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"Music Perception"
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Pitch Processing Can Indicate Cognitive Alterations in Chronic Liver Disease: An fNIRS Study
Early detection and evaluation of cognitive alteration in chronic liver disease is important for predicting the subsequent development of hepatic encephalopathy. While visuomotor tasks have been rigorously employed for cognitive evaluation in chronic liver disease, there is a paucity of auditory processing task. Here we focused on auditory perception and examined behavioural and haemodynamic responses to a melodic contour identification task (CIT) to compare cognitive abilities in patients with chronic liver disease (CLD, N = 30) and healthy controls (N = 25). Further, we used support vector machines to examine the optimal combination of channels of functional near-infrared spectroscopy that can classify cognitive alterations in CLD. Behavioural findings showed that CIT performance was significantly worse in the patient group and CIT significantly correlated with neurocognitive evaluation (i.e., number connection test, digit span test). The findings indicated that CIT can measure auditory cognitive capacity and its difference existing between patient group and healthy controls. Additionally, optimal subsets classified the 16-dimensional haemodynamic data with 78.35% classification accuracy, yielding markers of cognitive alterations in the prefrontal regions (CH6, CH7, CH10, CH13, CH14 and CH16). The results confirmed the potential use of behavioural as well as haemodynamic responses to music perception as an alternative or supplementary method for evaluating cognitive alterations in chronic liver disease.
Journal Article
A perfect harmony : music, mathematics and science
From the earliest of civilisations, humans have found ways to make music, whether through makeshift drums or artfully drilled bone flutes. But how did music - effectively little more than a series of certain tones and rhythms - become so integral to the human experience? Untangling the curious links between notes and number, musical perception, psychology and physics, David Darling examines the fascinating science behind music, from its Palaeolithic origins to the present.
BOOK
Corrigendum: Editorial: Early development of sound processing in the service of speech and music perception
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Journal Article
The role of harmonicity on listeners’ ability to hear out voices in polyphonic music
While speech perception amidst competing talkers is well-studied, the perception of polyphonic music remains less explored. Pitch differences aid in source segregation, yet reductions in harmonicity have relatively little effect on speech intelligibility in such conditions. We hypothesized that source identification and segregation in music would rely more on harmonicity, given the central role of pitch in music and fewer alternative segregation cues, such as temporal incoherence. Polyphonic vocal passages from a female singer were generated from four-second MIDI excerpts of existing music. Inharmonic versions were created by introducing random frequency deviations within the first 30 harmonics of each note. Timbral cues were minimized by using a single source for all voices. Experiment 1 tested participants’ ability to estimate the number of voices in passages with one to five simultaneous voices. Experiment 2 tested participants’ ability to follow one voice within a two- to five-voice passage. Both experiments varied the degree of inharmonicity. Accuracy decreased with increasing inharmonicity and voice count but remained above chance in all conditions. The results confirm the importance of harmonicity in source segregation within music but show that some segregation abilities remain, even when timbral cues are removed and harmonicity is severely degraded.
Journal Article
Musical illusions and phantom words : how music and speech unlock mysteries of the brain
In this ground-breaking synthesis of art and science, Diana Deutsch, one of the world's leading experts on the psychology of music, shows how illusions of music and speech-many of which she herself discovered-have fundamentally altered thinking about the brain. These astonishing illusions show that people can differ strikingly in how they hear musical patterns-differences that reflect variations in brain organization as well as influences of language on music perception. Drawing on a wide variety of fields, including psychology, music theory, linguistics, and neuroscience, Deutsch examines questions such as: When an orchestra performs a symphony, what is the \"real\" music? Is it in the mind of the composer, or the conductor, or different members of the0audience? Deutsch also explores extremes of musical ability, and other surprising responses to music and speech. Why is perfect pitch so rare? Why do some people hallucinate music or speech? Why do we hear phantom words and phrases? Why are we subject to stuck tunes, or \"earworms\"? Why do we hear a spoken phrase as sung just because it is presented repeatedly? In evaluating these questions, she also shows how music and speech are intertwined, and argues that they stem from an early form of communication that had elements of both. Many of the illusions described in the book are so striking and paradoxical that you need to hear them to believe them. The book enables you to listen to the sounds that are described while reading about them.
Book
Natural music evokes correlated EEG responses reflecting temporal structure and beat
The brain activity of multiple subjects has been shown to synchronize during salient moments of natural stimuli, suggesting that correlation of neural responses indexes a brain state operationally termed ‘engagement’. While past electroencephalography (EEG) studies have considered both auditory and visual stimuli, the extent to which these results generalize to music—a temporally structured stimulus for which the brain has evolved specialized circuitry—is less understood. Here we investigated neural correlation during natural music listening by recording EEG responses from N=48 adult listeners as they heard real-world musical works, some of which were temporally disrupted through shuffling of short-term segments (measures), reversal, or randomization of phase spectra. We measured correlation between multiple neural responses (inter-subject correlation) and between neural responses and stimulus envelope fluctuations (stimulus-response correlation) in the time and frequency domains. Stimuli retaining basic musical features, such as rhythm and melody, elicited significantly higher behavioral ratings and neural correlation than did phase-scrambled controls. However, while unedited songs were self-reported as most pleasant, time-domain correlations were highest during measure-shuffled versions. Frequency-domain measures of correlation (coherence) peaked at frequencies related to the musical beat, although the magnitudes of these spectral peaks did not explain the observed temporal correlations. Our findings show that natural music evokes significant inter-subject and stimulus-response correlations, and suggest that the neural correlates of musical ‘engagement’ may be distinct from those of enjoyment.
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•We recorded EEG from 48 adults as they heard intact and scrambled natural music.•Inter-subject and stimulus-response EEG correlation and coherence were computed.•Neural correlation was significant for all stimuli retaining musical features.•Time-domain correlation was highest for music shuffled in short time segments.•Coherence peaks implicated frequencies related to metrical pulse.
Journal Article
Comparing notes : how we make sense of music
Comparing Notes explores what music is, why all of us are musical, and how abstract patterns of sound that might not appear to mean anything can, in fact, be meaningful. From pitch and rhythm to dynamics and timbre, the author shows how all the elements of music cohere through the principle of imitation to create an abstract narrative in sound that we instinctively grasp, whether listening to Bach or the Beatles.
Book
The basis of musical consonance as revealed by congenital amusia
Some combinations of musical notes sound pleasing and are termed \"consonant\" but others sound unpleasant and are termed \"dissonant.\" The distinction between consonance and dissonance plays a central role in Western music, and its origins have posed one of the oldest and most debated problems in perception. In modern times, dissonance has been widely believed to be the product of \"beating\": interference between frequency components in the cochlea that has been believed to be more pronounced in dissonant than consonant sounds. However, harmonic frequency relations, a higher-order sound attribute closely related to pitch perception, has also been proposed to account for consonance. To tease apart theories of musical consonance, we tested sound preferences in individuals with congenital amusia, a neurogenetic disorder characterized by abnormal pitch perception. We assessed amusics' preferences for musical chords as well as for the isolated acoustic properties of beating and harmonicity. In contrast to control subjects, amusic listeners showed no preference for consonance, rating the pleasantness of consonant chords no higher than that of dissonant chords. Amusics also failed to exhibit the normally observed preference for harmonic over inharmonic tones, nor could they discriminate such tones from each other. Despite these abnormalities, amusics exhibited normal preferences and discrimination for stimuli with and without beating. This dissociation indicates that contrary to classic theories, beating is unlikely to underlie consonance. Our results instead suggest the need to integrate harmonicrty as a foundation of music preferences, and illustrate how amusia may be used to investigate normal auditory function.
Journal Article