Amplitude contour of the delayed signal and interference in delayed auditory feedback tasks.

Howell, Peter; Powell, David J.; Khan, Ian

doi:10.1037/0096-1523.9.5.772

Cited by 44 publications

(100 citation statements)

References 23 publications

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“…First, there was a significant difference in voice amplitude between the delay conditions. This observation is consistent with what has been reported in the delayed auditory feedback literature (see Siegel et al, 1980;Howell et al, 1983;Howell and Archer, 1984;Howell and Powell, 1987). While the airborne feedback was delayed in the 100DL, the speakers' cochleae still received simultaneous bone-conducted sound of the utterances.…”

Section: B Resultssupporting

confidence: 81%

Modulation of auditory-motor learning in response to formant perturbation as a function of delayed auditory feedback

Mitsuya

Munhall

Purcell

2017

The Journal of the Acoustical Society of America

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The interaction of language production and perception has been substantiated by empirical studies where speakers compensate their speech articulation in response to the manipulated sound of their voice heard in real-time as auditory feedback. A recent study by Max and Maffett [(2015). Neurosci. Lett. 591,[25][26][27][28][29] reported an absence of compensation (i.e., auditory-motor learning) for frequency-shifted formants when auditory feedback was delayed by 100 ms. In the present study, the effect of auditory feedback delay was studied when only the first formant was manipulated while delaying auditory feedback systematically. In experiment 1, a small yet significant compensation was observed even with 100 ms of auditory delay unlike the past report. This result suggests that the tolerance of feedback delay depends on different types of auditory errors being processed. In experiment 2, it was revealed that the amount of formant compensation had an inverse linear relationship with the amount of auditory delay. One of the speculated mechanisms to account for these results is that as auditory delay increases, undelayed (and unperturbed) somatosensory feedback is given more preference for accuracy control of vowel formants.

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Section: B Resultssupporting

confidence: 81%

Modulation of auditory-motor learning in response to formant perturbation as a function of delayed auditory feedback

Mitsuya

Munhall

Purcell

2017

The Journal of the Acoustical Society of America

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“…Moreover, Experiment 2 demonstrated disruption when pitch contents of auditory feedback were altered to match past produced events, which contrasts with past research, in which performance was unaffected by manipulations of feedback contents (Finney, 1997;Howell, 1983;Howell & Archer, 1984;Howell & Powell, 1987;Howell et al, 1983). Although other methodological differences may account for discrepancies between the present and past results, Experiment 2 nevertheless provides new evidence that alterations of feedback contents alone can disrupt performance.…”

Section: Discussioncontrasting

confidence: 80%

“…Brown & Boltz, 2002). The failure to connect planning with disruption from phase shifts converges with other claims that asynchronies between actions and perceived events have their effects at an early stage of processing that does not involve cognitive plans (Finney & Warren, 2002;Howell et al, 1983;Repp, 2000Repp, , 2001Repp, , 2002. However, there are a number of alternative reasons why subdividing failed to support the predicted connection between planning and disruption from phase shifts.…”

Section: The Role Of Cognitive Planningsupporting

confidence: 65%

“…The current data do not support the second conclusion, given that alterations of both feedback synchrony and feedback contents elicited disruption. The current manipulations differed from those used in past studies (e.g., Finney, 1997;Howell et al, 1983) in that both alterations resulted from calibrations of feedback timing at different levels of a single timing hierarchy via phase and period shifts. The finding of disruption from altered contents when these alterations result from period shifts, as opposed to randomized pitch contents (Finney, 1997), suggests that timing relationships do lie at the root of DAF disruption examined previously (cf.…”

Section: Links Between Perception and Actionmentioning

confidence: 91%

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Auditory feedback in music performance: Evidence for a dissociation of sequencing and timing.

Pfordresher¹

2003

Journal of Experimental Psychology: Human Perception and Perfor

115

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Four experiments examined temporal relationships between actions and auditory feedback in music performance. Experiment 1 incorporated phase shifts of feedback, which disrupted produced timing but not overall accuracy. Experiment 2 incorporated period shifts of pitch contents for synchronized feedback that primarily disrupted accuracy more than timing. Experiment 3 incorporated combined phase and period shifts, which caused moderate disruption to timing and accuracy and revealed interactive effects of period and phase shifts on production. A 4th experiment included all feedback conditions in the same session to confirm differences across Experiments 1-3. These results are consistent with the view that actions and their perceptual consequences are coordinated in a way that distinguishes timing (phase shifts) from sequencing (period shifts).

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“…Musicians frequently gauge their own performance, making adjustments based on what they hear. Intonation, rhythmic characteristics, and phrase contour are elements of a music performance that musicians refer to immediately when perceiving their own performance (Finney, 1997;Howell, Powell, & Khan, 1983;Mürbe, Pabst, Hofmann, & Sundberg, 2003). These three elements are essential in addressing expressivity and should be acknowledged when collecting self-reporting data from the performer's perspective.…”

Section: Music Performance Expression Rating Measurement Toolsmentioning

confidence: 99%

The effects of projected films on singers’ expressivity in choral performance.

Keown¹

2015

Psychomusicology: Music, Mind, and Brain

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The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments.In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as "Doh" and "Noo." Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. iv A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001).

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Amplitude contour of the delayed signal and interference in delayed auditory feedback tasks.

Cited by 44 publications

References 23 publications

Modulation of auditory-motor learning in response to formant perturbation as a function of delayed auditory feedback

Modulation of auditory-motor learning in response to formant perturbation as a function of delayed auditory feedback

Auditory feedback in music performance: Evidence for a dissociation of sequencing and timing.

The effects of projected films on singers’ expressivity in choral performance.

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