Melbourne School of Psychological Sciences - Research Publications
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ItemEnhanced Sensitivity to Angry Voices in People with Features of the Broader Autism Phenotype(SPRINGER/PLENUM PUBLISHERS, 2018-11)The present study examined whether the ability to recognize vocal emotional expressions is negatively related to features of the Broader Autism Phenotype (BAP) in the general population. We assessed 61 typically developing adults on a BAP self-report measure (Broader Autism Phenotype Questionnaire) and a purpose-developed online emotion recognition task for efficient delivery of non-linguistic vocal stimuli corresponding to the six basic emotions. Contrary to expectations, we found that higher self-ratings of rigid BAP traits correlated with better recognition accuracy and higher intensity ratings for angry voices. We interpret this anger-specific association as an advantage for enhanced threat detection in the BAP and discuss this finding in the broader context of personality research and interpersonal theory.
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ItemNo Preview AvailableUsing spatial manipulation to examine interactions between visual and auditory encoding of pitch and time(FRONTIERS MEDIA SA, 2010)Music notations use both symbolic and spatial representation systems. Novice musicians do not have the training to associate symbolic information with musical identities, such as chords or rhythmic and melodic patterns. They provide an opportunity to explore the mechanisms underpinning multimodal learning when spatial encoding strategies of feature dimensions might be expected to dominate. In this study, we applied a range of transformations (such as time reversal) to short melodies and rhythms and asked novice musicians to identify them with or without the aid of notation. Performance using a purely spatial (graphic) notation was contrasted with the more symbolic, traditional western notation over a series of weekly sessions. The results showed learning effects for both notation types, but performance improved more for graphic notation. This points to greater compatibility of auditory and visual neural codes for novice musicians when using spatial notation, suggesting that pitch and time may be spatially encoded in multimodal associative memory. The findings also point to new strategies for training novice musicians.
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ItemIdentification of a Neurocognitive Mechanism Underpinning Awareness of Chronic Tinnitus(NATURE PORTFOLIO, 2017-11-09)Tinnitus (ringing in the ears) is a common auditory sensation that can become a chronic debilitating health condition with pervasive effects on health and wellbeing, substantive economic burden, and no known cure. Here we investigate if impaired functioning of the cognitive control network that directs attentional focus is a mechanism erroneously maintaining the tinnitus sensation. Fifteen people with chronic tinnitus and 15 healthy controls matched for age and gender from the community performed a cognitively demanding task known to activate the cognitive control network in this functional magnetic resonance imaging study. We identify attenuated activation of a core node of the cognitive control network (the right middle frontal gyrus), and altered baseline connectivity between this node and nodes of the salience and autobiographical memory networks. Our findings indicate that in addition to auditory dysfunction, altered interactions between non-auditory neurocognitive networks maintain chronic tinnitus awareness, revealing new avenues for the identification of effective treatments.
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ItemThe musical environment and auditory plasticity: hearing the pitch of percussion(FRONTIERS MEDIA SA, 2013-10-24)Although musical skills clearly improve with training, pitch processing has generally been believed to be biologically determined by the behavior of brain stem neural mechanisms. Two main classes of pitch models have emerged over the last 50 years. Harmonic template models have been used to explain cross-channel integration of frequency information, and waveform periodicity models have been used to explain pitch discrimination that is much finer than the resolution of the auditory nerve. It has been proposed that harmonic templates are learnt from repeated exposure to voice, and so it may also be possible to learn inharmonic templates from repeated exposure to inharmonic music instruments. This study investigated whether pitch-matching accuracy for inharmonic percussion instruments was better in people who have trained on these instruments and could reliably recognize their timbre. We found that adults who had trained with Indonesian gamelan instruments were better at recognizing and pitch-matching gamelan instruments than people with similar levels of music training, but no prior exposure to these instruments. These findings suggest that gamelan musicians were able to use inharmonic templates to support accurate pitch processing for these instruments. We suggest that recognition mechanisms based on spectrotemporal patterns of afferent auditory excitation in the early stages of pitch processing allow rapid priming of the lowest frequency partial of inharmonic timbres, explaining how music training can adapt pitch processing to different musical genres and instruments.
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ItemPitch Enumeration: Failure to Subitize in Audition(PUBLIC LIBRARY SCIENCE, 2012-04-02)BACKGROUND: Subitizing involves recognition mechanisms that allow effortless enumeration of up to four visual objects, however despite ample resolution experimental data suggest that only one pitch can be reliably enumerated. This may be due to the grouping of tones according to harmonic relationships by recognition mechanisms prior to fine pitch processing. Poorer frequency resolution of auditory information available to recognition mechanisms may lead to unrelated tones being grouped, resulting in underestimation of pitch number. METHODS, RESULTS AND CONCLUSION: We tested whether pitch enumeration is better for chords of full harmonic complex tones, where grouping errors are less likely, than for complexes with fewer and less accurately tuned harmonics. Chords of low familiarity were used to mitigate the possibility that participants would recognize the chord itself and simply recall the number of pitches. We found that accuracy of pitch enumeration was less than the visual system overall, and underestimation of pitch number increased for stimuli containing fewer harmonics. We conclude that harmonically related tones are first grouped at the poorer frequency resolution of the auditory nerve, leading to poor enumeration of more than one pitch.
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ItemCognitive Mechanisms in Chronic Tinnitus: Psychological Markers of a Failure to Switch Attention(FRONTIERS MEDIA SA, 2016-08-24)The cognitive mechanisms underpinning chronic tinnitus (CT; phantom auditory perceptions) are underexplored but may reflect a failure to switch attention away from a tinnitus sound. Here, we investigated a range of components that influence the ability to switch attention, including cognitive control, inhibition, working memory and mood, on the presence and severity of CT. Our participants with tinnitus showed significant impairments in cognitive control and inhibition as well as lower levels of emotional well-being, compared to healthy-hearing participants. Moreover, the subjective cognitive complaints of tinnitus participants correlated with their emotional well-being whereas complaints in healthy participants correlated with objective cognitive functioning. Combined, cognitive control and depressive symptoms correctly classified 67% of participants. These results demonstrate the core role of cognition in CT. They also provide the foundations for a neurocognitive account of the maintenance of tinnitus, involving impaired interactions between the neurocognitive networks underpinning attention-switching and mood.