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You are here: McMaster Institute for Music and the Mind > Publications > Superior time perception for lower musical pitch explains why bass-ranged instruments lay down musical rhythms.

Michael J Hove, Celine Marie, Ian C Bruce, and Laurel J Trainor (2014)

Superior time perception for lower musical pitch explains why bass-ranged instruments lay down musical rhythms.

Proceedings of the National Academy of Sciences, 111(28):10383-10388.

The auditory environment typically contains several sound sources that overlap in time, and the auditory system parses the complex sound wave into streams or voices that represent the various sound sources. Music is also often polyphonic.Interestingly, the main melody (spectral/pitch information) is most often carried by the highest-pitched voice, and the rhythm (temporal foundation) is most oftenlaid down by the lowest-pitched voice. Previous work using electroencephalography (EEG) demonstrated that the auditory cortex encodes pitch more robustly in the higher of two simultaneous tones or melodies, and modeling work indicated that this high-voice superiority for pitch originates in the sensory periphery. Here,we investigated the neural basis of carrying rhythmic timing information in lower-pitched voices. We presented simultaneous high-pitched and low-pitched tones in an isochronous stream and occasionally presented either the higher or the lower tone 50 ms earlier than expected, while leaving the other tone at the expected time. EEG recordings revealed that mismatch negativity responses were larger for timing deviants of the lower tones, indicating better timing encodingfor lower-pitched compared with higher-pitch tones at the level of auditory cortex. A behavioral motor task revealed that tapping synchronization was more influenced by the lower-pitched stream. Results from a biologically plausible model of the auditory periphery suggest that nonlinear cochlear dynamics contribute to the observed effect. The low-voice superiority effect for encodingtiming explains the widespread musical practice of carrying rhythm in bass-ranged instruments and complements previously established high-voice superiority effects for pitch and melody.

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