Low-pitched Tones Research Articles

Intraocular pressure fluctuations assessment in professional wind instrument players.

Due to the long-time that wind musicians spend playing their instruments, it is important to investigate if intraocular pressure could be affected by this activity. To assess the intraocular pressure fluctuations and fluctuations affecting factors in professional wind musicians while playing different tones. Thirty professional wind musicians (23.0 ± 3.20 years) were recruited from the Professional Music College of A Coruña. A questionnaire about environmental/demographic factors was given to participants. Intraocular pressure was measured four times by ICare IC100 tonometer: before, during low and high-pitched tones, and immediately after stopping playing the wind instrument. Pairwise comparison revealed statistical differences between measurement points (Sidak, all p ≤ 0.019), except between before playing and while playing low-pitched tones (Sidak, p = 1.000). Intraocular pressure increases during high pitch playing and decreases after stopping playing. No significant differences in intraocular pressure fluctuation were reported between physically active (>2 days/week) and non-physically active participants (Unpaired t-test, p = 0.680). All intraocular pressure values were positively correlated (Pearson's correlation, all r ≥ 0.505, p ≤ 0.004). Intraocular pressure fluctuations were negatively correlated with musical playing years (Pearson's correlation, r = - 0.396, p = 0.030). There were no significant correlations among intraocular pressure fluctuation and gender, age, weight, height, or daily time playing (Pearson's correlation, all p ≥ 0.058). Professional wind musicians suffer intraocular pressure peaks while playing high-pitched tones; therefore, ocular fundus evaluation and visual campimetry should be performed as routine tests in the visual exam of this population.

Attentional load effects on emotional content in face working memory.

This study investigated the role of attentional resources in processing emotional faces in working memory (WM). Participants memorised two face arrays with the same emotion but different identities and were required to judge whether the test face had the same identity as one of the previous faces. Concurrently during encoding and maintenance, a sequence of high- or low-pitched tones (high load) or white noise bursts (low load) was presented, and participants were required to count how many low-tones were heard. Experiments 1 and 2 used an emotional and neutral test face, respectively. The results revealed a significant WM impairment for sad and angry faces in the high-load versus low-load condition but not for happy faces. In Experiment 1, participants remembered happy faces better than other emotional faces. In contrast, Experiment 2 showed that performance was poorer for happy than sad faces but not for angry faces. This evidence suggests that depleting attentional resources has less impact on WM for happy faces than other emotional faces, but also that differential effects on WM for emotional faces depend on the presence or absence of emotion in the probe face at retrieval.

Synaesthetic Interactions between Sounds and Colour Afterimages: Revisiting Werner and Zietz’s Approach

Abstract We ran a pilot experiment to explore, using a new psychophysical method, the hypothesis proposed by Zietz and Werner in the ’30s, that a sound presented simultaneously with an afterimage can change its phenomenal appearance in non-synaesthetes. The method we adopted is able to directly collect and visualise the apparent changes in intensity of the afterimages, by recording observers’ interactions with a physical feedback mechanism (the paths that the observers generated by moving a cursor), without referring to verbal descriptions. These first findings support some of the most meaningful observations reported by Werner (1934) and Zietz (1931), according to which the colours of the afterimages ‘disintegrate’ at the hearing of a low sound and ‘concentrate’ for a high sound. This relationship is particularly evident with the Yellow stimulus, where the perceived colour intensity of its afterimage seems to have a faster negative change with a low-pitched tone sound, and an increase in intensity and duration when perceived simultaneously with a soprano sound. These data are also coherent with the crossmodal correspondences between both pitch and loudness in audition and lightness and brightness in vision reported in the literature.

Response-code conflict in dual-task interference and its modulation by age

Difficulties in performing two tasks at once can arise from several sources and usually increase in advanced age. Tasks with concurrent bimodal (e.g., manual and oculomotor) responding to single stimuli consistently revealed crosstalk between conflicting response codes as a relevant source. However, how this finding translates to unimodal (i.e., manual only) response settings and how it is affected by age remains open. To address this issue, we had young and older adults respond to high- or low-pitched tones with one (single task) or both hands concurrently (dual task). Responses were either compatible or incompatible with the pitch. When responses with the same level of compatibility were combined in dual-task conditions, their response codes were congruent to each other, whereas combining a compatible and an incompatible response created mutually incongruent (i.e., conflicting) response codes, potentially inducing detrimental crosstalk. Across age groups, dual-task costs indeed were overall highest with response-code incongruency. In these trials, compatible responses exhibited higher costs than incompatible ones, even after removing trials with strongly synchronized responses. This underadditive cost asymmetry argues against mutual crosstalk as the sole source of interference and corroborates notions of strategic prioritization of limited processing capacity based on mapping-selection difficulty. As expected, the effects of incongruent response codes were found to be especially deleterious in older adults, supporting assumptions of age-related deficits in multiple-action control at the level of task-shielding. Overall, our results suggest that aging is linked to higher response confusability and less efficient flexibility for capacity sharing in dual-task settings.

Neurocomputational mechanisms underlying cross-modal associations and their influence on perceptual decisions

When exposed to complementary features of information across sensory modalities, our brains formulate cross-modal associations between features of stimuli presented separately to multiple modalities. For example, auditory pitch-visual size associations map high-pitch tones with small-size visual objects, and low-pitch tones with large-size visual objects. Preferential, or congruent, cross-modal associations have been shown to affect behavioural performance, i.e. choice accuracy and reaction time (RT) across multisensory decision-making paradigms. However, the neural mechanisms underpinning such influences in perceptual decision formation remain unclear. Here, we sought to identify when perceptual improvements from associative congruency emerge in the brain during decision formation. In particular, we asked whether such improvements represent ‘early’ sensory processing benefits, or ‘late’ post-sensory changes in decision dynamics. Using a modified version of the Implicit Association Test (IAT), coupled with electroencephalography (EEG), we measured the neural activity underlying the effect of auditory stimulus-driven pitch-size associations on perceptual decision formation. Behavioural results showed that participants responded significantly faster during trials when auditory pitch was congruent, rather than incongruent, with its associative visual size counterpart. We used multivariate Linear Discriminant Analysis (LDA) to characterise the spatiotemporal dynamics of EEG activity underpinning IAT performance. We found an ‘Early’ component (∼100–110 ms post-stimulus onset) coinciding with the time of maximal discrimination of the auditory stimuli, and a ‘Late’ component (∼330–340 ms post-stimulus onset) underlying IAT performance. To characterise the functional role of these components in decision formation, we incorporated a neurally-informed Hierarchical Drift Diffusion Model (HDDM), revealing that the Late component decreases response caution, requiring less sensory evidence to be accumulated, whereas the Early component increased the duration of sensory-encoding processes for incongruent trials. Overall, our results provide a mechanistic insight into the contribution of ‘early’ sensory processing, as well as ‘late’ post-sensory neural representations of associative congruency to perceptual decision formation.

Switching attention deficits in post-stroke individuals with different aphasia types

ABSTRACT Background Previous studies have shown that individuals with aphasia have impairments in switching attention compared to healthy controls. However, there is insufficient information about the characteristics of switching attention within one task and whether attention deficits vary depending on aphasia type and lesion location. We aimed to address these knowledge gaps by investigating characteristics of switching attention within one type of task in participants with different types of aphasia and distinct lesion sites. Method Forty individuals with post-stroke aphasia (20 with non-fluent aphasia and frontal lobe damage, and 20 with fluent aphasia and temporal lobe damage) and 20 neurologically healthy age-matched individuals performed an attention switching task. They listened to sequences of high-pitched and low-pitched tones that were presented to them one by one, tallied them separately, and, at the end of each sequence, had to say how many high- and low-pitched tones they had heard. Results Participants with aphasia performed significantly worse on the task compared to healthy controls, and the performance of two aphasia groups also differed. Specifically, individuals with both aphasia types made more errors than healthy individuals, and the participants with non-fluent aphasia responded more slowly than controls, while reaction times of the participants with fluent aphasia did not differ significantly from those of controls. Also, the two groups of participants with aphasia differed significantly in accuracy, with individuals in the non-fluent group making more errors. Conclusions The data demonstrated that people with different types of aphasia have distinct impairments in switching attention. Since cognitive deficits impact language performance, this information is important for differentially addressing their language problems and selecting more specific and optimal rehabilitation programs that target different underlying mechanisms.

The Lightness/Pitch Crossmodal Correspondence Modulates the Rubin Face/Vase Perception.

We examine whether crossmodal correspondences (CMCs) modulate perceptual disambiguation by considering the influence of lightness/pitch congruency on the perceptual resolution of the Rubin face/vase (RFV). We randomly paired a black-and-white RFV (black faces and white vase, or vice versa) with either a high or low pitch tone and found that CMC congruency biases the dominant visual percept. The perceptual option that was CMC-congruent with the tone (white/high pitch or black/low pitch) was reported significantly more often than the perceptual option CMC-incongruent with the tone (white/low pitch or black/high pitch). However, the effect was only observed for stimuli presented for longer and not shorter durations suggesting a perceptual effect rather than a response bias, and moreover, we infer an effect on perceptual reversals rather than initial percepts. We found that the CMC congruency effect for longer-duration stimuli only occurred after prior exposure to the stimuli of several minutes, suggesting that the CMC congruency develops over time. These findings extend the observed effects of CMCs from relatively low-level feature-based effects to higher-level object-based perceptual effects (specifically, resolving ambiguity) and demonstrate that an entirely new category of crossmodal factors (CMC congruency) influence perceptual disambiguation in bistability.

Crossmodal Visuospatial Effects on Auditory Perception of Musical Contour.

The crossmodal correspondence between auditory pitch and visuospatial elevation (in which high- and low-pitched tones are associated with high and low spatial elevation respectively) has been proposed as the basis for Western musical notation. One implication of this is that music perception engages visuospatial processes and may not be exclusively auditory. Here, we investigated how music perception is influenced by concurrent visual stimuli. Participants listened to unfamiliar five-note musical phrases with four kinds of pitch contour (rising, falling, rising-falling, or falling-rising), accompanied by incidental visual contours that were either congruent (e.g., auditory rising/visual rising) or incongruent (e.g., auditory rising/visual falling) and judged whether the final note of the musical phrase was higher or lower in pitch than the first. Response times for the auditory judgment were significantly slower for incongruent compared to congruent trials, i.e., there was a congruency effect, even though the visual contours were incidental to the auditory task. These results suggest that music perception, although generally regarded as an auditory experience, may actually be multisensory in nature.

Dissociating the Disruptive Effects of Irrelevant Music and Speech on Serial Recall of Tonal and Verbal Sequences.

Task-irrelevant speech or music sounds are known to disrupt verbal short-term memory even when participants are instructed to ignore the sound, suggesting that automatically processed acoustical changes interfere with the rehearsal of phonological items. However, much less is known about auditory distraction in tasks that require the memorization and recall of non-phonological auditory items. In the present study, both musically trained and untrained participants were asked to memorize random tone sequences (consisting of low, medium, and high pitch tones) while task-irrelevant sound was presented. Irrelevant instrumental music was found to produce more disruption of tonal recall than white noise, whereas irrelevant speech produced intermediate levels of disruption. In contrast, only speech produced significant interference in an analogous verbal recall task. Crucially, although musically trained participants were able to recall more tones in general, the degree of auditory distraction that was produced by irrelevant music in the tonal recall task was found to be independent of musical expertise. The findings are in line with the assumption of two separate mechanisms for the maintenance of tonal and phonological information. Specifically, short-term memory for tone sequences may rely on a pitch-based rehearsal system which is disrupted by the perception of irrelevant pitch changes as contained in instrumental music (and to a lesser extent in speech), whereas serial recall of verbal items is most sensitive to phonological sounds.

Wood identification and acoustic analysis of three original Aztec teponaztli musical instruments

Teponaztlis exhibited in Mexico’s Anthropology Museum are the most emblematic items among Aztec musical instruments. The purpose of this research was twofold: to correctly identify the wood used to manufacture three of the most important instruments of their kind and to perform an acoustic analysis to determine relevant acoustic and musical parameters of these instruments. Wood identification consisted in comparing some anatomical features of teponaztlis to those of known species from a wood collection and other sources. Multivariate analysis shows that species are separated by the percentage of uniseriate and partially biseriate rays at one hand and by fibre wall thickness at the other hand. The results show that the genus Dalbergia was used for these instruments, and the analysis suggests proximity of teponaztlis to Dalbergia palo-escrito, and to D. granadillo. The acoustic analysis was based on digital sound recordings of the instruments played with the under-side cavity closed or open. Results show that musical intervals between the two low and high pitch tones of the instruments are from slightly below a major third, to slightly above a fifth. Tones produced with the under-side cavity closed are slightly shorter in duration, and stronger, in comparison when it is open. Playing one of the two tones faintly produces sound from the other, and also from the sides of the instrument, especially with the under-side cavity open. The musical intervals that are observed in these instruments do not correspond exactly to conventional Western tunings.

Target detection increases pupil diameter and enhances memory for background scenes during multi-tasking

Attending to targets in a detection task can facilitate memory for concurrently presented information, a phenomenon known as the attentional boost effect. One account of the attentional boost suggests that it reflects the temporal selection of behaviorally relevant moments, broadly facilitating the processing of information encountered at these times. Because pupil diameter increases when orienting to behaviorally relevant events and is positively correlated with increases in gain and activity in the locus coeruleus (a purported neurophysiological mechanism for temporal selection), we tested whether the attentional boost effect is accompanied by an increase in pupil diameter. Participants memorized a series of individually presented scenes. Whenever a scene appeared, a high or low pitched tone was played, and participants counted (and later reported) the number of tones in the pre-specified, target pitch. Target detection enhanced later memory for concurrently presented scenes. It was accompanied by a larger pupil response than was distractor rejection, and this effect was more pronounced for subsequently remembered rather than forgotten scenes. Thus, conditions that produce the attentional boost effect may also elicit phasic changes in neural gain and locus coeruleus activity.

Upper nasal hemifield location and nonspatial auditory tones accelerate visual detection during dichoptic viewing

Visual performance is asymmetric across the visual field, but locational biases that occur during dichoptic viewing are not well understood. In this study, we characterized horizontal, vertical and naso-temporal biases in visual target detection during dichoptic stimulation and explored whether the detection was facilitated by non-spatial auditory tones associated with the target’s location.The detection time for single monocular targets that were suppressed from view with a 10 Hz dynamic noise mask presented to the other eye was measured at the 4° intercardinal location of each eye with the breaking Continuous Flash Suppression (b-CFS) technique. Each target was either combined with a sound (i.e., high or low pitch tone) that was congruent or incongruent with its vertical location (i.e., upper or lower visual field) or presented without a sound. The results indicated faster detection of targets in the upper rather than lower visual field and faster detection of targets in the nasal than temporal hemifield of each eye. Sounds generally accelerated target detection, but the tone pitch-elevation congruency did not further enhance performance. These findings suggest that visual detection during dichoptic viewing differs from standard viewing conditions with respect to location-related perceptual biases and crossmodal modulation of visual perception. These differences should be carefully considered in experimental designs employing dichoptic stimulation techniques and in display applications that utilize dichoptic viewing.

The Spatial Musical Association of Response Codes does not depend on a normal visual experience: A study with early blind individuals.

Converging evidence suggests that the perception of auditory pitch exhibits a characteristic spatial organization. This pitch-space association can be demonstrated experimentally by the Spatial Musical Association of Response Codes (SMARC) effect. This is characterized by faster response times when a low-positioned key is pressed in response to a low-pitched tone, and a high-positioned key is pressed in response to a high-pitched tone. To investigate whether the development of this pitch-space association is mediated by normal visual experience, we tested a group of early blind individuals on a task that required them to discriminate the timbre of different instrument sounds with varying pitch. Results revealed a comparable pattern in the SMARC effect in both blind participants and sighted controls, suggesting that the lack of prior visual experience does not prevent the development of an association between pitch height and vertical space.

Are crossmodal correspondences relative or absolute? Sequential effects on speeded classification.

Crossmodal correspondences have often been demonstrated using congruency effects between pairs of stimuli in different sensory modalities that vary along separate dimensions. To date, however, it is still unclear the extent to which these correspondences are relative versus absolute in nature: that is, whether they result from pre-defined values that rigidly link the two dimensions or rather result from flexible values related to the previous occurrence of the crossmodal stimuli. Here, we investigated this issue in a speeded classification task featuring the correspondence between auditory pitch and visual size (e.g., congruent correspondence between high pitch/small disc and low pitch/large disc). Participants classified the size of the visual stimuli (large vs. small) while hearing concurrent high- or low-pitched task-irrelevant sounds. On some trials, visual stimuli were paired instead with "intermediate" pitch, that could be interpreted differently according to the auditory stimulus on the preceding trial (i.e., as "lower" following the presentation of a high pitch tone, but as "higher" following the presentation of a low pitch tone). Performance on sequence-congruent trials (e.g., when a small disc paired with the intermediate-pitched tone was preceded by a low pitch tone) was compared to sequence-incongruent trials (e.g., when a small disc paired with the intermediate-pitch tone was by a high-pitched tone). The results revealed faster classification responses on sequence-congruent than on sequence-incongruent trials. This demonstrates that the effect of the pitch/size correspondence is relative in nature, and subjected to trial-by-trial interpretation of the stimulus pair.

Modulation of Illusory Auditory Perception by Transcranial Electrical Stimulation.

The aim of the present study was to test whether transcranial electrical stimulation can modulate illusory perception in the auditory domain. In two separate experiments we applied transcranial Direct Current Stimulation (anodal/cathodal tDCS, 2 mA; N = 60) and high-frequency transcranial Random Noise Stimulation (hf-tRNS, 1.5 mA, offset 0; N = 45) on the temporal cortex during the presentation of the stimuli eliciting the Deutsch's illusion. The illusion arises when two sine tones spaced one octave apart (400 and 800 Hz) are presented dichotically in alternation, one in the left and the other in the right ear, so that when the right ear receives the high tone, the left ear receives the low tone, and vice versa. The majority of the population perceives one high-pitched tone in one ear alternating with one low-pitched tone in the other ear. The results revealed that neither anodal nor cathodal tDCS applied over the left/right temporal cortex modulated the perception of the illusion, whereas hf-tRNS applied bilaterally on the temporal cortex reduced the number of times the sequence of sounds is perceived as the Deutsch's illusion with respect to the sham control condition. The stimulation time before the beginning of the task (5 or 15 min) did not influence the perceptual outcome. In accordance with previous findings, we conclude that hf-tRNS can modulate auditory perception more efficiently than tDCS.

Task Integration Facilitates Multitasking.

The aim of this study was to investigate multi-task integration in a continuous tracking task. We were particularly interested in how manipulating task structure in a dual-task situation affects learning of a constant segment embedded in a pursuit-tracking task. Importantly, we examined if dual-task effects could be attributed to task integration by varying the structural similarity and difficulty of the primary and secondary tasks. In Experiment 1 participants performed a pursuit tracking task while counting high-pitched tones and ignoring low-pitched tones. The tones were either presented randomly or structurally 250 ms before each tracking turn. Experiment 2 increased the motor load of the secondary tasks by asking participants to tap their feet to the tones. Experiment 3 further increased motor load of the primary task by increasing its speed and having participants tracking with their non-dominant hand. The results show that dual-task interference can be moderated by secondary task conditions that match the structure of the primary task. Therefore our results support proposals of task integration in continuous tracking paradigms. We conclude that multi-tasking is not always detrimental for motor learning but can be facilitated through task-integration.

Using binocular rivalry to tag foreground sounds: Towards an objective visual measure for auditory multistability

In binocular rivalry, paradigms have been proposed for unobtrusive moment-by-moment readout of observers' perceptual experience ("no-report paradigms"). Here, we take a first step to extend this concept to auditory multistability. Observers continuously reported which of two concurrent tone sequences they perceived in the foreground: high-pitch (1008 Hz) or low-pitch (400 Hz) tones. Interstimulus intervals were either fixed per sequence (Experiments 1 and 2) or random with tones alternating (Experiment 3). A horizontally drifting grating was presented to each eye; to induce binocular rivalry, gratings had distinct colors and motion directions. To associate each grating with one tone sequence, a pattern on the grating jumped vertically whenever the respective tone occurred. We found that the direction of the optokinetic nystagmus (OKN)-induced by the visually dominant grating-could be used to decode the tone (high/low) that was perceived in the foreground well above chance. This OKN-based readout improved after observers had gained experience with the auditory task (Experiments 1 and 2) and for simpler auditory tasks (Experiment 3). We found no evidence that the visual stimulus affected auditory multistability. Although decoding performance is still far from perfect, our paradigm may eventually provide a continuous estimate of the currently dominant percept in auditory multistability.

Spatial attention across perception and action

We hypothesize that a shared spatial attention mechanism is used for both perception and action. To this end we created a new dual-task version of the classical Simon task. In one task, the spatial-input task, associated with input spatial attention, participants named one shape out of two bilaterally presented colored shapes. In a second task, the spatial-output task, associated with output spatial attention, participants discriminated between high and low pitch tones by pressing either a left or a right key. In Experiment 1, input for both tasks appeared simultaneously, and participants were instructed not to prioritize either task. A between tasks Simon-like effect was found for responses to both tasks. Reaction times were shorter when the side of the relevant shape in the spatial-input task and the side of the correct response in the spatial-output task were congruent. In Experiment 2, we manipulated the stimulus-onset asynchrony (SOA) between the inputs for the two tasks and showed that the Simon-like effect remained intact at all SOAs. Experiment 3 was similar to Experiment 1 except that the vocal response for the spatial-input task was not speeded. A Simon-like effect was still observed. Experiment 4 was the same as Experiment 3 except that the non-speeded response for the spatial-input task was manual rather than vocal. No Simon-like effect was observed in this experiment. Our results support a shared spatial attention mechanism involved in the Simon effect and indicate that this spatial attention mechanism is shared by perception and action.

Non-musicians also have a piano in the head: evidence for spatial-musical associations from line bisection tracking.

The spatial representation of ordinal sequences (numbers, time, tones) seems to be a fundamental cognitive property. While an automatic association between horizontal space and pitch height (left-low pitch, right-high pitch) is constantly reported in musicians, the evidence for such an association in non-musicians is mixed. In this study, 20 non-musicians performed a line bisection task while listening to irrelevant high- and low-pitched tones and white noise (control condition). While pitch height had no influence on the final bisection point, participants' movement trajectories showed systematic biases: When approaching the line and touching the line for the first time (initial bisection point), the mouse cursor was directed more rightward for high-pitched tones compared to low-pitched tones and noise. These results show that non-musicians also have a subtle but nevertheless automatic association between pitch height and the horizontal space. This suggests that spatial-musical associations do not necessarily depend on constant sensorimotor experiences (as it is the case for musicians) but rather reflect the seemingly inescapable tendency to represent ordinal information on a horizontal line.

Cues in detection of rhythmic irregularities

A recent study [Hove et al. (2014). Proc. Natl. Acad. Sci. 111, 10383–10388] showed that the perception of rhythm carried by simultaneously presented low-pitch and high-pitch complex tones is more easily disrupted by timing irregularities in the low tone than in the high tone. This result led the authors to conclude that low-pitch tones are used for laying down the rhythm in music because they are more precise rhythmic time markers than high-pitch tones. In this study, no difference was found in the temporal acuity for low and high tones. Instead, asynchrony detection was found to be better for low-leading than for high-leading tone pairs, regardless of which tone was rhythmically irregular in a sequence. The results are consistent with an asymmetry in the perception of asynchrony between a low and high tone pair without the rhythmic context [Wojtczak et al. (2012). J. Acoust. Soc. Am. 131, 363–377]. The outcome leads to a reinterpretation of the results of Hove et al., based on asynchrony, rather than rh...