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Sensitivity to auditory rhythmic structures in music and language is evident as early as infancy, but performance on beat perception tasks is often well below adult levels and improves gradually with age. While some research has suggested the ability to perceive musical beat develops early, even in infancy, it remains unclear whether adult-like perception of musical beat is present in children. The capacity to sustain an internal sense of the beat is critical for various rhythmic musical behaviors, yet very little is known about the development of this ability. In this study, 223 participants ranging in age from 4 to 23 years from the Las Vegas, Nevada, community completed a musical beat discrimination task, during which they first listened to a strongly metrical musical excerpt and then attempted to sustain their perception of the musical beat while listening to a repeated, beat-ambiguous rhythm for up to 14.4 s. They then indicated whether a drum probe matched or did not match the beat. Results suggested that the ability to identify the matching probe improved throughout middle childhood (8-9 years) and did not reach adult-like levels until adolescence (12-14 years). Furthermore, scores on the beat perception task were positively related to phonological processing, after accounting for age, short-term memory, and music and dance training. This study lends further support to the notion that children's capacity for beat perception is not fully developed until adolescence and suggests we should reconsider assumptions of musical beat mastery by infants and young children.

Psychological scientists have become increasingly concerned with issues related to methodology and replicability, and infancy researchers in particular face specific challenges related to replicability: For example, high-powered studies are difficult to conduct, testing conditions vary across labs, and different labs have access to different infant populations. Addressing these concerns, we report on a large-scale, multisite study aimed at (a) assessing the overall replicability of a single theoretically important phenomenon and (b) examining methodological, cultural, and developmental moderators. We focus on infants’ preference for infant-directed speech (IDS) over adult-directed speech (ADS). Stimuli of mothers speaking to their infants and to an adult in North American English were created using seminaturalistic laboratory-based audio recordings. Infants’ relative preference for IDS and ADS was assessed across 67 laboratories in North America, Europe, Australia, and Asia using the three common methods for measuring infants’ discrimination (head-turn preference, central fixation, and eye tracking). The overall meta-analytic effect size (Cohen’s d) was 0.35, 95% confidence interval = [0.29, 0.42], which was reliably above zero but smaller than the meta-analytic mean computed from previous literature (0.67). The IDS preference was significantly stronger in older children, in those children for whom the stimuli matched their native language and dialect, and in data from labs using the head-turn preference procedure. Together, these findings replicate the IDS preference but suggest that its magnitude is modulated by development, native-language experience, and testing procedure.

Misophonic experiences are common in the general population, and they may shed light on everyday emotional reactions to multi-modal stimuli. We performed an online study of a non-clinical sample to understand the extent to which adults who have misophonic reactions are generally reactive to a range of audio-visual emotion-inducing stimuli. We also hypothesized that musicality might be predictive of one's emotional reactions to these stimuli because music is an activity that involves strong connections between sensory processing and meaningful emotional experiences. Participants completed self-report scales of misophonia and musicality. They also watched videos meant to induce misophonia, autonomous sensory meridian response (ASMR) and musical chills, and were asked to click a button whenever they had any emotional reaction to the video. They also rated the emotional valence and arousal of each video. Reactions to misophonia videos were predicted by reactions to ASMR and chills videos, which could indicate that the frequency with which individuals experience emotional responses varies similarly across both negative and positive emotional contexts. Musicality scores were not correlated with measures of misophonia. These findings could reflect a general phenotype of stronger emotional reactivity to meaningful sensory inputs. This article is part of the theme issue 'Sensing and feeling: an integrative approach to sensory processing and emotional experience'. [ABSTRACT FROM AUTHOR]

Children interact with and learn about all types of sound sources, including dogs, bells, trains, and human beings. Although it is clear that knowledge of semantic categories for everyday sights and sounds develops during childhood, there are very few studies examining how children use this knowledge to make sense of auditory scenes. We used a change deafness paradigm and an object-encoding task to investigate how children (6, 8, and 10 years of age) and adults process auditory scenes composed of everyday sounds (e.g., human voices, animal calls, environmental sounds, and musical instruments). Results indicated that although change deafness was present and robust at all ages, listeners improved at detecting changes with age. All listeners were less sensitive to changes within the same semantic category than to small acoustic changes, suggesting that, regardless of age, listeners relied heavily on semantic category knowledge to detect changes. Furthermore, all listeners showed less change deafness when they correctly encoded change-relevant objects (i.e., when they remembered hearing the changing object during the task). Finally, we found that all listeners were better at encoding human voices and were more sensitive to detecting changes involving the human voice. Despite poorer overall performance compared with adults, children detect changes in complex auditory scenes much like adults, using high-level knowledge about auditory objects to guide processing, with special attention to the human voice.

Music and language are two fundamental forms of human communication. Many studies examine the development of music‐ and language‐specific knowledge, but few studies compare how listeners know they are listening to music or language. Although we readily differentiate these domains, how we distinguish music and language—and especially speech and song— is not obvious. In two studies, we asked how listeners categorize speech and song. Study 1 used online survey data to illustrate that 4‐ to 17‐year‐olds and adults have verbalizable distinctions for speech and song. At all ages, listeners described speech and song differences based on acoustic features, but compared with older children, 4‐ to 7‐year‐olds more often used volume to describe differences, suggesting that they are still learning to identify the features most useful for differentiating speech from song. Study 2 used a perceptual categorization task to demonstrate that 4–8‐year‐olds and adults readily categorize speech and song, but this ability improves with age especially for identifying song. Despite generally rating song as more speech‐like, 4‐ and 6‐year‐olds rated ambiguous speech–song stimuli as more song‐like than 8‐year‐olds and adults. Four acoustic features predicted song ratings: F0 instability, utterance duration, harmonicity, and spectral flux. However, 4‐ and 6‐year‐olds' song ratings were better predicted by F0 instability than by harmonicity and utterance duration. These studies characterize how children develop conceptual and perceptual understandings of speech and song and suggest that children under age 8 are still learning what features are important for categorizing utterances as speech or song. Research Highlights: Children and adults conceptually and perceptually categorize speech and song from age 4.Listeners use F0 instability, harmonicity, spectral flux, and utterance duration to determine whether vocal stimuli sound like song.Acoustic cue weighting changes with age, becoming adult‐like at age 8 for perceptual categorization and at age 12 for conceptual differentiation.Young children are still learning to categorize speech and song, which leaves open the possibility that music‐ and language‐specific skills are not so domain‐specific. [ABSTRACT FROM AUTHOR]

Despite the ubiquity of dancing and synchronized movement to music, relatively few studies have examined cognitive representations of musical rhythm and meter among listeners from contrasting cultures. We aimed to disentangle the contributions of culture-general and culture-specific influences by examining American and Turkish listeners' detection of temporal disruptions (varying in size from 50-250 ms in duration) to three types of stimuli: simple rhythms found in both American and Turkish music, complex rhythms found only in Turkish music, and highly complex rhythms that are rare in all cultures. Americans were most accurate when detecting disruptions to the simple rhythm. However, they performed less accurately but comparably in both the complex and highly complex conditions. By contrast, Turkish participants performed accurately and indistinguishably in both simple and complex conditions. However, they performed less accurately in the unfamiliar, highly complex condition. Together, these experiments implicate a crucial role of culture-specific listening experience and acquired musical knowledge in rhythmic pattern perception. (Contains 4 figures and 1 footnote.)

Effects of culture-specific experience on musical rhythm perception are evident by 12 months of age, but the role of culture-general rhythm processing constraints during early infancy has not been explored. Using a habituation procedure with 5- and 7-month-old infants, we investigated effects of temporal interval ratio complexity on discrimination of standard from novel musical patterns containing 200-ms disruptions. Infants were tested in three ratio conditions: simple (2:1), which is typical in Western music, complex (3:2), which is typical in other musical cultures, and highly complex (7:4), which is relatively rare in music throughout the world. Unlike adults and older infants, whose accuracy was predicted by familiarity, younger infants were influenced by ratio complexity, as shown by their successful discrimination in the simple and complex conditions but not in the highly complex condition. The findings suggest that ratio complexity constrains rhythm perception even prior to the acquisition of culture-specific biases.

Adults across cultures speak to infants in a specific infant-directed manner. We asked whether infants use this manner of speech (infant- or adult-directed) to guide their subsequent visual preferences for social partners. We found that 5-month-old infants encode an individuals' use of infant-directed speech and adult-directed speech, and use this information to guide their subsequent visual preferences for individuals even after the speech behavior has ended. Use of infant-directed speech may act as an effective cue for infants to select appropriate social partners, allowing infants to focus their attention on individuals who will provide optimal care and opportunity for learning. This selectivity may play a crucial role in establishing the foundations of social cognition. (Contains 3 figures.)

Infants prefer native structures such as familiar faces and languages. Music is a universal human activity containing structures that vary cross-culturally. For example, Western music has temporally regular metric structures, whereas music of the Balkans (e.g., Bulgaria, Macedonia, Turkey) can have both regular and irregular structures. We presented 4- to 8-month-old American and Turkish infants with contrasting melodies to determine whether cultural background would influence their preferences for musical meter. In Experiment 1, American infants preferred Western over Balkan meter, whereas Turkish infants, who were familiar with both Western and Balkan meters, exhibited no preference. Experiments 2 and 3 presented infants with either a Western or Balkan meter paired with an arbitrary rhythm with complex ratios not common to any musical culture. Both Turkish and American infants preferred Western and Balkan meter to an arbitrary meter. Infants' musical preferences appear to be driven by culture-specific experience and a culture-general preference for simplicity. (Contains 2 figures and 1 footnote.)

When presented with alternating low and high tones, listeners are more likely to perceive 2 separate streams of tones ("streaming") than a single coherent stream when the frequency separation ([delta]f) between tones is greater and the number of tone presentations is greater ("buildup"). However, the same large-[delta]f sequence reduces streaming for subsequent patterns presented after a gap of up to several seconds. Buildup occurs at a level of neural representation with sharp frequency tuning. The authors used adaptation to demonstrate that the contextual effect of prior [delta]f arose from a representation with broad frequency tuning, unlike buildup. Separate adaptation did not occur in a representation of [delta]f independent of frequency range, suggesting that any frequency-shift detectors undergoing adaptation are also frequency specific. A separate effect of prior perception was observed, dissociating stimulus-related (i.e., [delta]f) and perception-related (i.e., 1 stream vs. 2 streams) adaptation. Viewing a visual analogue to auditory streaming had no effect on subsequent perception of streaming, suggesting adaptation in auditory-specific brain circuits. These results, along with previous findings on buildup, suggest that processing in at least 3 levels of auditory neural representation underlies segregation and formation of auditory streams. (Contains 1 footnote, 2 tables, and 7 figures.)

A number of different cues allow listeners to perceive musical meter. Three experiments examined effects of melodic and temporal accents on perceived meter in excerpts from folk songs scored in 6/8 or 3/4 meter. Participants matched excerpts with 1 of 2 metrical drum accompaniments. Melodic accents included contour change, melodic leaps, registral extreme, melodic repetition, and harmonic rhythm. Two experiments with isochronous melodies showed that contour change and melodic repetition predicted judgments. For longer melodies in the 2nd experiment, variables predicted judgments best at the beginning of excerpts. The final experiment, with rhythmically varied melodies, showed that temporal accents, tempo, and contour change were the strongest predictors of meter. The authors' findings suggest that listeners combine multiple melodic and temporal features to perceive musical meter.

Listening to groovy music is an enjoyable experience and a common human behavior in some cultures. Specifically, many listeners agree that songs they find to be more familiar and pleasurable are more likely to induce the experience of musical groove. While the pleasurable and dance-inducing effects of musical groove are omnipresent, we know less about how subjective feelings toward music, individual musical or dance experiences, or more objective musical perception abilities are correlated with the way we experience groove. Therefore, the present study aimed to evaluate how musical and dance sophistication relates to musical groove perception. Onehundred 24 participants completed an online study during which they rated 20 songs, considered high- or low-groove, and completed the Goldsmiths Musical Sophistication Index, the Goldsmiths Dance Sophistication Index, the Beat and Meter Sensitivity Task, and a modified short version of the Profile for Music Perception Skills. Our results reveal that measures of perceptual abilities, musical training, and social dancing predicted the difference in groove rating between high- and low-groove music. Overall, these findings support the notion that listeners' individual experiences and predispositions may shape their perception of musical groove, although other causal directions are also possible. This research helps elucidate the correlates and possible causes of musical groove perception in a wide range of listeners. [ABSTRACT FROM AUTHOR]

The authors examined the effect of preceding context on auditory stream segregation. Low tones (A), high tones (B), and silences (-) were presented in an ABA--pattern. Participants indicated whether they perceived 1 or 2 streams of tones. The A tone frequency was fixed, and the B tone was the same as the A tone or had I of 3 higher frequencies. Perception of 2 streams in the current trial increased with greater frequency separation between the A and B tones ([DELTA]f). Larger [DELTA]f in previous trials modified this pattern, causing less streaming in the current trial. This occurred even when listeners were asked to bias their perception toward hearing 1 stream or 2 streams. The effect of previous [DELTA]f was not due to response bias because simply perceiving 2 streams in the previous trial did not cause less streaming in the current trial. Finally, the effect of previous [DELTA]f was diminished, though still present, when the silent duration between trials was increased to 5.76 s. The time course of this context effect on streaming implicates the involvement of auditory sensory memory or neural adaptation. Keywords: auditory scene analysis, auditory sensory memory, neural adaptation

Synchronization of movement to music is a seemingly universal human capacity that depends on sustained beat perception. Previous research has suggested that listener's conscious perception of the musical structure (e.g., beat and meter) might be reflected in neural responses that follow the frequency of the beat. However, the extent to which these neural responses directly reflect concurrent, listener‐reported perception of musical beat versus stimulus‐driven activity is understudied. We investigated whether steady state‐evoked potentials (SSEPs), measured using electroencephalography (EEG), reflect conscious perception of beat by holding the stimulus constant while contextually manipulating listeners' perception and measuring perceptual responses on every trial. Listeners with minimal music training heard a musical excerpt that strongly supported one of two beat patterns (context phase), followed by a rhythm consistent with either beat pattern (ambiguous phase). During the final phase, listeners indicated whether or not a superimposed drum matched the perceived beat (probe phase). Participants were more likely to indicate that the probe matched the music when that probe matched the original context, suggesting an ability to maintain the beat percept through the ambiguous phase. Likewise, we observed that the spectral amplitude during the ambiguous phase was higher at frequencies that matched the beat of the preceding context. Exploratory analyses investigated whether EEG amplitude at the beat‐related SSEPs (steady state‐evoked potentials) predicted performance on the beat induction task on a single‐trial basis, but were inconclusive. Our findings substantiate the claim that auditory SSEPs reflect conscious perception of musical beat and not just stimulus features. Although prior research suggests that steady state‐evoked potentials (SSEPs) reflect musical beat perception, our study is one of the first to use real music to induce musical beat and to collect a listener‐reported measure of perception concurrently with SSEPs. While recent rodent findings suggest that lower‐level propagation of stimulus differences may fully account for the relation between SSEPs and musical beat, we provide counterevidence by showing the effect after eliminating stimulus differences between conditions. [ABSTRACT FROM AUTHOR]