Singing ability is rooted in vocal-motor control of pitch.

The inability to vocally match a pitch can be caused by poor pitch perception or by poor vocal-motor control. Although previous studies have tried to examine the relationship between pitch perception and vocal production, they have failed to control for the timbre of the target to be matched. In the present study, we compare pitch-matching accuracy with an unfamiliar instrument (the slider) and with the voice, designed such that the slider plays back recordings of the participant's own voice. We also measured pitch accuracy in singing a familiar melody ("Happy Birthday") to assess the relationship between single-pitch-matching tasks and melodic singing. Our results showed that participants (all nonmusicians) were significantly better at matching recordings of their own voices with the slider than with their voice, indicating that vocal-motor control is an important limiting factor on singing ability. We also found significant correlations between the ability to sing a melody in tune and vocal pitch matching, but not pitch matching on the slider. Better melodic singers also tended to have higher quality voices (as measured by acoustic variables). These results provide important evidence about the role of vocal-motor control in poor singing ability and demonstrate that single-pitch-matching tasks can be useful in measuring general singing abilities.

Psychoacoustic assessment to improve tinnitus diagnosis.

The diagnosis of tinnitus relies on self-report. Psychoacoustic measurements of tinnitus pitch and loudness are essential for assessing claims and discriminating true from false ones. For this reason, the quantification of tinnitus remains a challenging research goal. We aimed to: (1) assess the precision of a new tinnitus likeness rating procedure with a continuous-pitch presentation method, controlling for music training, and (2) test whether tinnitus psychoacoustic measurements have the sensitivity and specificity required to detect people faking tinnitus. Musicians and non-musicians with tinnitus, as well as simulated malingerers without tinnitus, were tested. Most were retested several weeks later. Tinnitus pitch matching was first assessed using the likeness rating method: pure tones from 0.25 to 16 kHz were presented randomly to participants, who had to rate the likeness of each tone to their tinnitus, and to adjust its level from 0 to 100 dB SPL. Tinnitus pitch matching was then assessed with a continuous-pitch method: participants had to match the pitch of their tinnitus to an external tone by moving their finger across a touch-sensitive strip, which generated a continuous pure tone from 0.5 to 20 kHz in 1-Hz steps. The predominant tinnitus pitch was consistent across both methods for both musicians and non-musicians, although musicians displayed better external tone pitch matching abilities. Simulated malingerers rated loudness much higher than did the other groups with a high degree of specificity (94.4%) and were unreliable in loudness (not pitch) matching from one session to the other. Retest data showed similar pitch matching responses for both methods for all participants. In conclusion, tinnitus pitch and loudness reliably correspond to the tinnitus percept, and psychoacoustic loudness matches are sensitive and specific to the presence of tinnitus.

The Linked Dual Representation model of vocal perception and production.

The voice is one of the most important media for communication, yet there is a wide range of abilities in both the perception and production of the voice. In this article, we review this range of abilities, focusing on pitch accuracy as a particularly informative case, and look at the factors underlying these abilities. Several classes of models have been posited describing the relationship between vocal perception and production, and we review the evidence for and against each class of model. We look at how the voice is different from other musical instruments and review evidence about both the association and the dissociation between vocal perception and production abilities. Finally, we introduce the Linked Dual Representation (LDR) model, a new approach which can account for the broad patterns in prior findings, including trends in the data which might seem to be countervailing. We discuss how this model interacts with higher-order cognition and examine its predictions about several aspects of vocal perception and production.

Vocal pitch shift in congenital amusia (pitch deafness).

We tested whether congenital amusics, who exhibit pitch perception deficits, nevertheless adjust the pitch of their voice in response to a sudden pitch shift applied to vocal feedback. Nine amusics and matched controls imitated their own previously-recorded speech or singing, while the online feedback they received was shifted mid-utterance by 25 or 200 cents. While a few amusics failed to show pitch-shift effects, a majority showed a pitch-shift response and nearly half showed a normal response to both large and small shifts, with similar magnitudes and response times as controls. The size and presence of the shift response to small shifts were significantly predicted by participants' vocal pitch matching accuracy, rather than their ability to perceive small pitch changes. The observed dissociation between the ability to consciously perceive small pitch changes and to produce and monitor vocal pitch provides evidence for a dual-route model of pitch processing in the brain.

Amusics can imitate what they cannot discriminate.

A longstanding issue in psychology is the relationship between how we perceive the world and how we act upon it. Pitch deafness provides an interesting opportunity to test for the independence of perception and production abilities in the speech domain. We tested eight amusics and eight matched controls for their ability to perceive pitch shifts in sentences and to imitate those same sentences. Congenital amusics were impaired in their ability to discriminate, but not to imitate different intonations in speech. These findings support the idea that, when we hear a vocally-imitatable sound, our brains encode it in two distinct ways- an abstract code, which allows us to identify it and compare it to other sounds, and a vocal-motor code, which allows us to imitate it.

A frog in your throat or in your ear? Searching for the causes of poor singing.

Singing is a cultural universal and an important part of modern society, yet many people fail to sing in tune. Many possible causes have been posited to explain poor singing abilities; foremost among these are poor perceptual ability, poor motor control, and sensorimotor mapping errors. To help discriminate between these causes of poor singing, we conducted 5 experiments testing musicians and nonmusicians in pitch matching and judgment tasks. Experiment 1 introduces a new instrument called a slider, on which participants can match pitches without using their voice. Pitch matching on the slider can be directly compared with vocal pitch matching, and results showed that both musicians and nonmusicians were more accurate using the slider than their voices to match target pitches, arguing against a perceptual explanation of singing deficits. Experiment 2 added a self-matching condition and showed that nonmusicians were better at matching their own voice than a synthesized voice timbre, but were still not as accurate as on the slider. This suggests a timbral translation type of mapping error. Experiments 3 and 4 demonstrated that singers do not improve over multiple sung responses, or with the aid of a visual representation of pitch. Experiment 5 showed that listeners were more accurate at perceiving the pitch of the synthesized tones than actual voice tones. The pattern of results across experiments demonstrates multiple possible causes of poor singing, and attributes most of the problem to poor motor control and timbral-translation errors, rather than a purely perceptual deficit, as other studies have suggested.

Perception and action in singing.

Singing is an important cultural activity, yet many people are hesitant to sing, because they feel they do not sing well. This chapter reviews the work that has been done concerning singing among nonmusicians, focusing on pitch accuracy, which is one of the most important aspects of singing. First, we look at the prevalence of poor pitch singing and examine what it means to be a poor singer. Next, we look at the possible causes of poor singing and examine the possible roles of perceptual deficits, sensorimotor translation deficits, motor control deficits, and feedback deficits. Whereas many previous studies have tried to explain poor singing by positing perceptual problems, we argue that the current evidence supports sensorimotor translation deficits and motor control deficits as the more likely causes. Finally, we examine the neural bases of singing and the possibility of a dual-pathway basis for pitch perception and production. Based on these studies, we suggest changes to improve the singing abilities of poor singers.

An acoustical study of vocal pitch matching in congenital amusia.

Vocal pitch matching is a foundational skill for singing and is an interesting place to study the relationship between pitch perception and production. To better understand this relationship, we assessed pitch-matching abilities in congenital amusics, who have documented disabilities in pitch perception, and in matched controls under normal, masked, and guided feedback conditions. Their vocal productions were analyzed for fundamental frequency and showed that amusics were significantly less accurate at pitch matching than the controls. However, five of the six amusics showed a significant correlation between their produced pitches and the target pitch. Feedback condition had no effect on pitch-matching accuracy. These results show impaired vocal pitch-matching abilities in amusics but also show a relationship between perceived and produced pitches.

Identification of Changes along a Continuum of Speech Intonation is Impaired in Congenital Amusia.

A small number of individuals have severe musical problems that have neuro-genetic underpinnings. This musical disorder is termed "congenital amusia," an umbrella term for lifelong musical disabilities that cannot be attributed to deafness, lack of exposure, or brain damage after birth. Amusics seem to lack the ability to detect fine pitch differences in tone sequences. However, differences between statements and questions, which vary in final pitch, are well perceived by most congenital amusic individuals. We hypothesized that the origin of this apparent domain-specificity of the disorder lies in the range of pitch variations, which are very coarse in speech as compared to music. Here, we tested this hypothesis by using a continuum of gradually increasing final pitch in both speech and tone sequences. To this aim, nine amusic cases and nine matched controls were presented with statements and questions that varied on a pitch continuum from falling to rising in 11 steps. The sentences were either naturally spoken or were tone sequence versions of these. The task was to categorize the sentences as statements or questions and the tone sequences as falling or rising. In each case, the observation of an S-shaped identification function indicates that amusics can accurately identify unambiguous examples of statements and questions but have problems with fine variations between these endpoints. Thus, the results indicate that a deficient pitch perception might compromise music, not because it is specialized for that domain but because music requirements are more fine-grained.

Estimating the time to reach a target frequency in singing.

The ability to match pitches quickly and accurately is essential for proficient singing. We describe a new technique for estimating the time to reach a target frequency that uses adaptive optimal-kernel (AOK) time-frequency representations, designed to optimize the time-frequency tradeoff at each time point. We show in two experiments that this measure is more sensitive to tonal priming effects than an onset latency measurement. This analysis is applied to the vocal productions of untrained singers to reveal effects of tonality and pitch height.

Repetition priming in music.

The authors explore priming effects of pitch repetition in music in 3 experiments. Musically untrained participants heard a short melody and sang the last pitch of the melody as quickly as possible. Each experiment manipulated (a) whether or not the tone to be sung (target) was heard earlier in the melody (primed) and (b) the prime-target distance (measured in events). Experiment 1 used variable-length melodies, whereas Experiments 2 and 3 used fixed-length melodies. Experiment 3 changed the timbre of the target tone. In all experiments, fast-responding participants produced repeated tones faster than nonrepeated tones, and this repetition benefit decreased as prime-target distances increased. All participants produced expected tonic endings faster than less expected nontonic endings. Repetition and tonal priming effects are compared with harmonic priming effects in music and with repetition priming effects in language.

Evidence for self-organized sentence processing: digging-in effects.

Dynamical, self-organizing models of sentence processing predict "digging-in" effects: The more committed the parser becomes to a wrong syntactic choice, the harder it is to reanalyze. Experiment 1 replicates previous grammaticality judgment studies (F. Ferreira & J. M. Henderson, 1991b, 1993), revealing a deleterious effect of lengthening the ambiguous region of a garden-path sentence. The authors interpret this result as a digging-in effect. Experiment 2 finds a corresponding effect on reading times. Experiment 3 finds that making 2 wrong attachments is worse than making 1. Non-self-organizing models require multiple stipulations to predict both kinds of effects. The authors show that, under an appropriately formulated self-organizing account, both results stem from self-reinforcement of node and link activations, a feature that is needed independently. An implemented model is given.