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Objective Music and speech are complex signals containing regularities in how they unfold in time. Similarities between music and speech/language in terms of their auditory features, rhythmic structure, and hierarchical structure have led to a large body of literature suggesting connections between the two domains. However, the precise underlying mechanisms behind this connection remain to be elucidated. Method In this theoretical review article, we synthesize previous research and present a framework of potentially shared neural mechanisms for music and speech rhythm processing. We outline structural similarities of rhythmic signals in music and speech, synthesize prominent music and speech rhythm theories, discuss impaired timing in developmental speech and language disorders, and discuss music rhythm training as an additional, potentially effective therapeutic tool to enhance speech/language processing in these disorders. Results We propose the processing rhythm in speech and music (PRISM) framework, which outlines three underlying mechanisms that appear to be shared across music and speech/language processing: Precise auditory processing, synchronization/entrainment of neural oscillations to external stimuli, and sensorimotor coupling. The goal of this framework is to inform directions for future research that integrate cognitive and biological evidence for relationships between rhythm processing in music and speech. Conclusion The current framework can be used as a basis to investigate potential links between observed timing deficits in developmental disorders, impairments in the proposed mechanisms, and pathology-specific deficits which can be targeted in treatment and training supporting speech therapy outcomes. On these grounds, we propose future research directions and discuss implications of our framework. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

How did human vocalizations come to acquire meaning in the evolution of our species? Charles Darwin proposed that language and music originated from a common emotional signal system based on the imitation and modification of sounds in nature. This protolanguage is thought to have diverged into two separate systems, with speech prioritizing referential functionality and music prioritizing emotional functionality. However, there has never been an attempt to empirically evaluate the hypothesis that a single communication system can split into two functionally distinct systems that are characterized by music- and languagelike properties. Here, we demonstrate that when referential and emotional functions are introduced into an artificial communication system, that system will diverge into vocalization forms with speech- and music-like properties, respectively. Participants heard novel vocalizations as part of a learning task. Half referred to physical entities and half functioned to communicate emotional states. Participants then reproduced each sound with the defined communicative intention in mind. Each recorded vocalization was used as the input for another participant in a serial reproduction paradigm, and this procedure was iterated to create 15 chains of five participants each. Referential vocalizations were rated as more speech-like, whereas emotional vocalizations were rated as more music-like, and this association was observed cross-culturally. In addition, a stable separation of the acoustic profiles of referential and emotional vocalizations emerged, with some attributes diverging immediately and others diverging gradually across iterations. The findings align with Darwin’s hypothesis and provide insight into the roles of biological and cultural evolution in the divergence of language and music.

Music and language are complex hierarchical systems in which individual elements are systematically combined to form larger, syntactic structures. Suggestions that music and language share syntactic processing resources have relied on evidence that syntactic violations in music interfere with syntactic processing in language. However, syntactic violations may affect auditory processing in non-syntactic ways, accounting for reported interference effects. To investigate the factors contributing to interference effects, we assessed recall of visually presented sentences and word-lists when accompanied by background auditory stimuli differing in syntactic structure and auditory distraction: melodies without violations, scrambled melodies, melodies that alternate in timbre, and environmental sounds. In Experiment 1, one-timbre melodies interfered with sentence recall, and increasing both syntactic complexity and distraction by scrambling melodies increased this interference. In contrast, three-timbre melodies reduced interference on sentence recall, presumably because alternating instruments interrupted auditory streaming, reducing pressure on long-distance syntactic structure building. Experiment 2 confirmed that participants were better at discriminating syntactically coherent one-timbre melodies than three-timbre melodies. Together, these results illustrate that syntactic processing and auditory streaming interact to influence sentence recall, providing implications for theories of shared syntactic processing and auditory distraction.

International audience; Auditory rhythms create powerful expectations for the listener. Rhythmic cues with the same temporal structure as subsequent sentences enhance processing compared with irregular or mismatched cues. In the present study, we focus on syllable detection following matched rhythmic cues. Cues were aligned with subsequent sentences at the syllable (low-level cue) or the accented syllable (high-level cue) level. A different group of participants performed the task without cues to provide a baseline. We hypothesized that unaccented syllable detection would be faster after low-level cues, and accented syllable detection would be faster after high-level cues. There was no difference in syllable detection depending on whether the sentence was preceded by a high-level or low-level cue. However, the results revealed a priming effect of the cue that participants heard first. Participants who heard a high-level cue first were faster to detect accented than unaccented syllables, and faster to detect accented syllables than participants who heard a low-level cue first. The low-level-first participants showed no difference between detection of accented and unaccented syllables. The baseline experiment confirmed that hearing a low-level cue first removed the benefit of the high-level grouping structure for accented syllables. These results suggest that the initially perceived rhythmic structure influenced subsequent cue perception and its influence on syllable detection. Results are discussed in terms of dynamic attending, temporal context effects, and implications for context effects in neural entrainment.

International audience; Regular musical rhythms orient attention over time and facilitate processing. Previous research has shown that regular rhythmic stimulation benefits subsequent syntax processing in children with dyslexia and specific language impairment. The present EEG study examined the influence of a rhythmic musical prime on the P600 late evoked-potential, associated with grammatical error detection for dyslexic adults and matched controls. Participants listened to regular or irregular rhythmic prime sequences followed by grammatically correct and incorrect sentences. They were required to perform grammaticality judgments for each auditorily presented sentence while EEG was recorded. In addition, tasks on syntax violation detection as well as rhythm perception and production were administered. For both participant groups, ungrammatical sentences evoked a P600 in comparison to grammatical sentences and its mean amplitude was larger after regular than irregular primes. Peak analyses of the P600 difference wave confirmed larger peak amplitudes after regular primes for both groups. They also revealed overall a later peak for dyslexic participants, particularly at posterior sites, compared to controls. Results extend rhythmic priming effects on language processing to underlying electrophysiological correlates of morpho-syntactic violation detection in dyslexic adults and matched controls. These findings are interpreted in the theoretical framework of the Dynamic Attending Theory (Jones, 1976, 2019) and the Temporal Sampling Framework for developmental disorders (Goswami, 2011).

International audience; When listening to temporally regular rhythms, most people are able to extract the beat. Evidence suggests that the neural mechanism underlying this ability is the phase alignment of endogenous oscillations to the external stimulus, allowing for the prediction of upcoming events (i.e., dynamic attending). Relatedly, individuals with dyslexia may have deficits in the entrainment of neural oscillations to external stimuli, especially at low frequencies. The current experiment investigated rhythmic processing in adults with dyslexia and matched controls. Regular and irregular rhythms were presented to participants while electroencephalography was recorded. Regular rhythms contained the beat at 2 Hz; while acoustic energy was maximal at 4 Hz and 8 Hz. These stimuli allowed us to investigate whether the brain responds non-linearly to the beat-level of a rhythmic stimulus, and whether beat-based processing differs between dyslexic and control participants. Both groups showed enhanced stimulus-brain coherence for regular compared to irregular rhythms at the frequencies of interest, with an over-representation of the beat-level in the brain compared to the acoustic signal. In addition, we found evidence that controls extracted subtle temporal regularities from irregular stimuli, whereas dyslexics did not. Findings are discussed in relation to dynamic attending theory and rhythmic processing deficits in dyslexia.

Research has shown that regular rhythmic primes improve grammaticality judgments of subsequently presented sentences compared with irregular rhythmic primes. In the theoretical framework of dynamic attending, regular rhythmic primes are suggested to act as driving rhythms to entrain neural oscillations. These entrained oscillations then sustain once the prime has finished, engendering a state of global enhanced activation that facilitates the processing of subsequent sentences. Up to now, this global rhythmic priming effect has largely been shown with primes that are approximately 30 s or more. To investigate whether shorter primes also facilitate grammaticality judgments, two experiments were run on two groups of children aged 7 to 9 years (Ms = 8.67 and 8.58 years, respectively). Prime durations were 8 and 16 s in Experiment 1, and they were 16 and 32 s in Experiment 2. Rhythmic priming was observed in Experiment 2 for 32-s primes, as observed previously. Furthermore, positive correlations were found between reading age and performance level after regular primes for both 8-s and 16-s primes in Experiment 1 and for 32-s primes in Experiment 2. In addition, the benefit of the regular primes increased with chronological age for the 32-s primes in Experiment 2. The findings suggest that (at least) 32-s primes are optimal in global rhythmic priming studies when testing children in the current age range and that results may be modulated by chronological age and reading age. Results are discussed in relation to dynamic attending theory, neural oscillation strength, developmental considerations, and implications for rhythmic stimulation in language rehabilitation.

Two separate lines of research have examined the influence of song and infant-directed speech (IDS—a speech register that includes some melodic features) on language learning, suggesting that the use of musical attributes in speech input can enhance language learning. However, the benefits of these two types of stimuli have never been directly compared. In this investigation, we compared the effects of song and IDS for immediate word learning and long-term memory of the learned words. This study examines whether the highly musical stimuli (i.e., song) would facilitate language learning more than the less musical stimuli (i.e., IDS). English-speaking adults were administered a word learning task, with Mandarin Chinese words presented in adult-directed speech (ADS), IDS, or song. Participants’ word learning performance was assessed immediately after the word learning task (immediate word learning) and then 1 day later (long-term memory). Results showed that both song and IDS facilitated immediate word learning and long-term memory of the words; however, this facilitative effect did not differ between IDS and song, suggesting that the relationship between the degree of musicality and language learning performance is not linear. In addition, song and IDS were found to facilitate the word association process (mapping a label to its referent) rather than the word recognition process. Finally, participants’ confidence in their answers might not differ among ADS, IDS, and sung words.

Although a growing literature points to substantial variation in speech/language abilities related to individual differences in musical abilities, mainstream models of communication sciences and disorders have not yet incorporated these individual differences into childhood speech/language development. This article reviews three sources of evidence in a comprehensive body of research aligning with three main themes: (a) associations between musical rhythm and speech/language processing, (b) musical rhythm in children with developmental speech/language disorders and common comorbid attentional and motor disorders, and (c) individual differences in mechanisms underlying rhythm processing in infants and their relationship with later speech/language development. In light of converging evidence on associations between musical rhythm and speech/language processing, we propose the Atypical Rhythm Risk Hypothesis, which posits that individuals with atypical rhythm are at higher risk for developmental speech/language disorders. The hypothesis is framed within the larger epidemiological literature in which recent methodological advances allow for large-scale testing of shared underlying biology across clinically distinct disorders. A series of predictions for future work testing the Atypical Rhythm Risk Hypothesis are outlined. We suggest that if a significant body of evidence is found to support this hypothesis, we can envision new risk factor models that incorporate atypical rhythm to predict the risk of developing speech/language disorders. Given the high prevalence of speech/language disorders in the population and the negative long-term social and economic consequences of gaps in identifying children at-risk, these new lines of research could potentially positively impact access to early identification and treatment. This article is categorized under: Linguistics > Language in Mind and Brain Neuroscience > Development Linguistics > Language Acquisition.

The effects of music on the brain have been extensively researched, and numerous connections have been found between music and language, music and emotion, and music and cognitive processing. Despite this work, these three research areas have never before been drawn together into a single research paradigm. This is significant as their combination could lead to valuable insights into the effects of musical valence on the cognitive processing of lyrics. This research draws on theories of cognitive processing suggesting that negative moods facilitate systematic and detail-oriented processing, while positive moods facilitate heuristic-based processing. The current study ( n = 56) used an error detection paradigm and found that significantly more error words were detected when paired with negatively valenced sad music compared to positively valenced happy music. Such a result explains previous findings that sad and happy lyrics have differential effects on emotion induction, and suggests this is due to sad lyrics being processed at deeper semantic levels. This study provides a framework in which to understand the interaction of lyrics and music with emotion induction – a primary reason for listening to music.