auditory-motor integration and precise auditory processing at fast time scales

The auditory system is unique in its ability to precisely detect the timing of perceptual events and use this information to update motor plans, a skill crucial for language. The characteristics of the auditory system which enable this temporal precision, however, are only beginning to be understood. Previous work has shown that participants who can tap consistently to a metronome have neural responses to sound with greater phase coherence from trial to trial. We hypothesized that this relationship is driven by a link between the updating of motor output by auditory feedback and neural precision. Moreover, we hypothesized that neural phase coherence at both fast time scales (reflecting subcortical processing) and slow time scales (reflecting cortical processing) would be linked to auditory-motor timing integration. To test these hypotheses we asked participants to synchronize to a pacing stimulus and then changed either the tempo or the timing of the stimulus to assess whether they could rapidly adapt. Participants who could rapidly and accurately resume synchronization had neural responses to sound with greater phase coherence. However, this precise timing was limited to the time scale of 10 ms (100 Hz) or faster; neural phase coherence at slower time scales was unrelated to performance on this task. Auditory-motor adaptation, therefore, specifically depends upon consistent auditory processing at fast, but not slow, time scales

Neural responses to sounds presented on and off the beat of ecologically valid music

The tracking of rhythmic structure is a vital component of speech and music perception. It is known that sequences of identical sounds can give rise to the percept of alternating strong and weak sounds, and that this percept is linked to enhanced cortical and oscillatory responses. The neural correlates of the perception of rhythm elicited by ecologically valid, complex stimuli, however, remain unexplored. Here we report the effects of a stimulus' alignment with the beat on the brain's processing of sound. Human subjects listened to short popular music pieces while simultaneously hearing a target sound. Cortical and brainstem electrophysiological onset responses to the sound were enhanced when it was presented on the beat of the music, as opposed to shifted away from it. Moreover, the size of the effect of alignment with the beat on the cortical response correlated strongly with the ability to tap to a beat, suggesting that the ability to synchronize to the beat of simple isochronous stimuli and the ability to track the beat of complex, ecologically valid stimuli may rely on overlapping neural resources. These results suggest that the perception of musical rhythm may have robust effects on processing throughout the auditory system

Neural entrainment to the rhythmic structure of music

The neural resonance theory of musical meter explains musical beat tracking as the result of entrainment of neural oscillations to the beat frequency and its higher harmonics. This theory has gained empirical support from experiments using simple, abstract stimuli. However, to date there has been no empirical evidence for a role of neural entrainment in the perception of the beat of ecologically valid music. Here we presented participants with a single pop song with a superimposed bassoon sound. This stimulus was either lined up with the beat of the music or shifted away from the beat by 25% of the average interbeat interval. Both conditions elicited a neural response at the beat frequency. However, although the on-the-beat condition elicited a clear response at the first harmonic of the beat, this frequency was absent in the neural response to the off-the-beat condition. These results support a role for neural entrainment in tracking the metrical structure of real music and show that neural meter tracking can be disrupted by the presentation of contradictory rhythmic cues

Explicit and implicit aptitude effects on second language speech learning: scrutinizing segmental and suprasegmental sensitivity and performance via behavioural and neurophysiological measures

The current study examines the role of cognitive and perceptual individual differences (i.e., aptitude) in second language (L2) pronunciation learning, when L2 learners’ varied experience background is controlled for. A total of 48 Chinese learners of English in the UK were assessed for their sensitivity to segmental and suprasegmental aspects of speech on explicit and implicit modes via behavioural (language/music aptitude tests) and neurophysiological (electroencephalography) measures. Subsequently, the participants’ aptitude profiles were compared to the segmental and suprasegmental dimensions of their L2 pronunciation proficiency analyzed through rater judgements and acoustic measurements. According to the results, the participants’ segmental attainment was associated not only with explicit aptitude (phonemic coding), but also with implicit aptitude (enhanced neural encoding of spectral peaks). Whereas the participants’ suprasegmental attainment was linked to explicit aptitude (rhythmic imagery) to some degree, it was primarily influenced by the quality and quantity of their most recent L2 learning experience

Effects of early musical experience on auditory sequence memory

The present study investigated a possible link between musical training and immediate memory span by testing experienced musicians and three groups of musically inexperienced subjects (gymnasts, Psychology 101 students, and video game players) on sequence memory and word familiarity tasks. By including skilled gymnasts who began studying their craft by age six, video game players, and Psychology 101 students as comparison groups, we attempted to control for some of the ways skilled musicians may differ from participants drawn from the general population in terms of gross motor skills and intensive experience in a highly skilled domain from an early age. We found that musicians displayed longer immediate memory spans than the comparison groups on auditory presentation conditions of the sequence reproductive span task. No differences were observed between the four groups on the visual conditions of the sequence memory task. These results provide additional converging support to recent findings showing that early musical experience and activity-dependent learning may selectively affect verbal rehearsal processes and the allocation of attention in sequence memory tasks

Repetition enhances the musicality of speech and tone stimuli to similar degrees

Certain spoken phrases, when removed from context and repeated, begin to sound as if they were sung. Prior work has uncover ed several acoustic factors which determine wh ether a phrase sounds sung after repetition . However, the reason why repetition is necessary for song to be perceived in speech is unclear . One possibility is that by default pitch is not a salient attribute of speech in non - tonal languages, as spectral information is more vital for determining meaning. However, repetition may satiate lexical processing , increas ing pitch salience. A second possibility is that it takes time to e stablish the precise pitch perception necessary for as signing each syllable a musical scale degree . Here we tested these hypotheses by asking participants to rate the musicality of spoken phrases and complex tones with matching pitch contours after each of eight repetitions. Although musicality ratings were overall higher for the tone stimuli, both the speech and complex tone stimuli increased in musicality to a similar degree with repetition. Thus, although the rapid spectral variation of speech may inhibi t pitch salience , this inhibition does not decrease with repetition. Instead, repetition may be necessary for the perception of song in speech because the perception of exact pitch intervals takes time

Global music recordings support the motor constraint hypothesis for human and avian song contour

There has recently been renewed interest in using quantitative data to explore questions about musical universals. One explanation for certain musical universals is that they reflect ways of singing that are most energetically efficient , as opposed to biological specializations for human music . Previous research found support for this "motor constraint hypothesis" by comparing pitch contour shapes in sample s of human and avian song s, but the sample of human song s was limited to notated scores of European and Chinese folk songs from the Essen database. Here we attempt to test this hypothesis using a more diverse global sample of human music recordings from the Garland Encyclopedia of World Music . By directly comparing pitch contour shapes in a diverse sample of human songs and bird songs , we found that both human and bird songs tend to employ similar descending / arched melodic contours despite substantial differences in absolute pitch and duration. This preference was consistent for both Western and non - Western songs. Surprisingly, w e also found that the global samples of human and bird song contours were signific antly more correlated with one another than either was with the Essen contours . Our findings of broad cross - cultural and cross - species parallels support the motor constraint hypothesis for melodic contour . More generally, our findings demonstr ate the importance of greater collaboration between ethnomusicology and music psychology

Successful non-native speech perception is linked to frequency following response phase consistency

Some people who attempt to learn a second language in adulthood meet with greater success than others. The causes driving these individual differences in second language learning skill continue to be debated. In particular, it remains controversial whether robust auditory perception can provide an advantage for non-native speech perception. Here, we tested English speech perception in native Japanese speakers through the use of frequency following responses, the evoked gamma band response, and behavioral measurements. Participants whose neural responses featured less timing jitter from trial to trial performed better on perception of English consonants than participants with more variable neural timing. Moreover, this neural metric predicted consonant perception to a greater extent than did age of arrival and length of residence in the UK, and neural jitter predicted independent variance in consonant perception after these demographic variables were accounted for. Thus, difficulties with auditory perception may be one source of problems learning second languages in adulthood