Dataset Information

Audio-visual interactions uniquely contribute to resolution of visual conflict in people possessing absolute pitch.

ABSTRACT: Individuals possessing absolute pitch (AP) are able to identify a given musical tone or to reproduce it without reference to another tone. The present study sought to learn whether this exceptional auditory ability impacts visual perception under stimulus conditions that provoke visual competition in the form of binocular rivalry. Nineteen adult participants with 3-19 years of musical training were divided into two groups according to their performance on a task involving identification of the specific note associated with hearing a given musical pitch. During test trials lasting just over half a minute, participants dichoptically viewed a scrolling musical score presented to one eye and a drifting sinusoidal grating presented to the other eye; throughout the trial they pressed buttons to track the alternations in visual awareness produced by these dissimilar monocular stimuli. On "pitch-congruent" trials, participants heard an auditory melody that was congruent in pitch with the visual score, on "pitch-incongruent" trials they heard a transposed auditory melody that was congruent with the score in melody but not in pitch, and on "melody-incongruent" trials they heard an auditory melody completely different from the visual score. For both groups, the visual musical scores predominated over the gratings when the auditory melody was congruent compared to when it was incongruent. Moreover, the AP participants experienced greater predominance of the visual score when it was accompanied by the pitch-congruent melody compared to the same melody transposed in pitch; for non-AP musicians, pitch-congruent and pitch-incongruent trials yielded equivalent predominance. Analysis of individual durations of dominance revealed differential effects on dominance and suppression durations for AP and non-AP participants. These results reveal that AP is accompanied by a robust form of bisensory interaction between tonal frequencies and musical notation that boosts the salience of a visual score.

SUBMITTER: Kim S

PROVIDER: S-EPMC5381860 | biostudies-literature | 2017

REPOSITORIES: biostudies-literature

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Audio-visual interactions uniquely contribute to resolution of visual conflict in people possessing absolute pitch.

Kim Sujin S Blake Randolph R Lee Minyoung M Kim Chai-Youn CY

PloS one 20170405 4

Individuals possessing absolute pitch (AP) are able to identify a given musical tone or to reproduce it without reference to another tone. The present study sought to learn whether this exceptional auditory ability impacts visual perception under stimulus conditions that provoke visual competition in the form of binocular rivalry. Nineteen adult participants with 3-19 years of musical training were divided into two groups according to their performance on a task involving identification of the s ...[more]

PMID: 28380058

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Project description:While absolute pitch (AP)-the ability to name musical pitches globally and without reference-is rare in expert musicians, anecdotal evidence suggests that some musicians may better identify pitches played on their primary instrument than pitches played on other instruments. We call this phenomenon "instrument-specific absolute pitch" (ISAP). In this paper we present a theory of ISAP. Specifically, we offer the hypothesis that some expert musicians without global AP may be able to more accurately identify pitches played on their primary instrument(s), and we propose timbral cues and articulatory motor imagery as two underlying mechanisms. Depending on whether informative timbral cues arise from performer- or instrument-specific idiosyncrasies or from timbre-facilitated tonotopic representations, we predict that performance may be enhanced for notes played by oneself, notes played on one's own personal instrument, and/or notes played on any exemplar of one's own instrument type. Sounds of one's primary instrument may moreover activate kinesthetic memory and motor imagery, aiding pitch identification. In order to demonstrate how our theory can be tested, we report the methodology and analysis of two exemplary experiments conducted on two case-study participants who are professional oboists. The aim of the first experiment was to determine whether the oboists demonstrated ISAP ability, while the purpose of the second experiment was to provide a preliminary investigation of the underlying mechanisms. The results of the first experiment revealed that only one of the two oboists showed an advantage for identifying oboe tones over piano tones. For this oboist demonstrating ISAP, the second experiment demonstrated that pitch-naming accuracy decreased and variance around the correct pitch value increased as an effect of transposition and motor interference, but not of instrument or performer. These preliminary data suggest that some musicians possess ISAP while others do not. Timbral cues and motor imagery may both play roles in the acquisition of this ability. Based on our case study findings, we provide methodological considerations and recommendations for future empirical testing of our theory of ISAP.

Project description:In order to parse the world around us, we must constantly determine which sensory inputs arise from the same physical source and should therefore be perceptually integrated. Temporal coherence between auditory and visual stimuli drives audio-visual (AV) integration, but the role played by AV spatial alignment is less well understood. Here, we manipulated AV spatial alignment and collected electroencephalography (EEG) data while human subjects performed a free-field variant of the "pip and pop" AV search task. In this paradigm, visual search is aided by a spatially uninformative auditory tone, the onsets of which are synchronized to changes in the visual target. In Experiment 1, tones were either spatially aligned or spatially misaligned with the visual display. Regardless of AV spatial alignment, we replicated the key pip and pop result of improved AV search times. Mirroring the behavioral results, we found an enhancement of early event-related potentials (ERPs), particularly the auditory N1 component, in both AV conditions. We demonstrate that both top-down and bottom-up attention contribute to these N1 enhancements. In Experiment 2, we tested whether spatial alignment influences AV integration in a more challenging context with competing multisensory stimuli. An AV foil was added that visually resembled the target and was synchronized to its own stream of synchronous tones. The visual components of the AV target and AV foil occurred in opposite hemifields; the two auditory components were also in opposite hemifields and were either spatially aligned or spatially misaligned with the visual components to which they were synchronized. Search was fastest when the auditory and visual components of the AV target (and the foil) were spatially aligned. Attention modulated ERPs in both spatial conditions, but importantly, the scalp topography of early evoked responses shifted only when stimulus components were spatially aligned, signaling the recruitment of different neural generators likely related to multisensory integration. These results suggest that AV integration depends on AV spatial alignment when stimuli in both modalities compete for selective integration, a common scenario in real-world perception.

Dataset Information

Audio-visual interactions uniquely contribute to resolution of visual conflict in people possessing absolute pitch.

Publications

Audio-visual interactions uniquely contribute to resolution of visual conflict in people possessing absolute pitch.

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