Biomedical subjects

Sandra E Trehub

Publications and source records attributed to Sandra E Trehub.

12 recordsLinked to original sources

PubMed2006

Song recognition by children and adolescents with cochlear implants.

PURPOSE: To assess song recognition and pitch perception in prelingually deaf individuals with cochlear implants (CIs). METHOD: Fifteen hearing children (5-8 years) and 15 adults heard different versions of familiar popular songs-original (vocal + instrumental), original instrumental, and synthesized melody versions-and identified the song in a closed-set task (Experiment 1). Ten CI users (8-18 years) and age-matched hearing listeners performed the same task (Experiment 2). Ten CI users (8-19 years) and 10 hearing 8-years-olds were required to detect pitch changes in repeating-tone contexts (Experiment 3). Finally, 8 CI users (6-19 years) and 13 hearing 5-year-olds were required to detect subtle pitch changes in a more challenging melodic context (Experiment 4). RESULTS: CI users performed more poorly than hearing listeners in all conditions. They succeeded in identifying the original and instrumental versions of familiar recorded songs, and they evaluated them favorably, but they could not identify the melody versions. Although CI users could detect a 0.5-semitone change in the simple context, they failed to detect a 1-semitone change in the more difficult melodic context. CONCLUSION: Current implant processors provide insufficient spectral detail for some aspects of music perception, but they do not preclude young implant users' enjoyment of music.

Adolescent↗

PubMed2006

Infants' memory for musical performances.

We evaluated 6- and 7-month-olds' preference and memory for expressive recordings of sung lullabies. In Experiment 1, both age groups preferred lower-pitched to higher-pitched renditions of unfamiliar lullabies. In Experiment 2, infants were tested after 2 weeks of daily exposure to a lullaby at one pitch level. Seven-month-olds listened significantly longer to the lullaby at a novel pitch level than at the original pitch level. Six-month-olds showed no preference but their low-pitch preference was eliminated. We conclude that infants' memory for musical performances is enhanced by the ecological validity of the materials. Moreover, infants' pitch preferences are influenced by their previous exposure and by the nature of the music.

Child Development↗

PubMed2005

Infant music perception: domain-general or domain-specific mechanisms?

We review the literature on infants' perception of pitch and temporal patterns, relating it to comparable research with human adult and non-human listeners. Although there are parallels in relative pitch processing across age and species, there are notable differences. Infants accomplish such tasks with ease, but non-human listeners require extensive training to achieve very modest levels of performance. In general, human listeners process auditory sequences in a holistic manner, and non-human listeners focus on absolute aspects of individual tones. Temporal grouping processes and categorization on the basis of rhythm are evident in non-human listeners and in human infants and adults. Although synchronization to sound patterns is thought to be uniquely human, tapping to music, synchronous firefly flashing, and other cyclic behaviors can be described by similar mathematical principles. We conclude that infants' music perception skills are a product of general perceptual mechanisms that are neither music- nor species-specific. Along with general-purpose mechanisms for the perceptual foundations of music, we suggest unique motivational mechanisms that can account for the perpetuation of musical behavior in all human societies.

Auditory Perception↗

PubMed2005

Tuning in to musical rhythms: infants learn more readily than adults.

Domain-general tuning processes may guide the acquisition of perceptual knowledge in infancy. Here, we demonstrate that 12-month-old infants show an adult-like, culture-specific pattern of responding to musical rhythms, in contrast to the culture-general responding that is evident at 6 months of age. Nevertheless, brief exposure to foreign music enables 12-month-olds, but not adults, to perceive rhythmic distinctions in foreign musical contexts. These findings may indicate a sensitive period early in life for acquiring rhythm in particular or socially and biologically important structures more generally.

Adult↗

PubMed2005

Metrical categories in infancy and adulthood.

Intrinsic perceptual biases for simple duration ratios are thought to constrain the organization of rhythmic patterns in music. We tested that hypothesis by exposing listeners to folk melodies differing in metrical structure (simple or complex duration ratios), then testing them on alterations that preserved or violated the original metrical structure. Simple meters predominate in North American music, but complex meters are common in many other musical cultures. In Experiment 1, North American adults rated structure-violating alterations as less similar to the original version than structure-preserving alterations for simple-meter patterns but not for complex-meter patterns. In Experiment 2, adults of Bulgarian or Macedonian origin provided differential ratings to structure-violating and structure-preserving alterations in complex- as well as simple-meter contexts. In Experiment 3, 6-month-old infants responded differentially to structure-violating and structure-preserving alterations in both metrical contexts. These findings imply that the metrical biases of North American adults reflect enculturation processes rather than processing predispositions for simple meters.

Adolescent↗

PubMed2005

Music recognition by Japanese children with cochlear implants.

Congenitally deaf Japanese children with cochlear implants were tested on their recognition of theme songs from television programs that they watched regularly. The children, who were 4-9 years of age, attempted to identify each song from a closed set of alternatives. Their song identification ability was examined in the context of the original commercial recordings (vocal plus instrumental), the original versions without the words (i.e., karaoke versions), and flute versions of the melody. The children succeeded in identifying the music only from the original versions, and their performance was related to their music listening habits. Children gave favorable appraisals of the music even when they were unable to recognize it. Further research is needed to find means of enhancing cochlear implants users' perception and appreciation of music.

Auditory Perception↗

PubMed2003

The developmental origins of musicality.

The study of musical abilities and activities in infancy has the potential to shed light on musical biases or dispositions that are rooted in nature rather than nurture. The available evidence indicates that infants are sensitive to a number of sound features that are fundamental to music across cultures. Their discrimination of pitch and timing differences and their perception of equivalence classes are similar, in many respects, to those of listeners who have had many years of exposure to music. Whether these perceptual skills are unique to human listeners is not known. What is unique is the intense human interest in music, which is evident from the early days of life. Also unique is the importance of music in social contexts. Current ideas about musical timing and interpersonal synchrony are considered here, along with proposals for future research.

Animals↗

PubMed2003

Good pitch memory is widespread.

Here we show that good pitch memory is widespread among adults with no musical training. We tested unselected college students on their memory for the pitch level of instrumental soundtracks from familiar television programs. Participants heard 5-s excerpts either at the original pitch level or shifted upward or downward by 1 or 2 semitones. They successfully identified the original pitch levels. Other participants who heard comparable excerpts from unfamiliar recordings could not do so. These findings reveal that ordinary listeners retain fine-grained information about pitch level over extended periods. Adults' reportedly poor memory for pitch is likely to be a by-product of their inability to name isolated pitches.

Adult↗

PubMed2003

Toward a developmental psychology of music.

Research on music perception has revealed numerous parallels between infants and adults, but these findings have had little influence on adult research. Studies of pitch memory in infants, children, and adults are presented to illustrate potential gains from a developmental approach. Although the prevailing wisdom is that absolute pitch processing dominates in early life until it is supplanted by relative pitch processing, recent research offers no support for that view. After a week of exposure to English folk melodies, infants remember the melodies, but they do not distinguish the original versions from transposed versions. Relative pitch processing dominates later on, but it does not occur at the expense of absolute pitch processing. For example, adults can identify the pitch level of familiar musical recordings in the context of foils that are pitch shifted by one or two semitones. Children 5-9 years of age can identify the pitch level of familiar recordings when the foils are pitch shifted by two semitones but not by one semitone. By contrast, Japanese children are successful in the context of one-semitone shifts. In short, a developmental approach can provide insights of comparable importance on many issues in music cognition.

Adult↗

PubMed2002

Absolute pitch and tempo in mothers' songs to infants.

We examined the relative stability of pitch, tempo, and rhythm in maternal speech and singing to prelinguistic infants. Mothers were recorded speaking and singing to their infants on two occasions separated by 1 week or more. The pitch level and tempo of identical utterances were highly variable across the 1-week period, but these features were virtually unchanged in song repetitions. Rhythmic patterning was largely maintained in speech, as in song. Mothers' accurate reproduction of their sung performances can be considered a form of absolute pitch and absolute tempo.

Communication↗

PubMed2002

Children's use of semantic cues in degraded listening environments.

Children 5 and 9 years of age and adults were required to identify the final words of low- and high-context sentences in background noise. Age-related differences in the audibility of speech signals were minimized by selecting signal-to-noise ratios (SNRs) that yielded 78% correct performance for low-context sentences. As expected, children required more favorable SNRs than adults to achieve comparable levels of performance. A more difficult listening condition was generated by adding 2 dB of noise. In general, 5-year-olds performed more poorly than did 9-year-olds and adults. Listeners of all ages, however, showed comparable gains from context in both levels of noise, indicating that noise does not impede children's use of contextual cues.

Adult↗

PubMedDate not supplied

Sources of inflexibility in 6-year-olds' understanding of emotion in speech.

When utterances contain conflicting emotion cues, 6-year-olds judge emotion from content, even when instructed to judge emotion from paralanguage (Morton & Trehub, 2001). Two experiments examined the nature of this bias. In Experiment 1, priming paralanguage reversed 6-year-olds' normal bias to content. In Experiment 2, 6-year-olds were instructed to listen to paralanguage under various conditions. Children were more likely to follow instructions delivered with feedback than instructions delivered alone. Children who described conflicts between content and paralanguage were more likely to follow instructions than children who did not describe these conflicts. Results suggest that 6-year-olds can judge emotion from paralanguage in the presence of competing content but often remain focused on content because of the way they represent the instructions.

Child↗