Recognizing structure in novel tunes: differences between human and rats.

A central feature in music is the hierarchical organization of its components. Musical pieces are not a simple concatenation of chords, but are characterized by rhythmic and harmonic structures. Here, we explore if sensitivity to music structure might emerge in the absence of any experience with musical stimuli.

Sensitivity to the sonority sequencing principle in rats (Rattus norvegicus).

Albeit diverse, human languages exhibit universal structures. A salient example is the syllable, an important structure of language acquisition. The structure of syllables is determined by the Sonority Sequencing Principle (SSP), a linguistic constraint according to which phoneme intensity must increase at onset, reaching a peak at nucleus (vowel), and decline at offset.

Detecting surface changes in a familiar tune: exploring pitch, tempo and timbre.

Humans recognize a melody independently of whether it is played on a piano or a violin, faster or slower, or at higher or lower frequencies. Much of the way in which we engage with music relies in our ability to normalize across these surface changes. Despite the uniqueness of our music faculty, there is the possibility that key aspects in music processing emerge from general sensitivities already present in other species.

Arc-shaped pitch contours facilitate item recognition in non-human animals.

Acoustic changes linked to natural prosody are a key source of information about the organization of language. Both human infants and adults readily take advantage of such changes to discover and memorize linguistic patterns. Do they so because our brain is efficiently wired to specifically process linguistic stimuli? Or are we co-opting for language acquisition purposes more general principles that might be inherited from our animal ancestors? Here, we address this question by exploring if other species profit from prosody to better process acoustic sequences.

Early neural responses underlie advantages for consonance over dissonance.

Consonant musical intervals tend to be more readily processed than dissonant intervals. In the present study, we explore the neural basis for this difference by registering how the brain responds after changes in consonance and dissonance, and how formal musical training modulates these responses. Event-related brain potentials (ERPs) were registered while participants were presented with sequences of consonant intervals interrupted by a dissonant interval, or sequences of dissonant intervals interrupted by a consonant interval.

Processing advantages for consonance: A comparison between rats (Rattus norvegicus) and humans (Homo sapiens).

Consonance is a salient perceptual feature in harmonic music associated with pleasantness. Besides being deeply rooted in how we experience music, research suggests consonant intervals are more easily processed than dissonant intervals. In the present work we explore from a comparative perspective if such processing advantage extends to more complex tasks such as the detection of abstract rules.

The use of interval ratios in consonance perception by rats (Rattus norvegicus) and humans (Homo sapiens).

Traditionally, physical features in musical chords have been proposed to be at the root of consonance perception. Alternatively, recent studies suggest that different types of experience modulate some perceptual foundations for musical sounds. The present study tested whether the mechanisms involved in the perception of consonance are present in an animal with no extensive experience with harmonic stimuli and a relatively limited vocal repertoire.