Many human behaviors are discussed in terms of discrete categories. Quantizing behavior in this fashion may provide important traction for understanding the complexities of human experience, but it also may bias understanding of phenomena and associated mechanisms. One example of this is absolute pitch (AP), which is often treated as a discrete trait that is either present or absent (i.e., with easily identifiable near-perfect \"genuine\" AP possessors and at-chance non-AP possessors) despite emerging evidence that pitch-labeling ability is not all-or-nothing. We used a large-scale online assessment to test the discrete model of AP, specifically by measuring how intermediate performers related to the typically defined \"non-AP\" and \"genuine AP\" populations. Consistent with prior research, individuals who performed at-chance (non-AP) reported beginning musical instruction much later than the near-perfect AP participants, and the highest performers were more likely to speak a tonal language than were the lowest performers (though this effect was not as statistically robust as one would expect from prior research). Critically, however, these developmental factors did not differentiate the near-perfect AP performers from the intermediate AP performers. Gaussian mixture modeling supported the existence of two performance distributions-the first distribution encompassed both the intermediate and near-perfect AP possessors, whereas the second distribution encompassed only the at-chance participants. Overall, these results provide support for conceptualizing intermediate levels of pitch-labeling ability along the same continuum as genuine AP-level pitch labeling ability-in other words, a continuous distribution of AP skill among all above-chance performers rather than discrete categories of ability. Expanding the inclusion criteria for AP makes it possible to test hypotheses about the mechanisms that underlie this ability and relate this ability to more general cognitive mechanisms involved in other abilities.

Verbal-auditory agnosia and aphasia are the most prominent symptoms in Landau-Kleffner syndrome (LKS), a childhood epilepsy that can have sustained long-term effects on language processing. The present study provides the first objective investigation of music perception skills in four adult patients with a diagnosis of LKS during childhood, covering the spectrum of severity of the syndrome from mild to severe. Pitch discrimination, short-term memory for melodic, rhythmic and verbal information, as well as emotion recognition in music and speech prosody were assessed with listening tests, and subjective attitude to music with a questionnaire. We observed amusia in 3 out of 4 patients, with elevated pitch discrimination thresholds and poor short-term memory for melody and rhythm. The two patients with the most severe LKS had impairments in music and prosody emotion recognition, but normal perception of emotional intensity of music. Overall, performance in music processing tasks was proportional to the severity of the syndrome. Nonetheless, the four patients reported that they enjoyed music, felt musical emotions, and used music in their daily life. These new data support the hypothesis that, beyond verbal impairments, cerebral networks involved in sound processing and encoding are deeply altered by the epileptic activity in LKS, well after electrophysiological normalization.

A 53-year-old right-handed woman had an extensive lesion in the left hemisphere due to an infarction caused by vasospasm secondary to subarachnoid bleeding. She exhibited persistent expressive-vocal amusia with no symptoms of aphasia. Evaluation of the patient\'s musical competence using the Montreal Battery for Evaluation of Amusia, rhythm reproduction tests, acoustic analysis of pitch upon singing familiar music, Japanese standard language tests, and other detailed clinical examinations revealed that her amusia was more dominantly related to pitch production. The intactness of her speech provided strong evidence that the right hemisphere played a major role in her linguistic processing. Data from functional magnetic resonance imaging while she was singing a familiar song, a scale, and reciting lyrics indicated that perilesional residual activation in the left hemisphere was associated with poor pitch production, while right hemispheric activation was involved in linguistic processing. The localization of infarction more anterior to the left Sylvian fissure might be related to the dominant deficits in expressive aspects of the singing of the patient. Compromised motor programming producing a single tone may have made a major contribution to her poor singing. Imperfect auditory feedback due to borderline perceptual ability or improper audio-motor associations might also have played a role.

In normal listeners, the tonal rules of music guide musical expectancy. In a minority of individuals, known as amusics, the processing of tonality is disordered, which results in severe musical deficits. It has been shown that the tonal rules of music are neurally encoded, but not consciously available in amusics. Previous neurophysiological studies have not explicitly controlled the level of attention in tasks where participants ignored the tonal structure of the stimuli. Here, we test whether access to tonal knowledge can be demonstrated in congenital amusia when attention is controlled. Electric brain responses were recorded while asking participants to detect an individually adjusted near-threshold click in a melody. In half the melodies, a note was inserted that violated the tonal rules of music. In a second task, participants were presented with the same melodies but were required to detect the tonal deviation. Both tasks required sustained attention, thus conscious access to the rules of tonality was manipulated. In the click-detection task, the pitch deviants evoked an early right anterior negativity (ERAN) in both groups. In the pitch-detection task, the pitch deviants evoked an ERAN and P600 in controls but not in amusics. These results indicate that pitch regularities are represented in the cortex of amusics, but are not consciously available. Moreover, performing a pitch-judgment task eliminated the ERAN in amusics, suggesting that attending to pitch information interferes with perception of pitch. We propose that an impaired top-down frontotemporal projection is responsible for this disorder.

OBJECTIVE: Determine ipsilateral acoustic electric pitch place match in a patient with preserved residual hearing across a broad frequency range.
METHODS: Case report. Patient with up-sloping sensorineural hearing loss underwent implantation with a 680° insertion angle with preserved residual hearing. Pitch matching with variance of pulse rate was carried out.
RESULTS: Electrical pitch percepts closely approximated the Greenwood map when compared to the acoustical pitch percepts and electrode position as determined by post-operative computed tomographic scan. The pitch matching results achieved from the deeply inserted electrodes, in the apical portion of the cochlea, suggest that the electrical stimulation may activate the dendritic extensions from the ganglion cell bodies that radiate from the terminal bulb. Stimulation rate influenced pitch perception in the apical turn but not in the mid- and basilar regions.
CONCLUSIONS: Frequency to pitch allocation can potentially be improved by cochlear implants that access the apical third of the spiral ganglion. The ultimate goal of stimulating the apical third of the cochlea is to provide the maximum amount of spectral information to the user. We had the unique opportunity to work with a patient who presented with a severe sensorineural hearing loss rising to within normal limits and poor speech discrimination scores. Data from this study may aid our ability to give patients a broader spectrum of sound perception.

This article presents data from three production experiments investigating the prosodic means of encoding information structure in Akan, a tone language that belongs to the Kwa branch of the Niger-Congo family, spoken in Ghana. Information structure was elicited via context questions that put target words either in wide, informational, or corrective focus, or in one of the experiments also in pre-focal or post-focal position rendering it as given. The prosodic parameters F0 and duration were measured on the target words. Duration is not consistently affected by information structure, but contrary to the prediction that High (H) and Low (L) tones are raised in ex situ (fronted) focus constructions we found a significantly lower realization of both H and L tones under corrective focus in ex situ and in situ focus constructions. Givenness does not seem to be marked prosodically. The data suggest that pragmatic prominence is expressed prosodically by means of a deviation from an unmarked prosodic structure. Results are thus contradicting the view of the effort code that predicts a positive correlation of more effort resulting in higher F0 targets.

This study investigates whether congenital amusia (an inability to perceive music from birth) also impairs the perception of musical qualities that do not rely on fine-grained pitch discrimination. We established that G.G. (64-year-old male, age-typical hearing) met the criteria of congenital amusia and demonstrated music-specific deficits (e.g., language processing, intonation, prosody, fine-grained pitch processing, pitch discrimination, identification of discrepant tones and direction of pitch for tones in a series, pitch discrimination within scale segments, predictability of tone sequences, recognition versus knowing memory for melodies, and short-term memory for melodies). Next, we conducted tests of tonal fusion, harmonic complexity, and affect perception: recognizing timbre, assessing consonance and dissonance, and recognizing musical affect from harmony. G.G. displayed relatively unimpaired perception and production of environmental sounds, prosody, and emotion conveyed by speech compared with impaired fine-grained pitch perception, tonal sequence discrimination, and melody recognition. Importantly, G.G. could not perform tests of tonal fusion that do not rely on pitch discrimination: He could not distinguish concurrent notes, timbre, consonance/dissonance, simultaneous notes, and musical affect. Results indicate at least three distinct problems-one with pitch discrimination, one with harmonic simultaneity, and one with musical affect-and each has distinct consequences for music perception.

Here we describe the first documented case of congenital amusia in childhood. AS is a 10-year-old girl who was referred to us by her choir director for persisting difficulties in singing. We tested her with the child version of the Montreal Battery for the Evaluation of Amusia (MBEA) which confirmed AS\'s severe problems with melodic and rhythmic discrimination and memory for melodies. The disorder appears to be limited to music since her audiometry as well as her intellectual and language skills are normal. Furthermore, the musical disorder is associated to a severe deficit in detecting small pitch changes. The electrical brain responses point to an anomaly in the early stages of auditory processing, such as reflected by an abnormal mismatch negativity (MMN) response to small pitch changes. In singing, AS makes more pitch than time errors. Thus, despite frequent and regular musical practice, AS\'s profile is similar to the adult form of congenital amusia.

There is fairly general agreement that the melody and the rhythm are the independent components of the perception of music. In the theory of music, the melody and harmony determine to which tonality the music belongs. It remains an unsettled question whether the tonality is also an independent component of the perception of music, or a by-product of the melody and harmony. We describe a patient with auditory agnosia and expressive amusia that developed after a bilateral infarction of the temporal lobes. We carried out a detailed examination of musical ability in the patient and in control subjects. Comparing with a control population, we identified the following impairments in music perception: (a) discrimination of familiar melodies; (b) discrimination of unfamiliar phrases, and (c) discrimination of isolated chords. His performance in pitch discrimination and tonality were within normal limits. Although intrasubject statistical analysis revealed significant difference only between tonality task and unfamiliar phrase performance, comparison with control subjects suggested a dissociation between a preserved tonality analysis and impairment of perception of melody and chords. By comparing the results of our patient with those in the literature, we may say that there is a double dissociation between the tonality and the other components. Thus, it seems reasonable to suppose that tonality is an independent component of music perception. Based on our present and previous studies, we proposed the revised version of the cognitive model of musical processing in the brain.

It remains an unsettled question which brain regions participate in music perception. During singing a familiar song, the retrieval from long-term memory is necessary, but the mechanism of that retrieval is still unclear. We carried out a detailed examination of musical ability in a patient with amusia and control subjects and identified the lesion sites of our patient using MRI. Compared with controls, the patient manifested the following impairments in music perception: (i) the recognition and discrimination of familiar melodies; (ii) the discrimination of unfamiliar phrases; (iii) the discrimination of isolated chords. During singing familiar nursery songs, the patient showed the replacement of one phrase of the melody. In MRI, the patient had old infarction in the anterior portion of the temporal lobes bilaterally. In conclusion, the anterior temporal lobes participate in the perception and expression of music. During singing, the song is retrieved from long-term memory by a unit of one phrase. The dysfunction of that retrieval caused the replacement of the succeeding phrases of the original with the wrong tune, and we named this phenomenon paramelodia.