Hearing elliptic movements reveals the imprint of action on prototypical geometries.

Within certain categories of geometric shapes, prototypical exemplars that best characterize the category have been evidenced. These geometric prototypes are classically identified through the visual and haptic perception or motor production and are usually characterized by their spatial dimension. However, whether prototypes can be recalled through the auditory channel has not been formally investigated. Here we address this question by using auditory cues issued from timbre-modulated friction sounds evoking human drawing elliptic movements. Since non-spatial auditory cues were previously found useful for discriminating distinct geometric shapes such as circles or ellipses, it is hypothesized that sound dynamics alone can evoke shapes such as an exemplary ellipse. Four experiments were conducted and altogether revealed that a common elliptic prototype emerges from auditory, visual, and motor modalities. This finding supports the hypothesis of a common coding of geometric shapes according to biological rules with a prominent role of sensory-motor contingencies in the emergence of such prototypical geometry.

Cellists' sound quality is shaped by their primary postural behavior.

During the last 20 years, the role of musicians' body movements has emerged as a central question in instrument practice: Why do musicians make so many postural movements, for instance, with their torsos and heads, while playing musical instruments? The musical significance of such ancillary gestures is still an enigma and therefore remains a major pedagogical challenge, since one does not know if these movements should be considered essential embodied skills that improve musical expressivity. Although previous studies established clear connections between musicians' body movements and musical structures (particularly for clarinet, piano or violin performances), no evidence of direct relationships between body movements and the quality of the produced timbre has ever been found. In this study, focusing on the area of bowed-string instruments, we address the problem by showing that cellists use a set of primary postural directions to develop fluid kinematic bow features (velocity, acceleration) that prevent the production of poor quality (i.e., harsh, shrill, whistling) sounds. By comparing the body-related angles between normal and posturally constrained playing situations, our results reveal that the chest rotation and vertical inclination made by cellists act as coordinative support for the kinematics of the bowing gesture. These findings support the experimental works of Alexander, especially those that showed the role of head movements with respect to the upper torso (the so-called primary control) in ensuring the smooth transmission of fine motor control in musicians all the way to the produced sound. More generally, our research highlights the importance of focusing on this fundamental postural sense to improve the quality of human activities across different domains (music, dance, sports, rehabilitation, working positions, etc.).

Exploring sound perception through vocal imitations.

Understanding how sounds are perceived and interpreted is an important challenge for researchers dealing with auditory perception. The ecological approach to perception suggests that the salient perceptual information that enables an auditor to recognize events through sounds is contained in specific structures called invariants. Identifying such invariants is of interest from a fundamental point of view to better understand auditory perception and it is also useful to include perceptual considerations to model and control sounds. Among the different approaches used to identify perceptually relevant sound structures, vocal imitations are believed to bring a fresh perspective to the field. The main goal of this paper is to better understand how invariants are transmitted through vocal imitations. A sound corpus containing different types of known invariants obtained from an existing synthesizer was established. Participants took part in a test where they were asked to imitate the sound corpus. A continuous and sparse model adapted to the specificities of the vocal imitations was then developed and used to analyze the imitations. Results show that participants were able to highlight salient elements of the sounds that partially correspond to the invariants used in the sound corpus. This study also confirms that vocal imitations reveal how these invariants are transmitted through perception and offers promising perspectives on auditory investigations.

Chimpanzees use tree species with a resonant timbre for accumulative stone throwing.

Animals use tools for communication relatively rarely compared to tool use for extractive foraging. We investigated the tool-use behaviour accumulative stone throwing (AST) in wild chimpanzees, who regularly throw rocks at trees, producing impact sounds and resulting in the aggregations of rocks. The function of AST remains unknown but appears to be communication-related. We conducted field experiments to test whether impact sounds produced by throwing rocks at trees varied according to the tree's properties. Specifically, we compared impact sounds of AST and non-AST tree species. We measured three acoustic descriptors related to intrinsic timbre quality, and found that AST tree species produced impact sounds that were less damped, with spectral energy concentrated at lower frequencies compared to non-AST tree species. Buttress roots in particular produced timbres with low-frequency energy (low spectral centroid) and slower signal onset (longer attack time). In summary, chimpanzees use tree species capable of producing more resonant sounds for AST compared to other tree species available.

Exploring the perceived harshness of cello sounds by morphing and synthesis techniques.

Cello bowing requires a very fine control of the musicians' gestures to ensure the quality of the perceived sound. When the interaction between the bow hair and the string is optimal, the sound is perceived as broad and round. On the other hand, when the gestural control becomes more approximate, the sound quality deteriorates and often becomes harsh, shrill, and quavering. In this study, such a timbre degradation, often described by French cellists as harshness (décharnement), is investigated from both signal and perceptual perspectives. Harsh sounds were obtained from experienced cellists subjected to a postural constraint. A signal approach based on Gabor masks enabled us to capture the main dissimilarities between round and harsh sounds. Two complementary methods perceptually validated these signal features: First, a predictive regression model of the perceived harshness was built from sound continua obtained by a morphing technique. Next, the signal structures identified by the model were validated within a perceptual timbre space, obtained by multidimensional scaling analysis on pairs of synthesized stimuli controlled in harshness. The results revealed that the perceived harshness was due to a combination between a more chaotic harmonic behavior, a formantic emergence, and a weaker attack slope.

Seeing Circles and Drawing Ellipses: When Sound Biases Reproduction of Visual Motion.

The perception and production of biological movements is characterized by the 1/3 power law, a relation linking the curvature and the velocity of an intended action. In particular, motions are perceived and reproduced distorted when their kinematics deviate from this biological law. Whereas most studies dealing with this perceptual-motor relation focused on visual or kinaesthetic modalities in a unimodal context, in this paper we show that auditory dynamics strikingly biases visuomotor processes. Biologically consistent or inconsistent circular visual motions were used in combination with circular or elliptical auditory motions. Auditory motions were synthesized friction sounds mimicking those produced by the friction of the pen on a paper when someone is drawing. Sounds were presented diotically and the auditory motion velocity was evoked through the friction sound timbre variations without any spatial cues. Remarkably, when subjects were asked to reproduce circular visual motion while listening to sounds that evoked elliptical kinematics without seeing their hand, they drew elliptical shapes. Moreover, distortion induced by inconsistent elliptical kinematics in both visual and auditory modalities added up linearly. These results bring to light the substantial role of auditory dynamics in the visuo-motor coupling in a multisensory context.

When eyes drive hand: Influence of non-biological motion on visuo-motor coupling.

Many studies stressed that the human movement execution but also the perception of motion are constrained by specific kinematics. For instance, it has been shown that the visuo-manual tracking of a spotlight was optimal when the spotlight motion complies with biological rules such as the so-called 1/3 power law, establishing the co-variation between the velocity and the trajectory curvature of the movement. The visual or kinesthetic perception of a geometry induced by motion has also been shown to be constrained by such biological rules. In the present study, we investigated whether the geometry induced by the visuo-motor coupling of biological movements was also constrained by the 1/3 power law under visual open loop control, i.e. without visual feedback of arm displacement. We showed that when someone was asked to synchronize a drawing movement with a visual spotlight following a circular shape, the geometry of the reproduced shape was fooled by visual kinematics that did not respect the 1/3 power law. In particular, elliptical shapes were reproduced when the circle is trailed with a kinematics corresponding to an ellipse. Moreover, the distortions observed here were larger than in the perceptual tasks stressing the role of motor attractors in such a visuo-motor coupling. Finally, by investigating the direct influence of visual kinematics on the motor reproduction, our result conciliates previous knowledge on sensorimotor coupling of biological motions with external stimuli and gives evidence to the amodal encoding of biological motion.

"Let Me Hear Your Handwriting!" Evaluating the Movement Fluency from Its Sonification.

The quality of handwriting is evaluated from the visual inspection of its legibility and not from the movement that generates the trace. Although handwriting is achieved in silence, adding sounds to handwriting movement might help towards its perception, provided that these sounds are meaningful. This study evaluated the ability to judge handwriting quality from the auditory perception of the underlying sonified movement, without seeing the written trace. In a first experiment, samples of a word written by children with dysgraphia, proficient children writers, and proficient adult writers were collected with a graphic tablet. Then, the pen velocity, the fluency, and the axial pen pressure were sonified in order to create forty-five audio files. In a second experiment, these files were presented to 48 adult listeners who had to mark the underlying unseen handwriting. In order to evaluate the relevance of the sonification strategy, two experimental conditions were compared. In a first 'implicit' condition, the listeners made their judgment without any knowledge of the mapping between the sounds and the handwriting variables. In a second 'explicit' condition, they knew what the sonified variables corresponded to and the evaluation criteria. Results showed that, under the implicit condition, two thirds of the listeners marked the three groups of writers differently. In the explicit condition, all listeners marked the dysgraphic handwriting lower than that of the two other groups. In a third experiment, the scores given from the auditory evaluation were compared to the scores given by 16 other adults from the visual evaluation of the trace. Results revealed that auditory evaluation was more relevant than the visual evaluation for evaluating a dysgraphic handwriting. Handwriting sonification might therefore be a relevant tool allowing a therapist to complete the visual assessment of the written trace by an auditory control of the handwriting movement quality.

Sensory gating in adult with attention-deficit/hyperactivity disorder: Event-evoked potential and perceptual experience reports comparisons with schizophrenia.

BACKGROUND: In daily life, adults with attention-deficit/hyperactivity disorder (ADHD) report abnormal perceptual experiences that can be related to sensory gating deficit. This study investigated and compared P50 suppression (a neurophysiological measure of sensory gating) and perceptual abnormalities related to sensory gating deficit in ADHD and schizophrenias patients. METHODS: Three groups were compared: 24 adults with ADHD, 24 patients with schizophrenia and 24 healthy subjects. The Sensory Gating Inventory (SGI), a validated self-report questionnaire, was used to measure perceptual abnormalities related to sensory gating deficit. P50 suppression was measured by P50 amplitude changes in a dual-click conditioning-testing auditory event-related potential procedure. RESULTS: Adults with ADHD had significantly higher scores on the SGI and significantly lower P50 suppression than healthy subjects. These deficits were similar to those found in patients with schizophrenia. A correlation was found between both the SGI and P50 suppression data in adults with ADHD and patients with schizophrenia. DISCUSSION: The findings confirm previous results found in patients with schizophrenia. Moreover, adults with ADHD, similar to patients with schizophrenia, had abnormal P50 suppression and reported being flooded with sensory stimuli. Abnormal neurophysiologic responses to repetitive stimuli gave rise to clinically abnormal perceptions.

Effects of clozapine on perceptual abnormalities and sensory gating: a preliminary cross-sectional study in schizophrenia.

The aim of the present study was to investigate the effect of second-generation antipsychotics (clozapine or another second-generation antipsychotic) on perceptual abnormalities related to sensory gating deficit. Although clozapine is known to improve sensory gating assessed neurophysiologically, we hypothesized that patients with schizophrenia treated with clozapine would report less perceptual abnormalities related to sensory gating deficit than patients treated with other second-generation antipsychotics do. Forty patients with a diagnosis of schizophrenia were investigated (10 patients treated with clozapine and 30 patients treated with another second-generation antipsychotic drug). Perceptual abnormalities were assessed with the Sensory Gating Inventory. Sensory gating was assessed through electroencephalogram with the auditory event-related potential method by measuring P50 amplitude changes in a dual click conditioning-testing procedure. Patients treated with clozapine present normal sensory gating and report less perceptual abnormalities related to sensory gating than patients treated with other second-generation antipsychotics do. Although the cross-sectional design of this study is limited because causal inferences cannot be clearly concluded, the present study suggests clinical and neurophysiological advantages of clozapine compared with other second-generation antipsychotics and provides a basis for future investigations on the effect of this treatment on perceptual abnormalities related to sensory gating deficit in patients with schizophrenia.

The effect of real-time auditory feedback on learning new characters.

The present study investigated the effect of handwriting sonification on graphomotor learning. Thirty-two adults, distributed in two groups, learned four new characters with their non-dominant hand. The experimental design included a pre-test, a training session, and two post-tests, one just after the training sessions and another 24h later. Two characters were learned with and two without real-time auditory feedback (FB). The first group first learned the two non-sonified characters and then the two sonified characters whereas the reverse order was adopted for the second group. Results revealed that auditory FB improved the speed and fluency of handwriting movements but reduced, in the short-term only, the spatial accuracy of the trace. Transforming kinematic variables into sounds allows the writer to perceive his/her movement in addition to the written trace and this might facilitate handwriting learning. However, there were no differential effects of auditory FB, neither long-term nor short-term for the subjects who first learned the characters with auditory FB. We hypothesize that the positive effect on the handwriting kinematics was transferred to characters learned without FB. This transfer effect of the auditory FB is discussed in light of the Theory of Event Coding.

Validation of the French sensory gating inventory: a confirmatory factor analysis.

The Sensory Gating Inventory (SGI) is an instrument investigating daily experiences of sensory gating deficit developed for English speaking schizophrenia patients. The purpose of this study is to design and validate a French version of the SGI. A forward-backward translation of the SGI was performed. The psychometric properties of the French SGI version were analyzed. A confirmatory factor analysis (CFA) was carried out to determine whether factor structure of the French version is similar to the original English version. In a sample of 363 healthy subjects (mean age=31.8 years, S.D.=12.2 years) the validation process revealed satisfactory psychometric properties: the internal consistency reliability was confirmed for each dimension; each item achieved the 0.40 standard threshold for item-internal consistency; each item was more highly correlated with its contributive dimension than with the other dimensions; and based on a CFA, we found a 4-factor structure for the French version of the SGI similar to the original instrument. Test-retest reliability was not determined. The French version of the SGI is a psychometrically sound self-report for measuring phenomenological sensory gating experiences.

Do schizophrenia patients with low P50-suppression report more perceptual anomalies with the sensory gating inventory?

BACKGROUND: P50 amplitude changes in dual click conditioning-testing procedure might be a neurophysiological marker of deficient sensory gating in schizophrenia. However, the relationship between abnormalities in the neurophysiological and phenomenological dimensions of sensory gating in schizophrenia remains unclear. The aim of the present study was to determine if patients with low P50-suppression (below 50%) report more perceptual anomalies. METHODS: Three groups were compared: twenty-nine schizophrenia patients with high P50-suppression (above 50% amplitude suppression), twenty-three schizophrenia patients with low P50-suppression (below 50%) and twenty-six healthy subjects. The Sensory Gating Inventory (SGI), a four-factor self-report questionnaire, was used to measure perceptual anomalies related to sensory gating. A comparison of demographic and clinical data was also carried out. RESULTS: Patients with low P50-suppression presented: i) significantly higher scores on the SGI (for the overall SGI score and for each of the 4 factors) and ii) significantly larger P50 amplitude at the second click, than both patients with high P50-suppression and healthy subjects. There were no group differences in the most of demographic and clinical data. DISCUSSION: The finding offers support for conceptual models wherein abnormal neurophysiologic responses to repetitive stimuli give rise to clinically relevant perceptions of being inundated and overwhelmed by external sensory stimuli. Further studies are needed to explore the contributions of clinical symptoms, medication and neuropsychological functions to the relationship between P50-suppression and the SGI, and the role of sensory "gating in" versus "gating out".

Conceptual priming for realistic auditory scenes and for auditory words.

Two experiments were conducted using both behavioral and Event-Related brain Potentials methods to examine conceptual priming effects for realistic auditory scenes and for auditory words. Prime and target sounds were presented in four stimulus combinations: Sound-Sound, Word-Sound, Sound-Word and Word-Word. Within each combination, targets were conceptually related to the prime, unrelated or ambiguous. In Experiment 1, participants were asked to judge whether the primes and targets fit together (explicit task) and in Experiment 2 they had to decide whether the target was typical or ambiguous (implicit task). In both experiments and in the four stimulus combinations, reaction times and/or error rates were longer/higher and the N400 component was larger to ambiguous targets than to conceptually related targets, thereby pointing to a common conceptual system for processing auditory scenes and linguistic stimuli in both explicit and implicit tasks. However, fine-grained analyses also revealed some differences between experiments and conditions in scalp topography and duration of the priming effects possibly reflecting differences in the integration of perceptual and cognitive attributes of linguistic and nonlinguistic sounds. These results have clear implications for the building-up of virtual environments that need to convey meaning without words.

From sound to shape: auditory perception of drawing movements.

This study investigates the human ability to perceive biological movements through friction sounds produced by drawings and, furthermore, the ability to recover drawn shapes from the friction sounds generated. In a first experiment, friction sounds, real-time synthesized and modulated by the velocity profile of the drawing gesture, revealed that subjects associated a biological movement to those sounds whose timbre variations were generated by velocity profiles following the 1/3 power law. This finding demonstrates that sounds can adequately inform about human movements if their acoustic characteristics are in accordance with the kinematic rule governing actual movements. Further investigations of our ability to recognize drawn shapes were carried out in 2 association tasks in which both recorded and synthesized sounds had to be associated to both distinct and similar visual shapes. Results revealed that, for both synthesized and recorded sounds, subjects made correct associations for distinct shapes, although some confusion was observed for similar shapes. The comparisons made between recorded and synthesized sounds lead to conclude that the timbre variations induced by the velocity profile enabled the shape recognition. The results are discussed in the context of the ecological and ideomotor frameworks.

Toward an exploration of feeling of strangeness in schizophrenia: perspectives on acousmatic and everyday listening.

The aim of this study was to investigate abnormal perceptual experiences in schizophrenia, in particular the feeling of strangeness, which is commonly found in patients' self-reports. The experimental design included auditory complex stimuli within 2 theoretical frameworks based on "sensory gating deficit" and "aberrant salience," inspired from conventional perceptual scales. A specific sound corpus was designed with environmental (meaningful) and abstract (meaningless) sounds. The authors compared sound evaluations on 3 perceptual dimensions (bizarre, familiar, and invasive) and 2 emotional dimensions (frightening and reassuring) between 20 patients with schizophrenia (SCZ) and 20 control participants (CTL). The perceptual judgment was rated on independent linear scales for each sound. In addition, the conditioning-testing P50 paradigm was conducted on 10 SCZ and 10 CTL. Both behavioral and electrophysiological data confirmed the authors' expectations according to the 2 previous theoretical frameworks and showed that abnormal perceptual experiences in SCZ consisted of perceiving meaningful sounds in a distorted manner and as flooding/inundating but also in perceiving meaningless sounds as things that become meaningful by assigning them some significance. In addition, the use of independent scales to each perceptual dimension highlighted an unexpected ambivalence on familiarity and bizarreness in SCZ compatible with the explanation of semantic process impairment. The authors further suggested that this ambivalence might be due to a conflicting coactivation of 2 types of listening, that is, every day and musical (or acousmatic) listening.

Categorization and timbre perception of environmental sounds in schizophrenia.

Perception of environmental sounds from impacted materials (Wood, Metal and Glass) was examined by conducting a categorization experiment. Stimuli consisted of sound continua evoking progressive transitions between material categories. Results highlighted shallower response curves in subjects with schizophrenia than healthy participants, and are discussed in the framework of Signal Detection Theory and in terms of impaired perception of specific timbre features in schizophrenia.

Sound categorization and conceptual priming for nonlinguistic and linguistic sounds.

The aim of these experiments was to compare conceptual priming for linguistic and for a homogeneous class of nonlinguistic sounds, impact sounds, by using both behavioral (percentage errors and RTs) and electrophysiological measures (ERPs). Experiment 1 aimed at studying the neural basis of impact sound categorization by creating typical and ambiguous sounds from different material categories (wood, metal, and glass). Ambiguous sounds were associated with slower RTs and larger N280, smaller P350/P550 components, and larger negative slow wave than typical impact sounds. Thus, ambiguous sounds were more difficult to categorize than typical sounds. A category membership task was used in Experiment 2. Typical sounds were followed by sounds from the same or from a different category or by ambiguous sounds. Words were followed by words, pseudowords, or nonwords. Error rate was highest for ambiguous sounds and for pseudowords and both elicited larger N400-like components than same typical sounds and words. Moreover, both different typical sounds and nonwords elicited P300 components. These results are discussed in terms of similar conceptual priming effects for nonlinguistic and linguistic stimuli.

Sound quality assessment of wood for xylophone bars.

Xylophone sounds produced by striking wooden bars with a mallet are strongly influenced by the mechanical properties of the wood species chosen by the xylophone maker. In this paper, we address the relationship between the sound quality based on the timbre attribute of impacted wooden bars and the physical parameters characterizing wood species. For this, a methodology is proposed that associates an analysis-synthesis process and a perceptual classification test. Sounds generated by impacting 59 wooden bars of different species but with the same geometry were recorded and classified by a renowned instrument maker. The sounds were further digitally processed and adjusted to the same pitch before being once again classified. The processing is based on a physical model ensuring the main characteristics of the wood are preserved during the sound transformation. Statistical analysis of both classifications showed the influence of the pitch in the xylophone maker judgement and pointed out the importance of two timbre descriptors: the frequency-dependent damping and the spectral bandwidth. These descriptors are linked with physical and anatomical characteristics of wood species, providing new clues in the choice of attractive wood species from a musical point of view.