Biomedical subjects

Laurel J Trainor

Publications and source records attributed to Laurel J Trainor.

At least 19 recordsLinked to original sources

PubMed2006

Hearing what the body feels: auditory encoding of rhythmic movement.

Phillips-Silver and Trainor (Phillips-Silver, J., Trainor, L.J., (2005). Feeling the beat: movement influences infants' rhythm perception. Science, 308, 1430) demonstrated an early cross-modal interaction between body movement and auditory encoding of musical rhythm in infants. Here we show that the way adults move their bodies to music influences their auditory perception of the rhythm structure. We trained adults, while listening to an ambiguous rhythm with no accented beats, to bounce by bending their knees to interpret the rhythm either as a march or as a waltz. At test, adults identified as similar an auditory version of the rhythm pattern with accented strong beats that matched their previous bouncing experience in comparison with a version whose accents did not match. In subsequent experiments we showed that this effect does not depend on visual information, but that movement of the body is critical. Parallel results from adults and infants suggest that the movement-sound interaction develops early and is fundamental to music processing throughout life.

Adolescent↗

PubMed2006

One year of musical training affects development of auditory cortical-evoked fields in young children.

Auditory evoked responses to a violin tone and a noise-burst stimulus were recorded from 4- to 6-year-old children in four repeated measurements over a 1-year period using magnetoencephalography (MEG). Half of the subjects participated in musical lessons throughout the year; the other half had no music lessons. Auditory evoked magnetic fields showed prominent bilateral P100m, N250m, P320m and N450m peaks. Significant change in the peak latencies of all components except P100m was observed over time. Larger P100m and N450m amplitude as well as more rapid change of N250m amplitude and latency was associated with the violin rather than the noise stimuli. Larger P100m and P320m peak amplitudes in the left hemisphere than in the right are consistent with left-lateralized cortical development in this age group. A clear musical training effect was expressed in a larger and earlier N250m peak in the left hemisphere in response to the violin sound in musically trained children compared with untrained children. This difference coincided with pronounced morphological change in a time window between 100 and 400 ms, which was observed in musically trained children in response to violin stimuli only, whereas in untrained children a similar change was present regardless of stimulus type. This transition could be related to establishing a neural network associated with sound categorization and/or involuntary attention, which can be altered by music learning experience.

Acoustic Stimulation↗

PubMed2006

Occasional changes in sound location enhance middle latency evoked responses.

Rapid processing of sound location is critical for orienting attention. The present study investigated whether contextually sensitive early neural responses elicited by occasional changes in sound location could be measured. Using an oddball paradigm with stimuli consisting of brief noise bursts whose location was occasionally varied using head-related transfer functions, we found significant enhanced negativities in the event-related potentials elicited by deviant stimuli as early as 25 ms after stimulus onset, in addition to the differences around 125 ms which have previously been reported. Recent research suggests that occasional changes in auditory location information are processed in areas beyond primary auditory cortex. Our data suggest that any such processing is in fact preceded by activation in primary auditory cortex.

Acoustic Stimulation↗

PubMed2006

Effects of spatial separation and stimulus probability on the event-related potentials elicited by occasional changes in sound location.

The ability to extract information about the spatial location of sounds plays an important role in auditory scene analysis. The present study examined the effects of spatial separation and stimulus probability on auditory event-related potentials (ERPs) to changes in sound location. In Experiment 1, we found that difference waves between ERPs elicited by standard and deviant stimuli showed a biphasic negative-positive response peaking around 126 and 226 ms after deviant onset. The amplitude of both responses increased with decreasing deviant stimulus probability, and increasing stimulus deviance. When the same stimuli were presented with equal probability for all locations (Experiment 2), there were no significant differences in the ERP amplitude and latency. These results suggest that the data reported in Experiment 1 are the result of contextual changes, rather than changes in simple acoustic features. Brain electrical source analyses are consistent with generators located in auditory cortices posterior to Heschel's gyrus. Although occasional changes in sound location elicit earlier peaks than the mismatch negativity (MMN) response reported for other types of deviation, their topographical distribution and behavior are consistent with MMN. The early latency of MMN for changes in sound location is interpreted in the context of an early-warning system to alert the organism to new sound sources in the environment.

Acoustic Stimulation↗

PubMed2006

The development of temporal resolution: between-channel gap detection in infants and adults.

PURPOSE: Infants have a good ability to detect brief silent gaps between 2 short identical sound markers (within-channel gap detection), with thresholds between 2 and 11 ms. The present experiment traces the development of temporal resolution for between-channel gaps (i.e., gaps delineated by spectrally disparate markers). This ability appears crucial for the perception of complex stimuli such as speech and is thought to reflect more central auditory processing. METHOD: Infants age 6-7.5 months and adults were tested in a between-channel gap detection task using a conditioned head-turn procedure. Gaps were marked by 1- and 4-kHz Gaussian-enveloped sine-tone markers. RESULTS: Infant gap thresholds were between 30 and 40 ms under conditions in which adult thresholds were between 10 and 20 ms. CONCLUSIONS: Unlike within-channel gap detection, the central temporal processing required for between-channel gap detection is still immature at 6 months of age.

Acoustic Stimulation↗

PubMed2005

Modulation of P2 auditory-evoked responses by the spectral complexity of musical sounds.

We investigated whether N1 and P2 auditory-evoked responses are modulated by the spectral complexity of musical sounds in pianists and non-musicians. Study participants were presented with three variants of a C4 piano tone equated for temporal envelope but differing in the number of harmonics contained in the stimulus. A fourth tone was a pure tone matched to the fundamental frequency of the piano tones. A simultaneous electroencephalographic/magnetoencephalographic recording was made. P2 amplitude was larger in musicians and increased with spectral complexity preferentially in this group, but N1 did not. The results suggest that P2 reflects the specific features of acoustic stimuli experienced during musical practice and point to functional differences in P2 and N1 that relate to their underlying mechanisms.

Acoustic Stimulation↗

PubMed2005

Feeling the beat: movement influences infant rhythm perception.

We hear the melody in music, but we feel the beat. We demonstrate that the perception of musical rhythm is a multisensory experience in infancy. In particular, movement of the body, by bouncing on every second versus every third beat of an ambiguous auditory rhythm pattern, influences whether that auditory rhythm pattern is encoded in duple form (a march) or in triple form (a waltz). Visual information is not necessary for the effect, indicating that it likely reflects a strong, early-developing interaction between auditory and vestibular information in the human nervous system.

Adult↗

PubMed2005

Are there critical periods for musical development?

A critical period can be defined as a developmental window during which specific experience has a greater effect than at other times. Musical behavior involves many skills, including the basic encoding of pitch and time information, understanding scale and harmonic structure, performance, interpretation, and composition. We review studies of genetics, behavior, and brain structure and function in conjunction with the experiences of auditory deprivation and musical enrichment, and conclude that there is more supporting evidence for critical periods for basic than for more complex aspects of musical pitch acquisition. Much remains unknown about the mechanisms of interaction between genetic and experiential factors that create critical periods, but it is clear that there are multiple pathways for achieving musical expertise.

Adult↗

PubMed2005

Automatic encoding of polyphonic melodies in musicians and nonmusicians.

In music, multiple musical objects often overlap in time. Western polyphonic music contains multiple simultaneous melodic lines (referred to as "voices") of equal importance. Previous electrophysiological studies have shown that pitch changes in a single melody are automatically encoded in memory traces, as indexed by mismatch negativity (MMN) and its magnetic counterpart (MMNm), and that this encoding process is enhanced by musical experience. In the present study, we examined whether two simultaneous melodies in polyphonic music are represented as separate entities in the auditory memory trace. Musicians and untrained controls were tested in both magnetoencephalogram and behavioral sessions. Polyphonic stimuli were created by combining two melodies (A and B), each consisting of the same five notes but in a different order. Melody A was in the high voice and Melody B in the low voice in one condition, and this was reversed in the other condition. On 50% of trials, a deviant final (5th) note was played either in the high or in the low voice, and it either went outside the key of the melody or remained within the key. These four deviations occurred with equal probability of 12.5% each. Clear MMNm was obtained for most changes in both groups, despite the 50% deviance level, with a larger amplitude in musicians than in controls. The response pattern was consistent across groups, with larger MMNm for deviants in the high voice than in the low voice, and larger MMNm for in-key than out-of-key changes, despite better behavioral performance for out-of-key changes. The results suggest that melodic information in each voice in polyphonic music is encoded in the sensory memory trace, that the higher voice is more salient than the lower, and that tonality may be processed primarily at cognitive stages subsequent to MMN generation.

Acoustic Stimulation↗

PubMed2005

Perceived intensity effects in the octave illusion.

We showed that there is an intensity aspect to the octave illusion in addition to the pitch and location aspects originally reported by Deutsch (1974). In Experiment 1, we asked participants to directly compare the stimulus giving rise to the illusion (ILLU) with one mimicking its most commonly reported percept (illusion consistent; IC) and showed that they were easily able to distinguish between the two. In Experiment 2, we demonstrated a clear difference between the perceived loudness of ILLU and IC when IC follows ILLU, but not when IC precedes ILLU. In Experiments 3 and 4, we showed that this effect depends on the alternation of high and low tones between the ears in an extended pattern. In Experiment 5, we showed that this difference in perceived loudness disappears if the interval between the ILLU and IC stimuli is sufficiently large.

Adult↗

PubMed2004

Memory for melody: infants use a relative pitch code.

Pitch perception is fundamental to melody in music and prosody in speech. Unlike many animals, the vast majority of human adults store melodic information primarily in terms of relative not absolute pitch, and readily recognize a melody whether rendered in a high or a low pitch range. We show that at 6 months infants are also primarily relative pitch processors. Infants familiarized with a melody for 7 days preferred, on the eighth day, to listen to a novel melody in comparison to the familiarized one, regardless of whether the melodies at test were presented at the same pitch as during familiarization or transposed up or down by a perfect fifth (7/12th of an octave) or a tritone (1/2 octave). On the other hand, infants showed no preference for a transposed over original-pitch version of the familiarized melody, indicating that either they did not remember the absolute pitch, or it was not as salient to them as the relative pitch.

Auditory Perception↗

PubMed2004

Enhancement of auditory cortical development by musical experience in children.

Auditory evoked potentials (AEPs) express the development of mature synaptic connections in the upper neocortical laminae known to occur between 4 and 15 years of age. AEPs evoked by piano, violin, and pure tones were measured twice in a group of 4- to 5-year-old children enrolled in Suzuki music lessons and in non-musician controls. P1 was larger in the Suzuki pupils for all tones whereas P2 was enhanced specifically for the instrument of practice (piano or violin). AEPs observed for the instrument of practice were comparable to those of non-musician children about 3 years older in chronological age. The findings set into relief a general process by which the neocortical synaptic matrix is shaped by an accumulation of specific auditory experiences.

Acoustic Stimulation↗

PubMed2004

Long-term memory for music: infants remember tempo and timbre.

We show that infants' long-term memory representations for melodies are not just reduced to the structural features of relative pitches and durations, but contain surface or performance tempo- and timbre-specific information. Using a head turn preference procedure, we found that after a one week exposure to an old English folk song, infants preferred to listen to a novel folk song, indicating that they remembered the familiarized melody. However, if the tempo (25% faster or slower) or instrument timbre (harp vs. piano) of the familiarized melody was changed at test, infants showed no preference, indicating that they remembered the specific tempo and timbre of the melodies. The results are consistent with an exemplar-based model of memory in infancy rather than one in which structural features are extracted and performance features forgotten.

Association Learning↗

PubMed2003

Enhancement of neuroplastic P2 and N1c auditory evoked potentials in musicians.

P2 and N1c components of the auditory evoked potential (AEP) have been shown to be sensitive to remodeling of the auditory cortex by training at pitch discrimination in nonmusician subjects. Here, we investigated whether these neuroplastic components of the AEP are enhanced in musicians in accordance with their musical training histories. Highly skilled violinists and pianists and nonmusician controls listened under conditions of passive attention to violin tones, piano tones, and pure tones matched in fundamental frequency to the musical tones. Compared with nonmusician controls, both musician groups evidenced larger N1c (latency, 138 msec) and P2 (latency, 185 msec) responses to the three types of tonal stimuli. As in training studies with nonmusicians, N1c enhancement was expressed preferentially in the right hemisphere, where auditory neurons may be specialized for processing of spectral pitch. Equivalent current dipoles fitted to the N1c and P2 field patterns localized to spatially differentiable regions of the secondary auditory cortex, in agreement with previous findings. These results suggest that the tuning properties of neurons are modified in distributed regions of the auditory cortex in accordance with the acoustic training history (musical- or laboratory-based) of the subject. Enhanced P2 and N1c responses in musicians need not be considered genetic or prenatal markers for musical skill.

Acoustic Stimulation↗

PubMed2003

Development of frontal electroencephalogram (EEG) and heart rate (ECG) responses to affective musical stimuli during the first 12 months of post-natal life.

We examined the development of infants' regional electrocortical (EEG) and heart rate (ECG) responses to affective musical stimuli during the first 12 months of post-natal life. Separate groups of infants were seen at 3 (n=33), 6 (n=42), 9 (n=52), and 12 (n=40) months of age at which time regional EEG and ECG responses were continuously recorded during a baseline condition and during the presentation of three orchestral pieces that were known to vary in affective valence and intensity (happy, sad, fear). Overall, there were two important findings. First, we found that although the overall amount of EEG 4-8 Hz power increased between 3 and 12 months, the distribution of EEG power changed across age, with the younger infants (3- and 6-month-olds) showing no difference between frontal and parietal regions, but the older infants (9- and 12-month-olds) showing relatively more activation at frontal than at parietal sites. This development likely reflects the maturation of frontal lobe function. Second, we found that the presentation of affective music significantly increased brain activity at 3 months of age, had seemingly little effect at 6 and 9 months, and significantly attenuated brain activity at 12 months. Findings suggest that there is a clear developmental change in the effect of music on brain activity in the first year, with music having a "calming" influence on infants by the end of the first year of life.

Acoustic Stimulation↗

PubMed2003

Music and learning-induced cortical plasticity.

Auditory stimuli are encoded by frequency-tuned neurons in the auditory cortex. There are a number of tonotopic maps, indicating that there are multiple representations, as in a mosaic. However, the cortical organization is not fixed due to the brain's capacity to adapt to current requirements of the environment. Several experiments on cerebral cortical organization in musicians demonstrate an astonishing plasticity. We used the MEG technique in a number of studies to investigate the changes that occur in the human auditory cortex when a skill is acquired, such as when learning to play a musical instrument. We found enlarged cortical representation of tones of the musical scale as compared to pure tones in skilled musicians. Enlargement was correlated with the age at which musicians began to practice. We also investigated cortical representations for notes of different timbre (violin and trumpet) and found that they are enhanced in violinists and trumpeters, preferentially for the timbre of the instrument on which the musician was trained. In recent studies we extended these findings in three ways. First, we show that we can use MEG to measure the effects of relatively short-term laboratory training involving learning to perceive virtual instead of spectral pitch and that the switch to perceiving virtual pitch is manifested in the gamma band frequency. Second, we show that there is cross-modal plasticity in that when the lips of trumpet players are stimulated (trumpet players assess their auditory performance by monitoring the position and pressure of their lips touching the mouthpiece of their instrument) at the same time as a trumpet tone, activation in the somatosensory cortex is increased more than it is during the sum of the separate lip and trumpet tone stimulation. Third, we show that musicians' automatic encoding and discrimination of pitch contour and interval information in melodies are specifically enhanced compared to those in nonmusicians in that musicians show larger functional mismatch negativity (MMNm) responses to occasional changes in melodic contour or interval, but that the two groups show similar MMNm responses to changes in the frequency of a pure tone.

Auditory Cortex↗

PubMed2003

Effects of musical training on the auditory cortex in children.

Several studies of the effects of musical experience on sound representations in the auditory cortex are reviewed. Auditory evoked potentials are compared in response to pure tones, violin tones, and piano tones in adult musicians versus nonmusicians as well as in 4- to 5-year-old children who have either had or not had extensive musical experience. In addition, the effects of auditory frequency discrimination training in adult nonmusicians on auditory evoked potentials are examined. It was found that the P2-evoked response is larger in both adult and child musicians than in nonmusicians and that auditory training enhances this component in nonmusician adults. The results suggest that the P2 is particularly neuroplastic and that the effects of musical experience can be seen early in development. They also suggest that although the effects of musical training on cortical representations may be greater if training begins in childhood, the adult brain is also open to change. These results are discussed with respect to potential benefits of early musical training as well as potential benefits of musical experience in aging.

Auditory Cortex↗

PubMed2003

Long-term memory for pitch in six-month-old infants.

We examined 6-month-old infants' long-term memory representations for the pitch of familiar melodies. Infants remembered the relative pitch of the melodies, but the absolute pitch was either not remembered or not a particularly salient attribute.

Age Factors↗