Individual identity and affective valence in marmoset calls: in vivo brain imaging with vocal sound playback.

As with humans, vocal communication is an important social tool for nonhuman primates. Common marmosets (Callithrix jacchus) often produce whistle-like 'phee' calls when they are visually separated from conspecifics. The neural processes specific to phee call perception, however, are largely unknown, despite the possibility that these processes involve social information. Here, we examined behavioral and whole-brain mapping evidence regarding the detection of individual conspecific phee calls using an audio playback procedure. Phee calls evoked sound exploratory responses when the caller changed, indicating that marmosets can discriminate between caller identities. Positron emission tomography with [18F] fluorodeoxyglucose revealed that perception of phee calls from a single subject was associated with activity in the dorsolateral prefrontal, medial prefrontal, orbitofrontal cortices, and the amygdala. These findings suggest that these regions are implicated in cognitive and affective processing of salient social information. However, phee calls from multiple subjects induced brain activation in only some of these regions, such as the dorsolateral prefrontal cortex. We also found distinctive brain deactivation and functional connectivity associated with phee call perception depending on the caller change. According to changes in pupillary size, phee calls from a single subject induced a higher arousal level compared with those from multiple subjects. These results suggest that marmoset phee calls convey information about individual identity and affective valence depending on the consistency or variability of the caller. Based on the flexible perception of the call based on individual recognition, humans and marmosets may share some neural mechanisms underlying conspecific vocal perception.

Zebra finches are sensitive to prosodic features of human speech.

Variation in pitch, amplitude and rhythm adds crucial paralinguistic information to human speech. Such prosodic cues can reveal information about the meaning or emphasis of a sentence or the emotional state of the speaker. To examine the hypothesis that sensitivity to prosodic cues is language independent and not human specific, we tested prosody perception in a controlled experiment with zebra finches. Using a go/no-go procedure, subjects were trained to discriminate between speech syllables arranged in XYXY patterns with prosodic stress on the first syllable and XXYY patterns with prosodic stress on the final syllable. To systematically determine the salience of the various prosodic cues (pitch, duration and amplitude) to the zebra finches, they were subjected to five tests with different combinations of these cues. The zebra finches generalized the prosodic pattern to sequences that consisted of new syllables and used prosodic features over structural ones to discriminate between stimuli. This strong sensitivity to the prosodic pattern was maintained when only a single prosodic cue was available. The change in pitch was treated as more salient than changes in the other prosodic features. These results show that zebra finches are sensitive to the same prosodic cues known to affect human speech perception.

Facial biases on vocal perception and memory.

Does a speaker's face influence the way their voice is heard and later remembered? This question was addressed through two experiments where in each, participants listened to middle-aged voices accompanied by faces that were either age-appropriate, younger or older than the voice or, as a control, no face at all. In Experiment 1, participants evaluated each voice on various acoustical dimensions and speaker characteristics. The results showed that facial displays influenced perception such that the same voice was heard differently depending on the age of the accompanying face. Experiment 2 further revealed that facial displays led to memory distortions that were age-congruent in nature. These findings illustrate that faces can activate certain social categories and preconceived stereotypes that then influence vocal and person perception in a corresponding fashion. Processes of face/voice integration are very similar to those of music/film, indicating that the two areas can mutually inform one another and perhaps, more generally, reflect a centralized mechanism of cross-sensory integration.

Prevención de Alteraciones Vocales con Ejercicios de Tubos de Resonancia en un Grupo de Docentes / Prevention of Vocal Alterations Through Exercises with Resonance Tubes in a Teaching Group

En múltiples estudios se ha determinado la importancia de la voz en aquellos profesionales que la utilizan como su herramienta principal de trabajo. Dentro de este grupo se encuentran locutores, agentes de call center, profesores, entre otros; la población objeto de estudio en esta investigación son los profesores universitarios, ellos trabajan durante varias horas al día usando su voz para transmitir el conocimiento dentro del aula de clase, muchas veces en condiciones poco óptimas para un desempeño laboral efectivo. Además, están expuestos a diversos factores de riesgos ambientales y organizacionales lo cual los predispone y pueden generar sintomatología vocal asociada a su ocupación. Los participantes pertenecen a un programa de conservación de la voz. El diseño de investigación preexperimental, cuantitativo, utilizando pre-test y pos-test en una misma población, descriptivo transversal, bajo un enfoque epidemiológico. Se aplicó una encuesta de autopercepción vocal como pre-test, con el fin de identificar la percepción que tenían estos profesionales acerca de sus características vocales. Posterior a esto, se les realizó una serie de ejercicios con tubos de resonancia basados en la técnica de Tracto Vocal Semi Ocluido (TVSO) y finalmente, se le reaplicó la encuesta de autopercepción vocal como post-test para determinar los efectos y cambios fisiológicos de estos ejercicios sobre los parámetros acústicos de la voz y las características del habla tales como: inteligibilidad, naturalidad y audibilidad; logrando un efecto fisiológico terapéutico inmediato y una percepción subjetiva de mejoría posterior a la terapia, generando un cambio en el patrón vibratorio de sus pliegues vocales, minimizando el abuso y mal uso vocal, creando conciencia del cuidado que se debe tener con la voz cuando se utiliza de manera profesional por ser la herramienta principal de su trabajo.

Multiple studies have determined the importance of voice in those professionals who use it as their main work tool. Within this group are announcers, call center agents, teachers, among others; this research will deepen the professors, these are found for several hours a day using their voice to transmit knowledge within the classroom, often in poor conditions for effective work performance. In addition, they are exposed to various environmental and organizational risk factors which predispose them and generate a diversity of laryngeal pathologies characteristic of their occupation. Participants belong to a voice conservation program. The design of pre- experimental, quantitative research, using pre-test and post-test in the same population, cross- sectional descriptive, under an epidemiological approach. A vocal self-perception survey was applied as a pre-test, in order to identify the perception that these professionals had about their vocal characteristics. After this, they performed a series of exercises with resonance tubes based on the Semi-Occluded Vocal Tract (TVSO) technique and finally, the vocal self- perception survey was reapplied as a post-test to determine the physiological effects and changes of these exercises on the acoustic parameters of voice and speech characteristics such as: intelligibility, naturalness and audibility; achieving an immediate therapeutic physiological effect and a subjective perception of improvement after therapy, generating a change in the vibratory pattern of your vocal folds, minimizing abuse and vocal misuse, creating awareness of the care that should be taken with the voice when Professionally used as the main tool of his work.