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This study explored the unique connections between music and mathematics as perceived by four groups of experts: professional mathematicians and musicians, as well as teacher educators in these two fields. Using 2 × 2 study design, we studied four groups of participants, comprising theorists and educators from various Israeli universities. During semi-structured interviews, the study participants were asked about their views on the connections between mathematics and music. This study proposes a model of experts' conceptions of the connection between mathematics and music, which is of descriptive and explanatory power. that reveals differences between the four groups of experts. Theoreticians in both disciplines highlighted Mathematics as a key tool for music analysis and creation. Musical educators emphasized the role of music as a tool for learning mathematics. All the study participants, independently of the field of their expertise, value structure, beauty, sense of wonder, freedom and creative thinking as characteristics of both fields. Additionally, all the experts hold conceptions of the importance of integrating music and mathematics into various discipline. This study opened new doors for future research wherein utilization of experts' insights to craft integrated study modules of music and mathematics can be explored, a pursuit that carries substantial significance. [ABSTRACT FROM AUTHOR]

Since the twentieth century, contemporary music has been a source of controversial perceptions and standpoints. This study aims to explore young music students’ perception of the term ‘contemporary music’ and anticipate possible directions for improvement in music education in Armenia. Based on her pedagogical experience, and a scientific literature review, the author attempted to describe the issue in terms of perception and prejudices. A questionnaire was used to conduct the survey among music students to gather data from respondents about their insights on the subject. The findings indicate it is mostly a combination of mixed ideas of contemporary academic and popular music formed as a result of the learner's personal musical experience. The result reveals that it is possible to change the attitude of students to a positive one by actively gaining the experience of contemporary music performance. The author has also formulated observations and recommendations, which should be taken into account for further research. [ABSTRACT FROM AUTHOR]

Purpose: The goal of this study was to determine the relationship between the perceptual measure of speech naturalness and objective measures of pitch, loudness, and rate control as a potential tool for assessment of ataxic dysarthria. Method: Twenty-seven participants with ataxia and 29 age- and sex-matched control participants completed the pitch glide and loudness step tasks drawn from the Frenchay Dysarthria Assessment-Second Edition (FDA-2) in addition to speech diadochokinetic (DDK) tasks. First, group differences were compared for pitch variability in the pitch glide task, loudness variability in the loudness step task, and syllable duration and speech rate in the DDK task. Then, these acoustic measures were compared with previously collected ratings of speech naturalness by speech-language pathology graduate students. Results: Robust group differences were measured for pitch variability and both DDK syllable duration and speech rate, indicating that the ataxia group had greater pitch variability, longer DDK syllable duration, and slower DDK speech rate than the control group. No group differences were measured for loudness variability. There were robust relationships between speech naturalness and pitch variability, DDK syllable duration, and DDK speech rate, but not for loudness variability. Conclusions: Objective acoustic measures of pitch variability in the FDA-2 pitch glide task and syllable duration and speech rate in the DDK task can be used to validate perceptual measures of speech naturalness. Overall, speechlanguage pathologists can incorporate both perceptual measures of speech naturalness and acoustic measures of pitch variability and DDK performance for a comprehensive evaluation of ataxic dysarthria. [ABSTRACT FROM AUTHOR]

Purpose: The aim of this study was to translate and validate the "Music-Related Quality of Life Questionnaire" into Spanish (sMuRQoL) and assess its convergent validity and discriminative capacity by comparing its scores with the outcomes of the musical perception test Meludia. Methods: The sMuRQoL was completed by 129 patients: 55 cochlear implant (CI) users and 74 normal hearing (NH) individuals. Conducted in this study were an exploratory factor analysis, an evaluation of internal consistency, an assessment of score stability through test–retest reliability, a comparison of sMuRQoL scores between CI users and NH individuals and an examination of potential evidence of convergent validity and discriminative capacity of sMuRQoL in relation to other tools. This involved the comparison of the questionnaire scores with the Meludia outcomes. Results: The sMuRQoL demonstrated a two-dimensional structure. All the dimensions displayed high internal consistency (α = 0.879–0.945) and score stability (ICC = 0.890–0.942). There were significant differences in the Frequency test between NH and CI users (d = 1.19–1.45). There's evidence of convergent validity between the scores of the Frequency test and the results of Meludia (r = 0.242–0.645). Additionally, the Frequency test demonstrate a good discriminative capacity to identify patients with poorer musical perception. Conclusions: The sMuRQoL is a reliable questionnaire, with adequate evidence of validity based on internal structure. This study provides an accessible, cost-effective, and quick-to-administer instrument in Spanish, optimizing available healthcare resources and bringing us closer to the patient needs. [ABSTRACT FROM AUTHOR]

Previous studies reported mixed findings on autistic individuals' pitch perception relative to neurotypical (NT) individuals. We investigated whether this may be partly due to individual differences in cognitive abilities by comparing their performance on various pitch perception tasks on a large sample (n = 164) of autistic and NT children and adults. Our findings revealed that: (i) autistic individuals either showed similar or worse performance than NT individuals on the pitch tasks; (ii) cognitive abilities were associated with some pitch task performance; and (iii) cognitive abilities modulated the relationship between autism diagnosis and pitch perception on some tasks. Our findings highlight the importance of taking an individual differences approach to understand the strengths and weaknesses of pitch processing in autism. [ABSTRACT FROM AUTHOR]

The present longitudinal study investigated the hypothesis that early musical skills (as measured by melodic and rhythmic perception and memory) predict later literacy development via a mediating effect of phonology. We examined 130 French‐speaking children, 31 of whom with a familial risk for developmental dyslexia (DD). Their abilities in the three domains were assessed longitudinally with a comprehensive battery of behavioral tests in kindergarten, first grade, and second grade. Using a structural equation modeling approach, we examined potential longitudinal effects from music to literacy via phonology. We then investigated how familial risk for DD may influence these relationships by testing whether atypical music processing is a risk factor for DD. Results showed that children with a familial risk for DD consistently underperformed children without familial risk in music, phonology, and literacy. A small effect of musical ability on literacy via phonology was observed, but may have been induced by differences in stability across domains over time. Furthermore, early musical skills did not add significant predictive power to later literacy difficulties beyond phonological skills and family risk status. These findings are consistent with the idea that certain key auditory skills are shared between music and speech processing, and between DD and congenital amusia. However, they do not support the notion that music perception and memory skills can serve as a reliable early marker of DD, nor as a valuable target for reading remediation. Research Highlights: Music, phonology, and literacy skills of 130 children, 31 of whom with a familial risk for dyslexia, were examined longitudinally.Children with a familial risk for dyslexia consistently underperformed children without familial risk in musical, phonological, and literacy skills.Structural equation models showed a small effect of musical ability in kindergarten on literacy in second grade, via phonology in first grade.However, early musical skills did not add significant predictive power to later literacy difficulties beyond phonological skills and family risk status. [ABSTRACT FROM AUTHOR]

Auditory scene analysis (ASA) is the process through which the auditory system makes sense of complex acoustic environments by organising sound mixtures into meaningful events and streams. Although music psychology has acknowledged the fundamental role of ASA in shaping music perception, no efficient test to quantify listeners' ASA abilities in realistic musical scenarios has yet been published. This study presents a new tool for testing ASA abilities in the context of music, suitable for both normal-hearing (NH) and hearing-impaired (HI) individuals: the adaptive Musical Scene Analysis (MSA) test. The test uses a simple 'yes–no' task paradigm to determine whether the sound from a single target instrument is heard in a mixture of popular music. During the online calibration phase, 525 NH and 131 HI listeners were recruited. The level ratio between the target instrument and the mixture, choice of target instrument, and number of instruments in the mixture were found to be important factors affecting item difficulty, whereas the influence of the stereo width (induced by inter-aural level differences) only had a minor effect. Based on a Bayesian logistic mixed-effects model, an adaptive version of the MSA test was developed. In a subsequent validation experiment with 74 listeners (20 HI), MSA scores showed acceptable test–retest reliability and moderate correlations with other music-related tests, pure-tone-average audiograms, age, musical sophistication, and working memory capacities. The MSA test is a user-friendly and efficient open-source tool for evaluating musical ASA abilities and is suitable for profiling the effects of hearing impairment on music perception. [ABSTRACT FROM AUTHOR]

Multi-pitch perception is investigated in a listening test using 30 recordings of musical sounds with two tones played simultaneously, except for two gong sounds with inharmonic overtone spectra, judging roughness and separateness as the ability to tell the two tones in each recording apart. Of the sounds, 13 were from a Western guitar playing all 13 intervals in one octave, the other sounds were mainly from non-Western instruments, comparing familiar with unfamiliar instrument sounds for Western listeners. Additionally the sounds were processed in a cochlea model, transferring the mechanical basilar membrane motion into neural spikes followed by post-processing simulating different degrees of coincidence detection. Separateness perception showed a clear distinction between familiar and unfamiliar sounds, while roughness perception did not. By correlating perception with simulation different perception strategies were found. Familiar sounds correlated strongly positively with high degrees of coincidence detection, where only 3–5 periodicities were left, while unfamiliar sounds correlated with low coincidence levels. This corresponds to an attention to pitch and timbre, respectively. Additionally, separateness perception showed an opposite correlation between perception and neural correlates between familiar and unfamiliar sounds. This correlates with the perceptional finding of the distinction between familiar and unfamiliar sounds with separateness. [ABSTRACT FROM AUTHOR]

Building on research demonstrating the benefits of music training for emotional prosody recognition in nontonal languages, this study delves into its unexplored influence on tonal languages. In tonal languages, the acoustic similarity between lexical tones and music, along with the dual role of pitch in conveying lexical and affective meanings, create a unique interplay. We evaluated 72 participants, half of whom had extensive instrumental music training, with the other half serving as demographically matched controls. All participants completed an online test consisting of 210 Chinese pseudosentences, each designed to express one of five emotions: happiness, sadness, fear, anger, or neutrality. Our robust statistical analyses, which included effect size estimates and Bayesian factors, revealed that music and nonmusic groups exhibit similar abilities in identifying the emotional prosody of various emotions. However, the music group attributed higher intensity ratings to emotional prosodies of happiness, fear, and anger compared to the nonmusic group. These findings suggest that while instrumental music training is not related to emotional prosody recognition, it does appear to be related to perceived emotional intensity. This dissociation between emotion recognition and intensity evaluation adds a new piece to the puzzle of the complex relationship between music training and emotion perception in tonal languages. [ABSTRACT FROM AUTHOR]

Emotion studies have commonly reported impaired emotional processing in individuals with heightened anhedonic depressive symptoms, as typically measured by collecting single subjective ratings for a given emotional cue. However, the interindividual variation in moment-to-moment emotional reactivity, and associated time-varying brain networks recruitment as emotions are unfolding, remains unclear. In this study, we filled this gap by using the unique temporal characteristics of music to investigate behavioural and brain network dynamics as a function of anhedonic depressive symptoms severity. Thirty-one neurotypical participants aged 18–30 years completed anhedonic depression questionnaires and then continuously rated happy, neutral and sad pieces of music whilst undergoing MRI scanning. Using a unique combination of dynamic approaches to behavioural (i.e., emotion dynamics) and fMRI (i.e., leading eigenvector dynamics analysis; LEiDA) data analysis, we found that participants higher in anhedonic depressive symptoms exhibited increased recruitment of attentional networks and blunted emotional response to both happy and sad musical excerpts. Anhedonic depression mediated the relationship between attentional networks recruitment and emotional blunting, and the elevated recruitment of attentional networks during emotional pieces of music carried over into subsequent neutral music. Future studies are needed to investigate whether these findings could be generalised to a clinical population (i.e., major depressive disorder). [ABSTRACT FROM AUTHOR]

Timing cues such as interaural time differences (ITDs) and temporal pitch are pivotal for sound localization and source segregation, but their perception is degraded in cochlear-implant (CI) listeners as compared to normal-hearing listeners. In multi-electrode stimulation, intra-aural channel interactions between electrodes are assumed to be an important factor limiting access to those cues. The monaural asynchrony of stimulation timing across electrodes is assumed to mediate the amount of these interactions. This study investigated the effect of the monaural temporal electrode asynchrony (mTEA) between two electrodes, applied similarly in both ears, on ITD-based left/right discrimination sensitivity in five CI listeners, using pulse trains with 100 pulses per second and per electrode. Forward-masked spatial tuning curves were measured at both ears to find electrode separations evoking controlled degrees of across-electrode masking. For electrode separations smaller than 3 mm, results showed an effect of mTEA. Patterns were u/v-shaped, consistent with an explanation in terms of the effective pulse rate that appears to be subject to the well-known rate limitation in electric hearing. For separations larger than 7 mm, no mTEA effects were observed. A comparison to monaural rate-pitch discrimination in a separate set of listeners and in a matched setup showed no systematic differences between percepts. Overall, an important role of the mTEA in both binaural and monaural dual-electrode stimulation is consistent with a monaural pulse-rate limitation whose effect is mediated by channel interactions. Future CI stimulation strategies aiming at improved timing-cue encoding should minimize the stimulation delay between nearby electrodes that need to be stimulated successively. [ABSTRACT FROM AUTHOR]

This summary is about an editorial titled "The musical brain, volume II" published in Frontiers in Neuroscience. The editorial discusses the complex interactions between music and the human brain, exploring various neural circuits and networks involved in sensory perception, attention, learning, memory, emotion, aesthetics, and motor skills related to music. It highlights the growing interest in studying the representation of music in the brain and presents a research topic that covers a range of neuroscience and psychoacoustics topics related to music perception and sound. The editorial also mentions the exploration of the healing potential of music and includes brief introductions to seven contributions in the research topic. Additionally, the summary briefly describes three articles related to the perception and processing of music, which contribute to our understanding of various aspects of music perception and processing. [Extracted from the article]

Background: Understanding the nature and extent of sensorimotor decline in aging individuals and those with neurocognitive disorders (NCD), such as Alzheimer's disease, is essential for designing effective music-based interventions. Our understanding of rhythmic functions remains incomplete, particularly in how aging and NCD affect sensorimotor synchronization and adaptation to tempo changes. Objective: This study aimed to investigate how aging and NCD severity impact tapping to metronomes and music, with and without tempo changes. Methods: Patients from a memory clinic participated in a tapping task, synchronizing with metronomic and musical sequences, some of which contained sudden tempo changes. After exclusions, 51 patients were included in the final analysis. Results: Participants' Mini-Mental State Examination scores were associated with tapping consistency. Additionally, age negatively influenced consistency when synchronizing with a musical beat, whereas consistency remained stable across age when tapping with a metronome. Conclusions: The results indicate that the initial decline of attention and working memory with age may impact perception and synchronization to a musical beat, whereas progressive NCD-related cognitive decline results in more widespread sensorimotor decline, affecting tapping irrespective of audio type. These findings underline the importance of customizing rhythm-based interventions to the needs of older adults and individuals with NCD, taking into consideration their cognitive as well as their rhythmic aptitudes. [ABSTRACT FROM AUTHOR]

Voices arguably occupy a superior role in auditory processing. Specifically, studies have reported that singing voices are processed faster and more accurately and possess greater salience in musical scenes compared to instrumental sounds. However, the underlying acoustic features of this superiority and the generality of these effects remain unclear. This study investigates the impact of frequency micro-modulations (FMM) and the influence of interfering sounds on sound recognition. Thirty young participants, half with musical training, engage in three sound recognition experiments featuring short vocal and instrumental sounds in a go/no-go task. Accuracy and reaction times are measured for sounds from recorded samples and excerpts of popular music. Each sound is presented in separate versions with and without FMM, in isolation or accompanied by a piano. Recognition varies across sound categories, but no general vocal superiority emerges and no effects of FMM. When presented together with interfering sounds, all sounds exhibit degradation in recognition. However, whereas /a/ sounds stand out by showing a distinct robustness to interference (i.e., less degradation of recognition), /u/ sounds lack this robustness. Acoustical analysis implies that recognition differences can be explained by spectral similarities. Together, these results challenge the notion of general vocal superiority in auditory perception. [ABSTRACT FROM AUTHOR]

Purpose: We investigated speech and nonspeech auditory processing of temporal and spectral cues in people who do and do not stutter. We also asked whether self-reported stuttering severity was predicted by performance on the auditory processing measures. Method: People who stutter (n = 23) and people who do not stutter (n = 28) completed a series of four auditory processing tasks online. These tasks consisted of speech and nonspeech stimuli differing in spectral or temporal cues. We then used independent-samples t-tests to assess differences in phonetic categorization slopes between groups and linear mixed-effects models to test differences in nonspeech auditory processing between stuttering and nonstuttering groups, and stuttering severity as a function of performance on all auditory processing tasks. Results: We found statistically significant differences between people who do and do not stutter in phonetic categorization of a continuum differing in a temporal cue and in discrimination of nonspeech stimuli differing in a spectral cue. A significant proportion of variance in self-reported stuttering severity was predicted by performance on the auditory processing measures. Conclusions: Taken together, these results suggest that people who stutter process both speech and nonspeech auditory information differently than people who do not stutter and may point to subtle differences in auditory processing that could contribute to stuttering. We also note that these patterns could be the consequence of listening to one's own speech, rather than the cause of production differences. [ABSTRACT FROM AUTHOR]

The objective of this study was to investigate the impact of music training on the processing of temporal order in Mandarin sentence reading using event-related potentials (ERPs). Two-clause sentences with temporal connectives ("before" or "after") were presented to both musicians and non-musicians. Additionally, a verbal N-back task was utilized to evaluate the participants' working memory capacities. The findings revealed that musicians, but not nonmusicians, demonstrated a more negative amplitude in the second clauses of "before" sentences compared with "after" sentences. In the N-back task, musicians exhibited faster reaction times than nonmusicians in the two-back condition. Furthermore, a correlation was observed between the ERP amplitude differences (before vs. after) and reaction time differences in the N-back task (0-back vs. 2-back) among musicians. These findings suggested that music training enhances the depth of temporal order processing, potentially mediated by improvements in working memory capacity. [ABSTRACT FROM AUTHOR]

Infants' preference for vowel harmony (VH, a phonotactic constraint that requires vowels in a word to be featurally similar) is thought to be language-specific: Monolingual infants learning VH languages show a listening preference for VH patterns by 6 months of age, while those learning non-VH languages do not (Gonzalez-Gomez et al., 2019; Van Kampen et al., 2008). We investigated sensitivity to advanced tongue root (ATR) harmony in Akan (Kwa, Niger-Congo) in 40 six-month-old multilingual infants (21 girls) in Ghana, West Africa (an understudied population), all learning Akan, Ghanaian English, and most of them several other understudied African languages (e.g., Ga, Ewe). We hypothesized that infants learning both ATR harmony and nonharmony languages would demonstrate sensitivity to ATR harmony. Using the central fixation procedure, infants were presented with disyllabic nonwords that were either harmonic (e.g., puti) or nonharmonic (e.g., petɔ) based on their ATR features. Infants demonstrated sensitivity to ATR harmony with a familiarity preference, listening longer to harmonic syllable sequences than nonharmonic ones. The relative amount of exposure to (an) ATR harmony language(s) did not modulate the preference. These results shed light on our understanding of early multilingualism: they suggest that early sensitivity to VH in multilinguals may be similar to monolingual infants learning other types of VH, irrespective of simultaneous experience with non-VH languages. We conclude with reflections on studying infant language acquisition in multilingual Africa. Public Significance Statement: The public significance of this study is to understand how learning multiple languages in Africa may affect infants' speech perception. [ABSTRACT FROM AUTHOR]

External motivational stimuli have been shown to improve athletic performance. However, the neurophysiological mechanisms underlying this improvement remain poorly understood. This randomized crossover study investigated the effects of music and verbal encouragement on measures of muscle excitation and myoelectric manifestations of fatigue in the biceps brachii and brachioradialis muscles during an endurance task. Fifteen untrained (mean age 29.57 ± 2.77 years) and 13 trained individuals (mean age 32.92 ± 2.90 years) were included. The endurance task, performed to exhaustion, consisted of keeping the dominant arm flexed to 90 degrees while holding a dumbbell loaded to 80% of 1RM with a supine grip in three randomized conditions: standard, with self-selected music, and with verbal encouragement. The untrained subjects showed an increase in task duration of 15.26% (p < 0.003) with music and 15.85% (p < 0.002) with verbal encouragement compared to the condition without external stimuli. There were no significant differences in the myoelectric manifestations of fatigue between the different conditions. Regarding the muscle excitation metrics, although the mean amplitude, peak value, and area under the curve remained unchanged across conditions, a significant reduction in the trend coefficient, indicating motor unit recruitment over time, was observed with both music (biceps brachii: −10.39%, p < 0.001; brachioradialis: −9.40%, p < 0.001) and verbal encouragement (biceps brachii: −7.61%, p < 0.001; brachioradialis: −6.51%, p < 0.001) compared to the standard condition. For the trained participants, no significant differences were observed between conditions in terms of task duration and outcome measures related to muscle excitation and myoelectric manifestations of fatigue, suggesting the possible presence of a ceiling effect on motivation. These results highlight the important role of external motivational stimuli, such as music and verbal encouragement, in improving task performance in untrained subjects, probably through more effective and efficient recruitment of motor units. [ABSTRACT FROM AUTHOR]

Background: Music learning induces significant neural changes, enhancing auditory, verbal, and visuospatial skills, IQ, and speech perception. Research studies reveal structural and functional brain plasticity due to music training in adults and children. While musical abilities are linked to formal training, the existence of "musical sleepers" with heightened speech perception without formal training is noteworthy in adults. This study addresses the gap in understanding such phenomena in children, exploring psychophysical abilities in musically adept children, and aiming to impact rehabilitation models. Materials and method: A pre-experimental study involved 164 typically developing children (mean age: 9.93) without musical training. Musical abilities were evaluated using the abbreviated version of Montreal Battery for Evaluation of Musical Abilities (MBEMA) test in DMDX software, covering melody, rhythm, and memory subtests. Psychophysical tests in MATLAB assessed temporal, frequency, intensity, timbre, and binaural resolution. Results: Using a median split based on MBEMA test scores (median: 42), 84 children exhibited poor musical abilities, while 80 showed good ones. Descriptive statistics for MBEMA scores and psychophysical tests were conducted. As data did not follow normal distribution, non-parametric inferential statistics were employed. Mann–Whitney U tests revealed significant differences favouring good musical abilities in all assessments: gap deduction (p = 0.01), pitch discrimination at 500 Hz and 4 kHz (p = 0.00), intensity discrimination at 500 Hz (p = 0.00) and 4 kHz (p = 0.01), profile analysis (p = 0.01), interaural level difference (p = 0.023), and interaural time difference (p = 0.038). Spearman correlation showed highest correlation with pitch discrimination at 500 Hz (r = − 0.538), 4 kHz (− 0.416), intensity discrimination at 4 kHz (r = − 0.367), and 500 Hz (r = − 0.311), profile analysis (r = − 0.313), interaural level difference (r = − 0.276), and gap deduction (r = − 0.235). All were significant (p < 0.01), except for the interaural time difference. Conclusion: Children excelling in music surpassed those with weaker abilities in psychophysical tasks. This echoes past research, underscoring auditory discrimination's influence on musical skills in untrained children. These results potentially support the concept of musical sleepers in children. Key predictors include pitch discrimination, while interaural time difference exhibited minimal correlation. Utilising such assessments may predict musical training outcomes for children with auditory disorders, but additional robust statistical investigation is necessary. [ABSTRACT FROM AUTHOR]

Background: A common complaint in older adults is trouble with their memory, especially for new information. Current knowledge about normal aging and changes in memory identify a divide between memory tasks that are unaffected by aging and those that are. Among the unaffected are recognition tasks. These memory tasks rely on accessing well-known information, often include environmental support, and tend to be automatic. Negative age effects on memory are often observed at both encoding and during recall. Older adults often have difficulty with recall tasks, particularly those that require effortful self-initiated processing, episodic memory, and retention of information about contextual cues. Research in memory for music in healthy aging suggests a skill-invariance hypothesis: that age effects dominate when general-purpose cognitive mechanisms are needed to perform the musical task at hand, while experience effects dominate when music-specific knowledge is needed to perform the task [1]. Aims: The goals of this pair of studies were to investigate the effects of age and familiarity on musical memory in the context of real pieces of music, and to compare a live concert experimental setting with a lab-based experimental setting. Method: Participants' task was to click a button (or press the spacebar) when they heard the target theme in three pieces of music. One was Mozart's Eine Kleine Nachtmusik and the others were original pieces commissioned for this study, one tonal and one atonal. Participants heard the relevant theme three times before listening to a piece of music. The music was performed by the Newfoundland Symphony Orchestra; participants either attended the concert, or watched a recording of the concert in the lab. Participants also completed two short cognitive tests and filled out a questionnaire collecting demographic information and a hearing abilities self-assessment. Results: We find a significant effect of familiarity and setting but not of age or musical training on recognition performance as measured by d'. More specifically, performance is best for the familiar, tonal piece, moderate for the unfamiliar tonal piece and worst for the unfamiliar atonal piece. Performance was better in the live setting than the lab setting. Conclusions: The absence of an age effect provides encouraging evidence that music's diverse cues may encourage cognitive scaffolding, in turn improving encoding and subsequent recognition. Better performance in an ecological versus lab setting supports the expansion of ecological studies in the field. [ABSTRACT FROM AUTHOR]

Music is ubiquitous, both in its instrumental and vocal forms. While speech perception at birth has been at the core of an extensive corpus of research, the origins of the ability to discriminate instrumental or vocal melodies is still not well investigated. In previous studies comparing vocal and musical perception, the vocal stimuli were mainly related to speaking, including language, and not to the non‐language singing voice. In the present study, to better compare a melodic instrumental line with the voice, we used singing as a comparison stimulus, to reduce the dissimilarities between the two stimuli as much as possible, separating language perception from vocal musical perception. In the present study, 45 newborns were scanned, 10 full‐term born infants and 35 preterm infants at term‐equivalent age (mean gestational age at test = 40.17 weeks, SD = 0.44) using functional magnetic resonance imaging while listening to five melodies played by a musical instrument (flute) or sung by a female voice. To examine the dynamic task‐based effective connectivity, we employed a psychophysiological interaction of co‐activation patterns (PPI‐CAPs) analysis, using the auditory cortices as seed region, to investigate moment‐to‐moment changes in task‐driven modulation of cortical activity during an fMRI task. Our findings reveal condition‐specific, dynamically occurring patterns of co‐activation (PPI‐CAPs). During the vocal condition, the auditory cortex co‐activates with the sensorimotor and salience networks, while during the instrumental condition, it co‐activates with the visual cortex and the superior frontal cortex. Our results show that the vocal stimulus elicits sensorimotor aspects of the auditory perception and is processed as a more salient stimulus while the instrumental condition activated higher‐order cognitive and visuo‐spatial networks. Common neural signatures for both auditory stimuli were found in the precuneus and posterior cingulate gyrus. Finally, this study adds knowledge on the dynamic brain connectivity underlying the newborns capability of early and specialized auditory processing, highlighting the relevance of dynamic approaches to study brain function in newborn populations. [ABSTRACT FROM AUTHOR]

This paper explored the effectiveness of ensemble performance on the development of adolescent's life skills. An explorative qualitative study investigated young musicians' self-perception about the benefits and challenges of learning and playing music together. A convenience sampling technique was adopted for interviewing 15 adolescents (12–18 years old) who participated in a long-term music education programme led by a charity in the North-West of England. The data were analysed using NVivo, employing a thematic analysis approach. Two main themes emerged from the analyses: (1) the main benefits of playing and learning in an ensemble: the development of music and life skills; (2) the challenges experienced by the musicians learning in the ensemble. The findings suggest that participants were conscious of the positive effects of playing in an ensemble on their lives. This extended beyond merely learning a musical instrument, i.e. acquiring music skills. In particular, young musicians recognised they had developed greater self-confidence and cognitive skills such as critical thinking and self-awareness. Primarily, they developed effective communication and interpersonal skills. At the same time, these young musicians recognised they had to face challenges related to the process of learning music in an ensemble, such as managing emotions of frustration and adapting to different music learning styles and techniques. Finally, suggestions are made for the implementation and evaluation of future projects to explore the impact and effectiveness of classical music programmes, with a particular emphasis on ensemble-based initiatives and their influence on life skills. [ABSTRACT FROM AUTHOR]

Objectives: To investigate the association of musical activity with mental health during the COVID-19 pandemic. Methods: A total of 3,666 participants reported their musical activity before and mental health indicators before and during the pandemic. Depression was assessed with the Patient Health Questionnaire, anxiety with the Generalized Anxiety Disorder scale. The association between mental health scores and musical activities was investigated using linear regression. Results: Within the last 12 months, 22.1% of the participants reported musical activity (15.1% singing, 14.5% playing an instrument). Individuals with frequent singing as their main musical activity had higher scores before the pandemic than non-musicians and the worsening during the pandemic was more pronounced compared to non-musicians. Instrumentalists tended to have slightly lower scores than non-musicians indicating a possible beneficial effect of playing an instrument on mental health. Conclusion: The pandemic led to a worsening of mental health, with singers being particularly affected. Singers showed poorer mental health before the pandemic. The tendency for instrumentalists to report lower depression scores compared to non-musicians may support the hypothesis that music-making has a beneficial effect on health. [ABSTRACT FROM AUTHOR]

This article examines the connection between Johann Sebastian Bach's hands and his musical notation. It challenges the traditional view that notation is solely a visual representation of sound and argues for a broader interpretation that considers the physicality embedded in musical notation. The article explores Bach's handwriting and the embodied practice of music-making, emphasizing the role of his hands in his musical activities. It suggests that musical notation should be seen as a somatic script that influences bodily engagement. The text also discusses the relationship between neural processes and hand movements, highlighting the integrated cognitive system formed by the hand and the brain. It emphasizes the importance of considering the physicality and materiality of written documents, rather than focusing solely on their linguistic and semantic meanings. The article also explores the relationship between the physicality of keyboard playing and the abstract nature of Bach's music, highlighting the symbiotic relationship between the body, instrument, and musical gestures in his compositions. It discusses how Bach's musical notation reflects the physical actions of a performer's hands and fingers, capturing the physical gestures and bodily actions involved in playing the music. The text also explores the process of writing music in Bach's time, emphasizing the materiality of the tools used and the physical engagement of the arms and hands. It argues that the notation serves as a tangible representation of the physicality and embodied nature of musical performance. The article delves into the use of beaming and stem notation in Bach's music, particularly in his Well-Tempered Clavier, and how these visual elements [Extracted from the article]

Most individuals, regardless of formal musical training, have long-term absolute pitch memory (APM) for familiar musical recordings, though with varying levels of accuracy. The present study followed up on recent evidence suggesting an association between singing accuracy and APM (Halpern & Pfordresher, 2022, Attention, Perception, & Psychophysics, 84(1), 260–269), as well as tonal short-term memory (STM) and APM (Van Hedger et al., 2018, Quarterly Journal of Experimental Psychology, 71(4), 879–891). Participants from three research sites (n = 108) completed a battery of tasks including APM, tonal STM, singing accuracy, and self-reported auditory imagery. Both tonal STM and singing accuracy predicted APM, replicating prior results. Tonal STM also predicted singing accuracy, music training, and auditory imagery. Further tests suggested that the association between APM and singing accuracy was fully mediated by tonal STM. This pattern comports well with models of vocal pitch matching that include STM for pitch as a mechanism for sensorimotor translation. [ABSTRACT FROM AUTHOR]

The article focuses on evaluating music as a mood regulator in Slovakia using the Music in Mood Regulation Scale (MMR). It investigates how effectively the MMR tool, originally developed in Finland, can be adapted to Slovak conditions. It aims to identify how music influences mood regulation in Slovak respondents, analyze differences in mood regulation strategies based on demographic factors such as age and gender.

A large body of research establishes the efficacy of musical intervention in many aspects of physical, cognitive, communication, social, and emotional rehabilitation. However, the underlying neural mechanisms for musical therapy remain elusive. This study aimed to investigate the potential neural correlates of musical therapy, focusing on the changes in the topology of emotion brain network. To this end, a Bayesian statistical approach and a cross-over experimental design were employed together with two resting-state magnetoencephalography (MEG) as controls. MEG recordings of 30 healthy subjects were acquired while listening to five auditory stimuli in random order. Two resting-state MEG recordings of each subject were obtained, one prior to the first stimulus (pre) and one after the final stimulus (post). Time series at the level of brain regions were estimated using depth-weighted minimum norm estimation (wMNE) source reconstruction method and the functional connectivity between these regions were computed. The resultant connectivity matrices were used to derive two topological network measures: transitivity and global efficiency which are important in gauging the functional segregation and integration of brain network respectively. The differences in these measures between pre- and post-stimuli resting MEG were set as the equivalence regions. We found that the network measures under all auditory stimuli were equivalent to the resting state network measures in all frequency bands, indicating that the topology of the functional brain network associated with emotional regulation in healthy subjects remains unchanged following these auditory stimuli. This suggests that changes in the emotion network topology may not be the underlying neural mechanism of musical therapy. Nonetheless, further studies are required to explore the neural mechanisms of musical interventions especially in the populations with neuropsychiatric disorders. [ABSTRACT FROM AUTHOR]

Objective Auditory processing disorder (APD) tests, based on the deviation of results from standard benchmarks, can distinguish children suspected of having APD. Some of these tests directly relate to the ability to discriminate sound pitch, while others may be indirectly affected. Accordingly, this study investigates the impact of pitch discrimination-based rehabilitation on diagnostic indices of APD tests. Materials & Methods In this study, we selected 19 children suspected of APD who were identified based on tests of pitch pattern, dichotic digits, and monaural selective auditory attention as the intervention group. These children received pitch discrimination-based training, for about three months, two to three sessions a week, each session up to 1 h. After completing the rehabilitation phases, diagnostic tests were administered again. We also selected 26 children with similar diagnostic criteria for APD as the control group. No intervention was applied to this group, and after a comparable period to the intervention group, diagnostic tests were re-administered. The results before and after the interventions were compared within the intervention group and with the 26 children in the control group. Results The rehabilitation showed significant improvements in the pitch pattern and monaural selective auditory attention tests. In the monaural selective auditory attention test, significant improvements were observed in both ears (P=0.001). In the pitch pattern test, effective improvements were also observed for both ears (P=0.001). The effects were such that nearly 37% of children suspected of APD, based on the diagnostic criteria used in the study, no longer met the criteria for this disorder. Hence, if the same tests are re-administered to them, these children will be diagnosed as having no auditory processing disorder. Conclusion Discrimination-based rehabilitation impacts the results of APD tests. Accordingly, some children who are classified as suspected auditory processing disorder with such tests, are removed from this subgroup after the intervention. [ABSTRACT FROM AUTHOR]

Timbre is a central aspect of music that allows listeners to identify musical sounds and conveys musical emotion, but also allows for the recognition of actions and is an important structuring property of music. The former functions are known to be implemented in a ventral auditory stream in processing musical timbre. While the latter functions are commonly attributed to areas in a dorsal auditory processing stream in other musical domains, its involvement in musical timbre processing is so far unknown. To investigate if musical timbre processing involves both dorsal and ventral auditory pathways, we carried out an activation likelihood estimation (ALE) meta-analysis of 18 experiments from 17 published neuroimaging studies on musical timbre perception. We identified consistent activations in Brodmann areas (BA) 41, 42, and 22 in the bilateral transverse temporal gyri, the posterior superior temporal gyri and planum temporale, in BA 40 of the bilateral inferior parietal lobe, in BA 13 in the bilateral posterior Insula, and in BA 13 and 22 in the right anterior insula and superior temporal gyrus. The vast majority of the identified regions are associated with the dorsal and ventral auditory processing streams. We therefore propose to frame the processing of musical timbre in a dual-stream model. Moreover, the regions activated in processing timbre show similarities to the brain regions involved in processing several other fundamental aspects of music, indicating possible shared neural bases of musical timbre and other musical domains. [ABSTRACT FROM AUTHOR]

An automatic composition system that includes music generation and music assessment is designed in this paper. In terms of music generation, we modify the Transformer-XL model for generating music. The Mask mechanism based on Transformer-XL is improved to make the attention of model tend to pay on the bidirectional information, so that the generated popular piano music forms a coherent whole. In terms of music assessment, we combine objective and subjective assessment to judge the generated music in a comprehensive way. Meanwhile, we put forward a new objective assessment method, namely the piano roll classification scoring network. It converts music into pictures and uses classification models in the CV, enabling the network itself to classify and score the generated music. The assessment results from subjective and objective experiments show that by improving the Mask mechanism of Transformer-XL, the model is trained to be better and the generated music could achieve the effect of imitating the real music. [ABSTRACT FROM AUTHOR]

The paper investigates pre-service primary general teacher-students’ perceptions of how music can act as a stimulus for writing, through short story group writing activities. More specifically, we look at their attitudes regarding i) team collaboration, ii) the enhancement of their creativity, iii) classroom atmosphere, iv) the suitability of the activities for their implementation in primary school classes in the future and v) the advantages the use of music can have for language development. In our study, pre-service primary general teacher-students’ views were shaped by the experiences they gained from their participation in group activities which were implemented as part of an undergraduate elective course, entitled “Music Education”. The participants recorded their ideas on worksheets. Data were collected through observation, diaries and questionnaires with open and closed-ended questions. The results revealed that the pre-service primary general teacher-students had a positive attitude towards story inventing and story writing activities based on musical stimuli. Such activities boosted their creativity and gave them the opportunity to develop their teamwork skills as well as to participate in a pleasant and innovative classroom atmosphere. Finally, they were positive about the suitability of the activities for their future students and the advantages the use of music can have in language lessons for teachers, students and the educational process. [ABSTRACT FROM AUTHOR]

This research, carried out between 2020 and 2021, involves an online questionnaire and individual interviews with undergraduate music students at universities and conservatoires in the UK, to examine student experiences of receiving and delivering instrumental and singing tuition. There is no regulation of instrumental teaching in the UK, and individuals are able to teach without formal training or qualification. Existing literature suggests that musicians often begin teaching while still in education, though there is limited research concerning the experience of this process. This research confirms that students are involved in delivering instrumental and singing lessons before and during their undergraduate studies, often beginning with peer learning initiatives in school or 'helping' family and friends. The study identifies positive perceptions of the role of teaching in portfolio careers in music and highlights the influence of both instrumental teachers and classroom music teachers in shaping understandings and providing guidance and opportunities for students. [ABSTRACT FROM AUTHOR]

The study investigates the temporal perceptions of the listeners within the structural framework of North Indian Classical Music exploring the connection between the present-day ragas and the time theory that exists. A pilot study was conducted with twenty diverse participants. The study examines the contemporary relevance of the time theory of ragas, assessing their alignment with the traditional temporal associations and thereby exploring the perceptions of the listeners. The results demonstrated the aspects of the temporal perception that are influenced by factors such as preferences of music, cultural knowledge, upbringing, musical training, etc. The study contributes to understanding of the traditional time theory of the ragas and its complex interactions with the listeners. [ABSTRACT FROM AUTHOR]

Spontaneous rhythmic movements are part of everyday life, e.g., in walking, clapping or music making. Humans perform such spontaneous motor actions at different rates that reflect specific biomechanical constraints of the effector system in use. However, there is some evidence for intra-individual consistency of specific spontaneous rates arguably resulting from common underlying processes. Additionally, individual and contextual factors such as musicianship and circadian rhythms have been suggested to influence spontaneous rates. This study investigated the relative contributions of these factors and provides a comprehensive picture of rates among different spontaneous motor behaviors, i.e., melody production, walking, clapping, tapping with and without sound production, the latter measured online before and in the lab. Participants (n = 60) exhibited high intra-individual stability across tasks. Task-related influences included faster tempi for spontaneous production rates of music and wider ranges of spontaneous motor tempi (SMT) and clapping rates compared to walking and music making rates. Moreover, musicians exhibited slower spontaneous rates across tasks, yet we found no influence of time of day on SMT as measured online in pre-lab sessions. Tapping behavior was similar in pre-lab and in-lab sessions, validating the use of online SMT assessments. Together, the prominent role of individual factors and high stability across domains support the idea that different spontaneous motor behaviors are influenced by common underlying processes. [ABSTRACT FROM AUTHOR]

Musical engagement can be conceptualized through various activities, modes of listening and listener states. Recent research has reported that a state of focused engagement can be indexed by the inter‐subject correlation (ISC) of audience responses to a shared naturalistic stimulus. While statistically significant ISC has been reported during music listening, we lack insight into the temporal dynamics of engagement over the course of musical works—such as those composed in the Western classical style—which involve the formulation of expectations that are realized or derailed at subsequent points of arrival. Here, we use the ISC of electroencephalographic (EEG) and continuous behavioural (CB) responses to investigate the time‐varying dynamics of engagement with functional tonal music. From a sample of adult musicians who listened to a complete cello concerto movement, we found that ISC varied throughout the excerpt for both measures. In particular, significant EEG ISC was observed during periods of musical tension that built to climactic highpoints, while significant CB ISC corresponded more to declarative entrances and points of arrival. Moreover, we found that a control stimulus retaining envelope characteristics of the intact music, but little other temporal structure, also elicited significantly correlated EEG and CB responses, though to lesser extents than the original version. In sum, these findings shed light on the temporal dynamics of engagement during music listening and clarify specific aspects of musical engagement that may be indexed by each measure. [ABSTRACT FROM AUTHOR]

DIFFERENT MUSICAL INSTRUMENTS HAVE DIFFERENT pitch processing demands. However, correlational studies have seldom considered the role of musical instruments in music-to-language transfer. Addressing this research gap could contribute to a nuanced understanding of music-to-language transfer. To this end, we investigated whether pitched musicians had a unique musical advantage in lexical tone perception relative to unpitched musicians and nonmusicians. Specifically, we compared Cantonese pitched musicians, unpitched musicians, and nonmusicians on Thai tone discrimination and sequence recall. In the Thai tone discrimination task, the pitched musicians outperformed the unpitched musicians and the nonmusicians. Moreover, the unpitched musicians and the nonmusicians performed similarly. In the Thai tone sequence recall task, both pitched and unpitched musicians recalled level tone sequences more accurately than the nonmusicians, but the pitched musicians showed the largest musical advantage. However, the three groups recalled contour tone sequences with similar accuracy. Collectively, the pitched musicians had a unique musical advantage in lexical tone discrimination and the largest musical advantage in level tone sequence recall. From a theoretical perspective, this study offers correlational evidence for the Precision element of the OPERA hypothesis. The choice of musical instrumental may matter for musicto- language transfer in lexical tone discrimination and level tone sequence recall. [ABSTRACT FROM AUTHOR]

This paper calls for a recalibration of how cultural geography engages with music, lyrics, motion, and emotion. Within existing geographical work on music, research on the music itself remains scarce, with reflection on lyrics rarer still. This paper addresses this via a close reading of the work of the Glaswegian group, The Blue Nile. It examines how the trio – and especially their principal songwriter, Paul Buchanan – used lyrics as a means for articulating distinctive conceptions of movement and stillness. The significance of song-words themselves is considered, but so too is their mode of delivery, and their relationship to the enveloping musical settings they are embedded in. The importance of time, space and place in The Blue Nile's work is analysed and the methods by which they are evoked is investigated. The paper moves discussion on from well-covered terrain regarding music as a conduit for expressing youth focussed tropes, such as rebellion and speed, focusing instead on music's facility for voicing ideas of slowness and immobility, particularly in urban settings. In doing so, it demonstrates popular music's value for articulating sensations that are now being encountered with ever greater frequency, including those of stasis, drift, and disconnection. [ABSTRACT FROM AUTHOR]

Prosodic aspects of cross-linguistic contact are under-researched, especially past contact that has subsequently ceased. In this paper, we investigate declarative and polar question tunes of contemporary Cretan Greek, a regional variety of Greek whose speakers were in contact with Venetian speakers during the four and half centuries of Venetian rule on the island, from 1204 to 1669. The F0 contours of the Cretan tunes and alignment of peaks and troughs of interest with the nuclear vowel are compared to the corresponding tunes in Venetian dialect and Venetian Italian and to those in Athenian (Standard) Greek, which are used as control. The data (1610 declarative utterances and 698 polar questions) were drawn from natural speech corpora based on pragmatic criteria: broad focus for declaratives, broad focus, and information-seeking interpretation for polar questions. The pitch contour shapes of the tunes are modeled using polynomial basis functions, and the F0 alignment points are determined analytically. The results show the robustness of contact effects almost three and a half centuries after regular contact ceased and indicate that the shapes of the F0 contours of Cretan and Venetian declarative and polar question tunes are similar. In addition, Cretan alignment patterns are similar to Venetian and significantly different from Athenian. Insights are gained from research into how long prosodic characteristics may persist in a recipient language—decades or even centuries after the cessation of contact. [ABSTRACT FROM AUTHOR]

This paper presents the investigation and analysis of speech accommodation effects in data obtained from Spanish learners of German with varying proficiency levels. The production data were recorded during a collaborative map task of the Spanish learners of German among each other and with a native speaker of German. The map task was designed to target words and phrases with specific segmental and suprasegmental characteristics. These characteristics were derived from contrastive analyses of Spanish and German. The main objectives of the paper were to investigate whether segmental and suprasegmental characteristics of the target language German are affected by phonetic accommodation to varying degrees and whether these differences depend on the proficiency level of the speaker or the interlocutor. The statistical analysis, using regression analyses, revealed inconsistent accommodation effects across learners of different proficiency levels as well as different linguistic phenomena. In line with previous findings the results can best be accounted for by an adaptation of a dynamic system approach. [ABSTRACT FROM AUTHOR]

Purpose: The present study examined whether participants respond to unperturbed parameters while experiencing specific perturbations in auditory feedback. For instance, we aim to determine if speakers adjust voice loudness when only pitch is artificially altered in auditory feedback. This phenomenon is referred to as the “accompanying effect” in the present study. Method: Thirty native Mandarin speakers were asked to sustain the vowel /ɛ/ for 3 s while their auditory feedback underwent single shifts in one of the three distinct ways: pitch shift (±100 cents; coded as PT), loudness shift (±6 dB; coded as LD), or first formant (F1) shift (±100 Hz; coded as FM). Participants were instructed to ignore the perturbations in their auditory feedback. Response types were categorized based on pitch, loudness, and F1 for each individual trial, such as Popp_Lopp_Fopp indicating opposing responses in all three domains. Results: The accompanying effect appeared 93% of the time. Bayesian Poisson regression models indicate that opposing responses in all three domains (Popp_Lopp_Fopp) were the most prevalent response type across the conditions (PT, LD, and FM). The more frequently used response types exhibited opposing responses and significantly larger response curves than the less frequently used response types. Following responses became more prevalent only when the perturbed stimuli were perceived as voices from someone else (external references), particularly in the FM condition. In terms of isotropy, loudness and F1 tended to change in the same direction rather than loudness and pitch. Conclusion: The presence of the accompanying effect suggests that the motor systems responsible for regulating pitch, loudness, and formants are not entirely independent but rather interconnected to some degree. [ABSTRACT FROM AUTHOR]

Purpose: Pitch variations (tone productions) have been reported as a measure to differentiate Cantonese-speaking children with and without childhood apraxia of speech (CAS). This study aims to examine fundamental frequency (F0) changes within syllables and the effects of syllable structure, lexical status, and syllable positions on F0 in Cantonese-speaking preschool children with and without CAS. Method: Six children with CAS, six children with non-CAS speech sound disorder plus language disorder (S&LD), 22 children with speech sound disorder only (SSD), and 63 children with typical speech-language development (TD) performed the tone sequencing task (TST). Growth curve analysis was employed to analyze and compare the F0 values within syllables with three Cantonese tones (high level, high rising, and low falling). The analysis considered the effects of syllable structure (vowel and consonant–vowel), lexical status (word and nonword), and syllable position (initial, medial, and final) on F0, as well as comparisons within and between groups. Results: Within each group, the effects of syllable structure and position on F0 values were found with different patterns. Between-group comparisons showed that the CAS group had reduced F0 contrasts. The CAS group could be differentiated from the control groups based on interactions of F0 with syllable structure and position, but not lexical status. The dissimilarity of F0 values detected between the CAS and SSD/TD groups was more prominent than that observed between the CAS and S&LD groups. Conclusions: This study demonstrated that Cantonese-speaking children with CAS had difficulty in varying F0 within syllables as compared to those without CAS, suggesting pitch variation difficulty and language-specific impairment profiles in CAS. Future investigations of objective measures for identifying Cantonese speakers with CAS and cross-linguistic investigations using growth curve analysis and the TST are suggested. [ABSTRACT FROM AUTHOR]

Time discrimination, a critical aspect of auditory perception, is influenced by numerous factors. Previous research has suggested that musical experience can restructure the brain, thereby enhancing time discrimination. However, this phenomenon remains underexplored. In this study, we seek to elucidate the enhancing effect of musical experience on time discrimination, utilizing both behavioral and electroencephalogram methodologies. Additionally, we aim to explore, through brain connectivity analysis, the role of increased connectivity in brain regions associated with auditory perception as a potential contributory factor to time discrimination induced by musical experience. The results show that the music‐experienced group demonstrated higher behavioral accuracy, shorter reaction time, and shorter P3 and mismatch response latencies as compared to the control group. Furthermore, the music‐experienced group had higher connectivity in the left temporal lobe. In summary, our research underscores the positive impact of musical experience on time discrimination and suggests that enhanced connectivity in brain regions linked to auditory perception may be responsible for this enhancement. [ABSTRACT FROM AUTHOR]

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Background: Frequency discrimination underlies more complicated auditory activities like speech comprehension and interpretation. However, intensity differences indicate how far apart noises are. This study aimed to evaluate and compare results of frequency modulation and difference limen for intensity in children with cochlear Implants (CI) as well as normal hearing children. Results: This case–control work was performed on 40 children, aged from 5–18 years, divided into two equal groups: a study group with unilateral CI and a control group with normal peripheral hearing. All patients were subjected to otological examination, audiological evaluation, frequency modulation difference limen (FMDL) and difference limen for intensity (DLI) tests. Patients with CI, as compared to normal hearing (NH) subjects, required significantly higher frequencies to discriminate FMDL and DLI respectively (P value = 0.001). At 2000 and 4000 Hz: FMDL had a significant diagnostic power for patients with CI (AUC = 0.980, 0.998 respectively, P < 0.001), at cut off 1.5, with 100% sensitivity and 100% specificity. While, at 4000 Hz: DLI had a significant diagnostic power for patients with CI (AUC = 0.999, P < 0.001), at cut off 1.5, with 100% sensitivity and 100% specificity. Conclusion: A statistically substantial variation was observed among CI and NH children in FMDL and DLI at all frequencies tested. Patients with CI required significantly higher frequencies to discriminate as compared to NH subjects. Frequencies at 2000 Hz and 4000 Hz possess the best specificity and sensitivity of FMDL. While frequency 4000 Hz possess the best specificity and sensitivity of DLI. [ABSTRACT FROM AUTHOR]

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Simple Summary: For humans, music is a powerful tool of emotional communication, conveying affective states and modulating physiological states in ways that can influence well-being. Understanding that emotionality is not an exclusively human trait, as it is also recognized in non-human species, it is natural to assume that the intrinsic power of music to modulate the psychophysiological state may be trans-specific. In this way, music can be a powerful tool for enriching the environment and improving the welfare of captive animals, especially farm animals. As there is very limited information on non-human animals, the aim is to review what is known from a human comparative perspective, arguments that support its use, and the potential to use music in non-human species. The effects of sound stimulation as a sensorial environmental enrichment for captive animals have been studied. When appropriately implemented for farm animals, it can improve welfare, health, and productivity. Furthermore, there are indications that music can induce positive emotions in non-human animals, similar to humans. Emotion is a functional state of the organism involving both physiological processes, mediated by neuroendocrine regulation, and changes in behavior, affecting various aspects, including contextual perception and welfare. As there is very limited information on non-human animals, the objective of this review is to highlight what is known about these processes from human biological and comparative perspectives and stimulate future research on using music to improve animal welfare. [ABSTRACT FROM AUTHOR]

Background and aims: Fascinations for or aversions to particular sounds are a familiar feature of autism, as is an ability to reproduce another person's utterances, precisely copying the other person's prosody as well as their words. Such observations seem to indicate not only that autistic people can pay close attention to what they hear, but also that they have the ability to perceive the finer details of auditory stimuli. This is consistent with the previously reported consensus that absolute pitch is more common in autistic individuals than in neurotypicals. We take this to suggest that autistic people have perception that allows them to pay attention to fine details. It is important to establish whether or not this is so as autism is often presented as a deficit rather than a difference. We therefore undertook a narrative literature review of studies of auditory perception, in autistic and nonautistic individuals, focussing on any differences in processing linguistic and nonlinguistic sounds. Main contributions: We find persuasive evidence that nonlinguistic auditory perception in autistic children differs from that of nonautistic children. This is supported by the additional finding of a higher prevalence of absolute pitch and enhanced pitch discriminating abilities in autistic children compared to neurotypical children. Such abilities appear to stem from atypical perception, which is biased toward local-level information necessary for processing pitch and other prosodic features. Enhanced pitch discriminating abilities tend to be found in autistic individuals with a history of language delay, suggesting possible reciprocity. Research on various aspects of language development in autism also supports the hypothesis that atypical pitch perception may be accountable for observed differences in language development in autism. Conclusions: The results of our review of previously published studies are consistent with the hypothesis that auditory perception, and particularly pitch perception, in autism are different from the norm but not always impaired. Detail-oriented pitch perception may be an advantage given the right environment. We speculate that unusually heightened sensitivity to pitch differences may be at the cost of the normal development of the perception of the sounds that contribute most to early language development. Implications: The acquisition of speech and language may be a process that normally involves an enhanced perception of speech sounds at the expense of the processing of nonlinguistic sounds, but autistic children may not give speech sounds this same priority. [ABSTRACT FROM AUTHOR]