Covert singing in anticipatory auditory imagery

To date, several fMRI studies reveal activation in motor planning areas during musical auditory imagery. We addressed whether such activations may give rise to peripheral motor activity, termed subvocalization or covert singing, using surface electromyography. sensors placed on extrinsic laryngeal muscles, facial muscles, and a control site on the bicep measured muscle activity during auditory imagery that preceded singing, as well as during the completion of a visual imagery task. Greater activation was found in laryngeal and lip muscles for auditory than for visual imagery tasks, whereas no differences across tasks were found for other sensors. Furthermore, less accurate singers exhibited greater laryngeal activity during auditory imagery than did more accurate singers. This suggests that subvocalization may be used as a strategy to facilitate auditory imagery, which appears to be degraded in inaccurate singers. Taken together, these results suggest that subvocalization may play a role in anticipatory auditory imagery, and possibly as a way of supplementing motor associations with auditory imagery

Современное состояние проблем и методов обеспечения техногенной безопасности опасных производственных объектов магистрального трубопроводного транспорта газа

The present research addressed whether auditory feedback associated with a learned action sequence can activate the action representation of that sequence. Nonpianist participants learned to perform two melodies at a piano keyboard repeatedly during a trial. The participants heard feedback either from the melody they were performing (normal feedback) or from the other learned melody (termed alternate feedback). An additional tone functioned as an instruction cue to either switch melodies or continue the current melody. Following the instruction cues, participants typically paused just before switching, and paused similarly during trials with a continue cue. Participants paused longer after a continue cue when they experienced alternate rather than normal feedback. This effect was specific to instruction cues positioned at weak metrical accents—positions at which participants were less likely to switch overall. Feedback did not influence timing on switch trials. These findings indicate that influences of auditory feedback can activate learned action sequences, leading to longer latencies associated with cue evaluation

Agreement among human and annotated transcriptions of global songs

Cross-cultural musical analysis requires standardized symbolic representation of sounds such as score notation. However, transcription into notation is usually conducted manually by ear, which is time-consuming and subjective. Our aim is to evaluate the reliability of existing methods for transcribing songs from diverse societies. We had 3 experts independently transcribe a sample of 32 excerpts of traditional monophonic songs from around the world (half a cappella, half with instrumental accompaniment). 16 songs also had pre-existing transcriptions created by 3 different experts. We compared these human transcriptions against one another and against 10 automatic music transcription algorithms. We found that human transcriptions can be sufficiently reliable (~90% agreement, κ ~.7), but current automated methods are not (<60% agreement, κ <.4). No automated method clearly outperformed others, in contrast to our predictions. These results suggest that improving automated methods for cross-cultural music transcription is critical for diversifying MIR

Vocal Accuracy and Neural Plasticity Following Micromelody-Discrimination Training

Recent behavioral studies report correlational evidence to suggest that non-musicians with good pitch discrimination sing more accurately than those with poorer auditory skills. However, other studies have reported a dissociation between perceptual and vocal production skills. In order to elucidate the relationship between auditory discrimination skills and vocal accuracy, we administered an auditory-discrimination training paradigm to a group of non-musicians to determine whether training-enhanced auditory discrimination would specifically result in improved vocal accuracy.We utilized micromelodies (i.e., melodies with seven different interval scales, each smaller than a semitone) as the main stimuli for auditory discrimination training and testing, and we used single-note and melodic singing tasks to assess vocal accuracy in two groups of non-musicians (experimental and control). To determine if any training-induced improvements in vocal accuracy would be accompanied by related modulations in cortical activity during singing, the experimental group of non-musicians also performed the singing tasks while undergoing functional magnetic resonance imaging (fMRI). Following training, the experimental group exhibited significant enhancements in micromelody discrimination compared to controls. However, we did not observe a correlated improvement in vocal accuracy during single-note or melodic singing, nor did we detect any training-induced changes in activity within brain regions associated with singing.Given the observations from our auditory training regimen, we therefore conclude that perceptual discrimination training alone is not sufficient to improve vocal accuracy in non-musicians, supporting the suggested dissociation between auditory perception and vocal production

The role of the cerebellum in adaptation: ALE meta‐analyses on sensory feedback error

It is widely accepted that unexpected sensory consequences of self‐action engage the cerebellum. However, we currently lack consensus on where in the cerebellum, we find fine‐grained differentiation to unexpected sensory feedback. This may result from methodological diversity in task‐based human neuroimaging studies that experimentally alter the quality of self‐generated sensory feedback. We gathered existing studies that manipulated sensory feedback using a variety of methodological approaches and performed activation likelihood estimation (ALE) meta‐analyses. Only half of these studies reported cerebellar activation with considerable variation in spatial location. Consequently, ALE analyses did not reveal significantly increased likelihood of activation in the cerebellum despite the broad scientific consensus of the cerebellum's involvement. In light of the high degree of methodological variability in published studies, we tested for statistical dependence between methodological factors that varied across the published studies. Experiments that elicited an adaptive response to continuously altered sensory feedback more frequently reported activation in the cerebellum than those experiments that did not induce adaptation. These findings may explain the surprisingly low rate of significant cerebellar activation across brain imaging studies investigating unexpected sensory feedback. Furthermore, limitations of functional magnetic resonance imaging to probe the cerebellum could play a role as climbing fiber activity associated with feedback error processing may not be captured by it. We provide methodological recommendations that may guide future studies

Acquired and congenital disorders of sung performance: A review.

Many believe that the majority of people are unable to carry a tune. Yet, this widespread idea underestimates the singing abilities of the layman. Most occasional singers can sing in tune and in time, provided that they perform at a slow tempo. Here we characterize proficient singing in the general population and identify its neuronal underpinnings by reviewing behavioral and neuroimaging studies. In addition, poor singing resulting from a brain injury or neurogenetic disorder (i.e., tone deafness or congenital amusia) is examined. Different lines of evidence converge in indicating that poor singing is not a monolithic deficit. A variety of poor-singing "phenotypes" are described, with or without concurrent perceptual deficits. In addition, particular attention is paid to the dissociations between specific abilities in poor singers (e.g., production of absolute vs. relative pitch, pitch vs. time accuracy). Such diversity of impairments in poor singers can be traced to different faulty mechanisms within the vocal sensorimotor loop, such as pitch perception and sensorimotor integration

Globally, songs and instrumental melodies are slower and higher and use more stable pitches than speech: A Registered Report

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a “musi-linguistic” continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech