期刊论文详细信息
BMC Neuroscience
Auditory-motor adaptation to frequency-altered auditory feedback occurs when participants ignore feedback
Jeffery A Jones1  Colin Hawco1  Dwayne Keough1 
[1]Psychology Department & Laurier Centre for Cognitive Neuroscience, Wilfrid Laurier University, Waterloo, ON, N2L 3C5, Canada
关键词: Speech production;    Voice;    Singing;    Musical training;    Pitch;    Fundamental frequency;    Auditory feedback;    Frequency-altered feedback;    Sensorimotor;    Internal model;   
Others  :  1140437
DOI  :  10.1186/1471-2202-14-25
 received in 2012-11-04, accepted in 2013-02-27,  发布年份 2013
PDF
【 摘 要 】

Background

Auditory feedback is important for accurate control of voice fundamental frequency (F0). The purpose of this study was to address whether task instructions could influence the compensatory responding and sensorimotor adaptation that has been previously found when participants are presented with a series of frequency-altered feedback (FAF) trials. Trained singers and musically untrained participants (nonsingers) were informed that their auditory feedback would be manipulated in pitch while they sang the target vowel [/ɑ /]. Participants were instructed to either ‘compensate’ for, or ‘ignore’ the changes in auditory feedback. Whole utterance auditory feedback manipulations were either gradually presented (‘ramp’) in -2 cent increments down to -100 cents (1 semitone) or were suddenly (’constant‘) shifted down by 1 semitone.

Results

Results indicated that singers and nonsingers could not suppress their compensatory responses to FAF, nor could they reduce the sensorimotor adaptation observed during both the ramp and constant FAF trials.

Conclusions

Compared to previous research, these data suggest that musical training is effective in suppressing compensatory responses only when FAF occurs after vocal onset (500-2500 ms). Moreover, our data suggest that compensation and adaptation are automatic and are influenced little by conscious control.

【 授权许可】

   
2013 Keough et al.; licensee BioMed Central Ltd.

【 预 览 】
附件列表
Files Size Format View
20150325021748342.pdf 728KB PDF download
Figure 3. 65KB Image download
Figure 2. 59KB Image download
Figure 1. 36KB Image download
【 图 表 】

Figure 1.

Figure 2.

Figure 3.

【 参考文献 】
  • [1]Grell A, Sundberg J, Ternström S, Ptok M, Altenmüller E: Rapid pitch correction in choir singers. J Acoust Soc Am 2009, 126:407-413.
  • [2]Burnett TA, Freedland MB, Larson CR, Hain TC: Voice F0 responses to manipulations in pitch feedback. J Acoust Soc Am 1998, 103:3153-3161.
  • [3]Burnett T, Senner J, Larson CR: Voice F0 responses to pitch-shifted auditory feedback: a preliminary study. J Voice 1997, 11:202-211.
  • [4]Elman J: Effects of frequency-shifted feedback on the pitch of vocal productions. J Acoust Soc Am 1981, 70:45-50.
  • [5]Houde JF, Jordan MI: Sensorimotor adaptation in speech production. Science 1998, 279:1213-1216.
  • [6]Jones JA, Munhall KG: Perceptual calibration of F0 production: evidence from feedback perturbation. J Acoust Soc Am 2000, 108:1246-1251.
  • [7]Jones JA, Munhall KG: Remapping auditory-motor representations in voice production. Curr Biol 2005, 15:1768-1772.
  • [8]Lane H, Tranel B: The Lombard sign and the role of hearing in speech. J Speech Hear Res 1971, 14:677-709.
  • [9]Munhall KG, MacDonald EN, Byrne SK, Johnsrude I: Talkers alter vowel production in response to real-time formant perturbation even when instructed not to compensate. J Acoust Soc Am 2009, 125:384-390.
  • [10]Ghahramani Z, Wolpert DM: Modular decomposition in visuomotor learning. Nature 1997, 386:392-395.
  • [11]Kalenscher T, Kalveram KT, Konczak J: Effects of two different dynamic environments on force adaptation: exposure to a new force but not the preceding force experience accounts for transition- and after-effects. Motor Control 2003, 7:242-263.
  • [12]Jones JA, Munhall KG: Learning to produce speech with an altered vocal tract: The role of auditory feedback. J Acoust Soc Am 2003, 113:532-543.
  • [13]Sainburg RL, Ghez C, Kalakanis D: Intersegmental dynamics are controlled by sequential anticipatory, error correction, and postural mechanisms. J Neurophysiol 1999, 81:1045-1056.
  • [14]Shadmehr R, Mussa-Ivaldi FA: Adaptive representation of dynamics during learning of a motor task. J Neuroscience 1994, 14:3208-3224.
  • [15]Shadmehr R, Moussavi ZM: Spatial generalization from learning dynamics of reaching movements. J Neuroscience 2000, 20:7807-7815.
  • [16]Finney SA, Palmer C: Auditory feedback and memory for music performance: sound evidence for an encoding effect. Mem Cognit 2003, 31:51-64.
  • [17]Zarate JM, Zatorre RJ: Experience-dependent neural substrates involved in vocal pitch regulation during singing. Neuroimage 2008, 40:1871-1887.
  • [18]Zarate JM, Wood S, Zatorre RJ: Neural networks involved in voluntary and involuntary vocal pitch regulation in experienced singers. Neuropsychologia 2010, 48:607-618.
  • [19]Ward WD, Burns EM: Singing without auditory feedback. J Res in Singing 1978, 1:24-44.
  • [20]Desmurget M, Grafton S: Forward modeling allows feedback control for fast reaching movements. Trends Cogn Sci 2000, 4:423-431.
  • [21]Flanagan JR, Wing AM: Modulation of grip force with load force during point-to-point arm movements. Exp Brain Res 1993, 95:131-143.
  • [22]Wolpert K: Multiple paired forward and inverse models for motor control. Neural Netw 1998, 11:1317-1329.
  • [23]Guenther F, Perkell J: A neural model of speech production and its application to studies of the role of auditory feedback in speech. Oxford: Speech motor control in normal and disordered speech; 2004.
  • [24]Jones JA, Keough D: Auditory-motor mapping for pitch control in singers and nonsingers. Exp Brain Res 2008, 190:279-287.
  • [25]Keough D, Jones JA: The sensitivity of auditory-motor representations to subtle changes in auditory feedback while singing. J Acoust Soc Am 2009, 126:837-846.
  • [26]Keough D, Jones JA: Contextual cuing contributes to the independent modification of multiple internal models for vocal control. J Neurophysiol 2011, 105:2448-2456.
  • [27]Burnett TA, McCurdy KE, Bright JC: Reflexive and volitional voice fundamental frequency responses to an anticipated feedback pitch error. Exp Brain Res 2008, 191:341-351.
  • [28]Burnett TA, Larson CR: Early pitch-shift response is active in both steady and dynamic voice pitch control. J Acoust Soc Am 2002, 112:1058-1063.
  • [29]Hain TC, Burnett TA, Kiran S, Larson CR, Singh S, Kenney MK: Instructing subjects to make a voluntary response reveals the presence of two components to the audio-vocal reflex. Exp Brain Res 2000, 130:133-141.
  • [30]Larson CR, Burnett TA, Bauer JJ, Kiran S, Hain TC: Comparison of voice F0 responses to pitch-shift onset and offset conditions. J Acoust Soc Am 2001, 110:2845-2848.
  • [31]Hafke HZ: Nonconscious control of fundamental voice frequency. J Acoust Soc Am 2008, 123:273-278.
  • [32]Hawco CS, Jones JA: Control of vocalization at utterance onset and mid-utterance: different mechanisms for different goals. Brain Res 2009, 1276:131-139.
  • [33]Kawahara H, Masuda-Katsuse I, de Cheveigne A: Restructuring speech representations using a pitch-adaptive time-frequency smoothing and an instantaneous-frequency-based F0 extraction: possible role of a repetitive structure in sounds. Speech Communication 1999, 27:187-207.
  • [34]Boersma P: Praat, a system for doing phonetics by computer. Glot International 2001, 5:341-345.
  • [35]Jones JA, Munhall KG: The role of auditory feedback during phonation: studies of mandarin tone production. J Phonetics 2002, 30:303-320.
  • [36]Donath TM, Natke U, Kalveram KT: Effects of frequency-shifted auditory feedback on voice F0 contours in syllables. J Acoust Soc Am 2002, 111:357-366.
  • [37]Natke U, Donath TM, Kalveram KT: Control of voice fundamental frequency in speaking versus singing. J Acoust Soc Am 2003, 113:1587-1593.
  • [38]Siegel GM, Pick HL: Auditory feedback in the regulation of voice. J Acoust Soc Am 1974, 56:1618-1624.
  • [39]Purcell DW, Munhall KG: Adaptive control of vowel formant frequency: evidence from real-time formant manipulation. J Acoust Soc Am 2006, 120:966-977.
  • [40]Loui P, Guenther FH, Mathys C, Schlaug G: Action-perception mismatch in tone-deafness. Curr Biol 2008, 18:R331-R332.
  • [41]Peretz I, Hyde KL: What is specific to music processing? Insights from congenital amusia. Trends Cogn Sci (Regul Ed) 2003, 7:362-367.
  • [42]Heinks-Maldonado TH, Mathalon DH, Gray M, Ford JM: Fine-tuning of auditory cortex during speech production. Psychophysiol 2005, 42:180-190.
  • [43]Heinks-Maldonado TH, Nagarajan SS, Houde JF: Magnetoencephalographic evidence for a precise forward model in speech production. Neuroreport 2006, 17:1375-1379.
  • [44]Mürbe D, Pabst F, Hofmann G, Sundberg J: Effects of a professional solo singer education on auditory and kinesthetic feedback–a longitudinal study of singers’ pitch control. J Voice 2004, 18:236-241.
  • [45]Larson CR, Altman KW, Liu H, Hain TC: Interactions between auditory and somatosensory feedback for voice F0 control. Exp Brain Res 2008, 187:613-621.
  文献评价指标  
  下载次数:15次 浏览次数:11次