343 research outputs found

    Sensory auditory processing and intuitive sound detection : an investigation of musical experts and nonexperts

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    The auditory system can detect occasional changes (deviants) in acoustic regularities without the need for subjects to focus their attention on the sound material. Deviant detection is reflected in the elicitation of the mismatch negativity component (MMN) of the event-related potentials. In the studies presented in this thesis, the MMN is used to investigate the auditory abilities for detecting similarities and regularities in sound streams. To investigate the limits of these processes, professional musicians have been tested in some of the studies. The results show that auditory grouping is already more advanced in musicians than in nonmusicians and that the auditory system of musicians can, unlike that of nonmusicians, detect a numerical regularity of always four tones in a series. These results suggest that sensory auditory processing in musicians is not only a fine tuning of universal abilities, but is also qualitatively more advanced than in nonmusicians. In addition, the relationship between the auditory change-detection function and perception is examined. It is shown that, contrary to the generally accepted view, MMN elicitation does not necessarily correlate with perception. The outcome of the auditory change-detection function can be implicit and the implicit knowledge of the sound structure can, after training, be utilized for behaviorally correct intuitive sound detection. These results illustrate the automatic character of the sensory change detection function.Kuulojärjestelmä analysoi akustisia tapahtumia jäsentääkseen meitä ympäröiviä ääniä. Kuulohavaintoon liittyvät kyvyt eivät ole staattisia, vaan niitä voidaan muokata harjoittelulla. Esimerkiksi viulisti pystyy erottamaan paljon pienempiä sävelkorkeuseroja kuin joku, jonka korva ei ole samalla tavalla kehittynyt harjoittelussa. Tästä syystä muusikot ovat mielenkiintoinen kohderyhmä kuulohavaintoon liittyvien kykyjen tutkimuksessa. Osa kuuloprosesseista tapahtuu automaattisesti, vaikka emme ole edes aina tietoisia meitä ympäröivistä äänistä. Joskus emme tarkkaile ääntä kuinnes se yhtäkkiä muuttuu. Toisinaan taas emme ole täysin tietoisia äänen muutostakaan, mutta tarkoittaako tämä sitä, että se ei voi vaikuttaa toimintaamme? Tämän väitöskirjan tutkimuksissa aivosähkökäyrää eli EEG:tä mitattiin pään pinnalle kiinnitetyistä elektrodeista. EEG:llä mitatuista sähkökentistä voidaan päätellä, milloin kuulojärjestelmä on löytänyt satunnaisen muutoksen äänisarjassa, joka on muuten säännöllinen. Tämä ilmenee negatiivisena heilahduksena, jota kutsutaan MMN-vasteeksi (engl. mismatch negativity). MMN-vaste syntyy, vaikka koehenkilöt eivät tarkkailisi ääniärsykkeitä, ja tästä syystä sitä voidaan käyttää kuulojärjestelmässä automaattisesti tapahtuvan äänten käsittelyn tutkimiseen. Havaitsemme merkitystä yhdistämällä samankaltaisia ääniä ja erottamalla niitä erilaisista äänistä. Tätä kutsutaan ryhmittelyksi. Tämän väitöskirjan tulosten mukaan kuuloaineiston ryhmittelytoiminto on kehittyneempi muusikoilla kuin muilla. Väitöskirjassa myös näytetään, että muusikoiden löytää neljän äänen säännönmukaisu uden muille merkityksettöm ästä äänisarjasta. Tämä viittaa siihen, että osa kuuloprosesseista, joita käytetään musiikin jäsentämiseen, on automatisoitunut muusikoilla. Tämä on hyödyllistä prosessointiresurssien kannalta, sillä näin niitä jää korkeampien toimintojen käyttöön. Tämän väitöskirjan viimeisessä tutkimuksessa tarkasteltiin automaattisen poikkeavuuden käsittelyn ja tietoisen havaitsemisen suhdetta. Tutkimus osoitti, että MMN-vasteen syntyminen ei välttämättä satu yhteen tietoisen havainnon kanssa. Vaikka aivot löysivät satunnaiset muutokset ääniärsykkeissä, koehenkilöt eivät tietoisesti havainneet muutoksia. Ero sen välillä, mitä aivot käsittelivät ja mitä ihmiset tietoisella tasolla havaitsivat, osoittaa, että koehenkilöillä oli implisiittistä tietoa äänten rakenteesta. Kun koehenkilöitä sitten harjoitettiin kuulemaan muutoksia esittämällä yhtäaikaisesti visuaalinen vihje, puolet heistä oppi löytämään satunnaiset muutokset, pystymättä kuitenkaan kertomaan, miten ne erosivat muista äänistä. Toisin sanoen, he pystyivät löytämään poikkeamat intuitiivisesti. Tulokset osoittavat, että implisiittistä tietoa voidaan hyödyntää oikeiden intuitiivisten päätösten tekemisessä

    Sing to me, baby: Infants show neural tracking and rhythmic movements to live and dynamic maternal singing

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    Infant-directed singing has unique acoustic characteristics that may allow even very young infants to respond to the rhythms carried through the caregiver’s voice. The goal of this study was to examine neural and movement responses to live and dynamic maternal singing in 7-month-old infants and their relation to linguistic development. In total, 60 mother-infant dyads were observed during two singing conditions (playsong and lullaby). In Study 1 (n = 30), we measured infant EEG and used an encoding approach utilizing ridge regressions to measure neural tracking. In Study 2 (n =40), we coded infant rhythmic movements. In both studies, we assessed children’s vocabulary when they were 20 months old. In Study 1, we found above-threshold neural tracking of maternal singing, with superior tracking of lullabies than playsongs. We also found that the acoustic features of infant-directed singing modulated tracking. In Study 2, infants showed more rhythmic movement to playsongs than lullabies. Importantly, neural coordination (Study 1) and rhythmic movement (Study 2) to playsongs were positively related to infants’ expressive vocabulary at 20 months. These results highlight the importance of infants’ brain and movement coordination to their caregiver’s musical presentations, potentially as a function of musical variability

    Investigating how neural entrainment relates to beat perception by disentangling the stimulus-driven response

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    Beat perception – the ability to perceive a steady pulse in music – is nearly ubiquitous in humans, but the neural mechanisms underlying this ability are unknown. A growing number of electroencephalography (EEG) studies suggest that beat perception is related to neural entrainment, a phenomenon in which cyclic changes in the excitability of populations of neurons synchronize with a rhythmic stimulus. However, the relationship between acoustically-driven and entrainment-driven neural activity is unclear. This thesis presents EEG research that extends our understanding neural entrainment is related to beat perception by characterizing, equating, and finally removing the stimulus-driven response in the neural signal isolating the entrainment-driven responses. Chapter 1 presents a general overview of how neural entrainment may relate to beat perception, the common methods of measuring neural entrainment, and current debates in the literature about how best to account for the stimulus-driven response in the neural signal and also what the neural power spectrum reflects. Chapter 2 presents research on how perceptual and acoustic factors in auditory stimuli influence neural spectral power in a series of experiments in which beat strength, tone duration, and onset/offset ramp duration were manipulated. The results suggest that both perceptual and acoustic factors influence neural spectral power, and that accounting for the stimulus-driven response in the neural spectrum is more complicated than previously assumed. Chapter 3 presents research on how power and phase of the neural signal relate to beat strength and beat location while controlling the stimulus-driven response. The results indicated a relationship between neural entrainment and beat strength, and also, between oscillatory phase and beat location. Chapter 4 presents research on the potential neural mechanisms of beat perception by examining neural activity during a silent immediately after rhythm perception for testing for ongoing, oscillatory activity. The results, although not statistically robust, suggest that entrained activity continues into silence, indicating a relationship between neural entrainment and beat perception. Chapter 5 presents a general discussion of Chapters 2-4 in the context of the existing literature, limitations, and broader interpretations of how these results relate to future directions in the field

    Examining cortical tracking of the speech envelope in post-stroke aphasia

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    IntroductionPeople with aphasia have been shown to benefit from rhythmic elements for language production during aphasia rehabilitation. However, it is unknown whether rhythmic processing is associated with such benefits. Cortical tracking of the speech envelope (CTenv) may provide a measure of encoding of speech rhythmic properties and serve as a predictor of candidacy for rhythm-based aphasia interventions.MethodsElectroencephalography was used to capture electrophysiological responses while Spanish speakers with aphasia (n = 9) listened to a continuous speech narrative (audiobook). The Temporal Response Function was used to estimate CTenv in the delta (associated with word- and phrase-level properties), theta (syllable-level properties), and alpha bands (attention-related properties). CTenv estimates were used to predict aphasia severity, performance in rhythmic perception and production tasks, and treatment response in a sentence-level rhythm-based intervention.ResultsCTenv in delta and theta, but not alpha, predicted aphasia severity. Neither CTenv in delta, alpha, or theta bands predicted performance in rhythmic perception or production tasks. Some evidence supported that CTenv in theta could predict sentence-level learning in aphasia, but alpha and delta did not.ConclusionCTenv of the syllable-level properties was relatively preserved in individuals with less language impairment. In contrast, higher encoding of word- and phrase-level properties was relatively impaired and was predictive of more severe language impairments. CTenv and treatment response to sentence-level rhythm-based interventions need to be further investigated

    Inhomogeneity of visual space, discontinuity of perceptual time and cultural imprinting as exemplified with experiments on visual attention, aesthetic appreciation and temporal processing

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    Eines der wichtigsten Argumente für einen kognitivistischen Zugang zur Psychologie ist, dass sich die Psychologie nicht grundlegend von der Physik zu unterscheiden scheint; mentale Phänomene sind offenbar unmittelbar auf physikalische Realität bezogen. Beginnend mit der Psychophysik seit dem neunzehnten Jahrhunderts haben Experimente gezeigt, dass dieser Denkansatz nicht nur mit großen Vorteilen, sondern auch mit einigen Fallstricken verbunden sein kann. Auf der Basis des zugrundeliegenden Konzepts, dass mentale Phänomene physikalischen Ereignissen unmittelbar zugeordnet werden können, wird automatisch angenommen, dass die zeitliche Verarbeitung von sensorischen Informationen kontinuierlich sei, wie es das Zeitkonzept in der klassischen Physik nahelegt. Dieses Konzept widerspricht der Möglichkeit einer diskreten zeitlichen Informationsverarbeitung, wie sie in der Tat gilt. Des weiteren wird davon ausgegangen, dass Informationsverarbeitung in einem homogenen visuellen Wahrnehmungsraum eingebettet ist; dies ist jedoch nicht der Fall. Es wird dargestellt, dass mit einfachen sensorischen Reizen oder komplexen ästhetischen Stimuli und deren experimenteller Manipulation ein brauchbares empirisches Paradigma für ein besseres Verständnis von kognitiven Mechanismen bereitsteht, das auf diskrete zeitliche Verarbeitung und einen inhomogenen visuellen Wahrnehmungsraum hinweist. In mehreren Experimenten wird gezeigt, daß die Modulation der Aufmerksamkeit im Gesichtsfeld nicht homogen ist; Reaktionszeitexperimente mit spezifischen Modifikationen stützen die Hypothese, dass funktionell zwei Aufmerksamkeitssysteme im Gesichtsfeld eingebettet sind. Weitere unterstützende Beobachtungen über die Inhomogenität des Gesichtsfeldes kommen aus Experimenten zur ästhetischen Wahrnehmung westlicher und östlicher Kunstwerke. Diese Forschung bestätigt überdies das allgemeine Konzept von anthropologischen Universalien sowie kulturellen oder individuellen Spezifika bei der ästhetischen Wahrnehmung. Im Hinblick auf die zeitliche Wahrnehmung weisen Histogramme der Reaktionszeit auf diskrete zeitliche Informationsverarbeitung hin, was sich auch aus Beobachtungen der zeitlichen Ordnungsschwelle herleiten läßt. Bei der Untersuchung verzögerter Reaktionen wird gezeigt, dass eine präzise zeitliche Kontrolle erst nach einem längeren Intervall erreicht wird. Zusammenfassend kann man aus den verschiedenen Experimenten herleiten, dass mentale Prozesse im räumlichen und zeitlichen Bereich zwar offenkundig nicht direkt zugänglich sind, doch sollte dies nicht als eine undurchdringliche Barriere angesehen werden, um Mechanismen mentaler Prozesse zu entschlüsseln. Mit den klar definierten physikalischen Stimuli und der genauen Beachtung von Stationaritätsbedingungen bei Messungen kann diskrete zeitliche Verarbeitung und Inhomogenität des visuellen Wahrnehmungsraums gezeigt werden.One of the most compelling arguments for a cognitivist approach to psychology is that psychology does not seem to be fundamentally different from physics; mental phenomena appear to be directly related to physical reality. Experimental evidence beginning in the nineteenth century with psychophysics has shown that this approach can offer great benefits, but can suffer from some pitfalls as well. On the basis of the underlying concept that mental phenomena match directly physical events, it is automatically assumed that temporal processing of sensory information is continuous as it is assumed in classical physics neglecting the possibility of discrete temporal information processing, which in fact is the case. Furthermore, it is assumed that information processing is embedded in a homogeneous perceptual visual space; this is not the case. It is shown that the use of simple sensory stimuli or complex aesthetic stimuli and their experimental manipulation provide a useful empirical paradigm for a better understanding of the cognitive mechanisms, i.e., indicating discrete temporal processing and an inhomogeneous perceptual visual space. A number of experiments show that attentional modulation is not homogeneous in the visual field; observations using the reaction time paradigm with specific modifications support the hypothesis that two attention systems are functionally embedded in the visual field. Further supportive findings about the inhomogeneity of the visual field come from experiments on the aesthetic perception of Western and Eastern artworks. This research also confirms in addition the general concept of anthropological universals and cultural or individual specifics in aesthetic appreciation. With regard to temporal perception, reaction time distributions suggest discrete time sampling which can also be derived from observations on temporal order threshold. When testing delayed reactions after stimulus presentation, it is shown that precise temporal control is reached only after a rather long interval. It can be concluded on the basis of the different experiments that even though mental processes in the space and time domain are obviously not directly accessible, this should not be considered as an impenetrable barrier to unravel the mechanism of mental processes. Employing well-defined physical stimuli and strictly observing stationarity conditions in measurements indicate discreteness in temporal processing and inhomogeneity of visual space

    Music in the brain

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    Music is ubiquitous across human cultures — as a source of affective and pleasurable experience, moving us both physically and emotionally — and learning to play music shapes both brain structure and brain function. Music processing in the brain — namely, the perception of melody, harmony and rhythm — has traditionally been studied as an auditory phenomenon using passive listening paradigms. However, when listening to music, we actively generate predictions about what is likely to happen next. This enactive aspect has led to a more comprehensive understanding of music processing involving brain structures implicated in action, emotion and learning. Here we review the cognitive neuroscience literature of music perception. We show that music perception, action, emotion and learning all rest on the human brain’s fundamental capacity for prediction — as formulated by the predictive coding of music model. This Review elucidates how this formulation of music perception and expertise in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music making. This in turn has important implications for human creativity as evinced by music improvisation. These recent advances shed new light on what makes music meaningful from a neuroscientific perspective

    The Stability of the Speech-to-Song Illusion and Individual Differences

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    Music and language are easily distinguishable for the average listener despite sharing many structural acoustic similarities. The Speech-to-Song illusion can give rise to both musical and linguistic percepts by inducing a perceptual switch after listening to multiple repetitions of a natural spoken utterance. As such, it has been used as a tool to control for low-level acoustic characteristics previously shown to drive lateralized brain responses regardless of domain-type, helping to disambiguate the contribution of high- versus low-level processes in both music and speech perception. However, there exists a lack of research on how large a role individual differences such as musical ability, tonal enculturation, sensitivity to speech prosody, and attention to lyrical content play in the elicitation and long-term stability of the Speech-to-Song illusion, which limits our understanding of how top-down musical and linguistic knowledge modulate perception. In our study, we measured the STS illusion by presenting listeners with excerpts known to elicit the STS illusion and asking them to rate the degree to which each repetition sounded song-like across delays from 0-56 days. To measure individual differences, we administered the Goldsmiths Musical Sophistication Index (Gold-MSI), a speech prosody test (PEPS-C), and a tonality test (from Corrigall & Trainor, 2015). Our results indicate the STS illusion increases in strength, is more readily elicited over delays, and also empirically validate anecdotal evidence that the STS illusion is temporally stable. Moreover, STS elicitation and consistency of STS excerpt ratings across sessions was predicted by many of our individual difference measures. This work holds important implications for understanding music and language processing, as well as memory for auditory stimuli

    Mesurer les habiletés de la population générale à percevoir et à se synchroniser à la pulsation musicale avec le Montreal – Beat Alignment Test (M-BAT)

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    Il existe actuellement de nombreux tests visant à mesurer la capacité à percevoir la pulsation rythmique dans la musique ainsi que l’habileté à synchroniser ses mouvements avec celle-ci. Ces tests présentent toutefois certaines lacunes méthodologiques (longue durée d’administration, différence de stimuli entre les sous-tests, mauvais appariement des conditions). Le Montreal-Beat Alignment Test (M-BAT) a été élaboré afin de palier à ces lacunes et d’offrir une mesure simple et sensible de ces habiletés. Une étude de sensibilité a été menée auprès de 90 participants. Pour la tâche de perception, nous observons une distribution avec une légère asymétrie négative et sans présence d’effet plancher ou plafond. Les performances aux tâches de perception et de synchronisation sont modérément corrélées, suggérant qu’une bonne perception de la pulsation s’accompagne généralement d’une bonne capacité à se synchroniser avec celle-ci. Également, des cas de déficits dans l’une et/ou l’autre de ces habiletés sont rapportés, indiquant la présence de dissociations entre perception et synchronisation à la pulsation musicale.There are currently many tests to measure the abilities to perceive the beat in music and to synchronize its movements with it. These tests, however, have certain methodological shortcomings (long duration of administration, different stimuli between sub-tests, mismatch conditions). The Montreal-Beat Alignment Test (M-BAT) has been developed to overcome these deficiencies and provide a simple and sensitive measurement of these skills. A sensitivity study was conducted with 90 participants. For the task of perception, we see a distribution with a slight negative asymmetry and without the presence of floor or ceiling effect. The performances for the perception and synchronization tasks are moderately correlated, suggesting that a good perception of the pulse is usually accompanied by a good ability to synchronize with it. Also, case deficits in one and/or the other of these skills are reported, indicating the presence of dissociations between perception and synchronization with the musical beat

    Music Listening, Music Therapy, Phenomenology and Neuroscience

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