Speech-in-noise perception in musicians and non-musicians: A multi-level meta-analysis

Theta and alpha oscillations may underlie improved attention and working memory in musically trained children

INTRODUCTION

Attention and working memory are key cognitive functions that allow us to select and maintain information in our mind for a short time, being essential for our daily life and, in particular, for learning and academic performance. It has been shown that musical training can improve working memory performance, but it is still unclear if and how the neural mechanisms of working memory and particularly attention are implicated in this process. In this work, we aimed to identify the oscillatory signature of bimodal attention and working memory that contributes to improved working memory in musically trained children.

MATERIALS AND METHODS

We recruited children with and without musical training and asked them to complete a bimodal (auditory/visual) attention and working memory task, whereas their brain activity was measured using electroencephalography. Behavioral, time-frequency, and source reconstruction analyses were made.

RESULTS

Results showed that, overall, musically trained children performed better on the task than children without musical training. When comparing musically trained children with children without musical training, we found modulations in the alpha band pre-stimuli onset and the beginning of stimuli onset in the frontal and parietal regions. These correlated with correct responses to the attended modality. Moreover, during the end phase of stimuli presentation, we found modulations correlating with correct responses independent of attention condition in the theta and alpha bands, in the left frontal and right parietal regions.

CONCLUSIONS

These results suggest that musically trained children have improved neuronal mechanisms for both attention allocation and memory encoding. Our results can be important for developing interventions for people with attention and working memory difficulties.

Effects of absolute pitch on brain activation and functional connectivity during hearing-in-noise perception

Hearing-in-noise (HIN) ability is crucial in speech and music communication. Recent evidence suggests that absolute pitch (AP), the ability to identify isolated musical notes, is associated with HIN benefits. A theoretical account postulates a link between AP ability and neural network indices of segregation. However, how AP ability modulates the brain activation and functional connectivity underlying HIN perception remains unclear. Here we used functional magnetic resonance imaging to contrast brain responses among a sample (n = 45) comprising 15 AP musicians, 15 non-AP musicians, and 15 non-musicians in perceiving Mandarin speech and melody targets under varying signal-to-noise ratios (SNRs: No-Noise, 0, -9 dB). Results reveal that AP musicians exhibited increased activation in auditory and superior frontal regions across both HIN domains (music and speech), irrespective of noise levels. Notably, substantially higher sensorimotor activation was found in AP musicians when the target was music compared to speech. Furthermore, we examined AP effects on neural connectivity using psychophysiological interaction analysis with the auditory cortex as the seed region. AP musicians showed decreased functional connectivity with the sensorimotor and middle frontal gyrus compared to non-AP musicians. Crucially, AP differentially affected connectivity with parietal and frontal brain regions depending on the HIN domain being music or speech. These findings suggest that AP plays a critical role in HIN perception, manifested by increased activation and functional independence between auditory and sensorimotor regions for perceiving music and speech streams.

How does the human brain process noisy speech in real life? Insights from the second-person neuroscience perspective

Comprehending speech with the existence of background noise is of great importance for human life. In the past decades, a large number of psychological, cognitive and neuroscientific research has explored the neurocognitive mechanisms of speech-in-noise comprehension. However, as limited by the low ecological validity of the speech stimuli and the experimental paradigm, as well as the inadequate attention on the high-order linguistic and extralinguistic processes, there remains much unknown about how the brain processes noisy speech in real-life scenarios. A recently emerging approach, i.e., the second-person neuroscience approach, provides a novel conceptual framework. It measures both of the speaker's and the listener's neural activities, and estimates the speaker-listener neural coupling with regarding of the speaker's production-related neural activity as a standardized reference. The second-person approach not only promotes the use of naturalistic speech but also allows for free communication between speaker and listener as in a close-to-life context. In this review, we first briefly review the previous discoveries about how the brain processes speech in noise; then, we introduce the principles and advantages of the second-person neuroscience approach and discuss its implications to unravel the linguistic and extralinguistic processes during speech-in-noise comprehension; finally, we conclude by proposing some critical issues and calls for more research interests in the second-person approach, which would further extend the present knowledge about how people comprehend speech in noise.

No Musician Advantage in the Perception of Degraded-Fundamental Frequency Speech in Noisy Environments

PURPOSE

Pitch variations of the fundamental frequency (f_o) contour contribute to speech perception in noisy environments, but whether musicians confer an advantage in speech in noise (SIN) with altered f_o information remains unclear. This study investigated the effects of different levels of degraded f_o contour (i.e., conveying lexical tone or intonation information) on musician advantage in speech-in-noise perception.

METHOD

A cohort of native Mandarin Chinese speakers, comprising 30 trained musicians and 30 nonmusicians, were tested on the intelligibility of Mandarin Chinese sentences with natural, flattened-tone, flattened-intonation, and flattened-all f_o contours embedded in background noise masked under three signal-to-noise ratios (0, -5, and -9 dB). Pitch difference thresholds and innate musical skills associated with speech-in-noise benefits were also assessed.

RESULTS

Speech intelligibility score improved with increasing signal-to-noise level for both musicians and nonmusicians. However, no musician advantage was observed for identifying any type of flattened-f_o contour SIN. Musicians exhibited smaller f_o pitch discrimination limens than nonmusicians, which correlated with benefits for perceiving speech with intact tone-level f_o information. Regardless of musician status, performance on the pitch and accent musical-skill subtests correlated with speech intelligibility score.

CONCLUSIONS

Collectively, these results provide no evidence for a musician advantage for perceiving speech with distorted f_o information in noisy environments. Results further show that perceptual musical skills on pitch and accent processing may benefit the perception of SIN, independent of formal musical training. Our findings suggest that the potential application of music training in speech perception in noisy backgrounds is not contingent on the ability to process f_o pitch contours, at least for Mandarin Chinese speakers.

SUPPLEMENTAL MATERIAL

https://doi.org/10.23641/asha.23706354.

Auditory Processing in Musicians, a Cross-Sectional Study, as a Basis for Auditory Training Optimization

Μusicians are reported to have enhanced auditory processing. This study aimed to assess auditory perception in Greek musicians with respect to their musical specialization and to compare their auditory processing with that of non-musicians. Auditory processing elements evaluated were speech recognition in babble, rhythmic advantage in speech recognition, short-term working memory, temporal resolution, and frequency discrimination threshold detection. All groups were of 12 participants. Three distinct experimental groups tested included western classical musicians, Byzantine chanters, and percussionists. The control group consisted of 12 non-musicians. The results revealed: (i) a rhythmic advantage for word recognition in noise for classical musicians (M = 12.42) compared to Byzantine musicians (M = 9.83), as well as for musicians compared to non-musicians (U = 120.50, p = 0.019), (ii) better frequency discrimination threshold of Byzantine musicians (M = 3.17, p = 0.002) compared to the other two musicians' group for the 2000 Hz region, (iii) statistically significant better working memory for musicians (U = 123.00, p = 0.025) compared to non-musicians. Musical training enhances elements of auditory processing and may be used as an additional rehabilitation approach during auditory training, focusing on specific types of music for specific auditory processing deficits.

Auditory Electrophysiological and Perceptual Measures in Student Musicians with High Sound Exposure

This study aimed to determine (a) the influence of noise exposure background (NEB) on the peripheral and central auditory system functioning and (b) the influence of NEB on speech recognition in noise abilities in student musicians. Twenty non-musician students with self-reported low NEB and 18 student musicians with self-reported high NEB completed a battery of tests that consisted of physiological measures, including auditory brainstem responses (ABRs) at three different stimulus rates (11.3 Hz, 51.3 Hz, and 81.3 Hz), and P300, and behavioral measures including conventional and extended high-frequency audiometry, consonant-vowel nucleus-consonant (CNC) word test and AzBio sentence test for assessing speech perception in noise abilities at -9, -6, -3, 0, and +3 dB signal to noise ratios (SNRs). The NEB was negatively associated with performance on the CNC test at all five SNRs. A negative association was found between NEB and performance on the AzBio test at 0 dB SNR. No effect of NEB was found on the amplitude and latency of P300 and the ABR wave I amplitude. More investigations of larger datasets with different NEB and longitudinal measurements are needed to investigate the influence of NEB on word recognition in noise and to understand the specific cognitive processes contributing to the impact of NEB on word recognition in noise.

Efferent Control in Musicians: A Review

It is widely established that musicians possess a higher level in certain auditory perceptual abilities when compared to non-musicians. This improvement may be mediated, at least in part, by changes in the cochlear response induced by reflex activation of the olivocochlear efferent system. In this review, we describe and analyze the scientific evidence regarding possible differences in the efferent response in musicians and non-musicians. The main evidence observed is that musicians present a greater robustness of the efferent olivocochlear reflex when measured by suppression of otoacoustic emissions and compared to non-musicians. Analyzing the articles presented in this review, it is possible to point out that the differential role of the efferent effect in musicians is not yet established. There is not enough evidence to support the idea that the olivocochlear system favors comparative changes in the properties of musicians' auditory filters. New studies with psychoacoustic techniques, among others, are needed to measure the effect of the olivocochlear reflex on tuning, gain, compression, or temporal resolution in musicians and non-musicians.

Domain-specific hearing-in-noise performance is associated with absolute pitch proficiency

Recent evidence suggests that musicians may have an advantage over non-musicians in perceiving speech against noisy backgrounds. Previously, musicians have been compared as a homogenous group, despite demonstrated heterogeneity, which may contribute to discrepancies between studies. Here, we investigated whether “quasi”-absolute pitch (AP) proficiency, viewed as a general trait that varies across a spectrum, accounts for the musician advantage in hearing-in-noise (HIN) performance, irrespective of whether the streams are speech or musical sounds. A cohort of 12 non-musicians and 42 trained musicians stratified into high, medium, or low AP proficiency identified speech or melody targets masked in noise (speech-shaped, multi-talker, and multi-music) under four signal-to-noise ratios (0, − 3, − 6, and − 9 dB). Cognitive abilities associated with HIN benefits, including auditory working memory and use of visuo-spatial cues, were assessed. AP proficiency was verified against pitch adjustment and relative pitch tasks. We found a domain-specific effect on HIN perception: quasi-AP abilities were related to improved perception of melody but not speech targets in noise. The quasi-AP advantage extended to tonal working memory and the use of spatial cues, but only during melodic stream segregation. Overall, the results do not support the putative musician advantage in speech-in-noise perception, but suggest a quasi-AP advantage in perceiving music under noisy environments.

Familiarity of Background Music Modulates the Cortical Tracking of Target Speech at the "Cocktail Party"

The "cocktail party" problem-how a listener perceives speech in noisy environments-is typically studied using speech (multi-talker babble) or noise maskers. However, realistic cocktail party scenarios often include background music (e.g., coffee shops, concerts). Studies investigating music's effects on concurrent speech perception have predominantly used highly controlled synthetic music or shaped noise, which do not reflect naturalistic listening environments. Behaviorally, familiar background music and songs with vocals/lyrics inhibit concurrent speech recognition. Here, we investigated the neural bases of these effects. While recording multichannel EEG, participants listened to an audiobook while popular songs (or silence) played in the background at a 0 dB signal-to-noise ratio. Songs were either familiar or unfamiliar to listeners and featured either vocals or isolated instrumentals from the original audio recordings. Comprehension questions probed task engagement. We used temporal response functions (TRFs) to isolate cortical tracking to the target speech envelope and analyzed neural responses around 100 ms (i.e., auditory N1 wave). We found that speech comprehension was, expectedly, impaired during background music compared to silence. Target speech tracking was further hindered by the presence of vocals. When masked by familiar music, response latencies to speech were less susceptible to informational masking, suggesting concurrent neural tracking of speech was easier during music known to the listener. These differential effects of music familiarity were further exacerbated in listeners with less musical ability. Our neuroimaging results and their dependence on listening skills are consistent with early attentional-gain mechanisms where familiar music is easier to tune out (listeners already know the song's expectancies) and thus can allocate fewer attentional resources to the background music to better monitor concurrent speech material.

The effects of aging and musicianship on the use of auditory streaming cues

Auditory stream segregation, or separating sounds into their respective sources and tracking them over time, is a fundamental auditory ability. Previous research has separately explored the impacts of aging and musicianship on the ability to separate and follow auditory streams. The current study evaluated the simultaneous effects of age and musicianship on auditory streaming induced by three physical features: intensity, spectral envelope and temporal envelope. In the first study, older and younger musicians and non-musicians with normal hearing identified deviants in a four-note melody interleaved with distractors that were more or less similar to the melody in terms of intensity, spectral envelope and temporal envelope. In the second study, older and younger musicians and non-musicians participated in a dissimilarity rating paradigm with pairs of melodies that differed along the same three features. Results suggested that auditory streaming skills are maintained in older adults but that older adults rely on intensity more than younger adults while musicianship is associated with increased sensitivity to spectral and temporal envelope, acoustic features that are typically less effective for stream segregation, particularly in older adults.

The importance of the motor system in the development of music-based forms of auditory rehabilitation

Hearing abilities decline with age, and one of the most commonly reported hearing issues in older adults is a difficulty understanding speech when there is loud background noise. Understanding speech in noise relies on numerous cognitive processes, including working memory, and is supported by numerous brain regions, including the motor and motor planning systems. Indeed, many working memory processes are supported by motor and premotor cortical regions. Interestingly, lifelong musicians and nonmusicians given music training over the course of weeks or months show an improved ability to understand speech when there is loud background noise. These benefits are associated with enhanced working memory abilities, and enhanced activity in motor and premotor cortical regions. Accordingly, it is likely that music training improves the coupling between the auditory and motor systems and promotes plasticity in these regions and regions that feed into auditory/motor areas. This leads to an enhanced ability to dynamically process incoming acoustic information, and is likely the reason that musicians and those who receive laboratory-based music training are better able to understand speech when there is background noise. Critically, these findings suggest that music-based forms of auditory rehabilitation are possible and should focus on tasks that promote auditory-motor interactions.