音乐经验对言语加工能力的促进作用

以初中二年级的学生为考察对象,探讨了音乐经验对不同层次的言语加工能力的促进作用,发现：在声音信号的加工层面,音乐经验对音高和时长信息感知能力的发展都有积极的促进作用;在语音意识层面,音乐经验的促进作用只局限于声调意识;在言语记忆方面,音乐经验可以促进言语材料在长时记忆中的保持。     

儿童对中——西方音乐情绪感知的发展研究

音乐情绪感知是指听众对音乐表达情绪的认知和理解。本研究选取3岁、4岁、5岁和大学生四个年龄阶段的中国被试,探讨了他们分别在中国音乐和西方音乐条件下,对愤怒、悲伤、抒情和高兴四类情绪的感知能力及发展特点。结果显示:(1)儿童音乐情绪感知能力随年龄的上升而提高,其中,4岁是儿童获得基本感知能力的重要时期,5岁时已达到成人水平;(2)儿童对高兴情绪的感知能力优于其他情绪类型;(3)儿童对中国音乐情绪和西方音乐情绪的感知能力并无显著文化差异。     

基于视听双通道的音乐情绪加工机制及情绪类型和音乐经验的影响

为了探讨视听双通道下的音乐情绪加工机制及音乐情绪类型和音乐训练背景对加工机制的影响,本研究采用表达开心和悲伤的音乐表演视频为材料,比较音乐组被试和非音乐组被试在单听觉通道、单视觉通道和视听双通道三种情境下的情绪评定速度、正确率和强度。结果发现：1）视听双通道与单视觉通道差异显著,与单听觉通道差异不显著。2）非音乐组被试对悲伤的评定正确率高于音乐组被试,对开心的评定正确率低于音乐组被试。说明音乐情绪加工的视听双通道整合优势仅相对单视觉通道存在;非音乐组被试对视觉通道情绪信息的变化更敏感,音乐组被试更依赖音乐经验;可在音乐表演时加入协调的视觉通道情绪信息帮助没有音乐训练经验的听赏者。     

背景音乐对中学生阅读理解的影响

以初一、初二、高一、高二72名中学生为研究对象,考察不同类型音乐对有无背景音乐偏好被试阅读理解成绩的影响。实验结果表明:(1)不同类型背景音乐对不同年级被试产生了不同的影响。古典乐对4个年级被试的阅读理解均有显著的促进作用;而流行乐对初中生的阅读理解产生了干扰作用,对高中生则没有产生干扰作用。(2)不同类型背景音乐对不同背景音乐偏好被试产生了不同的影响。对有背景音乐偏好被试来讲,古典乐对他们的阅读理解有显著的促进作用,流行乐对他们的阅读理解无显著的干扰作用;对无背景音乐偏好被试来讲,古典乐对他们的阅读理解既无显著的促进作用,也无显著的干扰作用,而流行乐对他们的阅读理解有显著的干扰作用。     

音乐训练经验与节奏变化空间表征的关系：基于SMARC效应的检验

运用眼动分析法,采用架子鼓渐快/渐慢节奏听觉材料,利用SMARC效应的机制,探讨个体的音乐训练经验与其形成节奏变化的空间表征的关系。结果显示,相对于无音乐训练经验被试,有音乐训练经验被试在渐快节奏下对远方位有更多注视时间,在渐慢节奏下对近方位有更多注视时间。即在有音乐训练经验者身上更可能观察到音乐节奏变化与远近空间方位的SMARC效应。因此,个体能否形成音乐节奏变化的空间表征与其音乐训练经验存在关系。     

审美概念理解对审美感性水平影响的实验探索

通常认为审美理性对审美感性有消极影响。这至少对认知心理学和人工智能的研究与发展形成了一种障碍。本研究以审美概念理解作为审美理性活动的典型式,对二者的实际关系进行探索。实验对象分为A类普通被试和B类艺术专业被试。结果表明：无论是否通过专门的审美概念学习训练,实验组和对照组的审美概念理解与审美感性水平的发展都呈共同上升趋势：通过学习训练,审美概念理解程度有显著提高,且显著有助于AB两类被试审美感受总水平提高;审美概念理解的“合理性”（正确性与精确性）是对审美感性各因素影响的显著因子,而其“事实例举”对于审美感性中的审美感知、审美联想、审美情感等是显著因子。A类小学5年级被试的审美感知和审美情感、B类大学美术专业2年级被试的审美感知,实验前后无显著差异,这表明审美理性对审美感性所具有的积极影响,在一定条件下是有限的。     

调式和速度组成的不同音乐形态诱发情绪活动的脑电研究——兼顾音乐训练经验和性别因素的表现特征

该研究选取具有音乐训练经验和没有音乐训练经验的成年被试(研究生)共两组,每组男女数量各一半,使用脑电图(EEG)探讨了由速度和调式组成的不同音乐形态诱发情绪活动的脑电特征,结果表明:(1)在不同音乐形态上,小调音乐和慢速音乐诱发各脑区的δ、θ、β和γ四种波段的功率平均值均高于大调音乐和中速及快速音乐,只有α波的功率平均值低于大调音乐和中速及快速音乐;(2)所有音乐形态诱发音乐专业被试各脑区的功率平均值均高于非音乐专业被试,表明音乐训练经验导致了特殊神经网络参与加工;(3)所有音乐形态诱发男性被试各脑区的功率平均值均高于女性被试,表明两性在特异性信息加工方面具有神经解剖差异以及不同加工策略。     

儿童句子错误记忆:发展性逆转现象及精加工推理效应

为探究文本背景下句子错误记忆的发展性逆转现象及精加工推理效应,95名有效被试学习3篇文本材料后,参与由学过句、内涵推理句、外延推理句和无关句组成的再认测验。结果发现：（1）高中二年级被试学过句的正确再认率和关键诱饵句的校正的错误再认率均显著高于小学五年级和初中二年级,后二者差异不显著;（2）内涵推理句错误再认率高于外延推理句,高中二年级被试尤甚。结论：（1）句子真实记忆随着年龄增长而增加;句子错误记忆存在发展性逆转现象,初中二年级到高中二年级是句子错误记忆发展相对迅速的阶段;（2）文本背景下,不同的精加工推理诱发了不同程度的句子错误记忆,这种精加工推理效应与一般世界知识的自上而下激活的程度有关。     

音乐对工作记忆影响及机制的ERP研究

以肖邦音乐为刺激材料,采用数字n-back实验范式来研究肖邦音乐对工作记忆的影响方式,并通过运用事件相关电位技术(ERP技术),研究不同音乐条件下,正常人大脑皮层的脑电活动情况,进而探讨音乐对工作记忆影响的神经机制。30名被试参加了3种音乐条件(无音乐、先导音乐、背景音乐)下的n-back(n=1、2)工作记忆任务的行为实验,收集行为数据;14名被试参加了同样实验过程的ERP实验,记录脑电数据。行为结果发现音乐条件对工作记忆效果有显著影响,且先导音乐条件下记忆效果最好;脑电结果显示P3波幅随记忆负荷的增加呈下降趋势,高记忆负荷水平下,P3波幅随先导音乐、背景音乐、无音乐的顺序逐渐呈现下降趋势;源定位分析发现音乐对工作记忆的促进作用可能跟大脑顶叶被激活有关。     

儿童感知汉语字词概念的结构模型方式

国内近些年来对于汉语字词概念的研究颇多,但对于儿童乃至成人是怎样感知汉语字词的,即人们认知汉语字词经过了怎样一个过程研究甚少.国外曾有人提出,感知字词是通过结构模式进行的.它对于感知汉语字词是否也适用?本研究将对此问题进行讨论.二、研究方法(一)被试选自小学三、五年级和初二年级学生.每年级20名,男女各半.要求被试视力正常.     

基于视听双通道的音乐情绪冲突效应及优势通道研究

为探讨基于视听双通道的音乐情绪冲突效应、冲突情境下的优势加工通道和音乐经验对结果的影响,本研究采用音乐表演视频为材料,比较音乐组和非音乐组被试在一致型和不一致型视听双通道下的情绪评定速度、准确性及强度。结果发现:(1)一致型条件下的情绪评定更准确且更强烈;(2)不一致型条件下,被试更多以听觉通道的情绪线索为依据进行情绪类型评定;(3)非音乐组被试比音乐组被试更依赖视觉通道的情绪线索。结果表明:通道间情绪信息的不一致阻碍了音乐情绪加工; 听觉通道是音乐情绪冲突情境下的优势加工通道; 音乐经验降低了情绪冲突效应对音乐组被试的干扰。     

音乐训练延缓言语感知老龄化

听力正常的老年人常常受到噪声环境中言语感知能力下降的困扰。延缓这一类型的听觉老龄化具有重要的心理和社会意义。经历过音乐训练的老年人在噪声环境中的言语识别成绩显著高于听力相当但是未经历过音乐训练的老年人。此外, 音乐训练也伴随着老年人的听觉脑干对言语信号的加工速度和时间精度的明显提高。这一言语信号神经表征的增强可能在音乐训练延缓老年人言语感知能力下降的过程中发挥了重要作用。     

Language Experience Affects Grouping of Musical Instrument Sounds

Language experience clearly affects the perception of speech, but little is known about whether these differences in perception extend to non‐speech sounds. In this study, we investigated rhythmic perception of non‐linguistic sounds in speakers of French and German using a grouping task, in which complexity (variability in sounds, presence of pauses) was manipulated. In this task, participants grouped sequences of auditory chimeras formed from musical instruments. These chimeras mimic the complexity of speech without being speech. We found that, while showing the same overall grouping preferences, the German speakers showed stronger biases than the French speakers in grouping complex sequences. Sound variability reduced all participants’ biases, resulting in the French group showing no grouping preference for the most variable sequences, though this reduction was attenuated by musical experience. In sum, this study demonstrates that linguistic experience, musical experience, and complexity affect rhythmic grouping of non‐linguistic sounds and suggests that experience with acoustic cues in a meaningful context (language or music) is necessary for developing a robust grouping preference that survives acoustic variability.     

听觉线索与个体差异对音乐紧张感加工的影响

音乐无他, 张弛而已。音乐紧张感架起了客观音响与主观体验之间的桥梁, 是音乐情绪产生的前提和基础。音乐紧张感加工的影响因素主要来自客体与主体两方面。研究发现, 声学要素与调性结构是影响音乐紧张感诱发的声音线索, 而文化背景与音乐能力是影响听者对紧张感加工的个体因素。未来需要对时间结构与长时程调性结构诱发的紧张感及其机制进行深入探究, 这将有助于深化我们对音乐紧张感与情绪加工的认识。     

Musical Training,Bilingualism, and Executive Function: A Closer Look at Task Switching and Dual‐Task Performance

This study investigated whether musical training and bilingualism are associated with enhancements in specific components of executive function, namely, task switching and dual‐task performance. Participants (n = 153) belonging to one of four groups (monolingual musician, bilingual musician, bilingual non‐musician, or monolingual non‐musician) were matched on age and socioeconomic status and administered task switching and dual‐task paradigms. Results demonstrated reduced global and local switch costs in musicians compared with non‐musicians, suggesting that musical training can contribute to increased efficiency in the ability to shift flexibly between mental sets. On dual‐task performance, musicians also outperformed non‐musicians. There was neither a cognitive advantage for bilinguals relative to monolinguals, nor an interaction between music and language to suggest additive effects of both types of experience. These findings demonstrate that long‐term musical training is associated with improvements in task switching and dual‐task performance.     

Impaired processing of prosodic and musical patterns after right hemisphere damage

The distinction between the processing of musical information and segmental speech information (i.e., consonants and vowels) has been much explored. In contrast, the relationship between the processing of music and prosodic speech information (e.g., intonation) has been largely ignored. We report an assessment of prosodic perception for an amateur musician, KB, who became amusic following a right-hemisphere stroke. Relative to matched controls, KB's segmental speech perception was preserved. However, KB was unable to discriminate pitch or rhythm patterns in linguistic or musical stimuli. He was also impaired on prosodic perception tasks (e.g., discriminating statements from questions). Results are discussed in terms of common neural mechanisms that may underlie the processing of some aspects of both music and speech prosody.     

A comparison of serial order short-term memory effects across verbal and musical domains

Recent studies suggest that the mechanisms involved in the short-term retention of serial order information may be shared across short-term memory (STM) domains such as verbal and visuospatial STM. Given the intrinsic sequential organization of musical material, the study of STM for musical information may be particularly informative about serial order retention processes and their domain-generality. The present experiment examined serial order STM for verbal and musical sequences in participants with no advanced musical expertise and experienced musicians. Serial order STM for verbal information was assessed via a serial order reconstruction task for digit sequences. In the musical domain, serial order STM was assessed using a novel melodic sequence reconstruction task maximizing the retention of tone order information. We observed that performance for the verbal and musical tasks was characterized by sequence length as well as primacy and recency effects. Serial order errors in both tasks were characterized by similar transposition gradients and ratios of fill-in:infill errors. These effects were observed for both participant groups, although the transposition gradients and ratios of fill-in:infill errors showed additional specificities for musician participants in the musical task. The data support domain-general serial order STM effects but also suggest the existence of additional domain-specific effects. Implications for models of serial order STM in verbal and musical domains are discussed.