失歌症者对音乐和言语音高的加工

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。     

Individuals with congenital amusia imitate pitches more accurately in singing than in speaking: Implications for music and language processing

In this study, we investigated the impact of congenital amusia, a disorder of musical processing, on speech and song imitation in speakers of a tone language, Mandarin. A group of 13 Mandarin-speaking individuals with congenital amusia and 13 matched controls were recorded while imitating a set of speech and two sets of song stimuli with varying pitch and rhythm patterns. The results indicated that individuals with congenital amusia were worse than controls in both speech and song imitation, in terms of both pitch matching (absolute and relative) and rhythm matching (relative time and number of time errors). Like the controls, individuals with congenital amusia achieved better absolute and relative pitch matching and made fewer pitch interval and contour errors in song than in speech imitation. These findings point toward domain-general pitch (and time) production deficits in congenital amusia, suggesting the presence of shared pitch production mechanisms but distinct requirements for pitch-matching accuracy in language and music processing.     

先天性音乐障碍的音高空间表征能力研究

利用音高空间表征任务、心理旋转任务和音高辨别任务,探讨先天性音乐障碍者音高空间表征能力、心理旋转加工能力和音高辨别能力。结果发现：先天性音乐障碍组音高空间表征任务标准差、心理旋转任务错误率和音高辨别任务错误率均显著高于控制组。 这些结果表明先天性音乐障碍并非音乐特异性障碍,而是音乐相关性障碍。     

Memory for pitch in congenital amusia: Beyond a fine-grained pitch discrimination problem

Congenital amusia is a disorder that affects the perception and production of music. While amusia has been associated with deficits in pitch discrimination, several reports suggest that memory deficits also play a role. The present study investigated short-term memory span for pitch-based and verbal information in 14 individuals with amusia and matched controls. Analogous adaptive-tracking procedures were used to generate tone and digit spans using stimuli that exceeded psychophysically measured pitch perception thresholds. Individuals with amusia had significantly smaller tone spans, whereas their digits spans were a similar size to those of controls. An automated operation span task was used to determine working memory capacity. Working memory deficits were seen in only a small subgroup of individuals with amusia. These findings support the existence of a pitch-specific component within short-term memory and suggest that congenital amusia is more than a disorder of fine-grained pitch discrimination.     

Brains that are out of tune but in time

It is estimated that about 4% of the general population may have amusia (or tone deafness). Congenital amusia is a lifelong disability for processing music despite normal intellectual, memory, and language skills. Here we present evidence that the disorder stems from a deficit in fine-grained pitch perception. Amusic and control adults were presented with monotonic and isochronous sequences of five tones (i.e., constant pitch and intertone interval). They were required to detect when the fourth tone was displaced in pitch or time. All amusic participants were impaired in detecting the pitch changes, and showed no sign of improvement with practice. In contrast, they detected time changes as well as control adults and exhibited similar improvements with practice. Thus, the degraded pitch perception seen in the amusic individuals cannot be ascribed to nonspecific problems with the task or to poor hearing in general. Rather, the data point to the presence of a congenital neural anomaly that selectively impairs pitch processing.     

Congenital amusia: A short-term memory deficit for non-verbal,but not verbal sounds

Congenital amusia refers to a lifelong disorder of music processing and is linked to pitch-processing deficits. The present study investigated congenital amusics’ short-term memory for tones, musical timbres and words. Sequences of five events (tones, timbres or words) were presented in pairs and participants had to indicate whether the sequences were the same or different. The performance of congenital amusics confirmed a memory deficit for tone sequences, but showed normal performance for word sequences. For timbre sequences, amusics’ memory performance was impaired in comparison to matched controls. Overall timbre performance was found to be correlated with melodic contour processing (as assessed by the Montreal Battery of Evaluation of Amusia). The present findings show that amusics’ deficits extend to non-verbal sound material other than pitch, in this case timbre, while not affecting memory for verbal material. This is in line with previous suggestions about the domain-specificity of congenital amusia.     

Congenital amusia: A short-term memory deficit for non-verbal,but not verbal sounds

Congenital amusia refers to a lifelong disorder of music processing and is linked to pitch-processing deficits. The present study investigated congenital amusics’ short-term memory for tones, musical timbres and words. Sequences of five events (tones, timbres or words) were presented in pairs and participants had to indicate whether the sequences were the same or different. The performance of congenital amusics confirmed a memory deficit for tone sequences, but showed normal performance for word sequences. For timbre sequences, amusics’ memory performance was impaired in comparison to matched controls. Overall timbre performance was found to be correlated with melodic contour processing (as assessed by the Montreal Battery of Evaluation of Amusia). The present findings show that amusics’ deficits extend to non-verbal sound material other than pitch, in this case timbre, while not affecting memory for verbal material. This is in line with previous suggestions about the domain-specificity of congenital amusia.     

August Knoblauch and amusia: a nineteenth-century cognitive model of music

Early models of human cognition can be traced to nineteenth-century investigations of brain and behavior. Influential neurologists such as Wernicke, Kussmaul, and Lichtheim constructed diagrammatic models to illustrate current theories of cognition. Language was the most commonly studied cognitive function during this time; however, investigators also studied other cognitive functions, such as music and visual processing. While a number of nineteenth-century neurologists made observations about music abilities in aphasic patients, August Knoblauch, a German physician and anatomist, was the first to propose a diagrammatic model of music (1888/1890). He described a detailed cognitive model of music processing, hypothesized the existence of nine disorders of music production and perception, and coined the term "amusia." Knoblauch's model is the earliest cognitive model of music and is largely unrecognized as an important part of the history of neurology, neuropsychology, and music cognition.     

What is specific to music processing? Insights from congenital amusia

Musical abilities are generally regarded as an evolutionary by-product of more important functions, such as those involved in language. However, there is increasing evidence that humans are born with musical predispositions that develop spontaneously into sophisticated knowledge bases and procedures that are unique to music. Recent findings also suggest that the brain is equipped with music-specific neural networks and that these can be selectively compromised by a congenital anomaly. This results in a disorder, congenital amusia, that appears to be limited to the processing of music. Recent evidence points to fine-grained perception of pitch as the root of musical handicap. Hence, musical abilities appear to depend crucially on the fine-tuning of pitch, in much the same way that language abilities rely on fine time resolution.     

Rhythm deficits in 'tone deafness'

It is commonly observed that 'tone deaf' individuals are unable to hear the beat of a tune, yet deficits on simple timing tests have not been found. In this study, we investigated rhythm processing in nine individuals with congenital amusia ('tone deafness') and nine controls. Participants were presented with pairs of 5-note sequences, and were required to detect the presence of a lengthened interval. In different conditions the sound sequences were presented isochronously or in an integer-ratio rhythm, and these were either monotonic or varied randomly in pitch. It was found that the 'tone deaf' participants exhibited inferior rhythm analysis for the sequences that varied in pitch compared to those that did not, whereas the controls obtained equivalent thresholds for these two conditions. These results suggest that the rhythm deficits in congenital amusia result from the pitch-variations in music.     

The relationship between pitch and space in congenital amusia

Congenital amusia manifests as a lifelong difficulty in making sense of musical sound. The extent to which this disorder is accompanied by deficits in visuo-spatial processing is an important question, bearing on the issue of whether pitch processing draws on supramodal spatial representations. The present study assessed different aspects of visuo-spatial processing with a range of tasks (Shepard-Metzler Mental Rotation, Corsi Blocks Task, Visual Patterns Test) in 14 amusics and matched controls. The absence of a group difference on any of these tasks fails to support a previous claim that the disorder is strongly related to deficits in spatial processing. However, a subgroup of amusics, with significantly elevated thresholds on a pitch direction discrimination task relative to the rest of the group, were slower, but equally accurate, at Mental Rotation. This finding is discussed in relation to the nature of supramodal representations of contour and strategies for dynamic mental transformation.     

Impaired categorical perception of lexical tones in Mandarin-speaking congenital amusics

The degree to which cognitive resources are shared in the processing of musical pitch and lexical tones remains uncertain. Testing Mandarin amusics on their categorical perception of Mandarin lexical tones may provide insight into this issue. In the present study, a group of 15 amusic Mandarin speakers identified and discriminated Mandarin tones presented as continua in separate blocks. The tonal continua employed were from a high-level tone to a mid-rising tone and from a high-level tone to a high-falling tone. The two tonal continua were made in the contexts of natural speech and of nonlinguistic analogues. In contrast to the controls, the participants with amusia showed no improvement for discrimination pairs that crossed the classification boundary for either speech or nonlinguistic analogues, indicating a lack of categorical perception. The lack of categorical perception of Mandarin tones in the amusic group shows that the pitch deficits in amusics may be domain-general, and this suggests that the processing of musical pitch and lexical tones may share certain cognitive resources and/or processes (Patel 2003, 2008, 2012).     

Pitch discrimination without awareness in congenital amusia: Evidence from event-related potentials

Congenital amusia is a lifelong disorder characterized by a difficulty in perceiving and producing music despite normal intelligence and hearing. Behavioral data have indicated that it originates from a deficit in fine-grained pitch discrimination, and is expressed by the absence of a P3b event-related brain response for pitch differences smaller than a semitone and a bigger N2b–P3b brain response for large pitch differences as compared to controls. However, it is still unclear why the amusic brain overreacts to large pitch changes. Furthermore, another electrophysiological study indicates that the amusic brain can respond to changes in melodies as small as a quarter-tone, without awareness, by exhibiting a normal mismatch negativity (MMN) brain response. Here, we re-examine the event-related N2b–P3b components with the aim to clarify the cause of the larger amplitude observed by Peretz, Brattico, and Tervaniemi (2005), by experimentally matching the number of deviants presented to the controls according to the number of deviants detected by amusics. We also re-examine the MMN component as well as the N1 in an acoustical context to investigate further the pitch discrimination deficit underlying congenital amusia. In two separate conditions, namely ignore and attend, we measured the MMN, the N1, the N2b and the P3b to tones that deviated by an eight of a tone (25 cents) or whole tone (200 cents) from a repeated standard tone. The results show a normal MMN, a seemingly normal N1, a normal P3b for the 200 cents pitch deviance, and no P3b for the small 25 cents pitch differences in amusics. These results indicate that the amusic brain responds to small pitch differences at a pre-attentive level of perception, but is unable to detect consciously those same pitch deviances at a later attentive level. The results are consistent with previous MRI and fMRI studies indicating that the auditory cortex of amusic individuals is functioning normally.     

Speaking a tone language enhances musical pitch perception in 3–5‐year‐olds

Young children learn multiple cognitive skills concurrently (e.g., language and music). Evidence is limited as to whether and how learning in one domain affects that in another during early development. Here we assessed whether exposure to a tone language benefits musical pitch processing among 3–5‐year‐old children. More specifically, we compared the pitch perception of Chinese children who spoke a tone language (i.e., Mandarin) with English‐speaking American children. We found that Mandarin‐speaking children were more advanced at pitch processing than English‐speaking children but both groups performed similarly on a control music task (timbre discrimination). The findings support the Pitch Generalization Hypothesis that tone languages drive attention to pitch in nonlinguistic contexts, and suggest that language learning benefits aspects of music perception in early development. A video abstract of this article can be viewed at: https://youtu.be/UY0kpGpPNA0     

绝对音高加工的认知神经机制

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。     

Music skills and the expressive interpretation of music in children with Williams-Beuren syndrome: pitch, rhythm, melodic imagery, phrasing, and musical affect.

This paper studied music in 14 children and adolescents with Williams-Beuren syndrome (WBS), a multi-system neurodevelopmental disorder, and 14 age-matched controls. Five aspects of music were tested. There were two tests of core music domains, pitch discrimination and rhythm discrimination. There were two tests of musical expressiveness, melodic imagery and phrasing. There was one test of musical interpretation, the ability to identify the emotional resonance of a musical excerpt. Music scores were analyzed by means of logistic regressions that modeled outcome (higher or lower music scores) as a function of group membership (WBS or Control) and cognitive age. Compared to age peers, children with WBS had similar levels of musical expressiveness, but were less able to discriminate pitch and rhythm, or to attach a semantic interpretation to emotion in music. Music skill did not vary with cognitive age. Musical strength in individuals with WBS involves not so much formal analytic skill in pitch and rhythm discrimination as a strong engagement with music as a means of expression, play, and, perhaps, improvisation.     

Music Skills and the Expressive Interpretation of Music in Children with Williams-Beuren Syndrome: Pitch,Rhythm, Melodic Imagery,Phrasing, and Musical Affect

This paper studied music in 14 children and adolescents with Williams-Beuren syndrome (WBS), a multi-system neurodevelopmental disorder, and 14 age-matched controls. Five aspects of music were tested. There were two tests of core music domains, pitch discrimination and rhythm discrimination. There were two tests of musical expressiveness, melodic imagery and phrasing. There was one test of musical interpretation, the ability to identify the emotional resonance of a musical excerpt. Music scores were analyzed by means of logistic regressions that modeled outcome (higher or lower music scores) as a function of group membership (WBS or Control) and cognitive age. Compared to age peers, children with WBS had similar levels of musical expressiveness, but were less able to discriminate pitch and rhythm, or to attach a semantic interpretation to emotion in music. Music skill did not vary with cognitive age. Musical strength in individuals with WBS involves not so much formal analytic skill in pitch and rhythm discrimination as a strong engagement with music as a means of expression, play, and, perhaps, improvisation.     

Cortical auditory disorders: a case of non-verbal disturbances assessed with event-related brain potentials

In the auditory modality, there has been a considerable debate about some aspects of cortical disorders, especially about auditory forms of agnosia. Agnosia refers to an impaired comprehension of sensory information in the absence of deficits in primary sensory processes. In the non-verbal domain, sound agnosia and amusia have been reported but are frequently accompanied by language deficits whereas pure deficits are rare. Absolute pitch and musicians' musical abilities have been associated with left hemispheric functions. We report the case of a right handed sound engineer with the absolute pitch who developed sound agnosia and amusia in the absence of verbal deficits after a right perisylvian stroke. His disabilities were assessed with the Seashore Test of Musical Functions, the tests of Wertheim and Botez (Wertheim and Botez, Brain 84, 1961, 19-30) and by event-related potentials (ERP) recorded in a modified 'oddball paradigm'. Auditory ERP revealed a dissociation between the amplitudes of the P3a and P3b subcomponents with the P3b being reduced in amplitude while the P3a was undisturbed. This is interpreted as reflecting disturbances in target detection processes as indexed by the P3b. The findings that contradict some aspects of current knowledge about left/right hemispheric specialization in musical processing are discussed and related to the literature concerning cortical auditory disorders.     

Evidence for reduced domain-specificity in auditory processing in autism

Neurological and behavioral findings indicate that atypical auditory processing characterizes autism. The present study tested the hypothesis that auditory processing is less domain-specific in autism than in typical development. Participants with autism and controls completed a pitch sequence discrimination task in which same/different judgments of music and/or speech stimulus pairs were made. A signal detection analysis showed no difference in pitch sensitivity across conditions in the autism group, while controls exhibited significantly poorer performance in conditions incorporating speech. The results are largely consistent with perceptual theories of autism, which propose that a processing bias towards featural/low-level information characterizes the disorder, as well as supporting the notion that such individuals exhibit selective attention to a limited number of simultaneously presented cues.     

音乐之脑

回顾并总结了近年来对音乐认知神经基础的研究结果,包括人类感知乐曲的音高、理解音乐的结构和意义中的脑基础,音乐家和普通人在音乐认知上的脑功能差异,以及东西方听众在聆听本土和非本土音乐时的脑活动差异,并对国内利用脑功能成像技术和事件相关电位技术研究音乐认知的前景作出展望