Sensory cortices can be activated without any external stimuli. Yet, it is still unclear how this perceptual reactivation occurs and which neural structures mediate this reconstruction process. In this study, we employed fMRI with mental imagery paradigms to investigate the neural networks involved in perceptual reactivation. Subjects performed two speech imagery tasks: articulation imagery (AI) and hearing imagery (HI). We found that AI induced greater activity in frontal-parietal sensorimotor systems, including sensorimotor cortex, subcentral (BA 43), middle frontal cortex (BA 46) and parietal operculum (PO), whereas HI showed stronger activation in regions that have been implicated in memory retrieval: middle frontal (BA 8), inferior parietal cortex and intraparietal sulcus. Moreover, posterior superior temporal sulcus (pSTS) and anterior superior temporal gyrus (aSTG) was activated more in AI compared with HI, suggesting that covert motor processes induced stronger perceptual reactivation in the auditory cortices. These results suggest that motor-to-perceptual transformation and memory retrieval act as two complementary mechanisms to internally reconstruct corresponding perceptual outcomes. These two mechanisms can serve as a neurocomputational foundation for predicting perceptual changes, either via a previously learned relationship between actions and their perceptual consequences or via stored perceptual experiences of stimulus and episodic or contextual regularity.

We tested non-musicians and musicians in an auditory psychophysical experiment to assess the effects of timbre manipulation on pitch-interval discrimination. Both groups were asked to indicate the larger of two presented intervals, comprised of four sequentially presented pitches; the second or fourth stimulus within a trial was either a sinusoidal (or "pure"), flute, piano, or synthetic voice tone, while the remaining three stimuli were all pure tones. The interval-discrimination tasks were administered parametrically to assess performance across varying pitch distances between intervals ("interval-differences"). Irrespective of timbre, musicians displayed a steady improvement across interval-differences, while non-musicians only demonstrated enhanced interval discrimination at an interval-difference of 100 cents (one semitone in Western music). Surprisingly, the best discrimination performance across both groups was observed with pure-tone intervals, followed by intervals containing a piano tone. More specifically, we observed that: 1) timbre changes within a trial affect interval discrimination; and 2) the broad spectral characteristics of an instrumental timbre may influence perceived pitch or interval magnitude and make interval discrimination more difficult.