The way the visual system processes different scales of spatial information has been widely studied, highlighting the dominant role of global over local processing. Recent studies addressing how the auditory system deals with local–global temporal information suggest a comparable processing scheme, but little is known about how this organization is modulated by long-term musical training, in particular regarding musical sequences. Here, we investigate how non-musicians and expert musicians detect local and global pitch changes in short hierarchical tone sequences structured across temporally-segregated triplets made of musical intervals (local scale) forming a melodic contour (global scale) varying either in one direction (monotonic) or both (non-monotonic). Our data reveal a clearly distinct organization between both groups. Non-musicians show global advantage (enhanced performance to detect global over local modifications) and global-to-local interference effects (interference of global over local processing) only for monotonic sequences, while musicians exhibit the reversed pattern for non-monotonic sequences. These results suggest that the local–global processing scheme depends on the complexity of the melodic contour, and that long-term musical training induces a prominent perceptual reorganization that reshapes its initial global dominance to favour local information processing. This latter result supports the theory of “analytic” processing acquisition in musicians.

The way the visual system processes different scales of spatial information has been widely studied, highlighting the dominant role of global over local processing. Recent studies addressing how the auditory system deals with local-global temporal information suggest a comparable processing scheme, but little is known about how this organization is modulated by long-term musical training, in particular regarding musical sequences. Here, we investigate how non-musicians and expert musicians detect local and global pitch changes in short hierarchical tone sequences structured across temporally-segregated triplets made of musical intervals (local scale) forming a melodic contour (global scale) varying either in one direction (monotonic) or both (non-monotonic). Our data reveal a clearly distinct organization between both groups. Non-musicians show global advantage (enhanced performance to detect global over local modifications) and global-to-local interference effects (interference of global over local processing) only for monotonic sequences, while musicians exhibit the reversed pattern for non-monotonic sequences. These results suggest that the local-global processing scheme depends on the complexity of the melodic contour, and that long-term musical training induces a prominent perceptual reorganization that reshapes its initial global dominance to favour local information processing. This latter result supports the theory of “analytic” processing acquisition in musicians.