Familiar Melodies Research Articles

Place and Temporal Cues in Cochlear Implant Pitch and Melody Perception.

The present study compared pitch and melody perception using cochlear place of excitation and temporal cues in six adult nucleus cochlear implant (CI) recipients. The stimuli were synthesized tones presented through a loudspeaker, and recipients used the Advanced Combinational Encoder (ACE) sound coding strategy on their own sound processors. Three types of tones were used, denoted H3, H4, and P5. H3 tones were harmonic tones with fundamental frequencies in the range C3–C4 (131–262 Hz), providing temporal pitch cues alone. H4 tones were harmonic tones with fundamental frequencies in the range C4–C5 (262–523 Hz), providing a mixture of temporal and place cues. P5 tones were pure tones with fundamental frequencies in the range C5–C6 (523–1046 Hz), providing place pitch cues alone. Four experimental procedures were used: pitch discrimination, pitch ranking, backward modified melodies, and warped modified melodies. In each trial of the modified melodies tests, subjects heard a familiar melody and a version with modified pitch (in randomized order), and had to select the unmodified melody. In all four procedures, many scores were much lower than would be expected for normal hearing listeners, implying that the strength of the perceived pitch was weak. Discrimination and ranking with H3 and P5 tones was poor for two-semitone intervals, but near perfect for intervals of five semitones and larger. H4 tones provided the lowest group mean scores in all four procedures, with some pitch reversals observed in pitch ranking. Group mean scores for P5 tones (place cues alone) were at least as high as those for H3 tones (temporal cues alone). The relatively good scores on the melody tasks with P5 tones were surprising, given the lack of temporal cues, raising the possibility of musical pitch using place cues alone. However, the alternative possibility that the CI recipients perceived the place cues as brightness, rather than musical pitch per se, cannot be excluded. These findings show that pitch perception models need to incorporate neural place representations alongside temporal cues if they are to predict pitch and melody perception in the absence of temporal cues.

Short- and long-term memory for pitch and non-pitch contours: Insights from congenital amusia

Congenital amusia is a neurodevelopmental disorder characterized by deficits in music perception, including discriminating and remembering melodies and melodic contours. As non-amusic listeners can perceive contours in dimensions other than pitch, such as loudness and brightness, our present study investigated whether amusics’ pitch contour deficits also extend to these other auditory dimensions. Amusic and control participants performed an identification task for ten familiar melodies and a short-term memory task requiring the discrimination of changes in the contour of novel four-tone melodies. For both tasks, melodic contour was defined by pitch, brightness, or loudness. Amusic participants showed some ability to extract contours in all three dimensions. For familiar melodies, amusic participants showed impairment in all conditions, perhaps reflecting the fact that the long-term memory representations of the familiar melodies were defined in pitch. In the contour discrimination task with novel melodies, amusic participants exhibited less impairment for loudness-based melodies than for pitch- or brightness-based melodies, suggesting some specificity of the deficit for spectral changes, if not for pitch alone. The results suggest pitch and brightness may not be processed by the same mechanisms as loudness, and that short-term memory for loudness contours may be spared to some degree in congenital amusia.

Ears, heads, and eyes: When singers synchronise

We examined the relationship between endogenous rhythms, auditory and visual cues, and body movement in the temporal coordination of duet singers. Sixteen pairs of experienced vocalists sang a familiar melody in Solo and two Duet conditions. Vocalists sang together in Unison (simultaneously producing identical pitches) and Round Duet conditions (one vocalist, the Follower, producing pitches at an eight-tone delay from their partner, the Leader) while facing Inward (full visual cues) and Outward (reduced visual cues). Larger tempo differences in partners' spontaneous (temporally unconstrained) Solo performances were associated with larger asynchrony in Duet performances, consistent with coupling predictions for oscillators with similar natural frequencies. Vocalists were slightly but consistently more synchronous in Duets when facing their partner (Inward) than when facing Outward; Unison and Round performances were equally synchronous. The greater difficulty of Rounds production was evidenced in vocalists' slower performance rates and more variable head movements; Followers directed their head gaze away from their partner and used bobbing head movements to mark the musical beat. The strength of Followers' head movements corresponded to the amount of tone onset asynchrony with their partners, indicating a strong association between timing and movement under increased attentional and working memory demands in music performance.

The familiar-melody advantage in auditory perceptual development: Parallels between spoken language acquisition and general auditory perception.

How do learners build up auditory pattern knowledge? Findings from children's spoken word learning suggest more robust auditory representations for highly familiar words than for newly learned words. This argues against spoken language learning as a process of simply acquiring a fixed set of speech sound categories, suggesting instead that specific words may be the relevant units. More generally, one might state this as the specific-learning hypothesis-that acquiring sound pattern knowledge involves learning specific patterns, rather than abstract pattern components. To understand the nature of human language knowledge, it is important to determine whether this specific learning reflects processes unique to spoken language learning or instead reflects more general auditory-learning processes. To investigate whether the specific-learning hypothesis extends to auditory pattern learning more generally, the present study tested the perceptual processing of familiar melodies versus carefully matched unfamiliar melodies. Children performed better at both audiovisual mapping (Exp. 1) and same-different auditory discrimination (Exp. 2) when hearing familiar melodies than when hearing unfamiliar melodies. This is consistent with the specific-learning hypothesis and with exemplar-style general-auditory accounts of pattern learning, although alternative explanations are possible.

Tapping Into Rate Flexibility: Musical Training Facilitates Synchronization Around Spontaneous Production Rates.

The ability to flexibly adapt one’s behavior is critical for social tasks such as speech and music performance, in which individuals must coordinate the timing of their actions with others. Natural movement frequencies, also called spontaneous rates, constrain synchronization accuracy between partners during duet music performance, whereas musical training enhances synchronization accuracy. We investigated the combined influences of these factors on the flexibility with which individuals can synchronize their actions with sequences at different rates. First, we developed a novel musical task capable of measuring spontaneous rates in both musicians and non-musicians in which participants tapped the rhythm of a familiar melody while hearing the corresponding melody tones. The novel task was validated by similar measures of spontaneous rates generated by piano performance and by the tapping task from the same pianists. We then implemented the novel task with musicians and non-musicians as they synchronized tapping of a familiar melody with a metronome at their spontaneous rates, and at rates proportionally slower and faster than their spontaneous rates. Musicians synchronized more flexibly across rates than non-musicians, indicated by greater synchronization accuracy. Additionally, musicians showed greater engagement of error correction mechanisms than non-musicians. Finally, differences in flexibility were characterized by more recurrent (repetitive) and patterned synchronization in non-musicians, indicative of greater temporal rigidity.

Recognition of transposed melodies: Effects of pitch distance and harmonic distance.

People easily recognize a familiar melody in a previously unheard key, but they also retain some key-specific information. Does the recognition of a transposed melody depend on either pitch distance or harmonic distance from the initially learned instances? Previous research has shown a stronger effect of pitch closeness than of harmonic similarity, but did not directly test for an additional effect of the latter variable. In the present experiment, we familiarized participants with a simple eight-note melody in two different keys (C and D) and then tested their ability to discriminate the target melody from foils in other keys. The transpositions included were to the keys of C# (close in pitch height, but harmonically distant), G (more distant in pitch, but harmonically close), and F# (more distant in pitch and harmonically distant). Across participants, the transpositions to F# and G were either higher or lower than the initially trained melodies, so that their average pitch distances from C and D were equated. A signal detection theory analysis confirmed that discriminability (d') was better for targets and foils that were close in pitch distance to the studied exemplars. Harmonic similarity had no effect on discriminability, but it did affect response bias (c), in that harmonic similarity to the studied exemplars increased both hits and false alarms. Thus, both pitch distance and harmonic distance affect the recognition of transposed melodies, but with dissociable effects on discrimination and response bias.

Musical Expertise Increases Top–Down Modulation Over Hippocampal Activation during Familiarity Decisions

The hippocampus has classically been associated with episodic memory, but is sometimes also recruited during semantic memory tasks, especially for the skilled exploration of familiar information. Cognitive control mechanisms guiding semantic memory search may benefit from the set of cognitive processes at stake during musical training. Here, we examined using functional magnetic resonance imaging, whether musical expertise would promote the top–down control of the left inferior frontal gyrus (LIFG) over the generation of hippocampally based goal-directed thoughts mediating the familiarity judgment of proverbs and musical items. Analyses of behavioral data confirmed that musical experts more efficiently access familiar melodies than non-musicians although such increased ability did not transfer to verbal semantic memory. At the brain level, musical expertise specifically enhanced the recruitment of the hippocampus during semantic access to melodies, but not proverbs. Additionally, hippocampal activation contributed to speed of access to familiar melodies, but only in musicians. Critically, causal modeling of neural dynamics between LIFG and the hippocampus further showed that top–down excitatory regulation over the hippocampus during familiarity decision specifically increases with musical expertise – an effect that generalized across melodies and proverbs. At the local level, our data show that musical expertise modulates the online recruitment of hippocampal response to serve semantic memory retrieval of familiar melodies. The reconfiguration of memory network dynamics following musical training could constitute a promising framework to understand its ability to preserve brain functions.

Adults recognize toddlers’ song renditions

The present study explored the singing ability of toddlers 16 months to 3 years of age by examining North American adults’ ability to identify toddlers’ renditions of familiar tunes sung with foreign lyrics. After listening to each toddler’s song, half with familiar melodies and half with unfamiliar melodies, adults attempted to name the songs. Their identification was highly accurate, refuting the prevailing view that toddlers focus on words at the expense of tunes. The singing range of these non-English-speaking toddlers and that of their English-speaking counterparts approximated the pitch range of the target songs, which is inconsistent with the reportedly small singing range of toddlers. Toddlers’ apparent singing proficiency in the present context may stem from the use of home-based recordings and child-selected songs.

Brain responses to regular and octave-scrambled melodies: A case of predictive-coding?

Melody recognition is an online process of evaluating incoming information and comparing this information to an existing internal corpus, thereby reducing prediction error. The predictive-coding model postulates top-down control on sensory processing accompanying reduction in prediction error. To investigate the relevancy of this model to melody processing, the current study examined early magnetoencephalogram (MEG) auditory responses to familiar and unfamiliar melodies in 25 participants. The familiar melodies followed and primed an octave-scrambled version of the same melody. The retrograde version of theses melodies served as the unfamiliar control condition. Octave-transposed melodies were included to examine the influence of pitch representation (pitch-height/pitch-chroma representation) on brain responses to melody recognition. Results demonstrate a reduction of the M100 auditory response to familiar, as compared with unfamiliar, melodies regardless of their form of presentation (condensed vs. octave-scrambled). This trend appeared to begin after the third tone of the melody. An additional behavioral study with the same melody corpus showed a similar trend-namely, a significant difference between familiarity rating for familiar and unfamiliar melodies, beginning with the third tone of the melody. These results may indicate a top-down inhibition of early auditory responses to melodies that is influenced by pitch representation. (PsycINFO Database Record

A developmental study of latent absolute pitch memory.

The ability to recall the absolute pitch level of familiar music (latent absolute pitch memory) is widespread in adults, in contrast to the rare ability to label single pitches without a reference tone (overt absolute pitch memory). The present research investigated the developmental profile of latent absolute pitch (AP) memory and explored individual differences related to this ability. In two experiments, 288 children from 4 to12 years of age performed significantly above chance at recognizing the absolute pitch level of familiar melodies. No age-related improvement or decline, nor effects of musical training, gender, or familiarity with the stimuli were found in regard to latent AP task performance. These findings suggest that latent AP memory is a stable ability that is developed from as early as age 4 and persists into adulthood.

Interaction between Perceived Action and Music Sequences in the Left Prefrontal Area.

Observing another person's piano play and listening to a melody interact with the observer's execution of piano play. This interaction is thought to occur because the execution of musical-action and the perception of both musical-action and musical-sound share a common representation in which the frontoparietal network is involved. However, it is unclear whether the perceptions of observed piano play and listened musical sound use a common neural resource. The present study used near-infrared spectroscopy to determine whether the interaction between the perception of musical-action and musical-sound sequences appear in the left prefrontal area. Measurements were obtained while participants watched videos that featured hands playing familiar melodies on a piano keyboard. Hand movements were paired with either a congruent or an incongruent melody. Two groups of participants (nine well-trained and nine less-trained) were instructed to identify the melody according to hand movements and to ignore the accompanying auditory track. Increased cortical activation was detected in the well-trained participants when hand movements were paired with incongruent melodies. Therefore, an interference effect was detected regarding the processing of action and sound sequences, indicating that musical-action sequences may be perceived with a representation that is also used for the perception of musical-sound sequences. However, in less-trained participants, such a contrast was not detected between conditions despite both groups featuring comparable key-touch reading abilities. Therefore, the current results imply that the left prefrontal area is involved in translating temporally structured sequences between domains. Additionally, expertise may be a crucial factor underlying this translation.

My Country ‘Tis of Thee: How One Song Reveals the History of Civil Rights

My Country ‘Tis of Thee: How One Song Reveals the History of Civil Rights offers insights into the historic significance of the song’s familiar melody as an instrument for change Protesting for freedom is universal, and songs have long provided a sense of solidarity and a means to communicate messages for protesters with strong beliefs about various causes. By hearing an instrumental recording, students first engage in an activity to identify the song, which, since 1831, has been known as “America” to many in the USA. Students become familiar with concepts and historic people named throughout the book by manipulating and sorting concept cards. Using historic events depicted in the book, students create timelines using a technological timeline tool. Then, after listening to a read-aloud of the book, they use clues to match different sets of lyrics with corresponding historical events. Civil rights history is revealed through different lyrics of this song.

Long-term representations of melodies in Western listeners: Influences of familiarity, musical expertise, tempo and structure

We investigated the effects of familiarity, level of musical expertise, musical tempo, and structural boundaries on the identification of familiar and unfamiliar tunes. Healthy Western listeners ( N = 62; age range 14–64 years) judged their level of familiarity with a preselected set of melodies when the number of tones of a given melody was increased from trial to trial according to the so-called gating paradigm. The number of tones served as one dependent measure. The second dependent measure was the physical duration of the stimulus presentation until listeners identified a melody as familiar or unfamiliar. Results corroborate previous work, suggesting that listeners need less information to recognize familiar as compared to unfamiliar melodies. Both decreasing and increasing the original tempo by a factor of two delayed the identification of familiar melodies. Furthermore, listeners had more difficulty identifying unfamiliar melodies when tempo was increased. Finally, musical expertise significantly influenced identification of either melodic category, i.e., reducing the required number of tones. Taken together, the findings support theories which suggest that tempo information is coded in melody representation, and that musical expertise is associated with especially efficient strategies for accessing long-term representations of melodic materials.

Speech dysprosody but no music ‘dysprosody’ in Parkinson’s disease

Parkinson’s disease is characterized not only by bradykinesia, rigidity, and tremor, but also by impairments of expressive and receptive linguistic prosody. The facilitating effect of music with a salient beat on patients’ gait suggests that it might have a similar effect on vocal behavior, however it is currently unknown whether singing is affected by the disease. In the present study, fifteen Parkinson patients were compared with fifteen healthy controls during the singing of familiar melodies and improvised melodic continuations. While patients’ speech could reliably be distinguished from that of healthy controls matched for age and gender, purely on the basis of aural perception, no significant differences in singing were observed, either in pitch, pitch range, pitch variability, and tempo, or in scale tone distribution, interval size or interval variability. The apparent dissociation of speech and singing in Parkinson’s disease suggests that music could be used to facilitate expressive linguistic prosody.

Editorial: Overlap of Neural Systems for Processing Language and Music.

The relationship between musical training and speech perception has intrigued researchers in language and music for decades, from Bever and Chiarello's (1974) work emphasizing hemispheric specialization to Tallal and Gaab's (2006) findings of shared neural circuitry. Recent studies demonstrating neural overlap for processing speech and music, and enhanced speech perception and production in musicians, suggest that these regions may be inextricably intertwined (Sammler et al., 2007; Wong P.C. et al., 2007; Wong P. et al., 2007; Rogalsky et al., 2011; Schulze et al., 2011). Patel's OPERA hypothesis and Hickok and Poeppel's (2000, 2007) neuroanatomical models continue to evolve and guide this field of research. However, the extent of neural overlap between music and speech remains hotly debated (Norman-Haignere et al., 2015; Peretz et al., 2015), with surprisingly little empirical research exploring specific neural homologs and analogs. Emerging evidence suggests that shared processes likely exist throughout development, depend upon an individual's acoustic experiences, and are affected by developmental trajectories. Moreover, developing theories that address the neural and developmental interaction between music and language processing in conjunction with the broad availability of sophisticated tools for quantifying brain activity and dynamics offer the perfect opportunity for researchers to address these key empirical questions. Taken together, this field of research has begun to elucidate the complex dynamics of overlapping neural areas for processing language and music. This special issue highlights the development of this overlap in early childhood and explores how the interaction between language and musical training enhances cognitive functioning in adults. This E-Book comprises 10 opinion, perspective, and research papers that focus on the overlap of neural systems for processing language and music. Eight of these papers report original research and new findings that support overlapping neural systems for processing language and music. LaCroix et al. performed a meta-analysis of 171 neuroimaging studies to examine the role of context in processing music and language. Their findings suggest that observed neural overlaps for speech and music might be task-dependent. Fogel et al. developed a novel method for studying and quantifying predictions in musical tasks that is consistent with language tasks. Their melodic cloze probability task can be used to test computational models of melodic expectation and allows for a more precise examination of the relationship between predictive mechanisms in music and language. Using a garden-path design, Jung et al. demonstrated that rhythmic expectancy is crucial to the interaction of processing musical and linguistic syntax. Additionally, their findings support the incorporation of dynamic models of attentional entrainment into existing theories of musical and linguistic syntactical processing. Margulis et al. used the speech-to-song illusion to examine the role of pronunciation difficulty and temporal regularity. Their finding—that difficult to pronounce languages, not differing temporal intervals, elicited a stronger speech-to-song illusion—suggests a stronger speech representation for native and easy to pronounce languages. Miles et al. demonstrated that females have an advantage for recognizing familiar musical melodies. They believe this advantage is related to superior declarative memory, which may underlie the storage and knowledge of both the mental lexicon in language (e.g., Ullman, 2001) and some aspects of familiar melodies in music (Miranda and Ullman, 2007). Two papers report finding that musical training during development enhances literacy skills, including phonological awareness and reading fluency, via neural mechanisms for both language and music (Dege et al.; Gordon et al.). Moreover, Dege and colleagues provide evidence that music production and music perception are associated with multiple precursors of reading. Finally, Lolli et al. examined the effect of sound frequency on judgments of emotion in speech by congenital amusics. Using both high and low-pass filtered speech in a pitch discrimination and emotion identification task, their findings demonstrate the important role of low frequency information in identifying the emotional content of speech. In addition to these eight research papers there are two perspective and opinion papers that emphasize the affective and emotive commonalities between music and language (Lehmann and Paquette; Omigie). Lehmann and Paquette provide a neurobehavioral approach for examining cross-domain processing of musical and vocal emotions, suggesting that studying cochlear implant users may allow for a richer understanding of neural overlap between music and language. Omigie (2015) provides evolutionary evidence for shared underlying neural mechanisms for our emotive responses to music and literature. This E-Book provides a comprehensive snapshot of the research examining the complex overlap of neural systems for processing language and music. Both musical experience and training enhance the development of linguistic representations, emotion perception, and other cognitive skills. Furthermore, the research presented here contributes to current knowledge of neuroplastic reorganization and repair in clinical populations, and may aid in the design of new and more effective rehabilitative protocols.

Sex Differences in Music: A Female Advantage at Recognizing Familiar Melodies.

Although sex differences have been observed in various cognitive domains, there has been little work examining sex differences in the cognition of music. We tested the prediction that women would be better than men at recognizing familiar melodies, since memories of specific melodies are likely to be learned (at least in part) by declarative memory, which shows female advantages. Participants were 24 men and 24 women, with half musicians and half non-musicians in each group. The two groups were matched on age, education, and various measures of musical training. Participants were presented with well-known and novel melodies, and were asked to indicate their recognition of familiar melodies as rapidly as possible. The women were significantly faster than the men in responding, with a large effect size. The female advantage held across musicians and non-musicians, and across melodies with and without commonly associated lyrics, as evidenced by an absence of interactions between sex and these factors. Additionally, the results did not seem to be explained by sex differences in response biases, or in basic motor processes as tested in a control task. Though caution is warranted given that this is the first study to examine sex differences in familiar melody recognition, the results are consistent with the hypothesis motivating our prediction, namely that declarative memory underlies knowledge about music (particularly about familiar melodies), and that the female advantage at declarative memory may thus lead to female advantages in music cognition (particularly at familiar melody recognition). Additionally, the findings argue against the view that female advantages at tasks involving verbal (or verbalizable) material are due solely to a sex difference specific to the verbal domain. Further, the results may help explain previously reported cognitive commonalities between music and language: since declarative memory also underlies language, such commonalities may be partly due to a common dependence on this memory system. More generally, because declarative memory is well studied at many levels, evidence that music cognition depends on this system may lead to a powerful research program generating a wide range of novel predictions for the neurocognition of music, potentially advancing the field.

For 5-Month-Old Infants, Melodies Are Social

For 1 to 2 weeks, 5-month-old infants listened at home to one of two novel songs with identical lyrics and rhythms, but different melodies; the song was sung by a parent, emanated from a toy, or was sung live by a friendly but unfamiliar adult first in person and subsequently via interactive video. We then tested the infants’ selective attention to two novel individuals after one sang the familiar song and the other sang the unfamiliar song. Infants who had experienced a parent singing looked longer at the new person who had sung the familiar melody than at the new person who had sung the unfamiliar melody, and the amount of song exposure at home predicted the size of that preference. Neither effect was observed, however, among infants who had heard the song emanating from a toy or being sung by a socially unrelated person, despite these infants’ remarkable memory for the familiar melody, tested an average of more than 8 months later. These findings suggest that melodies produced live and experienced at home by known social partners carry social meaning for infants.

Cochlear Implant Rate Pitch and Melody Perception as a Function of Place and Number of Electrodes.

Six Nucleus cochlear implant recipients participated in a study investigating the effect of place of stimulation on melody perception using rate-pitch cues. Each stimulus was a pulse train delivered on either a single electrode or multiple electrodes sequentially. Four spatial stimulation patterns were used: a single apical electrode, a single mid electrode, a pair of electrodes (apical and mid), and 11 electrodes (from apical to mid). Within one block of trials, all stimuli had the same spatial stimulation pattern, with pulse rate varying from 131 to 262 pps. An additional pulse rate range of 262 to 523 pps was tested with the single-electrode stimuli. Two experimental procedures were used: note ranking; and a modified melodies test with backwards and warp modification. In each trial of the modified melodies test, a familiar melody and a version with modified pitch were presented (in random order), and the subject’s task was to select the unmodified melody. There were no significant differences in performance for stimulation on 1, 2, or 11 electrodes, implying that recipients were unable to combine temporal information from different places in the cochlea to give a stronger pitch cue. No advantage of apical electrodes was found: at the lower pulse rates, there were no significant differences between electrodes; and at the higher pulse rates, scores on the apical electrode dropped more than those on the mid electrode.

The impact of music on learning and consolidation of novel words

ABSTRACTMusic can be a powerful mnemonic device, as shown by a body of literature demonstrating that listening to text sung to a familiar melody results in better memory for the words compared to conditions where they are spoken. Furthermore, patients with a range of memory impairments appear to be able to form new declarative memories when they are encoded in the form of lyrics in a song, while unable to remember similar materials after hearing them in the spoken modality. Whether music facilitates the acquisition of completely new information, such as new vocabulary, remains unknown. Here we report three experiments in which adult participants learned novel words in the spoken or sung modality. While we found no benefit of musical presentation on free recall or recognition memory of novel words, novel words learned in the sung modality were more strongly integrated in the mental lexicon compared to words learned in the spoken modality. This advantage for the sung words was only present when the training melody was familiar. The impact of musical presentation on learning therefore appears to extend beyond episodic memory and can be reflected in the emergence and properties of new lexical representations.

Moving to the Beat and Singing are Linked in Humans.

The abilities to sing and to move to the beat of a rhythmic auditory stimulus emerge early during development, and both engage perceptual, motor, and sensorimotor processes. These similarities between singing and synchronization to a beat may be rooted in biology. Patel (2008) has suggested that motor synchronization to auditory rhythms may have emerged during evolution as a byproduct of selection for vocal learning (“vocal learning and synchronization hypothesis”). This view predicts a strong link between vocal performance and synchronization skills in humans. Here, we tested this prediction by asking occasional singers to tap along with auditory pulse trains and to imitate familiar melodies. Both vocal imitation and synchronization skills were measured in terms of accuracy and precision or consistency. Accurate and precise singers tapped more in the vicinity of the pacing stimuli (i.e., they were more accurate) than less accurate and less precise singers. Moreover, accurate singers were more consistent when tapping to the beat. These differences cannot be ascribed to basic motor skills or to motivational factors. Individual differences in terms of singing proficiency and synchronization skills may reflect the variability of a shared sensorimotor translation mechanism.