共查询到19条相似文献,搜索用时 828 毫秒
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绝对音高感是一种敏锐的音高知觉能力。拥有这种能力的人可以在没有标准音(A4)参照下, 对所听到的音高进行命名。本文通过对比绝对音高感被试与不具有绝对音高感被试对音乐句法基本规则的知觉以及对音乐句法结构划分能力的差异, 探讨绝对音高感与音乐句法加工能力之间的关系。结果表明, 绝对音高感被试对音乐句法基本规则的知觉水平高于控制组; 同时, 这种知觉上的优势也延伸到他们对音乐句法结构的划分。这一结果说明, 绝对音高感被试不仅可以对音高进行孤立命名, 而且表现出对调性音乐音高关系加工的优势。 相似文献
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音高是音乐和言语领域中一个重要维度。失歌症是一种对音乐音高加工的障碍。探讨失歌症者对音乐和言语音高的加工有助于揭示音乐和言语音高加工是否共享特定的认知和神经机制。已有研究结果表明, 失歌症者对音乐音高加工存在障碍, 这种音高障碍在一定程度上影响到言语音高加工。同时, 声调语言背景无法弥补失歌症者的音高障碍。这些研究结果支持了资源-共享框架(resource-sharing framework), 即音乐和语言共享特定的认知和神经机制(Patel, 2003, 2008, in press), 并可能在一定程度上为失语症临床治疗提供借鉴。 相似文献
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音乐绝对音高(absolute pitch, AP)一直是音乐心理学者感兴趣的问题。AP能力是一种特殊的音乐能力。ERP研究表明具有AP能力的群体只需较少的认知资源进行音高加工, 同时不同AP能力的加工机制也不同; 功能神经成像研究表明大脑左侧额叶背侧后部和左侧颞叶平面对AP加工发挥重要作用; 脑结构研究发现AP群体的某些脑区皮层厚度低于没有绝对音高能力(Non-AP)群体, 这可能与AP特殊的加工机制有关。AP能力形成需要先天遗传和后天环境的共同作用, 其相互作用的脑机制需结合行为遗传学的研究方法及成果。 相似文献
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采用音高识别与区分任务, 以汉语母语者、越南语母语者和俄语母语者为研究对象, 考察了两个语言加工层面的因素, 即声调范畴感知模式以及不同语言声调系统的复杂度差异对跨领域音乐音高感知的影响。结果发现: (1)汉语和越南语两组声调语言母语者听辨结果符合范畴感知模式, 而俄语母语者是连续感知。在语言和音乐两种刺激条件下, 声调语言母语者在范畴边界宽度、范畴内区分率、范畴间区分率以及区分峰度等指标上不存在显著差异。(2)汉语和越南语两组声调语言母语者的音乐音高区分任务结果差异不显著。实验结果表明: 在行为层面, 母语声调范畴感知模式可以迁移到音乐音高感知中, 但复杂声调系统并不能促进跨领域的音乐音高精细感知。实验结果从语言对音乐音高加工影响的角度支持了“共享论”。 相似文献
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绝对音高(absolute pitch,AP)是一种比较罕见的音高加工能力,具有特殊的认知和神经机制。事件相关电位研究表明AP音乐家进行音高命名时,工作记忆参与较少但涉及多个认知策略。功能神经成像研究发现左侧额叶背侧后部和左侧颞叶平面对AP音乐家非常重要,而准AP音乐家(quasi-AP)的某些右侧脑区的参与则反映其增加的音高加工负荷和难度。结构神经成像研究发现AP音乐家具有特殊的灰质结构形态及白质连接。未来研究有待将AP能力进一步分为"具有相对音高能力"与"没有相对音高能力"两类并观察相应的认知神经机制,并通过影像基因组学来探索基因多态性对AP能力的影响,以及有必要观察以声调语言为母语的音乐家进行音高加工的神经机制。 相似文献
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音乐听觉是指领会、想象、思考音乐印象的能力.近年来,音乐听觉研究运用多种方法在多个层面蓬勃开展,研究对象包括正常个体和异常个体;研究方法涵盖行为实验、大脑形态学测量以及现代成像技术;研究内容从音乐基本要素音高、旋律、节奏加工的脑定位、神经加工机制直至广阔的应用领域.最后,对音乐听觉研究现状进行了总结和展望. 相似文献
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Stephen C. Van Hedger Shannon L. M. Heald Alex Huang Brooke Rutstein Howard C. Nusbaum 《Psychonomic bulletin & review》2017,24(2):481-488
Absolute pitch (AP) is the rare ability to name or produce an isolated musical note without the aid of a reference note. One skill thought to be unique to AP possessors is the ability to provide absolute intonation judgments (e.g., classifying an isolated note as “in-tune” or “out-of-tune”). Recent work has suggested that absolute intonation perception among AP possessors is not crystallized in a critical period of development, but is dynamically maintained by the listening environment, in which the vast majority of Western music is tuned to a specific cultural standard. Given that all listeners of Western music are constantly exposed to this specific cultural tuning standard, our experiments address whether absolute intonation perception extends beyond AP possessors. We demonstrate that non-AP listeners are able to accurately judge the intonation of completely isolated notes. Both musicians and nonmusicians showed evidence for absolute intonation recognition when listening to familiar timbres (piano and violin). When testing unfamiliar timbres (triangle and inverted sine waves), only musicians showed weak evidence of absolute intonation recognition (Experiment 2). Overall, these results highlight a previously unknown similarity between AP and non-AP possessors’ long-term musical note representations, including evidence of sensitivity to frequency. 相似文献
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Naomi Ziv Shulamit Radin 《Advances in cognitive psychology / University of Finance and Management in Warsaw》2014,10(1):15-25
Absolute pitch (AP) is the ability to identify or produce notes without any
reference note. An ongoing debate exists regarding the benefits or disadvantages
of AP in processing music. One of the main issues in this context is whether the
categorical perception of pitch in AP possessors may interfere in processing
tasks requiring relative pitch (RP). Previous studies, focusing mainly on
melodic and interval perception, have obtained inconsistent results. The aim of
the present study was to examine the effect of AP and RP separately, using
isolated chords. Seventy-three musicians were categorized into four groups of
high and low AP and RP, and were tested on two tasks: identifying chord types
(Task 1), and identifying a single note within a chord (Task 2). A main effect
of RP on Task 1 and an interaction between AP and RP in reaction times were
found. On Task 2 main effects of AP and RP, and an interaction were found, with
highest performance in participants with both high AP and RP. Results suggest
that AP and RP should be regarded as two different abilities, and that AP may
slow down reaction times for tasks requiring global processing. 相似文献
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Sumi Shigeno 《Attention, perception & psychophysics》1993,54(5):682-692
The auditory tau and the kappa effects show that there is time-pitch interdependence in our perception. Our judgments of pitch separation between two tones depend on the temporal interval between them (the auditory tau effect), and our judgments of the tones’ temporal interval depend on their pitch separation (the kappa effect). The mechanisms underlying this interdependence were investigated by studying the auditory tau and the kappa effect in three experiments. Comparisons were made between results obtained from subjects with absolute pitch and those who did not have absolute pitch, and two frequency ranges of pure tones (octave and whole-tone conditions) were selected. The procedures had been used in previous experiments (Shigeno, 1986), in which the auditory tau and the kappa effects were compared in speech and nonspeech stimuli. The present results demonstrate that the auditory tau effect does not occur when possessors of absolute pitch judge the closeness of stimuli in pitch, except when the stimulus continuum consists of tones that do not correspond to musical notes in the whole-tone condition. The kappa effect was obtained in the judgment of possessors of absolute pitch in both the octave and the whole-tone conditions. These findings suggest that the interaction between temporal interval and pitch judgment might be explained in terms of the two different memory modes for retaining the pitch of tones, and that these effects occur at the precategorical level. 相似文献
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音乐是高级意识活动产生的声音艺术, 对人类的情感表达和交流具有重要意义。作为连接音乐与情绪的核心要素, 协和性的形成原理至今仍然未有定论。人类如何加工多个音符构成的和声?为什么一些和声听起来协和(愉悦), 一些和声听起来不协和(不愉悦)?协和感究竟是自下而上的声学感知还是自上而下的审美体验?从古希腊时代至今, 这些问题就一直吸引着学者的目光。物理学家从协和与不协和的声学区别中寻找答案, 生理学家从听觉生理机制方面分析协和感的产生, 心理学家研究协和音程偏好是与生俱来的还是后天形成的。目前, 音乐协和性的理论内容主要以西方音乐为主, 中国传统民族音乐迫切需要开展相关的实证研究。 相似文献
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近年来听觉表象开始得到关注,相关研究包括言语声音、音乐声音、环境声音的听觉表象三类。本文梳理了认知神经科学领域对上述三种听觉表象所激活的脑区研究,比较了听觉表象和听觉对应脑区的异同,并展望了听觉表象未来的研究方向。 相似文献
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Pitch perception is determined by both place and temporal cues. To explore whether the manner in which these cues are used differs depending on absolute pitch capability, pitch identification experiments with and without pitch references were conducted for subjects with different absolute pitch capabilities and musical experience. Three types of stimuli were used to manipulate place and temporal cues separately: narrowband noises, which provide strong place cues but less salient temporal cues; iterated rippled noises, which provide strong temporal cues but less salient place cues; and sinusoidal tones, which provide both. The results indicated that absolute pitch possessors utilize temporal cues more effectively when they identify musical chroma With regard to the judgment of height, it was indicated that place cues play an important role for both absolute and nonabsolute pitch possessors. 相似文献
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Kelly Jakubowski Daniel Müllensiefen Lauren Stewart 《Quarterly journal of experimental psychology (2006)》2017,70(3):434-443
The ability to recall the absolute pitch level of familiar music (latent absolute pitch memory) is widespread in adults, in contrast to the rare ability to label single pitches without a reference tone (overt absolute pitch memory). The present research investigated the developmental profile of latent absolute pitch (AP) memory and explored individual differences related to this ability. In two experiments, 288 children from 4 to12 years of age performed significantly above chance at recognizing the absolute pitch level of familiar melodies. No age-related improvement or decline, nor effects of musical training, gender, or familiarity with the stimuli were found in regard to latent AP task performance. These findings suggest that latent AP memory is a stable ability that is developed from as early as age 4 and persists into adulthood. 相似文献
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Pitch can be conceptualized as a bidimensional quantity, reflecting both the overall pitch level of a tone (tone height) and its position in the octave (tone chroma). Though such a conceptualization has been well supported for perception of a single tone, it has been argued that the dimension of tone chroma is irrelevant in melodic perception. In the current study, melodies were subjected to structural transformations designed to evaluate the effects of interval magnitude, contour, tone height, and tone chroma. In two transformations, the component tones of a melody were displaced by octave intervals, either preserving or violating the pattern of changes in pitch direction (melodic contour). Replicating previous work, when contour was violated perception of the melody was severely disrupted. In contrast, when contour was preserved the melodies were identified as accurately as the untransformed melodies. In other transformations, a variety of forms of contour information were preserved, while eliminating information for absolute pitch and interval magnitude. The level of performance on all such transformations fell between the levels observed in the other two conditions. These results suggest that the bidimensional model of pitch is applicable to recognition of melodies as well as single tones. Moreover, the results argue that contour, as well as interval magnitude, is providing essential information for melodic perception. 相似文献
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Michael J. Hove Mary Elizabeth Sutherland Carol L. Krumhansl 《Psychonomic bulletin & review》2010,17(3):310-316
Absolute pitch (AP), the rare ability to identify a musical pitch, occurs at a higher rate among East Asian musicians. This
has stimulated considerable research on the comparative contributions of genetic and environmental factors. Two studies examined
whether a similar ethnicity effect is found for relative pitch (RP), identifying the distance or interval between two tones.
Nonmusicians (n = 103) were trained to label musical intervals and were subsequently tested on interval identification. We establish similar
ethnicity effects: Chinese and Korean participants consistently outperformed other participants in RP tasks, but not in a
“relative rhythm” control task. This effect is not driven by previous musical or tone-language experience. The parallel with
the East Asian advantage for AP suggests that enhanced perceptual-cognitive processing of pitch is more general and is not
limited to highly trained musicians. This effect opens up many research questions concerning the environmental and genetic
contributions related to this more general pitch-based ability. 相似文献