The effect of musical training and language background on vocal imitation of pitch in speech and song.

Vocal imitation plays a critical function in the development and use of both language and music. Previous studies have reported more accurate imitation for sung pitch than spoken pitch, which might be attributed to the structural differences in acoustic signals and/or the distinct mental representations of pitch patterns across speech and music. The current study investigates the interaction between bottom-up (i.e., acoustic structure) and top-down (i.e., participants' language and musical background) factors on pitch imitation by comparing speech and song imitation accuracy across four groups: English and Mandarin speakers with or without musical training. Participants imitated pitch sequences that were characteristic of either song or speech, derived from pitch patterns in English and Mandarin spoken sentences. Overall, song imitation was more accurate than speech imitation, and this advantage was larger for English than Mandarin pitch sequences, regardless of participants' musical and language experiences. This effect likely reflects the perceptual salience of linguistic tones in Mandarin relative to English speech. Music and language knowledge were associated with optimal imitation of different acoustic features. Musicians were more accurate in matching absolute pitch across syllables and musical notes compared to nonmusicians. By contrast, Mandarin speakers were more accurate at imitating fine-grained changes within and across pitch events compared to English speakers. These results suggest that different top-down factors (i.e., language and musical background) influence pitch imitation ability for different dimensions of bottom-up features (i.e., absolute pitch and relative pitch patterns). (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Singing ability is related to vocal emotion recognition: Evidence for shared sensorimotor processing across speech and music.

The ability to recognize emotion in speech is a critical skill for social communication. Motivated by previous work that has shown that vocal emotion recognition accuracy varies by musical ability, the current study addressed this relationship using a behavioral measure of musical ability (i.e., singing) that relies on the same effector system used for vocal prosody production. In the current study, participants completed a musical production task that involved singing four-note novel melodies. To measure pitch perception, we used a simple pitch discrimination task in which participants indicated whether a target pitch was higher or lower than a comparison pitch. We also used self-report measures to address language and musical background. We report that singing ability, but not self-reported musical experience nor pitch discrimination ability, was a unique predictor of vocal emotion recognition accuracy. These results support a relationship between processes involved in vocal production and vocal perception, and suggest that sensorimotor processing of the vocal system is recruited for processing vocal prosody.

Spontaneous Production Rates in Music and Speech.

Individuals typically produce auditory sequences, such as speech or music, at a consistent spontaneous rate or tempo. We addressed whether spontaneous rates would show patterns of convergence across the domains of music and language production when the same participants spoke sentences and performed melodic phrases on a piano. Although timing plays a critical role in both domains, different communicative and motor constraints apply in each case and so it is not clear whether music and speech would display similar timing mechanisms. We report the results of two experiments in which adult participants produced sequences from memory at a comfortable spontaneous (uncued) rate. In Experiment 1, monolingual pianists in Buffalo, New York engaged in three production tasks: speaking sentences from memory, performing short melodies from memory, and tapping isochronously. In Experiment 2, English-French bilingual pianists in Montréal, Canada produced melodies on a piano as in Experiment 1, and spoke short rhythmically-structured phrases repeatedly. Both experiments led to the same pattern of results. Participants exhibited consistent spontaneous rates within each task. People who produced one spoken phrase rapidly were likely to produce another spoken phrase rapidly. This consistency across stimuli was also found for performance of different musical melodies. In general, spontaneous rates across speech and music tasks were not correlated, whereas rates of tapping and music were correlated. Speech rates (for syllables) were faster than music rates (for tones) and speech showed a smaller range of spontaneous rates across individuals than did music or tapping rates. Taken together, these results suggest that spontaneous rate reflects cumulative influences of endogenous rhythms (in consistent self-generated rates within domain), peripheral motor constraints (in finger movements across tapping and music), and communicative goals based on the cultural transmission of auditory information (slower rates for to-be-synchronized music than for speech).

Generalization of novel sensorimotor associations among pianists and non-pianists: more evidence that musical training effects are constrained.

In the process of acquiring musical skills, such as playing the piano, we develop sensorimotor associations between motor movements and perception of pitch. Previous research suggests that these acquired associations are relatively inflexible and show limited generalizability to performance under novel conditions. The current study investigated whether piano training constrains the ability to generalize learning based on an unfamiliar (inverted) pitch mapping, using a transfer-of-training paradigm (Palmer and Meyer in Psychol Sci 11:63-68, 2000). Pianists and non-pianists learned a training melody by ear with normal (higher pitches to the right) or inverted (higher pitches to the left) pitch mapping. After training, participants completed a generalization test in which they listened to and then immediately reproduced four types of melodies that varied in their similarity to the melody used during training and were based on the same, a similar, an inverted, or a different pitch pattern. The feedback mapping during the generalization test matched training. Overall, pianists produced fewer errors and required fewer training trials than non-pianists. However, benefits of training were absent for pianists who trained with inverted feedback when they attempted to reproduce a melody with a different structure than the melody used for training. This suggests that piano experience may constrain one's ability to generalize learning that is based on novel sensorimotor associations.

Corrigendum: Children With Reading Difficulty Rely on Unimodal Neural Processing for Phonemic Awareness.

[This corrects the article DOI: 10.3389/fnhum.2019.00390.].

Children With Reading Difficulty Rely on Unimodal Neural Processing for Phonemic Awareness.

Phonological awareness skills in children with reading difficulty (RD) may reflect impaired automatic integration of orthographic and phonological representations. However, little is known about the underlying neural mechanisms involved in phonological awareness for children with RD. Eighteen children with RD, ages 9-13, participated in a functional magnetic resonance imaging (fMRI) study designed to assess the relationship of two constructs of phonological awareness, phoneme synthesis, and phoneme analysis, with crossmodal rhyme judgment. Participants completed a rhyme judgment task presented in two modality conditions; unimodal auditory only and crossmodal audiovisual. Measures of phonological awareness were correlated with unimodal, but not crossmodal, lexical processing. Moreover, these relationships were found only in unisensory brain regions, and not in multisensory brain areas. The results of this study suggest that children with RD rely on unimodal representations and unisensory brain areas, and provide insight into the role of phonemic awareness in mapping between auditory and visual modalities during literacy acquisition.

Pitch-specific contributions of auditory imagery and auditory memory in vocal pitch imitation.

Vocal imitation guides both music and language development. Despite the developmental significance of this behavior, a sizable minority of individuals are inaccurate at vocal pitch imitation. Although previous research suggested that inaccurate pitch imitation results from deficient sensorimotor associations between pitch perception and vocal motor planning, the cognitive processes involved in sensorimotor translation are not clearly defined. In the present research, we investigated the roles of basic cognitive processes in the vocal imitation of pitch, as well as the degree to which these processes rely on pitch-specific resources. In the present study, participants completed a battery of pitch and verbal tasks to measure pitch perception, pitch and verbal auditory imagery, pitch and verbal auditory short-term memory, and pitch imitation ability. Information on participants' music background was collected, as well. Pitch imagery, pitch short-term memory, pitch discrimination ability, and musical experience were unique predictors of pitch imitation ability. Furthermore, pitch imagery was a partial mediator of the relationship between pitch short-term memory and pitch imitation ability. These results indicate that vocal imitation recruits cognitive processes that rely on at least partially separate neural resources for pitch and verbal representations.

Holistic processing as a hallmark of perceptual expertise for nonface categories including Chinese characters.

Holistic processing has been associated with perceptual expertise in different domains involving faces, cars, fingerprints, musical notes, English words, etc. Curiously Chinese characters are regarded as an exception, as indicated by reduced holistic processing found for experts with the Chinese writing system as compared with novices. We revisit the issue and examine one type of holistic processing, the obligatory attention to all parts of an object, using the composite paradigm from face perception literature. Chinese readers (experts) and non-Chinese readers (novices) matched the target halves of two characters while ignoring the irrelevant halves. We introduced differential response deadlines for experts and novices in order to match their performance level and to avoid ceiling performance for experts. Both experts and novices showed holistic processing, irrespective of the character structure (left-right or top-bottom) or presentation sequence (sequential or simultaneous matching). Experts' holistic processing also showed some sensitivity to the amount of experience with the characters, as it was larger for characters than noncharacters in some situations. Novices, however, did not show a systematic difference, suggesting that their effects were more related to their inefficient decomposition of a novel, complex pattern into parts. The current results, together with other recent findings of holistic processing for English words and musical notes, indicate that the development of holistic processing is not restricted to faces and objects. Instead it may be a general marker of expertise across a wider domain of visual discrimination than previously thought, including alphabetic and nonalphabetic writing systems.

Holistic processing of words modulated by reading experience.

Perceptual expertise has been studied intensively with faces and object categories involving detailed individuation. A common finding is that experience in fulfilling the task demand of fine, subordinate-level discrimination between highly similar instances is associated with the development of holistic processing. This study examines whether holistic processing is also engaged by expert word recognition, which is thought to involve coarser, basic-level processing that is more part-based. We adopted a paradigm widely used for faces--the composite task, and found clear evidence of holistic processing for English words. A second experiment further showed that holistic processing for words was sensitive to the amount of experience with the language concerned (native vs. second-language readers) and with the specific stimuli (words vs. pseudowords). The adoption of a paradigm from the face perception literature to the study of expert word perception is important for further comparison between perceptual expertise with words and face-like expertise.