Laryngeal electromyographic responses to perturbations in voice pitch auditory feedback.
Ontology highlight
ABSTRACT:
SUBMITTER: Liu H
PROVIDER: S-EPMC3135150 | biostudies-other | 2011 Jun
REPOSITORIES: biostudies-other
Similar Datasets
Project description:The present study describes a technique for analysis of vocal responses to auditory feedback pitch perturbations in which individual trials are first sorted according to response direction and then separately averaged in groups of upward or downward responses. In experiment 1, the stimulus direction was predictable (all upward) but magnitude was randomized between +100, +200, or +500 cents (unpredictable). Results showed that pitch-shift stimuli (PSS) of +100 and +200 cents elicited significantly larger opposing (compensatory) responses than +500 cent stimuli, but no such effect was observed for "following" responses. In experiment 2, subjects were tested in three blocks of trials where for the first two, PSS magnitude and direction were predictable (block 1+100 and block 2-100 cents), and in block 3, the magnitude was predictable (±100 cents) but direction was randomized (upward or downward). Results showed there were slightly more opposing than following responses for predictable PSS direction, but randomized directions led to significantly more opposing than following responses. Results suggest that predictability of stimulus direction and magnitude can modulate vocal responses to feedback pitch perturbations. The function and causes of the opposing and following responses are unknown, but there may be two different neural mechanisms involved in their production.
| S-EPMC3477187 | biostudies-other
Project description:The purpose of this cross-language study was to examine whether the online control of voice fundamental frequency (F(0)) during vowel phonation is influenced by language experience. Native speakers of Cantonese and Mandarin, both tonal languages spoken in China, participated in the experiments. Subjects were asked to vocalize a vowel sound /u/at their comfortable habitual F(0), during which their voice pitch was unexpectedly shifted (± 50, ± 100, ± 200, or ± 500 cents, 200 ms duration) and fed back instantaneously to them over headphones. The results showed that Cantonese speakers produced significantly smaller responses than Mandarin speakers when the stimulus magnitude varied from 200 to 500 cents. Further, response magnitudes decreased along with the increase in stimulus magnitude in Cantonese speakers, which was not observed in Mandarin speakers. These findings suggest that online control of voice F(0) during vocalization is sensitive to language experience. Further, systematic modulations of vocal responses across stimulus magnitude were observed in Cantonese speakers but not in Mandarin speakers, which indicates that this highly automatic feedback mechanism is sensitive to the specific tonal system of each language.
| S-EPMC3037774 | biostudies-other
Project description:The pitch perturbation technique is a validated technique that has been used for over 30 years to understand how people control their voice. This technique involves altering a person's voice pitch in real-time while they produce a vowel (commonly, a prolonged /a/ sound). Although post-task changes in the voice have been observed in several studies (e.g., a change in mean fo across the duration of the experiment), the potential for using the pitch perturbation technique as a training tool for voice pitch regulation and/or modification has not been explored. The present study examined changes in event related potentials (ERPs) and voice pitch in three groups of subjects due to altered voice auditory feedback following a brief, four-day training period. Participants in the opposing group were trained to change their voice fo in the opposite direction of a pitch perturbation stimulus. Participants in the following group were trained to change their voice fo in the same direction as the pitch perturbation stimulus. Participants in the non-varying group did not voluntarily change their pitch, but instead were asked to hold their voice constant when they heard pitch perturbations. Results showed that all three types of training affected the ERPs and the voice pitch-shift response from pre-training to post-training (i.e., "hold your voice pitch steady" task; an indicator of voice pitch regulation). Across all training tasks, the N1 and P2 components of the ERPs occurred earlier, and the P2 component of the ERPs occurred with larger amplitude post-training. The voice responses also occurred earlier but with a smaller amplitude following training. These results demonstrate that participation in pitch-shifted auditory feedback tasks even for brief periods of time can modulate the automatic tendency to compensate for alterations in voice pitch feedback and has therapeutic potential.
| S-EPMC9858400 | biostudies-literature
Project description:Auditory-guided vocal learning is a mechanism that operates both in humans and other animal species making us capable to imitate arbitrary sounds. Both auditory memories and auditory feedback interact to guide vocal learning. This may explain why it is easier for humans to imitate the pitch of a human voice than the pitch of a synthesized sound. In this study, we compared the effects of two different feedback modalities in learning pitch-matching abilities using a synthesized pure tone in 47 participants with no prior music experience. Participants were divided into three groups: a feedback group (N = 15) receiving real-time visual feedback of their pitch as well as knowledge of results; an equal-timbre group (N = 17) receiving additional auditory feedback of the target note with a similar timbre to the instrument being used (i.e., violin or human voice); and a control group (N = 15) practicing without any feedback or knowledge of results. An additional fourth group of violin experts performed the same task for comparative purposes (N = 15). All groups were posteriorly evaluated in a transfer phase. Both experimental groups (i.e., the feedback and equal-timbre groups) improved their intonation abilities with the synthesized sound after receiving feedback. Participants from the equal-timber group seemed as capable as the feedback group of producing the required pitch with the voice after listening to the human voice, but not with the violin (although they also showed improvement). In addition, only participants receiving real-time visual feedback learned and retained in the transfer phase the mapping between the synthesized pitch and its correspondence with the produced vocal or violin pitch. It is suggested that both the effect of an objective external reward, together with the experience of exploring the pitch space with their instrument in an explicit manner, helped participants to understand how to control their pitch production, strengthening their schemas, and favoring retention.
| S-EPMC8297736 | biostudies-literature
Project description:Monitoring voice pitch is a fine-tuned process in daily conversations as conveying accurately the linguistic and affective cues in a given utterance depends on the precise control of phonation and intonation. This monitoring is thought to depend on whether the error is treated as self-generated or externally-generated, resulting in either a correction or inflation of errors. The present study reports on two separate paradigms of adaptation to altered feedback to explore whether participants could behave in a more cohesive manner once the error is of comparable size perceptually. The vocal behavior of normal-hearing and fluent speakers was recorded in response to a personalized size of pitch shift versus a non-specific size, one semitone. The personalized size of shift was determined based on the just-noticeable difference in fundamental frequency (F0) of each participant's voice. Here we show that both tasks successfully demonstrated opposing responses to a constant and predictable F0 perturbation (on from the production onset) but these effects barely carried over once the feedback was back to normal, depicting a pattern that bears some resemblance to compensatory responses. Experiencing a F0 shift that is perceived as self-generated (because it was precisely just-noticeable) is not enough to force speakers to behave more consistently and more homogeneously in an opposing manner. On the contrary, our results suggest that the type of the response as well as the magnitude of the response do not depend in any trivial way on the sensitivity of participants to their own voice pitch. Based on this finding, we speculate that error correction could possibly occur even with a bionic ear, typically even when F0 cues are too subtle for cochlear implant users to detect accurately.
| S-EPMC7544828 | biostudies-literature
Project description:Previous research has shown that vocal errors can be simulated using a pitch perturbation technique. Two types of responses are observed when subjects are asked to ignore changes in pitch during a steady vowel production, a compensatory response countering the direction of the perceived change in pitch and a following response in the same direction as the pitch perturbation. The present study investigated the nature of these responses by asking subjects to volitionally change their voice fundamental frequency either in the opposite direction ("opposing" group) or the same direction ("following" group) as the pitch shifts (±100 cents, 1000 ms) presented during the speaker's production of an /a/ vowel. Results showed that voluntary responses that followed the stimulus directions had significantly shorter latencies (150 ms) than opposing responses (360 ms). In addition, prior to the slower voluntary opposing responses, there were short latency involuntary responses that followed the stimulus direction. These following responses may involve mechanisms of imitation or vocal shadowing of acoustical stimuli when subjects are predisposed to respond to a change in frequency of a sound. The slower opposing responses may represent a control strategy that requires monitoring and correcting for errors between the feedback signal and the intended vocal goal.
| S-EPMC4032396 | biostudies-other
Project description:BackgroundReflexive pitch perturbation experiments are commonly used to investigate the neural mechanisms underlying vocal motor control. In these experiments, the fundamental frequency-the acoustic correlate of pitch-of a speech signal is shifted unexpectedly and played back to the speaker via headphones in near real-time. In response to the shift, speakers increase or decrease their fundamental frequency in the direction opposing the shift so that their perceived pitch is closer to what they intended. The goal of the current work is to develop a quantitative model of responses to reflexive perturbations that can be interpreted in terms of the physiological mechanisms underlying the response and that captures both group-mean data and individual subject responses.MethodsA model framework was established that allowed the specification of several models based on Proportional-Integral-Derivative and State-Space/Directions Into Velocities of Articulators (DIVA) model classes. The performance of 19 models was compared in fitting experimental data from two published studies. The models were evaluated in terms of their ability to capture both population-level responses and individual differences in sensorimotor control processes.ResultsA three-parameter DIVA model performed best when fitting group-mean data from both studies; this model is equivalent to a single-rate state-space model and a first-order low pass filter model. The same model also provided stable estimates of parameters across samples from individual subject data and performed among the best models to differentiate between subjects. The three parameters correspond to gains in the auditory feedback controller's response to a perceived error, the delay of this response, and the gain of the somatosensory feedback controller's "resistance" to this correction. Excellent fits were also obtained from a four-parameter model with an additional auditory velocity error term; this model was better able to capture multi-component reflexive responses seen in some individual subjects.ConclusionOur results demonstrate the stereotyped nature of an individual's responses to pitch perturbations. Further, we identified a model that captures population responses to pitch perturbations and characterizes individual differences in a stable manner with parameters that relate to underlying motor control capabilities. Future work will evaluate the model in characterizing responses from individuals with communication disorders.
| S-EPMC9666385 | biostudies-literature
Project description:The perturbation of acoustic features in a speaker's auditory feedback elicits rapid compensatory responses that demonstrate the importance of auditory feedback for control of speech output. The current study investigated whether responses to a perturbation of speech auditory feedback vary depending on the importance of the perturbed feature to perception of the vowel being produced. Auditory feedback of speakers' first formant frequency (F1) was shifted upward by 130 mels in randomly selected trials during the speakers' production of consonant-vowel-consonant words containing either the vowel /Λ/ or the vowel /ɝ/. Although these vowels exhibit comparable F1 frequencies, the contribution of F1 to perception of /Λ/ is greater than its contribution to perception of /ɝ/. Compensation to the F1 perturbation was observed during production of both vowels, but compensatory responses during /Λ/ occurred at significantly shorter latencies and exhibited significantly larger magnitudes than compensatory responses during /ɝ/. The finding that perturbation of vowel F1 during /Λ/ and /ɝ/ yielded compensatory differences that mirrored the contributions of F1 to perception of these vowels indicates that some portion of feedback control is weighted toward monitoring and preservation of acoustic cues for speech perception.
| S-EPMC3745484 | biostudies-other
Project description:Considerable evidence has shown that unexpected alterations in auditory feedback elicit fast compensatory adjustments in vocal production. Although generally thought to be involuntary in nature, whether these adjustments can be influenced by attention remains unknown. The present event-related potential (ERP) study aimed to examine whether neurobehavioral processing of auditory-vocal integration can be affected by attention. While sustaining a vowel phonation and hearing pitch-shifted feedback, participants were required to either ignore the pitch perturbations, or attend to them with low (counting the number of perturbations) or high attentional load (counting the type of perturbations). Behavioral results revealed no systematic change of vocal response to pitch perturbations irrespective of whether they were attended or not. At the level of cortex, there was an enhancement of P2 response to attended pitch perturbations in the low-load condition as compared to when they were ignored. In the high-load condition, however, P2 response did not differ from that in the ignored condition. These findings provide the first neurophysiological evidence that auditory-motor integration in voice control can be modulated as a function of attention at the level of cortex. Furthermore, this modulatory effect does not lead to a general enhancement but is subject to attentional load.
| S-EPMC4295089 | biostudies-other
Project description:Pitch is a fundamental percept with a complex relationship to the associated sound structure. Pitch perception requires brain representation of both the structure of the stimulus and the pitch that is perceived. We describe direct recordings of local field potentials from human auditory cortex made while subjects perceived the transition between noise and a noise with a regular repetitive structure in the time domain at the millisecond level called regular-interval noise (RIN). RIN is perceived to have a pitch when the rate is above the lower limit of pitch, at approximately 30 Hz. Sustained time-locked responses are observed to be related to the temporal regularity of the stimulus, commonly emphasized as a relevant stimulus feature in models of pitch perception (e.g., [1]). Sustained oscillatory responses are also demonstrated in the high gamma range (80-120 Hz). The regularity responses occur irrespective of whether the response is associated with pitch perception. In contrast, the oscillatory responses only occur for pitch. Both responses occur in primary auditory cortex and adjacent nonprimary areas. The research suggests that two types of pitch-related activity occur in humans in early auditory cortex: time-locked neural correlates of stimulus regularity and an oscillatory response related to the pitch percept.
| S-EPMC3221038 | biostudies-literature