Cognitive and neuroscientific perspectives of healthy ageing.

With dementia incidence projected to escalate significantly within the next 25 years, the United Nations declared 2021-2030 the Decade of Healthy Ageing, emphasising cognition as a crucial element. As a leading discipline in cognition and ageing research, psychology is well-equipped to offer insights for translational research, clinical practice, and policy-making. In this comprehensive review, we discuss the current state of knowledge on age-related changes in cognition and psychological health. We discuss cognitive changes during ageing, including (a) heterogeneity in the rate, trajectory, and characteristics of decline experienced by older adults, (b) the role of cognitive reserve in age-related cognitive decline, and (c) the potential for cognitive training to slow this decline. We also examine ageing and cognition through multiple theoretical perspectives. We highlight critical unresolved issues, such as the disparate implications of subjective versus objective measures of cognitive decline and the insufficient evaluation of cognitive training programs. We suggest future research directions, and emphasise interdisciplinary collaboration to create a more comprehensive understanding of the factors that modulate cognitive ageing.

Information processing biases: The effects of negative emotional symptoms on sampling pleasant and unpleasant information.

Although theories of emotion associate negative emotional symptoms with cognitive biases in information processing, they rarely specify the details. Here, we characterize cognitive biases in information processing of pleasant and unpleasant information, and how these biases covary with anxious and depressive symptoms, while controlling for general stress and cognitive ability. Forty undergraduates provided emotional symptom scores (Depression Anxiety Stress Scale-21) and performed a statistical learning task that required predicting the next sound in a long sequence of either pleasant or unpleasant naturalistic sounds (blocks). We used an information weights framework to determine if the degree of behavioral change associated with observing either confirmatory ("B" follows "A") or disconfirmatory ("B" does not follow "A") transitions differs for pleasant and unpleasant sounds. Bayesian mixed-effects models revealed that negative emotional symptom scores predicted performance as well as processing biases of pleasant and unpleasant information. Further, information weights differed between pleasant and unpleasant information, and importantly, this difference varied based on symptom scores. For example, higher depressive symptom scores predicted a bias of underutilizing disconfirmatory information in unpleasant content. These findings have implications for models of emotional disorders by offering a mechanistic explanation and formalization of the associated cognitive biases. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Listeners perceive complex pitch-temporal structure in melodies.

In typical Western music, important pitches occur disproportionately often on important beats, referred to as the tonal-metric hierarchy (Prince & Schmuckler, 2014, Music Perception, 31, 254-270). We tested whether listeners are sensitive to this alignment of pitch and temporal structure. In Experiment 1, the stimuli were 200 artificial melodies with random pitch contours; all melodies had both a regular beat and a pitch class distribution that favored one musical key, but had either high or low agreement with the tonal-metric hierarchy. Thirty-two listeners rated the goodness of each melody, and another 41 listeners rated the melodies' metric clarity (how clear the beat was). The tonal-metric hierarchy did not affect either rating type, likely because the melodies may have only weakly (at best) established a musical key. In Experiment 2, we shuffled the pitches in 60 composed melodies (scrambling pitch contour, but not rhythm) to generate versions with high and low agreement with the tonal-metric hierarchy. Both ratings of goodness (N = 40) and metric clarity (N = 40) revealed strong evidence of the tonal-metric hierarchy influencing ratings; there was no effect of musical training. In Experiment 3, we phase-shifted, rather than shuffled, the pitches from the composed melodies, thus preserving pitch contour. Both rating types (goodness N = 43, metric clarity N = 32) replicated the results of Experiment 2. These findings establish the psychological reality of the tonal-metric hierarchy.

Temporal expectancies affect accuracy in standard-comparison judgments of duration, but neither pitch height, nor timbre, nor loudness.

Presenting a stimulus at the most expected point in time should benefit its perceptual processing (Jones, 1976; Large & Jones, 1999). For example, accuracy decreases when comparing the pitch of two tones separated by a sequence of temporally regular distractors if the final tone is shifted away from the expected time (Jones, Moynihan, MacKenzie, & Puente, 2002). However, recent research could not replicate this effect (Bauer, Jaeger, Thorne, Bendixen, & Debener, 2015), so we explored possible explanations. First, we varied the size and probability of timing shifts of the comparison tone in 7 experimental combinations (N = 16 in each). Second, we strengthened temporal expectancies by using a rhythmically rich distractor sequence, either repeating the standard tone at the end of the sequence (N = 26) or not (N = 28). Third, we had listeners compare either the timbre (N = 55) or the loudness (N = 24) instead of pitch. No effects of temporal expectancy (nor interactions with musical training) emerged in these experiments; however, they did occur when participants judged the relative duration of time intervals (N = 38). That is, a temporal expectancy profile was only observable in the context of a temporal task, and did not generalize to other domains. (PsycINFO Database Record (c) 2019 APA, all rights reserved).

Regularity and dimensional salience in temporal grouping.

How do pitch and duration accents combine to influence the perceived grouping of musical sequences? Sequence context influences the relative importance of these accents; for example, the presence of learned structure in pitch exaggerates the effect of pitch accents at the expense of duration accents despite being irrelevant to the task and not attributable to attention (Prince, 2014b). In the current study, two experiments examined whether the presence of temporal structure has the opposite effect. Experiment 1 tested baseline conditions, in which participants (N = 30) heard sequences with various sizes of either pitch or duration accents, which implied either duple or triple groupings (accent every two or three notes, respectively). Sequences either had regular temporal structure (isochronous) or not (irregular, via using random interonset intervals). Regularity enhanced the effect of duration accents but had negligible influence on pitch accents. The accent sizes that gave the most equivalent ratings across dimension and regularity levels were used in Experiment 2 (N = 33), in which sequences contained both pitch and duration accents that suggested either duple, triple, or neutral groupings. Despite controlling for the baseline effect of regularity by selecting equally effective accent sizes, regularity had additional effects on duration accents, but only for duple groupings. Regularity did not influence the effectiveness of pitch accents when combined with duration accents. These findings offer some support for a dimensional salience hypothesis, which proposes that the presence of temporal structure should foster duration accent effectiveness at the expense of pitch accents. (PsycINFO Database Record

Learning of pitch and time structures in an artificial grammar setting.

Despite the empirical evidence for the power of the cognitive capacity of implicit learning of structures and regularities in several modalities and materials, it remains controversial whether implicit learning extends to the learning of temporal structures and regularities. We investigated whether (a) an artificial grammar can be learned equally well when expressed in duration sequences as when expressed in pitch sequences, (b) learning of the artificial grammar in either duration or pitch (as the primary dimension) sequences can be influenced by the properties of the secondary dimension (invariant vs. randomized), and (c) learning can be boosted when the artificial grammar is expressed in both pitch and duration. After an exposure phase with grammatical sequences, learning in a subsequent test phase was assessed in a grammaticality judgment task. Participants in both the pitch and duration conditions showed incidental (not fully implicit) learning of the artificial grammar when the secondary dimension was invariant, but randomizing the pitch sequence prevented learning of the artificial grammar in duration sequences. Expressing the artificial grammar in both pitch and duration resulted in disproportionately better performance, suggesting an interaction between the learning of pitch and temporal structure. The findings are relevant to research investigating the learning of temporal structures and the learning of structures presented simultaneously in 2 dimensions (e.g., space and time, space and objects). By investigating learning, the findings provide further insight into the potential specificity of pitch and time processing, and their integrated versus independent processing, as previously debated in music cognition research. (PsycINFO Database Record

Surface and structural effects of pitch and time on global melodic expectancies.

We investigated how the surface and structural information of pitch and time in melodies contribute to the perceived expectancy of melodic segments. The contour (pitch surface), tonality (pitch structure), rhythm (time surface) and metre (time structure) were preserved or altered in factorial fashion, either for the full length of a melody (Full condition) or only its last phrase (Last condition). Participants (N = 24) with a range of musical training received instructions to rate how expected the second portion of a melody was, having heard its first part. Additionally, instructions varied across blocks to attend selectively to pitch, time, or both. Expectancy ratings for the Last condition were lower than for the Full condition, indicating that ratings truly reflected expectancy (rather than overall goodness, which would predict the opposite). Interestingly, tonality and rhythm contributed to global expectancy ratings, but not contour or metre. Furthermore, listeners were unable to ignore entirely either dimension, but successfully attenuated their influence in accordance with instructions. These findings offer a unique insight into music perception by testing expectancies of melody segments (beyond single-note continuations), factorially varying both the surface and structure of pitch and time, and using a selective attention manipulation.

Tonal priming is resistant to changes in pitch height.

Research on tonal priming has consistently shown that tonally expected events are processed more efficiently and has confirmed that the locus of the effect is cognitive rather than sensory. However, it is also important to investigate the role of pitch height, because models of tonal priming collapse across octaves, yet it is possible that pitch height may modulate the effectiveness of tonal priming. We systematically tested this issue by varying the pitch heights of a related (tonic) or a less-related (subdominant) target chord following a tonal context. Musically untrained participants (N = 30) made speeded consonant/dissonant judgments of the final chord of an eight-chord sequence. The effects of tonal priming emerged in accuracy and reaction time measures for all octaves, except for a ceiling effect on accuracy in the matching (original pitch height) condition. In a second experiment, we increased the shift to two octaves and compressed the chords to eliminate overlap between the target and context chords; again, tonal priming emerged. These findings have implications for the behavioral study of tonal priming and support the assumption of octave equivalence in computational models.

Contributions of pitch contour, tonality, rhythm, and meter to melodic similarity.

The identity of a melody resides in its sequence of pitches and durations, both of which exhibit surface details as well as structural properties. In this study, pitch contour (pattern of ups and downs) served as pitch surface information, and tonality (musical key) as pitch structure; in the temporal dimension, surface information was the ordinal duration ratios of adjacent notes (rhythm), and meter (beat, or pulse) comprised the structure. Factorially manipulating the preservation or alteration of all of these forms of information in 17 novel melodies (typifying Western music) enabled measuring their effect on perceived melodic similarity. In Experiment 1, 34 participants (varied musical training) rated the perceived similarity of melody pairs transposed to new starting pitches. Rhythm was the largest contributor to perceived similarity, then contour, meter, and tonality. Experiment 2 used the same melodies but varied the tempo within a pair, and added a prefix of 3 chords, which oriented the listener to the starting pitch and tempo before the melody began. Now contour was the strongest influence on similarity ratings, followed by tonality, and then rhythm; meter was not significant. Overall, surface features influenced perceived similarity more than structural, but both had observable effects. The primary theoretical advances in melodic similarity research are that (a) the relative emphasis on pitch and temporal factors is flexible; (b) pitch and time functioned independently when factorially manipulated, regardless of which dimension is more influential; and (c) interactions between surface and structural information were unreliable and never occurred between dimensions.

Pitch structure, but not selective attention, affects accent weightings in metrical grouping.

Among other cues, pitch and temporal accents contribute to grouping in musical sequences. However, exactly how they combine remains unclear, possibly because of the role of structural organization. In 3 experiments, participants rated the perceived metrical grouping of sequences that either adhered to the rules of tonal Western musical pitch structure (musical key) or did not (atonal). The tonal status of sequences did not provide any grouping cues and was irrelevant to the task. Experiment 1 established equally strong levels of pitch leap accents and duration accents in baseline conditions, which were then recombined in subsequent experiments. Neither accent type was stronger or weaker for tonal and atonal contexts. In Experiment 2, pitch leap accents dominated over duration accents, but the extent of this advantage was greater when sequences were tonal. Experiment 3 ruled out an attentional origin of this effect by replicating this finding while explicitly manipulating attention to pitch or duration accents between participant groups. Overall, the presence of tonal pitch structure made the dimension of pitch more salient at the expense of time. These findings support a dimensional salience framework in which the presence of organizational structure prioritizes the processing of the more structured dimension regardless of task relevance, independent from psychophysical difficulty, and impervious to attentional allocation.

The role of pitch and temporal diversity in the perception and production of musical sequences.

In two experiments we explored how the dimensions of pitch and time contribute to the perception and production of musical sequences. We tested how dimensional diversity (the number of unique categories in each dimension) affects how pitch and time combine. In Experiment 1, 18 musically trained participants rated the complexity of sequences varying only in their diversity in pitch or time; a separate group of 18 pianists reproduced these sequences after listening to them without practice. Overall, sequences with more diversity were perceived as more complex, but pitch diversity influenced ratings more strongly than temporal diversity. Further, although participants perceived sequences with high levels of pitch diversity as more complex, errors were more common in the sequences with higher diversity in time. Sequences in Experiment 2 exhibited diversity in both pitch and time; diversity levels were a subset of those tested in Experiment 1. Again diversity affected complexity ratings and errors, but there were no statistical interactions between dimensions. Nonetheless, pitch diversity was the primary factor in determining perceived complexity, and again temporal errors occurred more often than pitch errors. Additionally, diversity in one dimension influenced error rates in the other dimension in that both error types were more frequent relative to Experiment 1. These results suggest that although pitch and time do not interact directly, they are nevertheless not processed in an informationally encapsulated manner. The findings also align with a dimensional salience hypothesis, in which pitch is prioritised in the processing of typical Western musical sequences.

The integration of stimulus dimensions in the perception of music.

A central aim of cognitive psychology is to explain how we integrate stimulus dimensions into a unified percept, but how the dimensions of pitch and time combine in the perception of music remains a largely unresolved issue. The goal of this study was to test the effect of varying the degree of conformity to dimensional structure in pitch and time (specifically, tonality and metre) on goodness ratings and classifications of melodies. The pitches and durations of melodies were either presented in their original order, as a reordered sequence, or replaced with random elements. Musically trained and untrained participants (24 each) rated melodic goodness, attending selectively to the dimensions of pitch, time, or both. Also, 24 trained participants classified whether or not the melodies were tonal, metric, or both. Pitch and temporal manipulations always influenced responses, but participants successfully emphasized either dimension in accordance with instructions. Effects of pitch and time were mostly independent for selective attention conditions, but more interactive when evaluating both dimensions. When interactions occurred, the effect of either dimension increased as the other dimension conformed more to its original structure. Relative main effect sizes (| pitch η(2) - time η(2) |) predicted the strength of pitch-time interactions (pitch × time η(2)); interactions were stronger when main effect sizes were more evenly matched. These results have implications for dimensional integration in several domains. Relative main effect size could serve as an indicator of dimensional salience, such that interactions are more likely when dimensions are equally salient.

Pitch and time, tonality and meter: how do musical dimensions combine?

The authors examined how the structural attributes of tonality and meter influence musical pitch-time relations. Listeners heard a musical context followed by probe events that varied in pitch class and temporal position. Tonal and metric hierarchies contributed additively to the goodness-of-fit of probes, with pitch class exerting a stronger influence than temporal position (Experiment 1), even when listeners attempted to ignore pitch (Experiment 2). Speeded classification tasks confirmed this asymmetry. Temporal classification was biased by tonal stability (Experiment 3), but pitch classification was unaffected by temporal position (Experiment 4). Experiments 5 and 6 ruled out explanations based on the presence of pitch classes and temporal positions in the context, unequal stimulus quantity, and discriminability. The authors discuss how typical Western music biases attention toward pitch and distinguish between dimensional discriminability and salience.

The effect of task and pitch structure on pitch-time interactions in music.

Musical pitch-time relations were explored by investigating the effect of temporal variation on pitch perception. In Experiment 1, trained musicians heard a standard tone followed by a tonal context and then a comparison tone. They then performed one of two tasks. In the cognitive task, they indicated whether the comparison tone was in the key of the context. In the perceptual task, they judged whether the comparison tone was higher or lower than the standard tone. For both tasks, the comparison tone occurred early, on time, or late with respect to temporal expectancies established by the context. Temporal variation did not affect accuracy in either task. Experiment 2 used the perceptual task and varied the pitch structure by employing either a tonal or an atonal context. Temporal variation did not affect accuracy for tonal contexts, but did for atonal contexts. Experiment 3 replicated these results and controlled potential confounds. We argue that tonal contexts bias attention toward pitch and eliminate effects of temporal variation, whereas atonal contexts do not, thus fostering pitch-time interactions.