Abstract

Some combinations of musical tones sound pleasing to Western listeners, and are termed consonant, while others sound discordant, and are termed dissonant. The perceptual phenomenon of consonance has been traced to the acoustic property of harmonicity. It has been repeatedly shown that neural correlates of consonance can be found as early as the auditory brainstem as reflected in the harmonicity of the scalp-recorded frequency-following response (FFR). “Neural Pitch Salience” (NPS) measured from FFRs—essentially a time-domain equivalent of the classic pattern recognition models of pitch—has been found to correlate with behavioral judgments of consonance for synthetic stimuli. Following the idea that the auditory system has evolved to process behaviorally relevant natural sounds, and in order to test the generalizability of this finding made with synthetic tones, we recorded FFRs for consonant and dissonant intervals composed of synthetic and natural stimuli. We found that NPS correlated with behavioral judgments of consonance and dissonance for synthetic but not for naturalistic sounds. These results suggest that while some form of harmonicity can be computed from the auditory brainstem response, the general percept of consonance and dissonance is not captured by this measure. It might either be represented in the brainstem in a different code (such as place code) or arise at higher levels of the auditory pathway. Our findings further illustrate the importance of using natural sounds, as a complementary tool to fully-controlled synthetic sounds, when probing auditory perception.

Highlights

  • In Western music, the concept of consonance refers to a harmony, a chord, or an interval that is considered musically stable

  • Consistent with the literature, we found a correlation between Neural Pitch Salience” (NPS) and behavioral responses for synthetic complex tones stimuli

  • Significant differences were observed between NPS for m2 and Perfect 5th (P5) in the case of natural voice stimuli, but this effect was in the direction opposite to the one found with synthetic stimuli, with the dissonant m2 resulting in a larger NPS than the consonant P5

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Summary

Methods

ParticipantsFourteen “Western listeners” participants (7 males, mean age 26.6 ± 4.1 years) provided written informed consent; all reported normal hearing and no history of hearing disorder or neurological disease. Three musical dyadic (i.e., two-tone) intervals were constructed by combining two single tones from each of three instrumental categories. The lower of the two pitches was fixed at G#3 (F0 = 207.65 Hz). Dyads were presented dichotically and the lowest pitch was always presented to the left ear. Tones were either natural recordings from the equal tempered scale: a saxophone (Sax) or a trained female vocalist (Voice), or synthesized complex tones containing the first six harmonics of the harmonic series with equal amplitude (sCT). A 200ms segment was extracted from the steadystate portion of the stimuli used previously (McDermott et al, 2010). A total of nine stimuli were constructed, representing three musical intervals (Unison, m2 P5) from the three different sound timbre categories (Sax, Voice, sCT)

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