Effects of regularity on the processing of sound omission in a tone sequence in musicians and non-musicians

2013 ◽  
Vol 38 (5) ◽  
pp. 2786-2792 ◽  
Author(s):  
Kentaro Ono ◽  
Masao Matsuhashi ◽  
Tatsuya Mima ◽  
Hidenao Fukuyama ◽  
Christian F. Altmann
Keyword(s):  
2015 ◽  
Vol 135 (9) ◽  
pp. 1106-1111
Author(s):  
Tomoki Amemiya ◽  
Takahiro Noda ◽  
Tomoyo I. Shiramatsu ◽  
Ryohei Kanzaki ◽  
Hirokazu Takahashi

2003 ◽  
Vol 7 (1_suppl) ◽  
pp. 85-110 ◽  
Author(s):  
Kari Kallinen ◽  
Niklas Ravaja

We examined the emotional effects of (a) a rising versus a falling chromatic tone sequence in the background of audio news and (b) foreground versus background diatonic and chromatic tone sequences. In experiment one, 26 participants rated audio news messages with rising and falling chromatic background tone sequences on the valence and arousal dimensions. Cardiac activity, electrodermal activity (EDA), and facial muscle activity were also recorded continuously. In experiment two, 24 participants rated six plain tone sequences ( i.e., rising and falling chromatic, major, and minor) and six news messages with the aforementioned tone sequences mixed in the background on the valence and arousal dimensions. In experiment 1, both self-reported arousal and physiological arousal as measured by EDA were higher during the news with a rising-tone sequence compared to those with a falling-tone sequence. In experiment 2, rising-tone sequences prompted both higher arousal and pleasantness ratings. However, the responses were moderated by the type of listening task: foreground listening prompted responses related to musical connotations ( i.e., major tone sequences were rated as most pleasant and minor as most unpleasant), whereas background listening prompted responses dependent on the emotional congruence between the news messages and tone sequences ( i.e., the minor mode versions were rated as most pleasant and the major mode versions as most unpleasant). In addition, level of education-, music listening frequency-, and age-related differences in the responses were found and are discussed.


2021 ◽  
Author(s):  
Stephanie Brandl ◽  
Niels Trusbak Haumann ◽  
Simjon Radloff ◽  
Sven Dähne ◽  
Leonardo Bonetti ◽  
...  

AbstractWe propose here (the informed use) of a customised, data-driven machine-learning pipeline to analyse magnetoencephalography (MEG) in a theoretical source space, with respect to the processing of a regular beat. This hypothesis- and data-driven analysis pipeline allows us to extract the maximally relevant components in MEG source-space, with respect to the oscillatory power in the frequency band of interest and, most importantly, the beat-related modulation of that power. Our pipeline combines Spatio-Spectral Decomposition as a first step to seek activity in the frequency band of interest (SSD, [1]) with a Source Power Co-modulation analysis (SPoC; [2]), which extracts those components that maximally entrain their activity with the given target function, that is here with the periodicity of the beat in the frequency domain (hence, f-SPoC). MEG data (102 magnetometers) from 28 participants passively listening to a 5-min long regular tone sequence with a 400 ms beat period (the “target function” for SPoC) were segmented into epochs of two beat periods each to guarantee a sufficiently long time window. As a comparison pipeline to SSD and f-SpoC, we carried out a state-of-the-art cluster-based permutation analysis (CBPA, [3]). The time-frequency analysis (TFA) of the extracted activity showed clear regular patterns of periodically occurring peaks and troughs across the alpha and beta band (8-20 Hz) in the f-SPoC but not in the CBPA results, and both the depth and the specificity of modulation to the beat frequency yielded a significant advantage. Future applications of this pipeline will address target the relevance to behaviour and inform analogous analyses in the EEG, in order to finally work toward addressing dysfunctions in beat-based timing and their consequences.Author summaryWhen listening to a regular beat, oscillations in the brain have been shown to synchronise with the frequency of that given beat. This phenomenon is called entrainment and has in previous brain-imaging studies been shown in the form of one peak and trough per beat cycle in a range of frequency bands within 15-25 Hz (beta band). Using machine-learning techniques, we designed an analysis pipeline based on Source-Power Co-Modulation (SPoC) that enables us to extract spatial components in MEG recordings that show these synchronisation effects very clearly especially across 8-20 Hz. This approach requires no anatomical knowledge of the individual or even the average brain, it is purely data driven and can be applied in a hypothesis-driven fashion with respect to the “function” that we expect the brain to entrain with and the frequency band within which we expect to see this entrainment. We here apply our customised pipeline using “f-SPoC” to MEG recordings from 28 participants passively listening to a 5-min long tone sequence with a regular 2.5 Hz beat. In comparison to a cluster-based permutation analysis (CBPA) which finds sensors that show statistically significant power modulations across participants, our individually extracted f-SPoC components find a much stronger and clearer pattern of peaks and troughs within one beat cycle. In future work, this pipeline can be implemented to tackle more complex “target functions” like speech and music, and might pave the way toward rhythm-based rehabilitation strategies.


2002 ◽  
Vol 20 (1) ◽  
pp. 51-85 ◽  
Author(s):  
Dirk-Jan Povel ◽  
Erik Jansen

By common assumption, the first step in processing a tonal melody consists in setting up the appropriate metrical and harmonic frames required for the mental representation of the sequence of tones. Focusing on the generation of a harmonic frame, this study aims (a) to discover the factors that facilitate or interfere with the development of a harmonic interpretation, and (b) to test the hypothesis that goodness ratings of tone sequences largely depend on whether the listener succeeds in creating a suitable harmonic interpretation. In two experiments, listeners rated the melodic goodness of selected sequences of 10 and 13 tones and indicated which individual tones seemed not to fit. Results indicate that goodness ratings (a) are higher the more common the induced harmonic progression, (b) are strongly affected by the occurrence and position of nonchord tones: sequences without nonchord tones were rated highest, sequences with anchoring nonchord tones intermediately, and nonanchoring nonchord tones lowest. The explanation offered is compared with predictions derived from other theories, which leads to the conclusion that when a tone sequence is perceived as a melody, it is represented in terms of its underlying harmony, in which exact pitch-height characteristics play a minor role.


Nature ◽  
2000 ◽  
Vol 404 (6773) ◽  
pp. 80-84 ◽  
Author(s):  
Aniruddh D. Patel ◽  
Evan Balaban

2006 ◽  
Vol 23 (4) ◽  
pp. 345-360 ◽  
Author(s):  
Tonya R. Bergeson ◽  
Sandra E. Trehub

We explored 9-month-old infants perception of auditory temporal sequences in a series of three experiments. In Experiment 1, we presented some infants with tone sequences that were expected to induce a strongly metric framework and others with a sequence that was expected to induce a weakly metric framework or no such framework. Infants detected a change in the context of the former sequences but not in the latter sequence. In Experiment 2, infants listened to a tone sequence with temporal cues to duple or triple meter. Infants detected a change in the pattern with duple meter but not in the pattern with triple meter. In Experiment 3, infants listened to a tone sequence with harmonic cues to duple or triple meter. As in Experiment 2, infants detected a change in the context of the duple meter pattern but not in the context of triple meter. These findings are consistent with processing predispositions for auditory temporal sequences that induce a metric framework, particularly those in duple meter.


Perception ◽  
10.1068/p5035 ◽  
2003 ◽  
Vol 32 (11) ◽  
pp. 1393-1402 ◽  
Author(s):  
Robert P Carlyon ◽  
Christopher J Plack ◽  
Deborah A Fantini ◽  
Rhodri Cusack

Carlyon et al (2001 Journal of Experimental Psychology: Human Perception and Performance27 115–127) have reported that the buildup of auditory streaming is reduced when attention is diverted to a competing auditory stimulus. Here, we demonstrate that a reduction in streaming can also be obtained by attention to a visual task or by the requirement to count backwards in threes. In all conditions participants heard a 13 s sequence of tones, and, during the first 10 s saw a sequence of visual stimuli containing three, four, or five targets. The tone sequence consisted of twenty repeating triplets in an ABA–ABA … order, where A and B represent tones of two different frequencies. In each sequence, three, four, or five tones were amplitude modulated. During the first 10 s of the sequence, participants either counted the number of visual targets, counted the number of (modulated) auditory targets, or counted backwards in threes from a specified number. They then made an auditory-streaming judgment about the last 3 s of the tone sequence: whether one or two streams were heard. The results showed more streaming when participants counted the auditory targets (and hence were attending to the tones throughout) than in either the ‘visual’ or ‘counting-backwards’ conditions.


Linguistica ◽  
2012 ◽  
Vol 52 (1) ◽  
pp. 169-186 ◽  
Author(s):  
Jana Volk

The paper presents ToBI, a transcription method for prosodic annotation. ToBI is an acronym for Tones and Breaks Indices which first denoted an intonation system developed in the 1990s for annotating intonation and prosody in the database of spoken Mainstream American English. The MAE_ToBI transcription originally consists of six parts – the audio recording of the utterance, the fundamental frequency contour and four parallel tiers for the transcription of tone sequence, ortographic transcription, indication of break indices between words and for additional observations. The core of the transcription, i. e. of the phonological analyses of the intonation pattern, is represented by the tone tier where tonal variation is transcribed by using labels for high tone and low tone where a tone can appear as a pitch accent, phrase accent and boundary tone. Due to its simplicity and flexibility, the system soon began to be used for the prosodic annotation of other variants of English and many other languages, as well as in different non-linguistic fields, leading to the creation of many new ToBI systems adapted to individual languages and dialects. The author is the first to use this method for Slovene, more precisely, for the intonational transcription and analysis of the corpus of spontaneous speech of Slovene Istria, in order to investigate if the ToBi system is useful for the annotation of Slovene and its regional variants.  


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