Off the beaten track: Freud,sound and music.Statement of a problem and some historico‐critical notes1

The authors note that the element of sound and music has no place in the model of mental functioning bequeathed to us by Freud, which is dominated by the visual and the representational. They consider the reasons for this exclusion and its consequences, and ask whether the simple biographical explanation offered by Freud himself is acceptable. This contribution reconstructs the historical and cultural background to that exclusion, cites some relevant emblematic passages, and discusses Freud’s position on music and on the aesthetic experience in general. Particular attention is devoted to the relationship between Freud and Lipps, which is important both for the originality of Lipps’s thinking in the turn‐of‐the‐century debate and for his ideas on the musical aspects of the foundations of psychic life, at which Freud ‘stopped’, as he himself wrote. Moreover, the shade of Lipps accompanied Freud throughout his scientific career from 1898 to 1938. Like all foundations, that of psychoanalysis was shaped by a system of inclusions and exclusions. The exclusion of the element of sound and music is understandable in view of the cultural background to the development of the concepts of the representational unconscious and infantile sexuality. While the consequences have been far reaching, the knowledge accumulated since that exclusion enables us to resume, albeit on a different basis, the composition of the ‘unfinished symphony’ of the relationship between psychoanalysis and music.     

Characteristics of the rhythmic organization of vocal babbling: implications for an amodal linguistic rhythm

Vocal babbling involves production of rhythmic sequences of a mouth close–open alternation giving the perceptual impression of a sequence of consonant–vowel syllables. Petitto and co-workers have argued vocal babbling rhythm is the same as manual syllabic babbling rhythm, in that it has a frequency of 1 cycle per second. They also assert that adult speech and sign language display the same frequency. However, available evidence suggests that the vocal babbling frequency approximates 3 cycles per second. Both adult spoken language and sign language show higher frequencies than babbling in their respective modalities. No information is currently available on the basic rhythmic parameter of intercyclical variability in either modality. A study of reduplicative babbling by 4 infants and 4 adults producing reduplicated syllables confirms the 3 per second vocal babbling rate, as well as a faster rate in adults, and provides new information on intercyclical variability.     

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.     

EEG mu rhythm and imitation impairments in individuals with autism spectrum disorder

Imitation ability has consistently been shown to be impaired in individuals with autism. A dysfunctional execution/observation matching system has been proposed to account for this impairment. The EEG mu rhythm is believed to reflect an underlying execution/observation matching system. This study investigated evidence of differential mu rhythm attenuation during the observation, execution, and imitation of movements and examined its relation to behaviorally assessed imitation abilities. Fourteen high-functioning adults with autism spectrum disorder (ASD) and 15 IQ- and age-matched typical adults participated. On the behavioral imitation task, adults with ASD demonstrated significantly poorer performance compared to typical adults in all domains of imitation ability. On the EEG task, both groups demonstrated significant attenuation of the mu rhythm when executing an action. However, when observing movement, the individuals with ASD showed significantly reduced attenuation of the mu wave. Behaviorally assessed imitation skills were correlated with degree of mu wave attenuation during observation of movement. These findings suggest that there is execution/observation matching system dysfunction in individuals with autism and that this matching system is related to degree of impairment in imitation abilities.     

音乐时间加工的影响因素

音乐的时间维度在音乐艺术中具有重要的作用。已有研究表明, 对音乐时间维度的加工受制于许多方面, 一方面, 音乐构成要素的特征影响着人们对音乐时间的加工; 另一方面, 听者的年龄、注意、工作记忆、音乐训练以及对音乐的熟悉性等因素也影响着他们对音乐时间加工的深度和广度。未来的研究应进一步确定音乐时间加工的影响因素及其相对重要性, 并对音乐时间加工中基因与环境的关系以及发展的敏感期等问题进行研究。     

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。     

时间期待的认知与神经机制

时间期待是指个体利用环境中的时间信息预测目标刺激何时出现的能力。相关的认知模型可以分为两类：一类侧重于解释时间期待的形成过程, 如痕迹条件反射模型、双加工模型、动态注意模型、时间定向理论等; 另一类侧重于解释时间期待的更新过程, 如策略模型和时间再定位模型等。不同类型的时间期待激活的脑区不同, 表明时间期待的产生和更新过程存在分离：期待的产生激活与运动有关的左侧脑区, 而期待的更新激活与控制有关的右侧脑区。     

皮质醇日常节律与儿童问题行为及心理社会因素的关系

HPA轴(下丘脑?垂体?肾上腺皮质轴, hypothalamic-pituitary-adrenal cortex axis)是人体应对压力的重要神经内分泌系统, 其终产物皮质醇常作为测量压力的生物学指标。目前的研究多通过皮质醇日常节律表示静息状态下HPA轴的活动, 而日常节律因其较高的稳定性和可靠性成为儿童生理健康评估的最佳指标。儿童期迅速发育的神经内分泌系统与儿童的行为相互作用, 并受到多种心理社会因素的影响。以往研究主要关注皮质醇日常节律与儿童问题行为及心理社会因素的关系, 未来研究应讨论逆境条件下影响儿童成长的危险性因素和保护性因素, 并探索环境对儿童行为影响可能存在的内分泌机制。     

不同感觉通道的节奏感知及其交互作用

节奏感知是人类独有的认知现象, 听觉在节奏加工中具有优势, 声音节奏可以更好地与肢体运动同步, 但视觉和触觉通道在节奏感知上也有着各自特点并存在广泛的交互作用。视觉通道的节奏感知较弱, 与听觉节奏同时呈现时会受到时间定位上的拉扯, 但通过加入运动信息和增强后天经验可以得到强化; 节奏刺激可以调节注意在时间上的分配使其同步化, 这种调节作用可以单通道或者跨通道地出现; 触动觉与听觉联系紧密, 人们可以通过听触通道的整合对节奏进行高级加工。     

“Cuts in Action”: A High‐Density EEG Study Investigating the Neural Correlates of Different Editing Techniques in Film

In spite of their striking differences with real‐life perception, films are perceived and understood without effort. Cognitive film theory attributes this to the system of continuity editing, a system of editing guidelines outlining the effect of different cuts and edits on spectators. A major principle in this framework is the 180° rule, a rule recommendation that, to avoid spectators’ attention to the editing, two edited shots of the same event or action should not be filmed from angles differing in a way that expectations of spatial continuity are strongly violated. In the present study, we used high‐density EEG to explore the neural underpinnings of this rule. In particular, our analysis shows that cuts and edits in general elicit early ERP component indicating the registration of syntactic violations as known from language, music, and action processing. However, continuity edits and cuts‐across the line differ from each other regarding later components likely to be indicating the differences in spatial remapping as well as in the degree of conscious awareness of one's own perception. Interestingly, a time–frequency analysis of the occipital alpha rhythm did not support the hypothesis that such differences in processing routes are mainly linked to visual attention. On the contrary, our study found specific modulations of the central mu rhythm ERD as an indicator of sensorimotor activity, suggesting that sensorimotor networks might play an important role. We think that these findings shed new light on current discussions about the role of attention and embodied perception in film perception and should be considered when explaining spectators’ different experience of different kinds of cuts.