Enhanced salience of musical sounds in singers and instrumentalists

• Autor(a) principal: Martins, Inês
• Data de Publicação: 2022
• Outros Autores: Lima, César F., Pinheiro, Ana P.
• Tipo de documento: Artigo
• Idioma: eng
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/62476
• topic: Emotion; Music; Voice; Music expertise; Event-related potential

Music training has been linked to facilitated processing of emotional sounds. However, most studies have focused on speech, and less is known about musicians’ brain responses to other emotional sounds and in relation to instrument-specifc experience. The current study combined behavioral and EEG methods to address two novel questions related to the perception of auditory emotional cues: whether and how long-term music training relates to a distinct emotional processing of nonverbal vocalizations and music; and whether distinct training profles (vocal vs. instrumental) modulate brain responses to emotional sounds from early to late processing stages. Fifty-eight participants completed an EEG implicit emotional processing task, in which musical and vocal sounds difering in valence were presented as nontarget stimuli. After this task, participants explicitly evaluated the same sounds regarding the emotion being expressed, their valence, and arousal. Compared with nonmusicians, musicians displayed enhanced salience detection (P2), attention orienting (P3), and elaborative processing (Late Positive Potential) of musical (vs. vocal) sounds in event-related potential (ERP) data. The explicit evaluation of musical sounds also was distinct in musicians: accuracy in the emotional recognition of musical sounds was similar across valence types in musicians, who also judged musical sounds to be more pleasant and more arousing than nonmusicians. Specifc profles of music training (singers vs. instrumentalists) did not relate to diferences in the processing of vocal vs. musical sounds. Together, these fndings reveal that music has a privileged status in the auditory system of long-term musically trained listeners, irrespective of their instrument-specifc experience.