2009
DOI: 10.1523/jneurosci.6133-08.2009
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Selective Subcortical Enhancement of Musical Intervals in Musicians

Abstract: By measuring the auditory brainstem response to two musical intervals, the major sixth (E3 and G2) and the minor seventh (E3 and F#2), we found that musicians have a more specialized sensory system for processing behaviorally relevant aspects of sound. Musicians had heightened responses to the harmonics of the upper tone (E), as well as certain combination tones (sum tones) generated by nonlinear processing in the auditory system. In music, the upper note is typically carried by the upper voice, and the enhanc… Show more

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Cited by 159 publications
(165 citation statements)
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“…Another demonstration of selective enhancement is seen in subcortical responses to a musical chord, in which musicians have larger responses to the harmonics of the upper tone in a musical chord, which are important for melody perception, but do not have larger responses to the harmonics of the lower tone or the fundamental frequency (F 0 ) of either upper or lower tones. 31 Similar results are found in response to emotional nuances in sound. 26 Compared with nonmusicians, musicians have greater representation of the F 0 in the response corresponding to the complex portion of a baby's cry, but actually have smaller F 0 representation for the periodic portion (easier to lock onto), suggesting that this training also results in greater processing efficiency (Fig.…”
Section: Transfer Effects Of Musical Experiencesupporting
confidence: 66%
See 1 more Smart Citation
“…Another demonstration of selective enhancement is seen in subcortical responses to a musical chord, in which musicians have larger responses to the harmonics of the upper tone in a musical chord, which are important for melody perception, but do not have larger responses to the harmonics of the lower tone or the fundamental frequency (F 0 ) of either upper or lower tones. 31 Similar results are found in response to emotional nuances in sound. 26 Compared with nonmusicians, musicians have greater representation of the F 0 in the response corresponding to the complex portion of a baby's cry, but actually have smaller F 0 representation for the periodic portion (easier to lock onto), suggesting that this training also results in greater processing efficiency (Fig.…”
Section: Transfer Effects Of Musical Experiencesupporting
confidence: 66%
“…Indeed, top-down tuning of sensory function modulates subcortical responses by sharpening tuning, augmenting stimulus features, increasing the signal-to-noise ratio, excluding irrelevant information, increasing response efficiency, controlling contextual influences, modulating plasticity, and promoting learning. 26,[28][29][30][31] For example, top-down modulation of the pathway from the cortex to the inferior colliculus has been effectively demonstrated in ferrets, in which pharmacological blockage impeded auditory learning. 30 The effects of musical training on auditory brain stem processing are another demonstration of top-down modulation, and these effects are not limited to musical sound processing but generalize to speech encoding and other nonmusical neural functions.…”
Section: Subcortical Approach To Examining Neural Sound Encodingmentioning
confidence: 99%
“…By the age of 21, professional musicians have spent ϳ10,000 h practicing their instruments (Ericsson et al, 1993). This longterm sensory exposure may account for their enhanced auditory perceptual skills (Micheyl et al, 2006;Rammsayer and Altenmuller, 2006) as well as functional and structural adaptations seen at subcortical and cortical levels for speech and music (Pantev et al, 2003;Peretz and Zatorre, 2003;Trainor et al, 2003;Shahin et al, 2004;Besson et al, 2007;Musacchia et al, 2007;Wong et al, 2007;Lee et al, 2009;Strait et al, 2009). One critical aspect of musicianship is the ability to parse concurrently presented instruments or voices.…”
Section: Introductionmentioning
confidence: 99%
“…These enhancements are not simple gain effects. Rather, musical experience selectively strengthens the underlying neural representation of sounds reflecting the interaction between cognitive and sensory factors , with musicians demonstrating better encoding of complex stimuli (Wong et al, 2007;Strait et al, 2009) as well as behaviorally relevant acoustic features (Lee et al, 2009). We hypothesized that, despite the well documented disruptive effects of noise (Don and Eggermont, 1978;Cunningham et al, 2001;Russo et al, 2004), musicians have enhanced encoding of the noise-vulnerable temporal stimulus events (onset and consonant-vowel formant transition) and increased neural synchrony in the presence of background noise resulting in a more precise temporal and spectral representation of the signal.…”
Section: Introductionmentioning
confidence: 99%
“…Они делают вывод: «базовые звуковысотные отношения, управляющие музыкой коренятся в сенсорных процессах низшего уровня а первоначальная ориентация на консонирующие интервалы мо-жет быть причиной, по которой такие интервалы являются предпочтительными». К. Ли, Е. Скоу, Н. Краус, Р. Эшли [16] изучали слуховые отзывы ствола мозга на интервалы большой сексты и малой септимы и выявили, что музыканты «имеют более специализированную сен-сорную систему для того, чтобы обработать уместные аспекты звука»: они ориентировались на верхний звук, кодируя интервал в системе лада, и всегда определяли интервалы точнее, чем немузыканты. Авторы считают, что «наши результаты… подчеркивают роль, которую долгосрочный опыт взаимодействия с музыкой играет в формировании слухового сенсорно-го зашифровывания».…”
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