Joel S. Snyder’s research while affiliated with University of Nevada, Las Vegas and other places

Cognitive neuroscience research has attempted to disentangle stimulus-driven processing from conscious perceptual processing for decades. Some prior evidence for neural processing of perceived musical beat (periodic pulse) may be confounded by stimulus-driven neural activity. However, one study used frequency tagging, which measures electrical brain activity at frequencies present in a stimulus, to show increased brain activity at imagery-related frequencies when listeners imagined a metrical pattern while listening to an isochronous auditory stimulus (Nozaradan et al., 2011) in a manner that controlled for stimulus factors. It is unclear though whether this represents repeatable evidence for conscious perception of beat and whether the effect is influenced by relevant music experience, such as music and dance training. This registered report details the results of 13 independent conceptual replications of Nozaradan et al. (2011), all using the same vetted protocol. Listeners performed the same imagery tasks as in Nozaradan et al. (2011), with the addition of a behavioral task on each trial to measure conscious perception. Meta-analyses examined the effect of imagery condition, revealing smaller raw effect sizes (Binary: 0.03 uV, Ternary: 0.03 uV) than in the original study (Binary: 0.12 uV, Ternary: 0.20 uV) with no moderating effects of music or dance training. The difference in estimated effects sizes (this study: n = 152, ηp2 =.03 - .04; 2011 study: n = 8, ηp2 =.62 - .76) suggests that large sample sizes may be required to reliably observe these effects, which challenges the use of frequency tagging as a method to study (neural correlates of) beat perception. Furthermore, a binary logistic regression on individual trials revealed that only neural activity at the stimulus frequency predicted performance on the imagery-related task; contrary to our hypothesis, the neural activity at the imagery-related frequency was not a significant predictor. We discuss possible explanations for discrepancies between these findings and the original study and implications of the extensions provided by this registered report.

We encounter situations each day that require our auditory system to quickly interpret our surroundings. Auditory scene perception involves complex processes that allow us to identify both the setting and the objects within a scene, which are essential for decision-making, and situational awareness. While there is substantial evidence for distinct cortical regions and pathways supporting visual scene and object recognition, far less is known about how the brain processes complex auditory scenes and objects. This study aimed to determine whether distinct mechanisms underlie auditory setting and object identification and whether these mechanisms interact to aid perception. Participants listened to 200 natural auditory scenes of varying durations (1, 2, and 4 sec) and identified the setting (e.g., café) as well as the objects (e.g., talking, espresso machine, music) within each scene. Overall, performance was highest on the object identification task, and there was a significant interaction between task and scene duration, with a greater benefit of longer durations for the object identification task. Different low- and mid-level acoustic features of the scenes predicted performance on the two tasks. These results suggest that the auditory system employs distinct (and potentially interactive) computations for setting and object identification, allowing for quick interpretation of complex, real-world auditory scenes. The interaction between task performance and scene duration further suggests object and setting identification may operate on different temporal scales; objects might require more time for accurate individuation, while settings may be recognized more efficiently through global properties of scenes, such as openness or naturalness.

We encounter situations each day that require our auditory system to quickly interpret our surroundings. Auditory scene perception involves complex processes that allow us to identify both the setting and the objects within a scene, which are essential for decision-making, and situational awareness. While there is substantial evidence for distinct cortical regions and pathways supporting visual scene and object recognition, far less is known about how the brain processes complex auditory scenes and objects. This study aimed to determine whether distinct mechanisms underlie auditory setting and object identification and whether these mechanisms interact to aid perception. Participants listened to 200 natural auditory scenes of varying durations (1, 2, and 4 sec) and identified the setting (e.g., café) as well as the objects (e.g., talking, espresso machine, music) within each scene. Overall, performance was highest on the object identification task, and there was a significant interaction between task and scene duration, with a greater benefit of longer durations for the object identification task. Different low- and mid-level acoustic features of the scenes predicted performance on the two tasks. These results suggest that the auditory system employs distinct (and potentially interactive) computations for setting and object identification, allowing for quick interpretation of complex, real-world auditory scenes. The interaction between task performance and scene duration further suggests object and setting identification may operate on different temporal scales; objects might require more time for accurate individuation, while settings may be recognized more efficiently through global properties of scenes, such as openness or naturalness.

Misophonic experiences are common in the general population, and they may shed light on everyday emotional reactions to multi-modal stimuli. We performed an online study of a non-clinical sample to understand the extent to which adults who have misophonic reactions are generally reactive to a range of audio-visual emotion-inducing stimuli. We also hypothesized that musicality might be predictive of one's emotional reactions to these stimuli because music is an activity that involves strong connections between sensory processing and meaningful emotional experiences. Participants completed self-report scales of misophonia and musicality. They also watched videos meant to induce misophonia, autonomous sensory meridian response (ASMR) and musical chills, and were asked to click a button whenever they had any emotional reaction to the video. They also rated the emotional valence and arousal of each video. Reactions to misophonia videos were predicted by reactions to ASMR and chills videos, which could indicate that the frequency with which individuals experience emotional responses varies similarly across both negative and positive emotional contexts. Musicality scores were not correlated with measures of misophonia. These findings could reflect a general phenotype of stronger emotional reactivity to meaningful sensory inputs. This article is part of the theme issue ‘Sensing and feeling: an integrative approach to sensory processing and emotional experience’.

Theories of auditory and visual scene analysis suggest the perception of scenes relies on the identification and segregation of objects within it, resembling a detail-oriented processing style. However, a more global process may occur while analyzing scenes, which has been evidenced in the visual domain. It is our understanding that a similar line of research has not been explored in the auditory domain; therefore, we evaluated the contributions of high-level global and low-level acoustic information to auditory scene perception. An additional aim was to increase the field’s ecological validity by using and making available a new collection of high-quality auditory scenes. Participants rated scenes on 8 global properties (e.g., open vs. enclosed) and an acoustic analysis evaluated which low-level features predicted the ratings. We submitted the acoustic measures and average ratings of the global properties to separate exploratory factor analyses (EFAs). The EFA of the acoustic measures revealed a seven-factor structure explaining 57% of the variance in the data, while the EFA of the global property measures revealed a two-factor structure explaining 64% of the variance in the data. Regression analyses revealed each global property was predicted by at least one acoustic variable (R2 = 0.33–0.87). These findings were extended using deep neural network models where we examined correlations between human ratings of global properties and deep embeddings of two computational models: an object-based model and a scene-based model. The results support that participants’ ratings are more strongly explained by a global analysis of the scene setting, though the relationship between scene perception and auditory perception is multifaceted, with differing correlation patterns evident between the two models. Taken together, our results provide evidence for the ability to perceive auditory scenes from a global perspective. Some of the acoustic measures predicted ratings of global scene perception, suggesting representations of auditory objects may be transformed through many stages of processing in the ventral auditory stream, similar to what has been proposed in the ventral visual stream. These findings and the open availability of our scene collection will make future studies on perception, attention, and memory for natural auditory scenes possible.

Several studies have suggested that low-frequency brain oscillations could be key to understanding how the brain samples sensory information via rhythmic alternation of low and high excitability periods. However, this hypothesis has recently been called into question following the publication of some null findings. As part of the #EEGManyLabs initiative, we set out to undertake a high-powered, multi-site replication of an influential study on this topic. In the original study, Mathewson et al. (2009) showed that during high amplitude fluctuations of alpha activity (8-13 Hz), the visibility of a visual target stimulus depended on the time the target was presented relative to the phase of the pre-target alpha activity. Furthermore, visual evoked potentials (e.g., N1, P1, P2 and P3) were larger in amplitude when the target was presented at the pre-stimulus alpha peaks, which were also associated with higher visibility. If we are successful in replicating the results of Mathewson et al. (2009), we intend to extend the original findings by conducting a second, original, experiment that varies the pre-stimulus time unpredictably to determine whether the phase-behavioural relationship depends on the target stimulus having a predictable onset time.

Perception of bistable stimuli is influenced by prior context. In some cases, the interpretation matches with how the preceding stimulus was perceived; in others, it tends to be the opposite of the previous stimulus percept. We measured high-density electroencephalography (EEG) while participants were presented with a sequence of vowels that varied in formant transition, promoting the perception of one or two auditory streams followed by an ambiguous bistable sequence. For the bistable sequence, participants were more likely to report hearing the opposite percept of the one heard immediately before. This auditory contrast effect coincided with changes in alpha power localized in the left angular gyrus and left sensorimotor and right sensorimotor/supramarginal areas. The latter correlated with participants’ perception. These results suggest that the contrast effect for a bistable sequence of vowels may be related to neural adaptation in posterior auditory areas, which influences participants’ perceptual construal level of ambiguous stimuli.

Misophonic experiences are common in the general population, and they may shed light on everyday emotional reactions to multi-modal stimuli. We performed an online study of a non-clinical sample to understand the extent to which adults who have misophonic reactions are generally reactive to a range of audio-visual emotion-inducing stimuli. We also hypothesized that musicality might be predictive of one’s emotional reactions to these stimuli because music is an activity that involves strong connections between sensory processing and meaningful emotional experiences. Participants completed self-report scales of misophonia and musicality. They also watched videos meant to induce misophonia, autonomous sensory meridian response (ASMR), and musical chills, and were asked to click a button whenever they had any emotional reaction to the video. They also rated the emotional valence and arousal of each video. Reactions to misophonia videos were predicted by reactions to ASMR and chills videos, which could indicate that the frequency with which individuals experience emotional responses varies similarly across both negative and positive emotional contexts. Musicality scores were not correlated with measures of misophonia. These findings could reflect a general phenotype of stronger emotional reactivity to meaningful sensory inputs.