Early electrophysiological correlates of meter and rhythm processing in music perception

Geiser, Eveline; Ziegler, Esther; Jäncke, Lutz; Meyer, Martin

doi:10.1016/j.cortex.2007.09.010

Cited by 106 publications

(128 citation statements)

References 62 publications

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“…However, careful examination of the existing research shows that all encultured listeners perceive music remarkably similarly (Bigand & Poulin-Charronnat, 2006 ). With a specific view towards abstract organizational structures, both musically trained and untrained listeners show the same patterns of perception of tonality (Hébert, Peretz, & Gagnon, 1995;Koelsch, Gunter, Friederici, & Schröger, 2000;Loui, Wessel, & Kam, 2010;Tillmann & PoulinCharronnat, 2010;Trainor & Trehub, 1994;van Egmond & Boswijk, 2007) and meter (Geiser, Ziegler, Jancke, & Meyer, 2009;Hannon et al, 2004). The present studies extend these general findings by revealing that musical training is not associated with any qualitative differences in pitch-time integration.…”

Section: ---Insert Figure 4 About Here----discussionsupporting

confidence: 74%

The Integration of Stimulus Dimensions in the Perception of Music

Prince

2011

Quarterly Journal of Experimental Psychology

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A central aim of cognitive psychology is to explain how we integrate stimulus dimensions into a unified percept, but how the dimensions of pitch and time combine in the perception of music remains a largely unresolved issue. The goal of this study was to test the effect of varying the degree of conformity to dimensional structure in pitch and time (specifically, tonality and meter) on goodness ratings and classifications of melodies. The pitches and durations of melodies were presented either in their original order, as a reordered sequence, or replaced with random elements. Musically trained and untrained participants (24 each) rated melodic goodness, attending selectively to the dimensions of pitch, time, or to both. Also, 24 trained participants classified whether or not the melodies were tonal, metric, or both. Pitch and temporal manipulations always influenced responses, but participants successfully emphasized either dimension in accordance with instructions. Effects of pitch and time were mostly independent for selective attention conditions, but more interactive when evaluating both dimensions. When interactions occurred, the effect of either dimension increased as the other dimension conformed more to its original structure. Relative main effect sizes (| pitch 2 -time 2 |) predicted the strength of pitch-time interactions (pitch*time 2 ); interactions were stronger when main effect sizes were more evenly matched. These results have implications for dimensional integration in several domains. Relative main effect size could serve as an indicator of dimensional salience, such that interactions are more likely when dimensions are equally salient.

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Section: ---Insert Figure 4 About Here----discussionsupporting

confidence: 74%

The Integration of Stimulus Dimensions in the Perception of Music

Prince

2011

Quarterly Journal of Experimental Psychology

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“…Procedures were adapted from previously described tests of musical deviance detection [78,79]. Detection of deviant notes has been employed in previous music psychology paradigms that sought to capture on-line analysis of musical information in pitch and temporal domains under conditions that resemble natural musical listening; such paradigms establish a continuous musical context, allow precise programming of incongruent events that violate musical expectancies, capture moment-to-moment tracking of musical structure [78] and allow estimation of processing latencies [79] while at the same time avoiding any explicit requirement to make delayed, serial comparisons with episodes held in musical memory (potentially, a particular advantage in patients with dementia).…”

Section: Experimental Music Perception Batterymentioning

confidence: 99%

“…Detection of deviant notes has been employed in previous music psychology paradigms that sought to capture on-line analysis of musical information in pitch and temporal domains under conditions that resemble natural musical listening; such paradigms establish a continuous musical context, allow precise programming of incongruent events that violate musical expectancies, capture moment-to-moment tracking of musical structure [78] and allow estimation of processing latencies [79] while at the same time avoiding any explicit requirement to make delayed, serial comparisons with episodes held in musical memory (potentially, a particular advantage in patients with dementia). For the present pitch and temporal processing tests, participants were required to listen to a sequence of musical notes that conformed to a basic pattern with randomly presented notes that deviated from the pattern according to the musical parameter of interest; for each subtest, the task on each trial was to press a button as soon as a deviant note occurred.…”

Section: Experimental Music Perception Batterymentioning

confidence: 99%

“…Stimulus parameters were in line with values used in previous work [78,79]. Stimuli were presented from a notebook computer running MATLAB® via headphones (Audio-Technica®) at a comfortable listening level (at least 70 dB) in a quiet room.…”

Section: Experimental Music Perception Batterymentioning

confidence: 99%

“…sequences for the temporal test comprised repeated rhythmic patterns, adapted after the stimuli described by Geiser et al [78] (see Figure 2); a given sequence (trial) established a template rhythm with metre (time signature) fixed at either three or four beats per cycle (3/4 or 4/4 time), emphasising the first note of the cycle (bar) with increased sound intensity. Individual notes had fixed pitch (either D 4 , Eflat 4 or E 4 ) with note duration 200 ms, and a base tempo for the sequence of either 100 or 120 beats/minute; total sequence duration for a given trial ranged from 22.5 to 38.4 seconds.…”

Section: Assessment Of Temporal Pattern Processing-stimulusmentioning

confidence: 99%

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Music Perception in Dementia

Golden

Clark

Nicholas

et al. 2016

JAD

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# These authors contributed equally to this work. AbstractDespite much recent interest in music and dementia, music perception has not been widely studied across dementia syndromes using an information processing approach. Here we addressed this issue in a cohort of 30 patients representing major dementia syndromes of typical Alzheimer's disease (AD, n=16), logopenic aphasia (LPA, an Alzheimer variant syndrome; n=5) and progressive nonfluent aphasia (PNFA; n=9) in relation to 19 healthy age-matched individuals. We designed a novel neuropsychological battery to assess perception of musical patterns in the dimensions of pitch and temporal information (requiring detection of notes that deviated from the established pattern based on local or global sequence features) and musical scene analysis (requiring detection of a familiar tune within polyphonic harmony). Performance on these tests was referenced to generic auditory (timbral) deviance detection and recognition of familiar tunes and adjusted for general auditory working memory performance. Relative to healthy controls, patients with AD and LPA had group-level deficits of global pitch (melody contour) processing while patients with PNFA as a group had deficits of local (interval) as well as global pitch processing. There was substantial individual variation within syndromic groups. No specific deficits of musical temporal processing, timbre processing, musical scene analysis or tune recognition were identified. The findings suggest that particular aspects of music perception such as pitch pattern analysis may open a window on the processing of information streams in major dementia syndromes. The potential selectivity of musical deficits for particular dementia syndromes and particular dimensions of processing warrants further systematic investigation.

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Rhythm evokes action: Early processing of metric deviances in expressive music by experts and laymen revealed by ERP source imaging

James

Michel

Britz

et al. 2011

Human Brain Mapping

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To examine how musical expertise tunes the brain to subtle metric anomalies in an ecological musical context, we presented piano compositions ending on standard and deviant cadences (endings) to expert pianists and musical laymen, while high-density EEG was recorded. Temporal expectancies were manipulated by substituting standard "masculine" cadences at metrically strong positions with deviant, metrically unaccented, "feminine" cadences. Experts detected metrically deviant cadences better than laymen. Analyses of event-related potentials demonstrated that an early P3a-like component (~150-300 ms), elicited by musical closure, was significantly enhanced at frontal and parietal electrodes in response to deviant endings in experts, whereas a reduced response to deviance occurred in laymen. Putative neuronal sources contributing to the modulation of this component were localized in a network of brain regions including bilateral supplementary motor areas, middle and posterior cingulate cortex, precuneus, associative visual areas, as well as in the right amygdala and insula. In all these regions, experts showed enhanced responses to metric deviance. Later effects demonstrated enhanced activations within the same brain network, as well as higher processing speed for experts. These results suggest that early brain responses to metric deviance in experts may rely on motor representations mediated by the supplementary motor area and motor cingulate regions, in addition to areas involved in self-referential imagery and relevance detection. Such motor representations could play a role in temporal sensory prediction evolved from musical training and suggests that rhythm evokes action more strongly in highly trained instrumentalists.

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Early electrophysiological correlates of meter and rhythm processing in music perception

Cited by 106 publications

References 62 publications

The Integration of Stimulus Dimensions in the Perception of Music

The Integration of Stimulus Dimensions in the Perception of Music

Music Perception in Dementia

Rhythm evokes action: Early processing of metric deviances in expressive music by experts and laymen revealed by ERP source imaging

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