Participants performed an auditory distraction task, in which they identified each sound as either short (350 ms) or long (550 ms) and ignored a change in timbre of the

sounds. Sounds consisted of a male and a female voice saying a neutral sound [a], and of a cello and a French Horn playing an F3 note. In some blocks, musical sounds occurred on 80% of trials, while voice sounds on 20% of trials. In other blocks, the reverse was true. Participants heard naturally recorded sounds in half of experimental blocks and their spectrally-rotated versions in the other half. Regarding voice perception, we found that musicians had a larger N1 event-related potential component not only to vocal sounds but also to their never before heard spectrally-rotated

Fostamatinib datasheet versions. We therefore conclude that musical training is associated with a general improvement in the early neural encoding of complex sounds. Regarding the ability Rapamycin to ignore irrelevant auditory change, musicians’ accuracy tended to suffer less from the change in timbre of the sounds, especially when deviants were musical notes. This behavioral finding was accompanied by a marginally larger re-orienting negativity in musicians, suggesting that their advantage may lie in a more efficient disengagement of attention from the distracting auditory dimension. This study has examined two questions in relation to musical training – namely, whether it enhances sensory encoding of the human voice due to the latter’s perceptual similarity to musical sounds and whether it improves the ability to ignore irrelevant auditory change. Previous research has shown that musical training leads to enhancement in the sensory encoding of musical sounds as revealed by the

increased amplitude of the N1 and P2 event-related potential (ERP) components in musicians compared with non-musicians (e.g. Pantev et al., 1998; Shahin et al., 2003, 2004; Fujioka et al., 2006). Such enhancement is greater for the instrument of training (e.g. Pantev et al., 2001), with some of its aspects already evident in brainstem recordings (Strait et al., 2012). We asked PFKL whether musicians’ superiority in the early processing of musical timbre may extend to the perceptually similar timbre of the human voice. Although acoustic correlates of musical and vocal timbre have been studied largely independently from each other, in both cases the perceived timbre is due to a combination of multiple temporal and spectral properties of sound (Handel, 1989; McAdams et al., 1995; Kreiman, 1997; Caclin et al., 2005). Furthermore, neuropsychological and brain imaging studies point to similarities in the brain areas involved in vocal and musical timbre processing (Peretz et al., 1994, 1997; Samson & Zatorre, 1994; Samson et al., 2002; von Kriegstein et al., 2003; Halpern et al., 2004), suggesting that the perception of both timbres may rely on similar neural and cognitive processes.