The AMAAI lab is engaged in cutting-edge research at the intersection of music, audio, and artificial intelligence. Our PhD students contribute to groundbreaking projects that explore areas such as Generative Music AI, Music Information Retrieval, AI Music Production, and Affective Computing for Music. A PhD in the AMAAI lab offers the opportunity to conduct research at the forefront of a rapidly developing field, gain experience in presenting research at top academic conferences, publishing papers in prestigious journals, and potentially forge collaborations with leading figures in the music industry.

When listening to music, humans readily perceive and move along with a periodic beat. Critically, perception of a periodic beat is commonly elicited by rhythmic stimuli with physical features arranged in a way that is not strictly periodic. Hence, beat perception must capitalize on mechanisms that transform stimulus features into a temporally recurrent format with emphasized beat periodicity. Here, I will present a line of work that aims to clarify the nature and neural basis of this transformation. In these studies, electrophysiological activity was recorded as participants listened to rhythms known to induce perception of a consistent beat across healthy Western adults. The results show that the human brain selectively emphasizes beat representation when it is not acoustically prominent in the stimulus, and this transformation (i) can be captured non-invasively using surface EEG in adult participants, (ii) is already in place in 5- to 6-month-old infants, and (iii) cannot be fully explained by subcortical auditory nonlinearities. Moreover, as revealed by human intracerebral recordings, a prominent beat representation emerges already in the primary auditory cortex. Finally, electrophysiological recordings from the auditory cortex of a rhesus monkey show a significant enhancement of beat periodicities in this area, similar to humans. Taken together, these findings indicate an early, general auditory cortical stage of processing by which rhythmic inputs are rendered more temporally recurrent than they are in reality. Already present in non-human primates and human infants, this "periodized" default format could then be shaped by higher-level associative sensory-motor areas and guide movement in individuals with strongly coupled auditory and motor systems. Together, this highlights the multiplicity of neural processes supporting coordinated musical behaviors widely observed across human cultures.The experiments herein include: a motor timing task comparing the effects of movement vs non-movement with and without feedback (Exp. 1A & 1B), a transcranial magnetic stimulation (TMS) study on the role of the supplementary motor area (SMA) in transforming temporal information (Exp. 2), and a perceptual timing task investigating the effect of noisy movement on time perception with both visual and auditory modalities (Exp. 3A & 3B). Together, the results of these studies support the Bayesian cue combination framework, in that: movement improves the precision of time perception not only in perceptual timing tasks but also motor timing tasks (Exp. 1A & 1B), stimulating the SMA appears to disrupt the transformation of temporal information (Exp. 2), and when movement becomes unreliable or noisy there is no longer an improvement in precision of time perception (Exp. 3A & 3B). Although there is support for the proposed framework, more studies (i.e., fMRI, TMS, EEG, etc.) need to be conducted in order to better understand where and how this may be instantiated in the brain; however, this work provides a starting point to better understanding the intrinsic connection between time and movement

Temporal predictions are fundamental instruments for facilitating sensory selection, allowing humans to exploit regularities in the world. Recent evidence indicates that the motor system instantiates predictive timing mechanisms, helping to synchronize temporal fluctuations of attention with the timing of events in a task-relevant stream, thus facilitating sensory selection. Accordingly, in the auditory domain auditory-motor interactions are observed during perception of speech and music, two temporally structured sensory streams. I will present a behavioral and neurophysiological account for this theory and will detail the parameters governing the emergence of this auditory-motor coupling, through a set of behavioral and magnetoencephalography (MEG) experiments.

Research into pitch perception and time perception has typically treated the two as independent processes. However, previous studies of music and speech perception have suggested that pitch and timing information may be processed in an integrated manner, such that the pitch of an auditory stimulus can influence a person’s perception, expectation, and memory of its duration and tempo. Typically, higher-pitched sounds are perceived as faster and longer in duration than lower-pitched sounds with identical timing. We conducted a series of experiments to better understand the limits of this pitch-time integrality. Across several experiments, we tested whether the higher-equals-faster illusion generalizes across the broader frequency range of human hearing by asking participants to compare the tempo of a repeating tone played in one of six octaves to a metronomic standard. When participants heard tones from all six octaves, we consistently found an inverted U-shaped effect of the tone’s pitch height, such that perceived tempo peaked between A4 (440 Hz) and A5 (880 Hz) and decreased at lower and higher octaves. However, we found that the decrease in perceived tempo at extremely high octaves could be abolished by exposing participants to high-pitched tones only, suggesting that pitch-induced timing biases are context sensitive. We additionally tested how the timing of an auditory stimulus influences the perception of its pitch, using a pitch discrimination task in which probe tones occurred early, late, or on the beat within a rhythmic context. Probe timing strongly biased participants to rate later tones as lower in pitch than earlier tones. Together, these results suggest that pitch and time exert a bidirectional influence on one another, providing evidence for integrated processing of pitch and timing information in auditory perception. Identifying the mechanisms behind this pitch-time interaction will be critical for integrating current models of pitch and tempo processing.

To survive in a rapidly dynamic world, the brain predicts the future state of the world and proactively adjusts perception, attention and action. A key to efficient interaction is to predict and prepare to not only “where” and “what” things will happen, but also to “when”. I will present studies in healthy and neurological populations that investigated the cognitive architecture and neural basis of temporal anticipation. First, influential ‘entrainment’ models suggest that anticipation in rhythmic contexts, e.g. music or biological motion, uniquely relies on alignment of attentional oscillations to external rhythms. Using computational modeling and EEG, I will show that cortical neural patterns previously associated with entrainment in fact overlap with interval timing mechanisms that are used in aperiodic contexts. Second, temporal prediction and attention have commonly been associated with cortical circuits. Studying neurological populations with subcortical degeneration, I will present data that point to a double dissociation between rhythm- and interval-based prediction in the cerebellum and basal ganglia, respectively, and will demonstrate a role for the cerebellum in attentional control of perceptual sensitivity in time. Finally, using EEG in neurodegenerative patients, I will demonstrate that the cerebellum controls temporal adjustment of cortico-striatal neural dynamics, and use computational modeling to identify cerebellar-controlled neural parameters. Altogether, these findings reveal functionally and neural context-specificity and subcortical contributions to temporal anticipation, revising our understanding of dynamic cognition.

How does the brain decode the meaning of sound signals, such as music and courtship songs? We believe that the fruit fly Drosophila melanogaster is an ideal model for answering this question, as it offers a comprehensive range of tools and assays which allow us to dissect the mechanisms underlying sound perception and evaluation in the brain. During the courtship behavior, male fruit flies emit “courtship songs” by vibrating their wings. Interestingly, the fly song has a species-specific rhythm, which indeed increases the female’s receptivity for copulation as well as male’s courtship behavior itself. How song signals, especially the species-specific sound rhythm, are evaluated in the fly brain? To tackle this question, we are exploring the features of the fly auditory system systematically. In this lecture, I will talk about our recent findings on the neural basis for song evaluation in fruit flies.

When listening to music, we typically lock onto and move to a beat (1-6 Hz). Behavioral studies on such synchronization (Repp 2005) abound, yet the neural mechanisms remain poorly understood. Some models hypothesize an array of self-sustaining entrainable neural oscillators that resonate when forced with rhythmic stimuli (Large et al. 2010). In contrast, our formulation focuses on event time estimation and plasticity: a neuronal beat generator that adapts its intrinsic frequency and phase to match the extermal rhythm. The model quickly learns new rhythms, within a few cycles as found in human behavior. When the stimulus is removed the beat generator continues to produce the learned rhythm in accordance with a synchronization continuation task.

The subdivision benefit refers to the positive effect of subdividing a beat on sensorimotor synchronization. We recorded electroencephalograms of musicians and non-musicians to study how they listened or finger-tapped to a beat, subdivided into four distinct subdivisions. Musicians showed more consistent tapping responses than non-musicians, and enhanced neural entrainment during the tapping task than in the listening task. In both groups, there was a neural enhancement of the beat frequency and its first harmonic (related to duplets) after listening to the four subdivisions. Furthermore, non-musicians tapped more consistently to the beat of duplets than other subdivisions. Altogether, this suggests a neural and behavioral advantage for binary subdivisions, that can be modulated with formal training in music.

Join us for a conversation on the neuroscience of music, composition and song writing!

Every year, 30 million infants worldwide are delivered after intra-uterine growth restriction (IUGR) and 15 million are born preterm. These two conditions are the leading causes of ante/perinatal stress and brain injury responsible for neurocognitive and behavioral disorders in more than 9 million children each year. Both prematurity and IUGR are associated with perinatal systemic inflammation, a key factor associated with neuroinflammation and identified to be the best predictor of subsequent neurological impairments. Most of pharmacological candidates have failed to demonstrate any beneficial effect to prevent perinatal brain damage. In contrast, environmental enrichment based on developmental care, skin-to-skin contact and vocal/music intervention appears to confer positive effects on brain structure and function. However, mechanisms underlying these effects remain unknown. There is strong evidence that an adverse environment during pregnancy and the perinatal period can influence hormonal responses of the newborn with long-lasting neurobehavioral consequences in infancy and adulthood. Excessive cortisol release in response to perinatal stress induces pro-inflammatory and brain-programming effects. These deleterious effects are known to be balanced by Oxytocin (OT), a neuropeptide playing a key role during the perinatal period and parturition, in social behavior and regulating the central inflammatory response to injury in the adult brain. Using a rodent model of IUGR associated with perinatal brain damage, we recently reported that Carbetocin, a brain permeable long-lasting OT receptor (OTR) agonist, was associated with a significant reduction of activated microglia, the primary immune cells of the brain. Moreover this reduced microglia reactivity was associated to a long-term neuroprotection. These findings make OT a promising candidate for neonatal neuroprotection through neuroinflammation regulation. However, the causality between the endogenous OT and central inflammation response to injury has not been established and will be further studied by the lab.

During this talk, I will seek to reposition synaesthesia as model system for understanding variation in the construction of the human mind and brain. People with synaesthesia inhabit a remarkable mental world in which numbers can be coloured, words can have tastes, and music is a visual spectacle. Synaesthesia has now been documented for over two hundred years but key questions remain unanswered about why it exists, and what such conditions might mean for theories of the human mind. I will argue that we need to rethink synaesthesia as not just representing exceptional experiences, but as a product of an unusual neurodevelopmental cascade from genes to brain to cognition of which synaesthesia is only one outcome. Rather than synaesthesia being a kind of 'dangling qualia' (atypical experiences attached to a typical mind/brain) it should be thought of as unusual experiences that accompany an unusual mind/brain. Specifically, differences in the brains of synaesthetes support a distinctive way of thinking (enhanced memory, imagery etc.) and may also predispose towards particular clinical vulnerabilities. It is this neurodiverse phenotype that is an important object of study in its own right and may explain any adaptive value for having synaesthesia.

The Georgia Tech Brain Music Lab is a community gathered around a unique facility combining EEG and other physiological measurement techniques with new music technologies. Their mission is to engage in research and creative practice that brings health and well-being. This talk will present an overview of the activities at the Brain Music Lab, including sonification of physiological signals, acoustic design for health and well-being, therapeutic applications of musical stimulation, and brain-body music performance.

The last quarter century has provided extensive evidence that some regions of the human cortex are selectively engaged in processing a single specific domain of information, from faces, places, and bodies to language, music, and other people’s thoughts. This work dovetails with earlier theories in cognitive science highlighting domain specificity in human cognition, development, and evolution. But many questions remain unanswered about even the clearest cases of domain specificity in the brain, the selective engagement of the FFA, PPA, and EBA in the perception of faces, places, and bodies, respectively. First, these claims lack precision, saying little about what is computed and how, and relying on human judgements to decide what counts as a face, place, or body. Second, they provide no account of the reliably varying responses of these regions across different “preferred” images, or across different “nonpreferred” images for each category. Third, the category selectivity of each region is vulnerable to refutation if any of the vast set of as-yet-untested nonpreferred images turns out to produce a stronger response than preferred images for that region. Fourth, and most fundamentally, they provide no account of why, from a computational point of view, brains should exhibit this striking degree of functional specificity in the first place, and why we should have the particular visual specializations we do, for faces, places, and bodies, but not (apparently) for food or snakes. The advent of convolutional neural networks (CNNs) to model visual processing in the ventral pathway has opened up many opportunities to address these long-standing questions in new ways. I will describe ongoing efforts in our lab to harness CNNs to do just that.