Barbara Tillmann - Academia.edu (original) (raw)

Papers by Barbara Tillmann

Attention Perception & Psychophysics, 2007

Music cognition research has provided evidence that the tonal function of a musical event influen... more Music cognition research has provided evidence that the tonal function of a musical event influences perception and memory. Our study investigated whether tonal function influences a basic temporal judgment, notably the detection of a temporal change disrupting a sequence’s regularity. The sequences consisted of six musical events presented in isochrony (or with the fifth event occurring earlier or later): Three

By mere exposure to musical pieces in everyday life, Western listeners acquire sensitivity to the... more By mere exposure to musical pieces in everyday life, Western listeners acquire sensitivity to the regularities of the tonal system and to the context dependency of musical sounds. This implicitly acquired tonal knowledge allows nonmusician listeners to perceive relationships among musical events and to develop expectations for future events that then influence the processing of these events. The musical priming paradigm is one method of the indirect investigation of listeners' tonal knowledge. It investigates the influence of a preceding context (with its musical structures and relationships) on the processing of a musical target event, without asking participants for direct evaluations. Behavioral priming data have provided evidence for facilitated processing of musically related events in comparison to unrelated and less-related events. The sensitivity of implicit investigations is further shown by I.R., a patient with severe amusia, showing spared implicit knowledge of music. Finally, the priming paradigm allows us to investigate the neural correlates of musical structure processing. Two fMRI studies reported the implication of inferior frontal regions in musical priming, contrasting related and unrelated events, as well as finer structural manipulations contrasting in-key events.

Frontiers in Human Neuroscience, 2015

† These authors have contributed equally to this work.

Neuropsychologia, 2015

The combination of information across senses can enhance perception, as revealed for example by d... more The combination of information across senses can enhance perception, as revealed for example by decreased reaction times or improved stimulus detection. Interestingly, these facilitatory effects have been shown to be maximal when responses to unisensory modalities are weak. The present study investigated whether audiovisual facilitation can be observed in congenital amusia, a music-specific disorder primarily ascribed to impairments of pitch processing. Amusic individuals and their matched controls performed two tasks. In Task 1, they were required to detect auditory, visual, or audiovisual stimuli as rapidly as possible. In Task 2, they were required to detect as accurately and as rapidly as possible a pitch change within an otherwise monotonic 5-tone sequence that was presented either only auditorily (A condition), or simultaneously with a temporally congruent, but otherwise uninformative visual stimulus (AV condition). Results of Task 1 showed that amusics exhibit typical auditory and visual detection, and typical audiovisual integration capacities: both amusics and controls exhibited shorter response times for audiovisual stimuli than for either auditory stimuli or visual stimuli. Results of Task 2 revealed that both groups benefited from simultaneous uninformative visual stimuli to detect pitch changes: accuracy was higher and response times shorter in the AV condition than in the A condition. The audiovisual improvements of response times were observed for different pitch interval sizes depending on the group. These results suggest that both typical listeners and amusic individuals can benefit from multisensory integration to improve their pitch processing abilities and that this benefit varies as a function of task difficulty. These findings constitute the first step towards the perspective to exploit multisensory paradigms to reduce pitch-related deficits in congenital amusia, notably by suggesting that audiovisual paradigms are effective in an appropriate range of unimodal performance.

Annals of the New York Academy of Sciences, 2009

Twenty amusic and 20 control speakers of French were presented with pairs of Mandarin lexical ton... more Twenty amusic and 20 control speakers of French were presented with pairs of Mandarin lexical tones to discriminate as same or different. Results revealed that even if the amusic group performed significantly below the control group, the scores of the two groups largely overlapped, with only 15% of the amusic group performing outside the normal variations. Thus, the findings suggest a modest transfer of deficit between music and speech, which in turn calls for further work in order to identify the nature of the mediating factors.

Brain research, Jan 23, 2015

Music and speech are skills that require high temporal precision of motor output. A key question ... more Music and speech are skills that require high temporal precision of motor output. A key question is how humans achieve this timing precision given the poor temporal resolution of somatosensory feedback, which is classically considered to drive motor learning. We hypothesise that auditory feedback critically contributes to learn timing, and that, similarly to visuo-spatial learning models, learning proceeds by correcting a proportion of perceived timing errors. Thirty-six participants learned to tap a sequence regularly in time. For participants in the synchronous-sound group, a tone was presented simultaneously with every keystroke. For the jittered-sound group, the tone was presented after a random delay of 10-190ms following the keystroke, thus degrading the temporal information that the sound provided about the movement. For the mute group, no keystroke-triggered sound was presented. In line with the model predictions, participants in the synchronous-sound group were able to impr...

Music and language have rules governing the structural organization of events. By analogy to lang... more Music and language have rules governing the structural organization of events. By analogy to language, these rules are referred to as the 'syntactic rules' of music. Does this analogy imply that the brain actually performs syntactic computations on musical structures, similar to those for language and based on a specialized module ? In contrast to linguistic syntax, which involves abstract computation between words, rules governing musical syntax are rooted in psychoacoustic properties of sound: syntactically related events are related on a sensory level and involve only weak acoustical deviance. For example, the dominant and tonic chords (referred to as V and I in , Box 1 of [1]), whose succession forms the most fundamental syntactic unit of Western tonal music, have pitch commonality values [4] two times higher than less related dominant and supertonic chords (V and II).

PloS one, 2014

The present study investigated whether a temporal hierarchical structure favors implicit learning... more The present study investigated whether a temporal hierarchical structure favors implicit learning. An artificial pitch grammar implemented with a set of tones was presented in two different temporal contexts, notably with either a strongly metrical structure or an isochronous structure. According to the Dynamic Attending Theory, external temporal regularities can entrain internal oscillators that guide attention over time, allowing for temporal expectations that influence perception of future events. Based on this framework, it was hypothesized that the metrical structure provides a benefit for artificial grammar learning in comparison to an isochronous presentation. Our study combined behavioral and event-related potential measurements. Behavioral results demonstrated similar learning in both participant groups. By contrast, analyses of event-related potentials showed a larger P300 component and an earlier N2 component for the strongly metrical group during the exposure phase and t...

Neurorehabilitation and Neural Repair, 2015

Background. Music listening conveys beneficial effects on cognitive processes in both normal and ... more Background. Music listening conveys beneficial effects on cognitive processes in both normal and pathologic cerebral functioning. Surprisingly, no quantitative study has evaluated the potential effects of music on cognition and consciousness in patients with disorders of consciousness. Objective. The aim of the present study was to evaluate the effect of music on cerebral processing in patients with disorders of consciousness. Methods. Using bedside electroencephalographic recording, we acquired in 13 patients with disorders of consciousness event-related potentials to the patient's first name after either an excerpt of the patient's preferred music (music condition) or a continuous sound (control condition). Results. The cerebral response to the patient's first name was more often observed in the music condition, than in the control condition. Furthermore, the presence or absence of a discriminative response in the music condition seemed to be associated with a favorable or unfavorable outcome, respectively. Conclusions. These findings demonstrate for the first time that music has a beneficial effect on cognitive processes of patients with disorders of consciousness. The autobiographical characteristics of music, that is, its emotional and personal relevance, probably increase arousal and/or awareness.

Frontiers in psychology, 2011

Congenital amusia is a neurogenetic disorder that affects music processing and that is ascribed t... more Congenital amusia is a neurogenetic disorder that affects music processing and that is ascribed to a deficit in pitch processing. We investigated whether this deficit extended to pitch processing in speech, notably the pitch changes used to contrast lexical tones in tonal languages. Congenital amusics and matched controls, all non-tonal language speakers, were tested for lexical tone discrimination in Mandarin Chinese (Experiment 1) and in Thai (Experiment 2). Tones were presented in pairs and participants were required to make same/different judgments. Experiment 2 additionally included musical analogs of Thai tones for comparison. Performance of congenital amusics was inferior to that of controls for all materials, suggesting a domain-general pitch-processing deficit. The pitch deficit of amusia is thus not limited to music, but may compromise the ability to process and learn tonal languages. Combined with acoustic analyses of the tone material, the present findings provide new in...

Frontiers in systems neuroscience, 2014

During the last decade, it has been argued that (1) music processing involves syntactic represent... more During the last decade, it has been argued that (1) music processing involves syntactic representations similar to those observed in language, and (2) that music and language share similar syntactic-like processes and neural resources. This claim is important for understanding the origin of music and language abilities and, furthermore, it has clinical implications. The Western musical system, however, is rooted in psychoacoustic properties of sound, and this is not the case for linguistic syntax. Accordingly, musical syntax processing could be parsimoniously understood as an emergent property of auditory memory rather than a property of abstract processing similar to linguistic processing. To support this view, we simulated numerous empirical studies that investigated the processing of harmonic structures, using a model based on the accumulation of sensory information in auditory memory. The simulations revealed that most of the musical syntax manipulations used with behavioral and...

Memory & Cognition - MEM COGNITION, 2007

Memory for details of text generally declines relatively rapidly, whereas memory for propositiona... more Memory for details of text generally declines relatively rapidly, whereas memory for propositional and contextbased meanings is generally more resilient over time. In the present study, we investigated short-term memory for two kinds of verbal material: prose and poetry. Participants heard or read prose stories or poems in which a phrase near the start of the passage served as a target. The text continued, and after various delays, memory was tested with a repetition of the target (old verbatim; O), a paraphrased lure (P), or a lure in which the meaning was chang. For prose, memory for surface details (as measured by O/P discrimination) declined over time (Experiments 2–4), as was expect. For poetry, memory for surface details (O/P discrimination) did not decline with increasing delay (Experiments 1, 3, and 4). This lack of decline in memory for the surface details of poetry is discussed in relation to similar results previously observed for musical excerpts (Dowling, Tillmann, & Ay...

Topics in Cognitive Science, 2012

Music can be described as sequences of events that are structured in pitch and time. Studying mus... more Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes.

The Quarterly Journal of Experimental Psychology, 2010

Psychological Review, 2014

Listeners&amp... more Listeners' expectations for melodies and harmonies in tonal music are perhaps the most studied aspect of music cognition. Long debated has been whether faster response times (RTs) to more strongly primed events (in a music theoretic sense) are driven by sensory or cognitive mechanisms, such as repetition of sensory information or activation of cognitive schemata that reflect learned tonal knowledge, respectively. We analyzed over 300 stimuli from 7 priming experiments comprising a broad range of musical material, using a model that transforms raw audio signals through a series of plausible physiological and psychological representations spanning a sensory-cognitive continuum. We show that RTs are modeled, in part, by information in periodicity pitch distributions, chroma vectors, and activations of tonal space--a representation on a toroidal surface of the major/minor key relationships in Western tonal music. We show that in tonal space, melodies are grouped by their tonal rather than timbral properties, whereas the reverse is true for the periodicity pitch representation. While tonal space variables explained more of the variation in RTs than did periodicity pitch variables, suggesting a greater contribution of cognitive influences to tonal expectation, a stepwise selection model contained variables from both representations and successfully explained the pattern of RTs across stimulus categories in 4 of the 7 experiments. The addition of closure--a cognitive representation of a specific syntactic relationship--succeeded in explaining results from all 7 experiments. We conclude that multiple representational stages along a sensory-cognitive continuum combine to shape tonal expectations in music.

Psychological Research Psychologische Forschung, 2006

Pitch and time are two principal form-bearing dimensions in Western tonal music. Research on melo... more Pitch and time are two principal form-bearing dimensions in Western tonal music. Research on melody perception has shown that listeners develop expectations about "What" note is coming next and "When" in time it will occur. Our study used sequences of chords (i.e., simultaneously sounding notes) to investigate the influence of these expectations on chord processing (Experiments 1 and 4) and subjective judgments of completion (Experiments 2 and 3). Both tasks showed an influence of tonal relations and temporal regularities: expected events occurring at the expected moment were processed faster and led to higher completion judgments. However, pitch and time dimensions interacted only for completion judgments. The present outcome suggests that for chord perception the influence of pitch and time might depend on the required processing: with a more global judgment favoring interactive influences in contrast to a task focusing on local chord processing.

Psychonomic Bulletin & Review, 2010

In the present study, the gating paradigm was used to measure how much perceptual information tha... more In the present study, the gating paradigm was used to measure how much perceptual information that was extracted from musical excerpts needs to be heard to provide judgments of familiarity and of emotionality. Nonmusicians heard segments of increasing duration (250, 500, 1,000 msec, etc.). The stimuli were segments from familiar and unfamiliar musical excerpts in Experiment 1 and from very

PLoS ONE, 2014

The human brain is able to predict the sensory effects of its actions. But how precise are these ... more The human brain is able to predict the sensory effects of its actions. But how precise are these predictions? The present research proposes a tool to measure thresholds between a simple action (keystroke) and a resulting sound. On each trial, participants were required to press a key. Upon each keystroke, a woodblock sound was presented. In some trials, the sound came immediately with the downward keystroke; at other times, it was delayed by a varying amount of time. Participants were asked to verbally report whether the sound came immediately or was delayed. Participants' delay detection thresholds (in msec) were measured with a staircase-like procedure. We hypothesised that musicians would have a lower threshold than non-musicians. Comparing pianists and brass players, we furthermore hypothesised that, as a result of a sharper attack of the timbre of their instrument, pianists might have lower thresholds than brass players. Our results show that nonmusicians exhibited higher thresholds for delay detection (1806104 ms) than the two groups of musicians (102665 ms), but there were no differences between pianists and brass players. The variance in delay detection thresholds could be explained by variance in sensorimotor synchronisation capacities as well as variance in a purely auditory temporal irregularity detection measure. This suggests that the brain's capacity to generate temporal predictions of sensory consequences can be decomposed into general temporal prediction capacities together with auditory-motor coupling. These findings indicate that the brain has a relatively large window of integration within which an action and its resulting effect are judged as simultaneous. Furthermore, musical expertise may narrow this window down, potentially due to a more refined temporal prediction. This novel paradigm provides a simple test to estimate the temporal precision of auditorymotor action-effect coupling, and the paradigm can readily be incorporated in studies investigating both healthy and patient populations.

Journal of Experimental Psychology: Human Perception and Performance, 2003

This study investigated the strength of sensory and cognitive components involved in musical prim... more This study investigated the strength of sensory and cognitive components involved in musical priming. In Experiment 1, the harmonic function of the target chord and the number of pitch classes shared by the prime sequence and the target chord were manipulated. In Experiment 2, the temporal course of sensory and cognitive priming was investigated. For both musician and nonmusician listeners, cognitive priming systematically overruled sensory priming even at fast and very fast tempi (300 ms and 150 ms per chord). Cognitive priming continued to challenge sensory priming processes at extremely fast tempo (75 ms per chord) but only for participants who began the experimental session with slower tempi. This outcome suggests that the cognitive component is a fast-acting component that competes with sensory priming.

The present study investigated the learning of a culturally unfamiliar musical rhythm, leading to... more The present study investigated the learning of a culturally unfamiliar musical rhythm, leading to the development of temporal expectations, and it explored the potential for generalization across tempi and tasks. With that aim, we adapted the serial reaction time task to examine the learning of temporal structures by an indirect method. The temporal pattern employed was based on a complex interval ratio (2:3) and compared to one based on a simple interval ratio (1:2). In the exposure phase, nonmusician participants performed a two-choice speeded discrimination task that required responding by key press to each event of the simple or complex auditory pattern. Participants were not informed about the temporal regularities; their task solely concerned the discrimination task. During exposure (Experiments 1-3), response times decreased over time for both temporal patterns, but particularly for the events following the longer interval of the more complex 2:3 pattern. Exposure further influenced performance in subsequent testing phases, notably the precision of tap timing in a production task (Experiment 2) and temporal expectations in a perception task (Experiment 3). Our findings promote the new paradigm introduced here as a method to investigate the learning of temporal structures.

Attention Perception & Psychophysics, 2007

Music cognition research has provided evidence that the tonal function of a musical event influen... more Music cognition research has provided evidence that the tonal function of a musical event influences perception and memory. Our study investigated whether tonal function influences a basic temporal judgment, notably the detection of a temporal change disrupting a sequence’s regularity. The sequences consisted of six musical events presented in isochrony (or with the fifth event occurring earlier or later): Three

By mere exposure to musical pieces in everyday life, Western listeners acquire sensitivity to the... more By mere exposure to musical pieces in everyday life, Western listeners acquire sensitivity to the regularities of the tonal system and to the context dependency of musical sounds. This implicitly acquired tonal knowledge allows nonmusician listeners to perceive relationships among musical events and to develop expectations for future events that then influence the processing of these events. The musical priming paradigm is one method of the indirect investigation of listeners' tonal knowledge. It investigates the influence of a preceding context (with its musical structures and relationships) on the processing of a musical target event, without asking participants for direct evaluations. Behavioral priming data have provided evidence for facilitated processing of musically related events in comparison to unrelated and less-related events. The sensitivity of implicit investigations is further shown by I.R., a patient with severe amusia, showing spared implicit knowledge of music. Finally, the priming paradigm allows us to investigate the neural correlates of musical structure processing. Two fMRI studies reported the implication of inferior frontal regions in musical priming, contrasting related and unrelated events, as well as finer structural manipulations contrasting in-key events.

Frontiers in Human Neuroscience, 2015

† These authors have contributed equally to this work.

Neuropsychologia, 2015

The combination of information across senses can enhance perception, as revealed for example by d... more The combination of information across senses can enhance perception, as revealed for example by decreased reaction times or improved stimulus detection. Interestingly, these facilitatory effects have been shown to be maximal when responses to unisensory modalities are weak. The present study investigated whether audiovisual facilitation can be observed in congenital amusia, a music-specific disorder primarily ascribed to impairments of pitch processing. Amusic individuals and their matched controls performed two tasks. In Task 1, they were required to detect auditory, visual, or audiovisual stimuli as rapidly as possible. In Task 2, they were required to detect as accurately and as rapidly as possible a pitch change within an otherwise monotonic 5-tone sequence that was presented either only auditorily (A condition), or simultaneously with a temporally congruent, but otherwise uninformative visual stimulus (AV condition). Results of Task 1 showed that amusics exhibit typical auditory and visual detection, and typical audiovisual integration capacities: both amusics and controls exhibited shorter response times for audiovisual stimuli than for either auditory stimuli or visual stimuli. Results of Task 2 revealed that both groups benefited from simultaneous uninformative visual stimuli to detect pitch changes: accuracy was higher and response times shorter in the AV condition than in the A condition. The audiovisual improvements of response times were observed for different pitch interval sizes depending on the group. These results suggest that both typical listeners and amusic individuals can benefit from multisensory integration to improve their pitch processing abilities and that this benefit varies as a function of task difficulty. These findings constitute the first step towards the perspective to exploit multisensory paradigms to reduce pitch-related deficits in congenital amusia, notably by suggesting that audiovisual paradigms are effective in an appropriate range of unimodal performance.

Annals of the New York Academy of Sciences, 2009

Twenty amusic and 20 control speakers of French were presented with pairs of Mandarin lexical ton... more Twenty amusic and 20 control speakers of French were presented with pairs of Mandarin lexical tones to discriminate as same or different. Results revealed that even if the amusic group performed significantly below the control group, the scores of the two groups largely overlapped, with only 15% of the amusic group performing outside the normal variations. Thus, the findings suggest a modest transfer of deficit between music and speech, which in turn calls for further work in order to identify the nature of the mediating factors.

Brain research, Jan 23, 2015

Music and speech are skills that require high temporal precision of motor output. A key question ... more Music and speech are skills that require high temporal precision of motor output. A key question is how humans achieve this timing precision given the poor temporal resolution of somatosensory feedback, which is classically considered to drive motor learning. We hypothesise that auditory feedback critically contributes to learn timing, and that, similarly to visuo-spatial learning models, learning proceeds by correcting a proportion of perceived timing errors. Thirty-six participants learned to tap a sequence regularly in time. For participants in the synchronous-sound group, a tone was presented simultaneously with every keystroke. For the jittered-sound group, the tone was presented after a random delay of 10-190ms following the keystroke, thus degrading the temporal information that the sound provided about the movement. For the mute group, no keystroke-triggered sound was presented. In line with the model predictions, participants in the synchronous-sound group were able to impr...

Music and language have rules governing the structural organization of events. By analogy to lang... more Music and language have rules governing the structural organization of events. By analogy to language, these rules are referred to as the 'syntactic rules' of music. Does this analogy imply that the brain actually performs syntactic computations on musical structures, similar to those for language and based on a specialized module ? In contrast to linguistic syntax, which involves abstract computation between words, rules governing musical syntax are rooted in psychoacoustic properties of sound: syntactically related events are related on a sensory level and involve only weak acoustical deviance. For example, the dominant and tonic chords (referred to as V and I in , Box 1 of [1]), whose succession forms the most fundamental syntactic unit of Western tonal music, have pitch commonality values [4] two times higher than less related dominant and supertonic chords (V and II).

PloS one, 2014

The present study investigated whether a temporal hierarchical structure favors implicit learning... more The present study investigated whether a temporal hierarchical structure favors implicit learning. An artificial pitch grammar implemented with a set of tones was presented in two different temporal contexts, notably with either a strongly metrical structure or an isochronous structure. According to the Dynamic Attending Theory, external temporal regularities can entrain internal oscillators that guide attention over time, allowing for temporal expectations that influence perception of future events. Based on this framework, it was hypothesized that the metrical structure provides a benefit for artificial grammar learning in comparison to an isochronous presentation. Our study combined behavioral and event-related potential measurements. Behavioral results demonstrated similar learning in both participant groups. By contrast, analyses of event-related potentials showed a larger P300 component and an earlier N2 component for the strongly metrical group during the exposure phase and t...

Neurorehabilitation and Neural Repair, 2015

Background. Music listening conveys beneficial effects on cognitive processes in both normal and ... more Background. Music listening conveys beneficial effects on cognitive processes in both normal and pathologic cerebral functioning. Surprisingly, no quantitative study has evaluated the potential effects of music on cognition and consciousness in patients with disorders of consciousness. Objective. The aim of the present study was to evaluate the effect of music on cerebral processing in patients with disorders of consciousness. Methods. Using bedside electroencephalographic recording, we acquired in 13 patients with disorders of consciousness event-related potentials to the patient's first name after either an excerpt of the patient's preferred music (music condition) or a continuous sound (control condition). Results. The cerebral response to the patient's first name was more often observed in the music condition, than in the control condition. Furthermore, the presence or absence of a discriminative response in the music condition seemed to be associated with a favorable or unfavorable outcome, respectively. Conclusions. These findings demonstrate for the first time that music has a beneficial effect on cognitive processes of patients with disorders of consciousness. The autobiographical characteristics of music, that is, its emotional and personal relevance, probably increase arousal and/or awareness.

Frontiers in psychology, 2011

Congenital amusia is a neurogenetic disorder that affects music processing and that is ascribed t... more Congenital amusia is a neurogenetic disorder that affects music processing and that is ascribed to a deficit in pitch processing. We investigated whether this deficit extended to pitch processing in speech, notably the pitch changes used to contrast lexical tones in tonal languages. Congenital amusics and matched controls, all non-tonal language speakers, were tested for lexical tone discrimination in Mandarin Chinese (Experiment 1) and in Thai (Experiment 2). Tones were presented in pairs and participants were required to make same/different judgments. Experiment 2 additionally included musical analogs of Thai tones for comparison. Performance of congenital amusics was inferior to that of controls for all materials, suggesting a domain-general pitch-processing deficit. The pitch deficit of amusia is thus not limited to music, but may compromise the ability to process and learn tonal languages. Combined with acoustic analyses of the tone material, the present findings provide new in...

Frontiers in systems neuroscience, 2014

During the last decade, it has been argued that (1) music processing involves syntactic represent... more During the last decade, it has been argued that (1) music processing involves syntactic representations similar to those observed in language, and (2) that music and language share similar syntactic-like processes and neural resources. This claim is important for understanding the origin of music and language abilities and, furthermore, it has clinical implications. The Western musical system, however, is rooted in psychoacoustic properties of sound, and this is not the case for linguistic syntax. Accordingly, musical syntax processing could be parsimoniously understood as an emergent property of auditory memory rather than a property of abstract processing similar to linguistic processing. To support this view, we simulated numerous empirical studies that investigated the processing of harmonic structures, using a model based on the accumulation of sensory information in auditory memory. The simulations revealed that most of the musical syntax manipulations used with behavioral and...

Memory & Cognition - MEM COGNITION, 2007

Memory for details of text generally declines relatively rapidly, whereas memory for propositiona... more Memory for details of text generally declines relatively rapidly, whereas memory for propositional and contextbased meanings is generally more resilient over time. In the present study, we investigated short-term memory for two kinds of verbal material: prose and poetry. Participants heard or read prose stories or poems in which a phrase near the start of the passage served as a target. The text continued, and after various delays, memory was tested with a repetition of the target (old verbatim; O), a paraphrased lure (P), or a lure in which the meaning was chang. For prose, memory for surface details (as measured by O/P discrimination) declined over time (Experiments 2–4), as was expect. For poetry, memory for surface details (O/P discrimination) did not decline with increasing delay (Experiments 1, 3, and 4). This lack of decline in memory for the surface details of poetry is discussed in relation to similar results previously observed for musical excerpts (Dowling, Tillmann, & Ay...

Topics in Cognitive Science, 2012

Music can be described as sequences of events that are structured in pitch and time. Studying mus... more Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes.

The Quarterly Journal of Experimental Psychology, 2010

Psychological Review, 2014

Listeners&amp... more Listeners' expectations for melodies and harmonies in tonal music are perhaps the most studied aspect of music cognition. Long debated has been whether faster response times (RTs) to more strongly primed events (in a music theoretic sense) are driven by sensory or cognitive mechanisms, such as repetition of sensory information or activation of cognitive schemata that reflect learned tonal knowledge, respectively. We analyzed over 300 stimuli from 7 priming experiments comprising a broad range of musical material, using a model that transforms raw audio signals through a series of plausible physiological and psychological representations spanning a sensory-cognitive continuum. We show that RTs are modeled, in part, by information in periodicity pitch distributions, chroma vectors, and activations of tonal space--a representation on a toroidal surface of the major/minor key relationships in Western tonal music. We show that in tonal space, melodies are grouped by their tonal rather than timbral properties, whereas the reverse is true for the periodicity pitch representation. While tonal space variables explained more of the variation in RTs than did periodicity pitch variables, suggesting a greater contribution of cognitive influences to tonal expectation, a stepwise selection model contained variables from both representations and successfully explained the pattern of RTs across stimulus categories in 4 of the 7 experiments. The addition of closure--a cognitive representation of a specific syntactic relationship--succeeded in explaining results from all 7 experiments. We conclude that multiple representational stages along a sensory-cognitive continuum combine to shape tonal expectations in music.

Psychological Research Psychologische Forschung, 2006

Pitch and time are two principal form-bearing dimensions in Western tonal music. Research on melo... more Pitch and time are two principal form-bearing dimensions in Western tonal music. Research on melody perception has shown that listeners develop expectations about "What" note is coming next and "When" in time it will occur. Our study used sequences of chords (i.e., simultaneously sounding notes) to investigate the influence of these expectations on chord processing (Experiments 1 and 4) and subjective judgments of completion (Experiments 2 and 3). Both tasks showed an influence of tonal relations and temporal regularities: expected events occurring at the expected moment were processed faster and led to higher completion judgments. However, pitch and time dimensions interacted only for completion judgments. The present outcome suggests that for chord perception the influence of pitch and time might depend on the required processing: with a more global judgment favoring interactive influences in contrast to a task focusing on local chord processing.

Psychonomic Bulletin & Review, 2010

In the present study, the gating paradigm was used to measure how much perceptual information tha... more In the present study, the gating paradigm was used to measure how much perceptual information that was extracted from musical excerpts needs to be heard to provide judgments of familiarity and of emotionality. Nonmusicians heard segments of increasing duration (250, 500, 1,000 msec, etc.). The stimuli were segments from familiar and unfamiliar musical excerpts in Experiment 1 and from very

PLoS ONE, 2014

The human brain is able to predict the sensory effects of its actions. But how precise are these ... more The human brain is able to predict the sensory effects of its actions. But how precise are these predictions? The present research proposes a tool to measure thresholds between a simple action (keystroke) and a resulting sound. On each trial, participants were required to press a key. Upon each keystroke, a woodblock sound was presented. In some trials, the sound came immediately with the downward keystroke; at other times, it was delayed by a varying amount of time. Participants were asked to verbally report whether the sound came immediately or was delayed. Participants' delay detection thresholds (in msec) were measured with a staircase-like procedure. We hypothesised that musicians would have a lower threshold than non-musicians. Comparing pianists and brass players, we furthermore hypothesised that, as a result of a sharper attack of the timbre of their instrument, pianists might have lower thresholds than brass players. Our results show that nonmusicians exhibited higher thresholds for delay detection (1806104 ms) than the two groups of musicians (102665 ms), but there were no differences between pianists and brass players. The variance in delay detection thresholds could be explained by variance in sensorimotor synchronisation capacities as well as variance in a purely auditory temporal irregularity detection measure. This suggests that the brain's capacity to generate temporal predictions of sensory consequences can be decomposed into general temporal prediction capacities together with auditory-motor coupling. These findings indicate that the brain has a relatively large window of integration within which an action and its resulting effect are judged as simultaneous. Furthermore, musical expertise may narrow this window down, potentially due to a more refined temporal prediction. This novel paradigm provides a simple test to estimate the temporal precision of auditorymotor action-effect coupling, and the paradigm can readily be incorporated in studies investigating both healthy and patient populations.

Journal of Experimental Psychology: Human Perception and Performance, 2003

This study investigated the strength of sensory and cognitive components involved in musical prim... more This study investigated the strength of sensory and cognitive components involved in musical priming. In Experiment 1, the harmonic function of the target chord and the number of pitch classes shared by the prime sequence and the target chord were manipulated. In Experiment 2, the temporal course of sensory and cognitive priming was investigated. For both musician and nonmusician listeners, cognitive priming systematically overruled sensory priming even at fast and very fast tempi (300 ms and 150 ms per chord). Cognitive priming continued to challenge sensory priming processes at extremely fast tempo (75 ms per chord) but only for participants who began the experimental session with slower tempi. This outcome suggests that the cognitive component is a fast-acting component that competes with sensory priming.

The present study investigated the learning of a culturally unfamiliar musical rhythm, leading to... more The present study investigated the learning of a culturally unfamiliar musical rhythm, leading to the development of temporal expectations, and it explored the potential for generalization across tempi and tasks. With that aim, we adapted the serial reaction time task to examine the learning of temporal structures by an indirect method. The temporal pattern employed was based on a complex interval ratio (2:3) and compared to one based on a simple interval ratio (1:2). In the exposure phase, nonmusician participants performed a two-choice speeded discrimination task that required responding by key press to each event of the simple or complex auditory pattern. Participants were not informed about the temporal regularities; their task solely concerned the discrimination task. During exposure (Experiments 1-3), response times decreased over time for both temporal patterns, but particularly for the events following the longer interval of the more complex 2:3 pattern. Exposure further influenced performance in subsequent testing phases, notably the precision of tap timing in a production task (Experiment 2) and temporal expectations in a perception task (Experiment 3). Our findings promote the new paradigm introduced here as a method to investigate the learning of temporal structures.