Pitch Discrimination in Musicians and Non-Musicians: Effects of Harmonic Resolvability and Processing Effort

Musicians typically show enhanced pitch discrimination abilities compared to non-musicians. The present study investigated this perceptual enhancement behaviorally and objectively for resolved and unresolved complex tones to clarify whether the enhanced performance in musicians can be ascribed to increased peripheral frequency selectivity and/or to a different processing effort in performing the task. In a first experiment, pitch discrimination thresholds were obtained for harmonic complex tones with fundamental frequencies (F0s) between 100 and 500 Hz, filtered in either a low- or a high-frequency region, leading to variations in the resolvability of audible harmonics. The results showed that pitch discrimination performance in musicians was enhanced for resolved and unresolved complexes to a similar extent. Additionally, the harmonics became resolved at a similar F0 in musicians and non-musicians, suggesting similar peripheral frequency selectivity in the two groups of listeners. In a follow-up experiment, listeners’ pupil dilations were measured as an indicator of the required effort in performing the same pitch discrimination task for conditions of varying resolvability and task difficulty. Pupillometry responses indicated a lower processing effort in the musicians versus the non-musicians, although the processing demand imposed by the pitch discrimination task was individually adjusted according to the behavioral thresholds. Overall, these findings indicate that the enhanced pitch discrimination abilities in musicians are unlikely to be related to higher peripheral frequency selectivity and may suggest an enhanced pitch representation at more central stages of the auditory system in musically trained listeners.

[1]  N. Kraus,et al.  Neural Encoding of Speech and Music: Implications for Hearing Speech in Noise , 2011, Seminars in Hearing.

[2]  R. Zatorre,et al.  Cortical Processing of Music , 2012 .

[3]  R. Fay,et al.  Pitch : neural coding and perception , 2005 .

[4]  Charles S. Watson,et al.  Performance on frequency‐discrimination tasks by musicians and nonmusicians , 1984 .

[5]  J. Beatty Task-evoked pupillary responses, processing load, and the structure of processing resources. , 1982, Psychological bulletin.

[6]  G K Poock,et al.  Information processing vs pupil diameter. , 1973, Perceptual and motor skills.

[7]  N. Kraus,et al.  Musicians have fine-tuned neural distinction of speech syllables , 2012, Neuroscience.

[8]  N. Kraus,et al.  Musical Experience Limits the Degradative Effects of Background Noise on the Neural Processing of Sound , 2009, The Journal of Neuroscience.

[9]  Alain de Cheveigné,et al.  Pitch perception models , 2005 .

[10]  E. Owens,et al.  An Introduction to the Psychology of Hearing , 1997 .

[11]  I. Johnsrude,et al.  Factors that increase processing demands when listening to speech , 2015 .

[12]  Emily J. Allen,et al.  Symmetric interactions and interference between pitch and timbre. , 2014, The Journal of the Acoustical Society of America.

[13]  E. Granholm,et al.  Pupillary responses index cognitive resource limitations. , 1996, Psychophysiology.

[14]  L. Kishon-Rabin,et al.  Pitch Discrimination: Are Professional Musicians Better than Non-Musicians? , 2001, Journal of basic and clinical physiology and pharmacology.

[15]  A. Zekveld,et al.  Cognitive processing load across a wide range of listening conditions: insights from pupillometry. , 2014, Psychophysiology.

[16]  Nina Kraus,et al.  Art and science: how musical training shapes the brain , 2013, Front. Psychol..

[17]  B. Moore,et al.  A Test for the Diagnosis of Dead Regions in the Cochlea , 2000, British journal of audiology.

[18]  Andrew J Oxenham,et al.  The relationship between frequency selectivity and pitch discrimination: sensorineural hearing loss. , 2006, The Journal of the Acoustical Society of America.

[19]  C Kaernbach,et al.  Simple adaptive testing with the weighted up-down method , 1991, Perception & psychophysics.

[20]  Gavin M Bidelman,et al.  Psychophysical auditory filter estimates reveal sharper cochlear tuning in musicians. , 2014, The Journal of the Acoustical Society of America.

[21]  E. Hess,et al.  Pupillometry: The Psychology of the Pupillary Response , 1978 .

[22]  A. Oxenham,et al.  Influence of musical and psychoacoustical training on pitch discrimination , 2006, Hearing Research.

[23]  B. Moore An Introduction to the Psychology of Hearing , 1977 .