Audiovisual Interval Size Estimation Is Associated with Early Musical Training

Substituting facial movements in singers changes the sounds of musical intervals

Cross-modal integration is ubiquitous within perception and, in humans, the McGurk effect demonstrates that seeing a person articulating speech can change what we hear into a new auditory percept. It remains unclear whether cross-modal integration of sight and sound generalizes to other visible vocal articulations like those made by singers. We surmise that perceptual integrative effects should involve music deeply, since there is ample indeterminacy and variability in its auditory signals. We show that switching videos of sung musical intervals changes systematically the estimated distance between two notes of a musical interval so that pairing the video of a smaller sung interval to a relatively larger auditory led to compression effects on rated intervals, whereas the reverse led to a stretching effect. In addition, after seeing a visually switched video of an equally-tempered sung interval and then hearing the same interval played on the piano, the two intervals were judged often different though they differed only in instrument. These findings reveal spontaneous, cross-modal, integration of vocal sounds and clearly indicate that strong integration of sound and sight can occur beyond the articulations of natural speech.

Can Haptic Stimulation Enhance Music Perception in Hearing-Impaired Listeners?

Cochlear implants (CIs) have been remarkably successful at restoring hearing in severely-to-profoundly hearing-impaired individuals. However, users often struggle to deconstruct complex auditory scenes with multiple simultaneous sounds, which can result in reduced music enjoyment and impaired speech understanding in background noise. Hearing aid users often have similar issues, though these are typically less acute. Several recent studies have shown that haptic stimulation can enhance CI listening by giving access to sound features that are poorly transmitted through the electrical CI signal. This “electro-haptic stimulation” improves melody recognition and pitch discrimination, as well as speech-in-noise performance and sound localization. The success of this approach suggests it could also enhance auditory perception in hearing-aid users and other hearing-impaired listeners. This review focuses on the use of haptic stimulation to enhance music perception in hearing-impaired listeners. Music is prevalent throughout everyday life, being critical to media such as film and video games, and often being central to events such as weddings and funerals. It represents the biggest challenge for signal processing, as it is typically an extremely complex acoustic signal, containing multiple simultaneous harmonic and inharmonic sounds. Signal-processing approaches developed for enhancing music perception could therefore have significant utility for other key issues faced by hearing-impaired listeners, such as understanding speech in noisy environments. This review first discusses the limits of music perception in hearing-impaired listeners and the limits of the tactile system. It then discusses the evidence around integration of audio and haptic stimulation in the brain. Next, the features, suitability, and success of current haptic devices for enhancing music perception are reviewed, as well as the signal-processing approaches that could be deployed in future haptic devices. Finally, the cutting-edge technologies that could be exploited for enhancing music perception with haptics are discussed. These include the latest micro motor and driver technology, low-power wireless technology, machine learning, big data, and cloud computing. New approaches for enhancing music perception in hearing-impaired listeners could substantially improve quality of life. Furthermore, effective haptic techniques for providing complex sound information could offer a non-invasive, affordable means for enhancing listening more broadly in hearing-impaired individuals.

Visually induced gains in pitch discrimination: Linking audio-visual processing with auditory abilities

Perception is fundamentally a multisensory experience. The principle of inverse effectiveness (PoIE) states how the multisensory gain is maximal when responses to the unisensory constituents of the stimuli are weak. It is one of the basic principles underlying multisensory processing of spatiotemporally corresponding crossmodal stimuli that are well established at behavioral as well as neural levels. It is not yet clear, however, how modality-specific stimulus features influence discrimination of subtle changes in a crossmodally corresponding feature belonging to another modality. Here, we tested the hypothesis that reliance on visual cues to pitch discrimination follow the PoIE at the interindividual level (i.e., varies with varying levels of auditory-only pitch discrimination abilities). Using an oddball pitch discrimination task, we measured the effect of varying visually perceived vertical position in participants exhibiting a wide range of pitch discrimination abilities (i.e., musicians and nonmusicians). Visual cues significantly enhanced pitch discrimination as measured by the sensitivity index d', and more so in the crossmodally congruent than incongruent condition. The magnitude of gain caused by compatible visual cues was associated with individual pitch discrimination thresholds, as predicted by the PoIE. This was not the case for the magnitude of the congruence effect, which was unrelated to individual pitch discrimination thresholds, indicating that the pitch-height association is robust to variations in auditory skills. Our findings shed light on individual differences in multisensory processing by suggesting that relevant multisensory information that crucially aids some perceivers' performance may be of less importance to others, depending on their unisensory abilities.