Schön Daniele, Besson Mireille
INCM-CNRS, Marseille, France.
J Cogn Neurosci. 2005 Apr;17(4):694-705. doi: 10.1162/0898929053467532.
The general aim of this experiment was to investigate the processes involved in reading musical notation and to study the relationship between written music and its auditory representation. It was of main interest to determine whether musicians are able to develop expectancies for specific tonal or atonal auditory events based on visual score alone. Can musicians expect an "atonal" event or will it always sound odd? Moreover, it was of interest to determine whether the modulations in amplitude of a late positive component (P600) described in previous studies are linked to a general mismatch detection process or to specific musical expectancies. Results showed clearly that musicians are able to expect tonal auditory endings based on visual information and are also able to do so for atonal endings, although to a smaller extent. Strong interactions seem to exist between visual and auditory musical codes and visual information seems to influence auditory processing as early as 100 msec. These results are directly relevant for the question of whether music reading is actually music perception.
本实验的总体目标是研究阅读乐谱所涉及的过程,并探究书面音乐与其听觉表现之间的关系。主要关注点在于确定音乐家是否能够仅凭视觉乐谱就对特定的调性或无调性听觉事件形成预期。音乐家能否预期一个“无调性”事件,还是它听起来总会很奇怪?此外,确定先前研究中描述的晚期正成分(P600)的振幅调制是否与一般的失配检测过程或特定的音乐预期相关也很有意思。结果清楚地表明,音乐家能够基于视觉信息预期调性听觉结尾,对于无调性结尾也能做到,尽管程度较小。视觉和听觉音乐代码之间似乎存在强烈的相互作用,视觉信息似乎早在100毫秒就会影响听觉处理。这些结果与阅读音乐是否实际上就是音乐感知这一问题直接相关。