Generation of the auditory steady state responses (ASSR) is commonly explained by the linear combination of random background noise activity and the stationary response. Based on this model, the decrease of amplitude that occurs over the sequential averaging of epochs of the raw data has been exclusively linked to the cancelation of noise. Nevertheless, this behavior might also reflect the non-stationary response of the ASSR generators. We tested this hypothesis by characterizing the ASSR time course in rats with different auditory maturational stages. ASSR were evoked by 8-kHz tones of different supra-threshold intensities, modulated in amplitude at 115 Hz. Results show that the ASSR amplitude habituated to the sustained stimulation and that dishabituation occurred when deviant stimuli were presented. ASSR habituation increased as animals became adults, suggesting that the ability to filter acoustic stimuli with no-relevant temporal information increased with age. Results are discussed in terms of the current model of the ASSR generation and analysis procedures. They might have implications for audiometric tests designed to assess hearing in subjects who cannot provide reliable results in the psychophysical trials.

The aim of this experiment was to investigate the influence of musical expertise on the automatic perception of foreign syllables and harmonic sounds. Participants were Cuban students with high level of expertise in music or in visual arts and with the same level of general education and socio-economic background. We used a multi-feature Mismatch Negativity (MMN) design with sequences of either syllables in Mandarin Chinese or harmonic sounds, both comprising deviants in pitch contour, duration and Voice Onset Time (VOT) or equivalent that were either far from (Large deviants) or close to (Small deviants) the standard. For both Mandarin syllables and harmonic sounds, results were clear-cut in showing larger MMNs to pitch contour deviants in musicians than in visual artists. Results were less clear for duration and VOT deviants, possibly because of the specific characteristics of the stimuli. Results are interpreted as reflecting similar processing of pitch contour in speech and non-speech sounds. The implications of these results for understanding the influence of intense musical training from childhood to adulthood and of genetic predispositions for music on foreign language perception are discussed.