Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition (...) research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes. (shrink)

This study investigates the joint influences of three factors on the discovery of new word‐like units in a continuous artificial speech stream: the statistical structure of the ongoing input, the initial word‐likeness of parts of the speech flow, and the contextual information provided by the earlier emergence of other word‐like units. Results of an experiment conducted with adult participants show that these sources of information have strong and interactive influences on word discovery. The authors then examine the ability of different (...) models of word segmentation to account for these results. PARSER (Perruchet & Vinter, 1998) is compared to the view that word segmentation relies on the exploitation of transitional probabilities between successive syllables, and with the models based on the Minimum Description Length principle, such as INCDROP. The authors submit arguments suggesting that PARSER has the advantage of accounting for the whole pattern of data without ad‐hoc modifications, while relying exclusively on general‐purpose learning principles. This study strengthens the growing notion that nonspecific cognitive processes, mainly based on associative learning and memory principles, are able to account for a larger part of early language acquisition than previously assumed. (shrink)

Are similar, or even identical, mechanisms used in the computational modeling of speech segmentation, serial image processing, and music processing? We address this question by exploring how TRACX2, a recognition‐based, recursive connectionist autoencoder model of chunking and sequence segmentation, which has successfully simulated speech and serial‐image processing, might be applied to elementary melody perception. The model, a three‐layer autoencoder that recognizes “chunks” of short sequences of intervals that have been frequently encountered on input, is trained on the tone intervals of (...) melodically simple French children's songs. It dynamically incorporates the internal representations of these chunks into new input. Its internal representations cluster in a manner that is consistent with “human‐recognizable” melodic categories. TRACX2 is sensitive to both contour and proximity information in the musical chunks that it encounters in its input. It shows the “end‐of‐word” superiority effect demonstrated by Saffran et al. (1999) for short musical phrases. The overall findings suggest that the recursive autoassociative chunking mechanism, as implemented in TRACX2, may be a general segmentation and chunking mechanism, underlying not only word‐ and image‐chunking, but also elementary melody processing. (shrink)

Rhythm perception involves strong auditory-motor connections that can be enhanced with movement. However, it is unclear whether just seeing someone moving to a rhythm can enhance auditory-motor coupling, resulting in stronger entrainment. Rhythmic priming studies show that presenting regular rhythms before naturally spoken sentences can enhance grammaticality judgments compared to irregular rhythms or other baseline conditions. The current study investigated whether introducing a point-light figure moving in time with regular rhythms could enhance the rhythmic priming effect. Three experiments revealed that (...) the addition of a visual cue did not benefit rhythmic priming in comparison to auditory conditions with a static image. In Experiment 1, grammaticality judgments were poorer after audio-visual regular rhythms compared to auditory-only regular rhythms. In Experiments 2 and 3, there was no difference in grammaticality judgments after audio-visual regular rhythms compared to auditory-only irregular rhythms for either a bouncing point-light figure or a swaying point-light figure. Comparison of the observed performance with previous data suggested that the audio-visual component removed the regular prime benefit. These findings suggest that the visual cues used in this study do not enhance rhythmic priming and could hinder the effect by potentially creating a dual-task situation. In addition, individual differences in sensory-motor and social scales of music reward influenced the effect of the visual cue. Implications for future audio-visual experiments aiming to enhance beat processing, and the importance of individual differences will be discussed. (shrink)