Recent studies disagree on whether musicians have an advantage over non-musicians in understanding speech in noise. However, it has been suggested that musicians may be able to use differences in fundamental frequency (F0) to better understand target speech in the presence of interfering talkers. Here we studied a relatively large (N = 60) cohort of young adults, equally divided between non-musicians and highly trained musicians, to test whether the musicians were better able to understand speech either in noise or in a two-talker competing speech masker. The target speech and competing speech were presented with either their natural F0 contours or on a monotone F0, and the F0 difference between the target and masker was systematically varied. As expected, speech intelligibility improved with increasing F0 difference between the target and the two-talker masker for both natural and monotone speech. However, no significant intelligibility advantage was observed for musicians over non-musicians in any condition. Although F0 discrimination was significantly better for musicians than for non-musicians, it was not correlated with speech scores. Overall, the results do not support the hypothesis that musical training leads to improved speech intelligibility in complex speech or noise backgrounds.

The question of how frequency is coded in the peripheral auditory system remains unresolved. Previous research has suggested that slow rates of frequency modulation (FM) of a low carrier frequency may be coded via phase-locked temporal information in the auditory nerve, whereas FM at higher rates and/or high carrier frequencies may be coded via a rate-place (tonotopic) code. This hypothesis was tested in a cohort of 100 young normal-hearing listeners by comparing individual sensitivity to slow-rate (1-Hz) and fast-rate (20-Hz) FM at a carrier frequency of 500 Hz with independent measures of phase-locking (using dynamic interaural time difference, ITD, discrimination), level coding (using amplitude modulation, AM, detection), and frequency selectivity (using forward-masking patterns). All FM and AM thresholds were highly correlated with each other. However, no evidence was obtained for stronger correlations between measures thought to reflect phase-locking (e.g., slow-rate FM and ITD sensitivity), or between measures thought to reflect tonotopic coding (fast-rate FM and forward-masking patterns). The results suggest that either psychoacoustic performance in young normal-hearing listeners is not limited by peripheral coding, or that similar peripheral mechanisms limit both high-and low-rate FM coding.

Natural sounds can be characterized by their fluctuations in amplitude and frequency. Ageing may affect sensitivity to some forms of fluctuations more than others. The present study used individual differences across a wide age range (20-79 years) to test the hypothesis that slow-rate, low-carrier frequency modulation (FM) is coded by phase-locked auditory-nerve responses to temporal fine structure (TFS), whereas fast-rate FM is coded via rate-place (tonotopic) cues, based on amplitude modulation (AM) of the temporal envelope after cochlear filtering. Using a low (500 Hz) carrier frequency, diotic FM and AM detection thresholds were measured at slow (1 Hz) and fast (20 Hz) rates in 85 listeners. Frequency selectivity and TFS coding were assessed using forward masking patterns and interaural phase disparity tasks (slow dichotic FM), respectively. Comparable interaural level disparity tasks (slow and fast dichotic AM and fast dichotic FM) were measured to control for effects of binaural processing not specifically related to TFS coding. Thresholds in FM and AM tasks were correlated, even across tasks thought to use separate peripheral codes. Age was correlated with slow and fast FM thresholds in both diotic and dichotic conditions. The relationship between age and AM thresholds was generally not significant. Once accounting for AM sensitivity, only diotic slow-rate FM thresholds remained significantly correlated with age. Overall, results indicate stronger effects of age on FM than AM. However, because of similar effects for both slow and fast FM when not accounting for AM sensitivity, the effects cannot be unambiguously ascribed to TFS coding.

When people make cross-modal matches from classical music to colors, they choose colors whose emotional associations fit the emotional associations of the music, supporting the emotional mediation hypothesis. We further explored this result with a large, diverse sample of 34 musical excerpts from different genres, including Blues, Salsa, Heavy metal, and many others, a broad sample of 10 emotion-related rating scales, and a large range of 15 rated music–perceptual features. We found systematic music-to-color associations between perceptual features of the music and perceptual dimensions of the colors chosen as going best/worst with the music (e.g., loud, punchy, distorted music was generally associated with darker, redder, more saturated colors). However, these associations were also consistent with emotional mediation (e.g., agitated-sounding music was associated with agitated-looking colors). Indeed, partialling out the variance due to emotional content eliminated all significant cross-modal correlations between lower level perceptual features. Parallel factor analysis (Parafac, a type of factor analysis that encompasses individual differences) revealed two latent affective factors—arousal and valence—which mediated lower level correspondences in music-to-color associations. Participants thus appear to match music to colors primarily in terms of common, mediating emotional associations.