Musically tone-deaf individuals have difficulty discriminating intonation contours extracted from speech

Musically tone-deaf individuals have psychophysical deficits in detecting pitch changes, yet their discrimination of intonation contours in speech appears to be normal. One hypothesis for this dissociation is that intonation contours use coarse pitch contrasts which exceed the pitch-change detection thresholds of tone-deaf individuals (). We test this idea by presenting intonation contours for discrimination, both in the context of the original sentences in which they occur and in a "pure" form dissociated from any phonetic context. The pure form consists of gliding-pitch analogs of the original intonation contours which exactly follow their pattern of pitch and timing. If the spared intonation perception of tone-deaf individuals is due to the coarse pitch contrasts of intonation, then such individuals should discriminate the original sentences and the gliding-pitch analogs equally well. In contrast, we find that discrimination of the gliding-pitch analogs is severely degraded. Thus it appears that the dissociation between spoken and musical pitch perception in tone-deaf individuals is due to a deficit at a higher level than simple pitch-change detection.     

Temporal integration of speech prosody is shaped by language experience: an fMRI study

Differences in hemispheric functions underlying speech perception may be related to the size of temporal integration windows over which prosodic features (e.g., pitch) span in the speech signal. Chinese tone and intonation, both signaled by variations in pitch contours, span over shorter (local) and longer (global) temporal domains, respectively. This cross-linguistic (Chinese and English) study uses functional magnetic resonance imaging to show that pitch contours associated with tones are processed in the left hemisphere by Chinese listeners only, whereas pitch contours associated with intonation are processed predominantly in the right hemisphere. These findings argue against the view that all aspects of speech prosody are lateralized to the right hemisphere, and promote the idea that varying-sized temporal integration windows reflect a neurobiological adaptation to meet the 'prosodic needs' of a particular language.     

Perception and production of rise-fall intonation in American English

At the segmental level, the rate of speaking affects the degree of physical undershoot of articulatory targets and the resulting perception. Little is known regarding evidence of these effects at the suprasegmental level, particularly in intonation. In this study, the effect of rate of speaking on fundamental frequency and on perceptual judgments of peak pitch in a rise-fall intonation pattern was investigated. First, speakers produced rise-fall intonations in sentence contexts at slow, normal, and fast speaking rates. Peak fundamental frequencies (F0) of the slow productions were significantly lower than those of the normal or fast productions. The mean normal rate production of the word Miami was used as a model for the target word in a series of subsequent perceptual experiments. Altering the duration of the target word to represent slow, normal, and fast rates of speaking did not affect listener judgment of peak pitch. Finally, the pitch of the target word was measured in a sentence context. No differences between peak pitch in isolation or in sentence context were found. It was concluded that the production and perception of this form of intonation was not subject to the effects of rate that are seen at the segmental level.     

Perceptual Learning of Intonation Contour Categories in Adults and 9‐ to 11‐Year‐Old Children: Adults Are More Narrow‐Minded

We report on rapid perceptual learning of intonation contour categories in adults and 9‐ to 11‐year‐old children. Intonation contours are temporally extended patterns, whose perception requires temporal integration and therefore poses significant working memory challenges. Both children and adults form relatively abstract representations of intonation contours: Previously encountered and novel exemplars are categorized together equally often, as long as distance from the prototype is controlled. However, age‐related differences in categorization performance also exist. Given the same experience, adults form narrower categories than children. In addition, adults pay more attention to the end of the contour, while children appear to pay equal attention to the beginning and the end. The age range we examine appears to capture the tail‐end of the developmental trajectory for learning intonation contour categories: There is a continuous effect of age on category breadth within the child group, but the oldest children (older than 10;3) are adult‐like.     

Unattended emotional intonations modulate linguistic prosody processing

Prosody or speech melody subserves linguistic (e.g., question intonation) and emotional functions in speech communication. Findings from lesion studies and imaging experiments suggest that, depending on function or acoustic stimulus structure, prosodic speech components are differentially processed in the right and left hemispheres. This direct current (DC) potential study investigated the linguistic processing of digitally manipulated pitch contours of sentences that carried an emotional or neutral intonation. Discrimination of linguistic prosody was better for neutral stimuli as compared to happily as well as fearfully spoken sentences. Brain activation was increased during the processing of happy sentences as compared to neutral utterances. Neither neutral nor emotional stimuli evoked lateralized processing in the left or right hemisphere, indicating bilateral mechanisms of linguistic processing for pitch direction. Acoustic stimulus analysis suggested that prosodic components related to emotional intonation, such as pitch variability, interfered with linguistic processing of pitch course direction.     

Brain activity varies with modulation of dynamic pitch variance in sentence melody

Fourteen native speakers of German heard normal sentences, sentences which were either lacking dynamic pitch variation (flattened speech), or comprised of intonation contour exclusively (degraded speech). Participants were to listen carefully to the sentences and to perform a rehearsal task. Passive listening to flattened speech compared to normal speech produced strong brain responses in right cortical areas, particularly in the posterior superior temporal gyrus (pSTG). Passive listening to degraded speech compared to either normal or flattened speech particularly involved fronto-opercular and subcortical (Putamen, Caudate Nucleus) regions bilaterally. Additionally the Rolandic operculum (premotor cortex) in the right hemisphere subserved processing of neat sentence intonation. As a function of explicit rehearsing sentence intonation we found several activation foci in the left inferior frontal gyrus (Broca's area), the left inferior precentral sulcus, and the left Rolandic fissure. The data allow several suggestions: First, both flattened and degraded speech evoked differential brain responses in the pSTG, particularly in the planum temporale (PT) bilaterally indicating that this region mediates integration of slowly and rapidly changing acoustic cues during comprehension of spoken language. Second, the bilateral circuit active whilst participants receive degraded speech reflects general effort allocation. Third, the differential finding for passive perception and explicit rehearsal of intonation contour suggests a right fronto-lateral network for processing and a left fronto-lateral network for producing prosodic information. Finally, it appears that brain areas which subserve speech (frontal operculum) and premotor functions (Rolandic operculum) coincidently support the processing of intonation contour in spoken sentence comprehension.     

Enhanced music sensitivity in 9-month-old bilingual infants

This study explores the influence of bilingualism on the cognitive processing of language and music. Specifically, we investigate how infants learning a non-tone language perceive linguistic and musical pitch and how bilingualism affects cross-domain pitch perception. Dutch monolingual and bilingual infants of 8–9 months participated in the study. All infants had Dutch as one of the first languages. The other first languages, varying among bilingual families, were not tone or pitch accent languages. In two experiments, infants were tested on the discrimination of a lexical (N = 42) or a violin (N = 48) pitch contrast via a visual habituation paradigm. The two contrasts shared identical pitch contours but differed in timbre. Non-tone language learning infants did not discriminate the lexical contrast regardless of their ambient language environment. When perceiving the violin contrast, bilingual but not monolingual infants demonstrated robust discrimination. We attribute bilingual infants’ heightened sensitivity in the musical domain to the enhanced acoustic sensitivity stemming from a bilingual environment. The distinct perceptual patterns between language and music and the influence of acoustic salience on perception suggest processing diversion and association in the first year of life. Results indicate that the perception of music may entail both shared neural network with language processing, and unique neural network that is distinct from other cognitive functions.     

Psychoacoustic abilities as predictors of vocal emotion recognition

Prosodic attributes of speech, such as intonation, influence our ability to recognize, comprehend, and produce affect, as well as semantic and pragmatic meaning, in vocal utterances. The present study examines associations between auditory perceptual abilities and the perception of prosody, both pragmatic and affective. This association has not been previously examined. Ninety-seven participants (49 female and 48 male participants) with normal hearing thresholds took part in two experiments, involving both prosody recognition and psychoacoustic tasks. The prosody recognition tasks included a vocal emotion recognition task and a focus perception task requiring recognition of an accented word in a spoken sentence. The psychoacoustic tasks included a task requiring pitch discrimination and three tasks also requiring pitch direction (i.e., high/low, rising/falling, changing/steady pitch). Results demonstrate that psychoacoustic thresholds can predict 31% and 38% of affective and pragmatic prosody recognition scores, respectively. Psychoacoustic tasks requiring pitch direction recognition were the only significant predictors of prosody recognition scores. These findings contribute to a better understanding of the mechanisms underlying prosody recognition and may have an impact on the assessment and rehabilitation of individuals suffering from deficient prosodic perception.     

Pitch Range Variations Improve Cognitive Processing of Audio Messages

This study explores the effect of different speaker intonation strategies in audio messages on attention, autonomic arousal, and memory. In this study, participants listened to 16 radio commercials, produced to vary in pitch range across sentences. Dependent variables were self‐reported effectiveness and adequacy, psychophysiological arousal and attention, immediate word recall and recognition of information. Results showed that messages conveyed with pitch variations achieved better scores compared to commercials with a homogenous pitch range across the sentences. This was especially the case when high pitch intonation was followed by low pitch within a sentence. The results increase our understanding of the influence of pitch range on processing by establishing a concrete strategy as a best practice for improving attention and memory.     

Syllabic pitch perception in 2- to 3-month-old infants

The pitch patterns present in speech addressed to infants may play an important role in perceptual processing by infants. In this study, the high-amplitude sucking procedure was used to assess discrimination by 2- to 3-month-old infants of rising versus falling pitch patterns in 400-msec synthetic [ra] and [la] tokens. The syllables’ intonation contour was modeled on infant-directed speech, and covered a range characteristic of an adult female speaker (180–300 Hz). Group data indicated that the 2- to 3-month-old infants discriminated the pitch contour for both stimuli. Results are discussed with reference to previous studies of syllabic pitch perception.     

Relative influence of musical and linguistic experience on early cortical processing of pitch contours

To assess domain specificity of experience-dependent pitch representation we evaluated the mismatch negativity (MMN) and discrimination judgments of English musicians, English nonmusicians, and native Chinese for pitch contours presented in a nonspeech context using a passive oddball paradigm. Stimuli consisted of homologues of Mandarin high rising (T2) and high level (T1) tones, and a linear rising ramp (T2L). One condition involved a between-category contrast (T1/T2), the other, a within-category contrast (T2L/T2). Irrespective of condition, musicians and Chinese showed larger MMN responses than nonmusicians; Chinese larger than musicians. Chinese, however, were less accurate than nonnatives in overt discrimination of T2L and T2. Taken together, these findings suggest that experience-dependent effects to pitch contours are domain-general and not driven by linguistic categories. Yet specific differences in long-term experience in pitch processing between domains (music vs. language) may lead to gradations in cortical plasticity to pitch contours.     

Characterizing sentence intonation in a right hemisphere-damaged population

Current production studies present a mixed view of right hemisphere-damaged (RHD) patients' ability to produce normal sentence intonation. The present study characterized the sentence intonation of RHD patients, focusing on a greater number of acoustic parameters than past works, and relying on more naturally elicited speech samples through use of a story completion task. Eight RHD speakers and seven nonneurological control subjects produced declarative and imperative sentences as well as yes-no and wh-questions. Slope of F0 change, linearity of pitch contour, and variance of F0 points were calculated for each utterance as a whole, as well as for the preterminal and the terminal contour separately. RHD contours were less linear and flatter in F0 decline than normal controls for the declarative sentences. The patients' yes-no questions also differed from normal productions, displaying smaller F0 dispersion around a mean F0. Preterminal range values were more restricted for patients' utterances of yes-no questions, while terminal properties between groups differed for three of the four sentence types examined. The present results suggest some disturbance in the patients' ability to manipulate fundamental frequency across sentential domains. These data are discussed in terms of current theories of a general dysprosody in RHD patients.     

自闭症者对音乐和言语音高的加工

自闭症是一种神经发展障碍,主要表现为社会互动障碍,语言交流困难以及刻板行为等症状。已有研究表明,在音乐方面,自闭症者不仅表现出较强的音乐音高知觉能力,而且在音乐表演方面也体现出某些优势。然而,在言语方面,自闭症者除了在言语音高轮廓分辨任务中得分较高外,对言语语调的知觉能力明显比正常人更差,同时,他们对言语语调的产生也存在障碍。本研究不仅可以推进音乐和言语对比研究,而且也为自闭症者言语康复提供借鉴。     

Influence of tonal context and timbral variation on perception of pitch

In this study, spectral timbre's effect on pitch perception is examined in varying contexts. In two experiments, subjects detected pitch deviations of tones differing in brightness in an isolated context in which they compared two tones, in a tone-series context in which they judged whether the last tone of a simple sequence was in or out of tune, and in a melodic context in which they determined whether the last note of familiar melodies was in or out of tune. Timbre influenced pitch judgments in all the conditions, but increasing tonal context allowed the subjects to extract pitch information more accurately. This appears to be due to two factors: (1) The presence of extra tones creates a stronger reference point from which to judge pitch, and (2) the melodies' tonal structure gives more cues that facilitate pitch extraction, even in the face of conflicting spectral information.     

Musicians and tone-language speakers share enhanced brainstem encoding but not perceptual benefits for musical pitch

Behavioral and neurophysiological transfer effects from music experience to language processing are well-established but it is currently unclear whether or not linguistic expertise (e.g., speaking a tone language) benefits music-related processing and its perception. Here, we compare brainstem responses of English-speaking musicians/non-musicians and native speakers of Mandarin Chinese elicited by tuned and detuned musical chords, to determine if enhancements in subcortical processing translate to improvements in the perceptual discrimination of musical pitch. Relative to non-musicians, both musicians and Chinese had stronger brainstem representation of the defining pitches of musical sequences. In contrast, two behavioral pitch discrimination tasks revealed that neither Chinese nor non-musicians were able to discriminate subtle changes in musical pitch with the same accuracy as musicians. Pooled across all listeners, brainstem magnitudes predicted behavioral pitch discrimination performance but considering each group individually, only musicians showed connections between neural and behavioral measures. No brain-behavior correlations were found for tone language speakers or non-musicians. These findings point to a dissociation between subcortical neurophysiological processing and behavioral measures of pitch perception in Chinese listeners. We infer that sensory-level enhancement of musical pitch information yields cognitive-level perceptual benefits only when that information is behaviorally relevant to the listener.     

The active use of grammar in speech perception

Judgments of the location of short bursts of noise in sentences were used to reveal perceptual segmentation of sentences. It was assumed that segmentation would correspond to major constituent boundaries. In order to control for correlated variables of pitch and intonation, identical acoustic material was provided with alternate constituent structures. It was found that differences in response to identical strings were predicted by the points of variation in constituent structure.     

强调范围对句子重音知觉的影响及其声学表现的研究

通过韵律匹配度知觉实验和声学参数分析,探讨了句子层面上不同强调范围对句子重音知觉的影响。实验材料为精心设计的语料,两名发音人在问答匹配的实验范式下朗读,以自然的方式强调相应内容。20名被试对不同强调范围的问答句进行韵律匹配度知觉判断。结果发现,一些答句和问句之间的匹配可以替换,另一些答句只与对应的问句匹配。句子重音的实现符合节律栅规则。通过对不同语境下音节的时长和音高进行声学参数分析。结果表明,时长延长和音高升高都是重音的声学表现。时长增加涉及的范围没有因句子重音的强调范围不同而不同。     

Valence specific laterality effects in prosody: expectancy account and the effects of morphed prosody and stimulus lead

The majority of studies have demonstrated a right hemisphere (RH) advantage for the perception of emotions. Other studies have found that the involvement of each hemisphere is valence specific, with the RH better at perceiving negative emotions and the LH better at perceiving positive emotions [Reuter-Lorenz, P., & Davidson, R.J. (1981) Differential contributions of the 2 cerebral hemispheres to the perception of happy and sad faces. Neuropsychologia, 19, 609-613]. To account for valence laterality effects in emotion perception we propose an 'expectancy' hypothesis which suggests that valence effects are obtained when the top-down expectancy to perceive an emotion outweighs the strength of bottom-up perceptual information enabling the discrimination of an emotion. A dichotic listening task was used to examine alternative explanations of valence effects in emotion perception. Emotional sentences (spoken in a happy or sad tone of voice), and morphed-happy and morphed-sad sentences (which blended a neutral version of the sentence with the pitch of the emotion sentence) were paired with neutral versions of each sentence and presented dichotically. A control condition was also used, consisting of two identical neutral sentences presented dichotically, with one channel arriving before the other by 7 ms. In support of the RH hypothesis there was a left ear advantage for the perception of sad and happy emotional sentences. However, morphed sentences showed no ear advantage, suggesting that the RH is specialised for the perception of genuine emotions and that a laterality effect may be a useful tool for the detection of fake emotion. Finally, for the control condition we obtained an interaction between the expected emotion and the effect of ear lead. Participants tended to select the ear that received the sentence first, when they expected a 'sad' sentence, but not when they expected a 'happy' sentence. The results are discussed in relation to the different theoretical explanations of valence laterality effects in emotion perception.     

汉语语调早期加工的脑机制

采用ERP方法, 结合LORETA源定位分析技术, 考察了汉语语调早期自动加工的脑机制。结果发现： (1)对于附着在二声调汉字后的语调, 无论以单字词的形式, 还是以句子的形式呈现, 都没有诱发MMN; (2)当过滤掉实验刺激的言语信息后, 词音高和句子音高条件均诱发了MMN, 且这两个条件下的MMN波幅差异不显著; (3)LORETA分析发现, 句子音高条件在右半球顶叶的多个区域存在显著激活。该结果拓展了以往的研究结论, 为声学假设提供了证据。     

Chickadees fail standardized operant tests for octave equivalence

Octave equivalence occurs when an observer judges notes separated by a doubling in frequency perceptually similar. The octave appears to form the basis of pitch change in all human cultures and thus may be of biological origin. Previously, we developed a nonverbal operant conditioning test of octave generalization and transfer in humans. The results of this testing showed that humans with and without musical training perceive the octave relationship between pitches. Our goal in the current study was to determine whether black-capped chickadees, a North American songbird, perceive octave equivalence. We chose these chickadees because of their reliance on pitch in assessing conspecific vocalizations, our strong background knowledge on their pitch height perception (log-linear perception of frequency), and the phylogenetic disparity between them and humans. Compared to humans, songbirds are highly skilled at using pitch height perception to classify pitches into ranges, independent of the octave. Our results suggest that chickadees used that skill, rather than octave equivalence, to transfer the note-range discrimination from one octave to the next. In contrast, there is evidence that at least some mammals, including humans, do perceive octave equivalence.