Consonant musical intervals tend to be more readily processed than dissonant intervals. In the present study, we explore the neural basis for this difference by registering how the brain responds after changes in consonance and dissonance, and how formal musical training modulates these responses. Event-related brain potentials (ERPs) were registered while participants were presented with sequences of consonant intervals interrupted by a dissonant interval, or sequences of dissonant intervals interrupted by a consonant interval. Participants were musicians and non-musicians. Our results show that brain responses triggered by changes in a consonant context differ from those triggered in a dissonant context. Changes in a sequence of consonant intervals are rapidly processed independently of musical expertise, as revealed by a change-related mismatch negativity (MMN, a component of the ERPs triggered by an odd stimulus in a sequence of stimuli) elicited in both musicians and non-musicians. In contrast, changes in a sequence of dissonant intervals elicited a late MMN only in participants with prolonged musical training. These different neural responses might form the basis for the processing advantages observed for consonance over dissonance and provide information about how formal musical training modulates them.

Traditionally, physical features in musical chords have been proposed to be at the root of consonance perception. Alternatively, recent studies suggest that different types of experience modulate some perceptual foundations for musical sounds. The present study tested whether the mechanisms involved in the perception of consonance are present in an animal with no extensive experience with harmonic stimuli and a relatively limited vocal repertoire. In Experiment 1, rats were trained to discriminate consonant from dissonant chords and tested to explore whether they could generalize such discrimination to novel chords. In Experiment 2, we tested if rats could discriminate between chords differing only in their interval ratios and generalize them to different octaves. To contrast the observed pattern of results, human adults were tested with the same stimuli in Experiment 3. Rats successfully discriminated across chords in both experiments, but they did not generalize to novel items in either Experiment 1 or Experiment 2. On the contrary, humans not only discriminated among both consonance -dissonance categories, and among sets of interval ratios, they also generalized their responses to novel items. These results suggest that experience with harmonic sounds may be required for the construction of categories among stimuli varying in frequency ratios. However, the discriminative capacity observed in rats suggests that at least some components of auditory processing needed to distinguish chords based on their interval ratios are shared across species. Keywordsconsonance; interval ratio; auditory discrimination; comparative cognition; rats Corresponding author: Juan M. Toro, Universitat Pompeu Fabra, C. Roc Boronat, 138, CP. 08018, Barcelona, juanmanuel.toro@upf.edu. Conflict of interest.We declare we do not have conflict of interest. Ethical standards.All experiments were conducted following the current laws of the Spanish and Catalan governments regarding animal care and welfare, and in accordance with guidelines from FELASA.

Consonance is a salient perceptual feature in harmonic music associated with pleasantness. Besides being deeply rooted in how we experience music, research suggests consonant intervals are more easily processed than dissonant intervals. In the present work we explore from a comparative perspective if such processing advantage extends to more complex tasks such as the detection of abstract rules. We ran experiments on rule learning over consonant and dissonant intervals with nonhuman animals and human participants. Results show differences across species regarding the extent to which they benefit from differences in consonance. Animals learn abstract rules with the same ease independently of whether they are implemented over consonant intervals (Experiment 1), dissonant intervals (Experiment 2), or over a combination of them (Experiment 3). Humans, on the contrary, learn an abstract rule better when it is implemented over consonant (Experiment 4) than over dissonant intervals (Experiment 5). Moreover, their performance improves when there is a mapping between abstract categories defining a rule and consonant and dissonant intervals (Experiments 6 and 7). Results suggest that for humans, consonance might be used as a perceptual anchor for other cognitive processes as to facilitate the detection of abstract patterns. Lacking extensive experience with harmonic stimuli, nonhuman animals tested here do not seem to benefit from a processing advantage for consonant intervals. (PsycINFO Database Record

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Humans recognize a melody independently of whether it is played on a piano or a violin, faster or slower, or at higher or lower frequencies. Much of the way in which we engage with music relies in our ability to normalize across these surface changes. Despite the uniqueness of our music faculty, there is the possibility that key aspects in music processing emerge from general sensitivities already present in other species. Here we explore whether other animals react to surface changes in a tune. We familiarized the animals (Long–Evans rats) with the “Happy Birthday” tune on a piano. We then presented novel test items that included changes in pitch (higher and lower octave transpositions), tempo (double and half the speed) and timbre (violin and piccolo). While the rats responded differently to the familiar and the novel version of the tune when it was played on novel instruments, they did not respond differently to the original song and its novel versions that included octave transpositions and changes in tempo.