Multi-Encoding for Pitch Information of Tone Sequences

This study was designed to investigate the possibilities that subjects would visualize an auditory contour as a visual contour (visual imagery) to encode pitch information of tone sequences (Experiment 1), and that subjects would be motivated to attempt to engage in covert rehearsal with multi-code (Experiment 2). The findings from these experiments suggest that: (a) Whereas the highly musically trained subjects were able to encode pitches as accurate notes on a staff, the less well musically trained subjects encoded the pitch sequence as a contour. It is quite evident that there is an intermodal analogy between the perception of pitch relationships and that of relationships in visual space. (b) Pitch rehearsal of auditory information along with note names (dual-code) and staff notation accompanied by pitch rehearsal with note names (triple-code) were the most effective strategies for highly trained subjects with pitches of tonal sequences; melodic contour accompanied by pitch rehearsal (dual-code) was used by highly trained subjects with atonal sequences and by less well trained subjects with both types of sequences.     

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。     

Memory for vocal tempo and pitch

Two experiments examined the ability to remember the vocal tempo and pitch of different individuals, and the way this information is encoded into the cognitive system. In both studies, participants engaged in an initial familiarisation phase while attending was systematically directed towards different aspects of speakers’ voices. Afterwards, they received a tempo or pitch recognition task. Experiment 1 showed that tempo and pitch are both incidentally encoded into memory at levels comparable to intentional learning, and no performance deficit occurs with divided attending. Experiment 2 examined the ability to recognise pitch or tempo when the two dimensions co-varied and found that the presence of one influenced the other: performance was best when both dimensions were positively correlated with one another. As a set, these findings indicate that pitch and tempo are automatically processed in a holistic, integral fashion [Garner, W. R. (1974). The processing of information and structure. Potomac, MD: Erlbaum.] which has a number of cognitive implications.     

Auditory statistical learning: predictive frequency information affects the deployment of contextually mediated attentional resources on perceptual tasks

Statistical learning is a general phenomenon in which environmental regularities are implicitly acquired through repeated exposure to those environments. Sometimes, that information can be utilised to affect various aspects of cognitive performance (e.g. reaction time) on tasks that utilise selective attention (e.g. visual search). In the current study, we examined the effect of passively listening to predictive auditory contexts in facilitating attention to a certain frequency or frequency range. In doing so, we found that there is a general tendency for attentional resources to be negatively affected when the context sequences are made novel after context–target associations have been formed (Experiment 1), and when the context no longer reliably cues the previous target (Experiment 2). The experiments are framed to contrast Associative Learning and Memory Hypothesis perspectives.     

弱智儿童自发性话语中的情感韵律研究

本文用提取声学参数的方法,采用故事讲述任务对弱智儿童自发性话语中的情感韵律进行研究。通过与两组典型儿童-实际年龄匹配组和语言能力匹配组进行比较,探究了弱智儿童自发性话语中情感韵律的表达情况。结果发现：（1）弱智儿童的情感韵律存在一定程度的损伤,在音高范围和元音时长上均有表现;（2）弱智儿童的情感韵律独立于词汇和句法,具有模块性。     

音乐与语言的关系：来自句法、语义与音调节奏感知的神经活动证据

音乐和语言加工神经基础的关系研究,近年来发展迅速,获得了越来越多的关注。“共享结构整合资源假说”主张音乐的句法加工和语言的句法加工具有较大程度的神经资源的共享。在听觉语言实验中反映句法违例的ERP ELAN与音乐句法违例引发的ERAN极为相似,唯一的区别仅在于它们的分布有所不同——ERAN就像是一个两半球对称的ELAN。而且ERAN的引发不受是否接受过音乐训练这一因素的影响,虽然音乐人被试引发的ERAN波幅更大。一些研究发现音乐语义加工的神经基础为N400和N500。前者可以由音乐和语言两种刺激引发,后者只能由音乐意义的加工引发。然而,音乐的音调感知和语言的音调感知是否共享了神经资源,却还没有确定的结论。     

音乐绝对音高信息加工的脑机制

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。     

What Can Experiments Reveal About the Origins of Music?

ABSTRACT— The origins of music have intrigued scholars for thousands of years. In this article I discuss the role of experiments in discussions of these issues. I argue that potentially useful kinds of evidence are those that address the innateness and the specificity of different components of musical behavior. At present there is some evidence for innate influences on music, but little evidence for capacities that are clearly specific to music. Although future experiments could potentially alter this picture, there is currently little unambiguous support for the notion that music is an adaptation.     

Brain Science and the Biology of Belief: A Theological Response

Exploration of brain pathways involved in religious experience has been the focus of research by Andrew Newberg and colleagues. Although the import of this work sheds new light on the human capacity to experience divine reality, the theological implications drawn from this research are vague and lack an appropriate methodology to provide critical distinctions. This paper offers a theological response to Newberg's work by highlighting several aspects of this research including the relationship between theological judgments and empirical observations, the uniqueness of human transcendence, and the appropriateness of measuring mystical experience.     

言语中的音高信息声学语音学加工的大脑偏侧化

旨在探讨言语中音高信息自下而上的声学语音学加工的神经机制和大脑偏侧化.发现,被动听和主动判断任务分别激活了颞叶和额叶,激活在颞极、颞上回和额下回眶部表现出明显的右侧优势.结果表明,对言语中音高信息自下而上的声学语音学加工主要是右脑的功能,言语与非言语信号的音高信息可能有相似的加工机制,支持Gandour等提出的理论.