Large language models predict human sensory judgments across six modalities.

Determining the extent to which the perceptual world can be recovered from language is a longstanding problem in philosophy and cognitive science. We show that state-of-the-art large language models can unlock new insights into this problem by providing a lower bound on the amount of perceptual information that can be extracted from language. Specifically, we elicit pairwise similarity judgments from GPT models across six psychophysical datasets.

Globally, songs and instrumental melodies are slower and higher and use more stable pitches than speech: A Registered Report.

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness.

The universal law of generalization holds for naturalistic stimuli.

Shepard's universal law of generalization is a remarkable hypothesis about how intelligent organisms should perceive similarity. In its broadest form, the universal law states that the level of perceived similarity between a pair of stimuli should decay as a concave function of their distance when embedded in an appropriate psychological space. While extensively studied, evidence in support of the universal law has relied on low-dimensional stimuli and small stimulus sets that are very different from their real-world counterparts.

Timbral effects on consonance disentangle psychoacoustic mechanisms and suggest perceptual origins for musical scales.

The phenomenon of musical consonance is an essential feature in diverse musical styles. The traditional belief, supported by centuries of Western music theory and psychological studies, is that consonance derives from simple (harmonic) frequency ratios between tones and is insensitive to timbre. Here we show through five large-scale behavioral studies, comprising 235,440 human judgments from US and South Korean populations, that harmonic consonance preferences can be reshaped by timbral manipulations, even as far as to induce preferences for inharmonic intervals.

Incentivizing free riders improves collective intelligence in social dilemmas.

Collective intelligence challenges are often entangled with collective action problems. For example, voting, rating, and social innovation are collective intelligence tasks that require costly individual contributions. As a result, members of a group often free ride on the information contributed by intrinsically motivated people.

The development of rhythmic categories as revealed through an iterative production task.

Both humans and non-humans (e.g. birds and primates) preferentially produce and perceive auditory rhythms with simple integer ratios.

Feeling the Beat: Temporal Predictability is Associated with Ongoing Changes in Music-Induced Pleasantness.

Music is a complex phenomenon that elicits a range of emotional responses, influenced by numerous variables, such as rhythm, melody and harmony. One interesting aspect of music is listeners' ability to predict its continuation as it unfolds - an inherent attribute hypothesized to contribute to our emotional response to music. In this study, we investigated this link by examining the relationship between temporal predictability - the ability to predict the timing of the next event - and the ongoing changes in music-induced pleasantness.

Poor synchronization yet adequate tempo-keeping in adults with autism.

Sensorimotor synchronization to external events is fundamental to social interactions. Adults with autism spectrum condition (ASC) have difficulty with synchronization, manifested in both social and non-social situations, such as paced finger-tapping tasks, where participants synchronize their taps to metronome beats. What limits ASC's synchronization is a matter of debate, especially whether it stems from reduced online correction of synchronization error (the "slow update" account) or from noisy internal representations (the "elevated internal noise" account).

Large-scale iterated singing experiments reveal oral transmission mechanisms underlying music evolution.

Speech and song have been transmitted orally for countless human generations, changing over time under the influence of biological, cognitive, and cultural pressures. Cross-cultural regularities and diversities in human song are thought to emerge from this transmission process, but testing how underlying mechanisms contribute to musical structures remains a key challenge. Here, we introduce an automatic online pipeline that streamlines large-scale cultural transmission experiments using a sophisticated and naturalistic modality: singing.

Confronting ethical and social issues related to the genetics of musicality.

New interdisciplinary research into genetic influences on musicality raises a number of ethical and social issues for future avenues of research and public engagement. The historical intersection of music cognition and eugenics heightens the need to vigilantly weigh the potential risks and benefits of these studies and the use of their outcomes. Here, we bring together diverse disciplinary expertise (complex trait genetics, music cognition, musicology, bioethics, developmental psychology, and neuroscience) to interpret and guide the ethical use of findings from recent and future studies.

Aesthetics of musical timing: Culture and expertise affect preferences for isochrony but not synchrony.

Expressive communication in the arts often involves deviations from stylistic norms, which can increase the aesthetic evaluation of an artwork or performance. The detection and appreciation of such expressive deviations may be amplified by cultural familiarity and expertise of the observer. One form of expressive communication in music is playing "out of time," including asynchrony (deviations from synchrony between different instruments) and non-isochrony (deviations from equal spacing between subsequent note onsets or metric units).

Genome-wide association study of musical beat synchronization demonstrates high polygenicity.

Moving in synchrony to the beat is a fundamental component of musicality. Here we conducted a genome-wide association study to identify common genetic variants associated with beat synchronization in 606,825 individuals. Beat synchronization exhibited a highly polygenic architecture, with 69 loci reaching genome-wide significance (P < 5 × 10) and single-nucleotide-polymorphism-based heritability (on the liability scale) of 13%-16%.

REPP: A robust cross-platform solution for online sensorimotor synchronization experiments.

Sensorimotor synchronization (SMS), the rhythmic coordination of perception and action, is a fundamental human skill that supports many behaviors, including music and dance (Repp, 2005; Repp & Su, 2013). Traditionally, SMS experiments have been performed in the laboratory using finger tapping paradigms, and have required equipment with high temporal fidelity to capture the asynchronies between the time of the tap and the corresponding cue event. Thus, SMS is particularly challenging to study with online research, where variability in participants' hardware and software can introduce uncontrolled latency and jitter into recordings.

Slow update of internal representations impedes synchronization in autism.

Autism is a neurodevelopmental disorder characterized by impaired social skills, motor and perceptual atypicalities. These difficulties were explained within the Bayesian framework as either reflecting oversensitivity to prediction errors or - just the opposite - slow updating of such errors. To test these opposing theories, we administer paced finger-tapping, a synchronization task that requires use of recent sensory information for fast error-correction.

Extreme precision in rhythmic interaction is enabled by role-optimized sensorimotor coupling: analysis and modelling of West African drum ensemble music.

Human social interactions often involve carefully synchronized behaviours. Musical performance in particular features precise timing and depends on the differentiation and coordination of musical/social roles. Here, we study the influence of musical/social roles, individual musicians and different ensembles on rhythmic synchronization in Malian drum ensemble music, which features synchronization accuracy near the limits of human performance.

Serial reproduction reveals the geometry of visuospatial representations.

An essential function of the human visual system is to locate objects in space and navigate the environment. Due to limited resources, the visual system achieves this by combining imperfect sensory information with a belief state about locations in a scene, resulting in systematic distortions and biases. These biases can be captured by a Bayesian model in which internal beliefs are expressed in a prior probability distribution over locations in a scene.

Categorical Rhythms Are Shared between Songbirds and Humans.

Rhythm is a prominent feature of music. Of the infinite possible ways of organizing events in time, musical rhythms are almost always distributed categorically. Such categories can facilitate the transmission of culture-a feature that songbirds and humans share.

Perceptual fusion of musical notes by native Amazonians suggests universal representations of musical intervals.

Music perception is plausibly constrained by universal perceptual mechanisms adapted to natural sounds. Such constraints could arise from our dependence on harmonic frequency spectra for segregating concurrent sounds, but evidence has been circumstantial. We measured the extent to which concurrent musical notes are misperceived as a single sound, testing Westerners as well as native Amazonians with limited exposure to Western music.

Cross-Cultural Work in Music Cognition: Challenges, Insights, and Recommendations.

psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys the current state of the field and offers a number of concrete recommendations focused on issues involving ethics, empirical methods, and definitions of "music" and "culture.

Universality and diversity in human song.

What is universal about music, and what varies? We built a corpus of ethnographic text on musical behavior from a representative sample of the world's societies, as well as a discography of audio recordings. The ethnographic corpus reveals that music (including songs with words) appears in every society observed; that music varies along three dimensions (formality, arousal, religiosity), more within societies than across them; and that music is associated with certain behavioral contexts such as infant care, healing, dance, and love. The discography-analyzed through machine summaries, amateur and expert listener ratings, and manual transcriptions-reveals that acoustic features of songs predict their primary behavioral context; that tonality is widespread, perhaps universal; that music varies in rhythmic and melodic complexity; and that elements of melodies and rhythms found worldwide follow power laws.

Universal and Non-universal Features of Musical Pitch Perception Revealed by Singing.

Musical pitch perception is argued to result from nonmusical biological constraints and thus to have similar characteristics across cultures, but its universality remains unclear. We probed pitch representations in residents of the Bolivian Amazon-the Tsimane', who live in relative isolation from Western culture-as well as US musicians and non-musicians. Participants sang back tone sequences presented in different frequency ranges.

Surprise-related activation in the nucleus accumbens interacts with music-induced pleasantness.

How can music-merely a stream of sounds-be enjoyable for so many people? Recent accounts of this phenomenon are inspired by predictive coding models, hypothesizing that both confirmation and violations of musical expectations associate with the hedonic response to music via recruitment of the mesolimbic system and its connections with the auditory cortex. Here we provide support for this model, by revealing associations of music-induced pleasantness with musical surprises in the activity and connectivity patterns of the nucleus accumbens (NAcc)-a central component of the mesolimbic system. We examined neurobehavioral responses to surprises in three naturalistic musical pieces using fMRI and subjective ratings of valence and arousal.

Integer Ratio Priors on Musical Rhythm Revealed Cross-culturally by Iterated Reproduction.

Probability distributions over external states (priors) are essential to the interpretation of sensory signals. Priors for cultural artifacts such as music and language remain largely uncharacterized, but likely constrain cultural transmission, because only those signals with high probability under the prior can be reliably reproduced and communicated. We developed a method to estimate priors for simple rhythms via iterated reproduction of random temporal sequences.