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经验丰富歌手发声的听觉反馈控制的事件相关电位相关性。

Event-related potential correlates of auditory feedback control of vocal production in experienced singers.

机构信息

Department of Rehabilitation Medicine, The First Affiliated Hospital, Sun Yat-sen University.

Department of Music, Guangdong University of Education.

出版信息

Neuroreport. 2020 Mar 4;31(4):325-331. doi: 10.1097/WNR.0000000000001410.

Abstract

Considerable evidence has shown that experienced singers are capable of voluntarily suppressing vocal compensations for consistent pitch perturbations in auditory feedback. Our recent behavioral study found that singers also compensated for brief pitch perturbations to a lesser degree than nonsingers in an involuntary manner. In the present event-related potential study, we investigated the neural correlates of involuntary vocal pitch regulation in experienced singers. All participants were instructed to vocalize the vowel sounds while their voice was unexpectedly shifted in pitch by -50 and -200 cents. The results revealed decreased cortical N1 and P2 responses to pitch perturbations and reduced involuntary vocal compensations for singers when compared to nonsingers. Moreover, larger vocal responses were significantly correlated with smaller cortical P2 responses for nonsingers, whereas this brain-behavior relationship did not exist for singers. These findings demonstrate that the cortical processing of involuntary auditory-motor integration for vocal pitch regulation can be shaped as a function of singing experience, suggesting that experienced singers may be less influenced by auditory feedback and rely more on somatosensory feedback or feedforward control as a consequence of singing training as compared to nonsingers.

摘要

大量证据表明,有经验的歌手能够主动抑制听觉反馈中持续音高干扰的声音补偿。我们最近的行为研究发现,与非歌手相比,歌手在无意识的情况下,对短暂音高干扰的补偿程度也较低。在本事件相关电位研究中,我们研究了有经验歌手无意识的声音音高调节的神经相关性。所有参与者都被要求在声音意外地移低 50 音分和 200 音分的情况下发出元音。结果表明,与非歌手相比,当声音被意外移低时,歌手大脑皮层的 N1 和 P2 对音高干扰的反应减弱,并且对音高的无意识补偿也减少。此外,非歌手的皮质 P2 反应与更大的声音反应呈显著相关,而这种脑-行为关系在歌手身上并不存在。这些发现表明,大脑皮层对声音音高调节的无意识听觉-运动整合的处理可以根据歌唱经验进行塑造,这表明与非歌手相比,有经验的歌手可能较少受到听觉反馈的影响,更多地依赖于躯体感觉反馈或前馈控制,这是由于歌唱训练的结果。

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