Superior voice timbre processing in musicians

Chartrand, Jean-Pierre; Belin, Pascal

doi:10.1016/j.neulet.2006.06.053

Cited by 95 publications

(80 citation statements)

References 13 publications

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“…On top of enhanced processing pertaining to pitch, musicians are found to be more sensitive to timbre than non-musicians (Chartrand and Belin, 2006), an acoustic property assumed to contribute to voice quality and emotion in speech (Juslin and Laukka, 2003). Meanwhile, musicians are also reported to outperform non-musicians in other language tasks such as second language production and perception, pitch memory, verbal memory, and perhaps segmental processing (Bidelman et al, 2013;Chan et al, 1998;Slevc and Miyake, 2006;Marie et al, 2011; although see Delogu et al, 2010).…”

Section: A the Impact Of Musical Training On Pitch And Talker Identimentioning

confidence: 99%

The impact of musical training and tone language experience on talker identification

Xie

Myers

2015

The Journal of the Acoustical Society of America

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Listeners can use pitch changes in speech to identify talkers. Individuals exhibit large variability in sensitivity to pitch and in accuracy perceiving talker identity. In particular, people who have musical training or long-term tone language use are found to have enhanced pitch perception. In the present study, the influence of pitch experience on talker identification was investigated as listeners identified talkers in native language as well as non-native languages. Experiment 1 was designed to explore the influence of pitch experience on talker identification in two groups of individuals with potential advantages for pitch processing: musicians and tone language speakers. Experiment 2 further investigated individual differences in pitch processing and the contribution to talker identification by testing a mediation model. Cumulatively, the results suggested that (a) musical training confers an advantage for talker identification, supporting a shared resources hypothesis regarding music and language and (b) linguistic use of lexical tones also increases accuracy in hearing talker identity. Importantly, these two types of hearing experience enhance talker identification by sharpening pitch perception skills in a domain-general manner.

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Section: A the Impact Of Musical Training On Pitch And Talker Identimentioning

confidence: 99%

The impact of musical training and tone language experience on talker identification

Xie

Myers

2015

The Journal of the Acoustical Society of America

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“…It is widely accepted that musicians perform better in auditory tasks such as pitch or timbre detection in a musical context (see also Behavioral Data of this study). In addition, an increasing number of studies show evidence that cognitive processes beyond music, such as vocal timbre processing (Chartrand & Belin, 2006) or pitch detection in language (Magne, Schon, & Besson, 2006), profit from musical training as well.…”

Section: Aep Differences Between Musicians and Controlsmentioning

confidence: 99%

Enhancement of Auditory-evoked Potentials in Musicians Reflects an Influence of Expertise but not Selective Attention

Baumann¹,

Meyer²,

Jäncke³

2008

Journal of Cognitive Neuroscience

102

105

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Instrumental tones and, in some instances, simple sine-wave tones were shown to evoke stronger auditory-evoked responses in musicians compared to nonmusicians. This effect was taken as an example for plasticity in the auditory cortex elicited by training. To date, however, it is unknown whether an enlarged cortical representation for (instrumental) tones or increased neuronal activity provoked by focused attention in musicians accounts for the reported difference. In an attempt to systematically investigate the influence of attention on the processing of simple sine wave and instrumental tones, we compared auditory-evoked potentials recorded from musicians and nonmusicians. During the electroencephalogram recording, the participants were involved in tasks requiring selective attention to specific sound features such as pitch or timbre. Our results demonstrate that the effect of selective attention on the auditory event-related potential (AEP) has a different time course and shows a different topography than the reproduced effect of music expertise at the N1 component or the previously demonstrated effect at the P2 component. N1 peak potentials were unaffected by attention modulation. These results indicate that the effect of music expertise, which was traced by current density mapping to the auditory cortex, is not primarily caused by selective attention, and it supports the view that increased AEPs on tones in musicians reflect an enlarged neuronal representation for specific sound features of these tones. However, independent from the N1–P2 complex, attention evoked an Nd-like negative component in musicians but not in nonmusicians, which suggests that plasticity also affects top–down processes.

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“…There is evidence that environmental factors contribute to improvement in the ability to recognize voices; for instance, extensive musical training seems to be related to significantly higher accuracy in discriminating different voice timbres (Chartrand & Belin, 2006;Chartrand, Peretz, & Belin, 2008). Furthermore, cases of developmental phonagnosia have recently been described, pointing out that in the general population there could be a specific deficit for the recognition of vocal stimuli which does not result from a neurological lesion (Garrido et al, 2009;Herald, Xu, Biederman, Amir, & Shilowich, 2014;Roswandowitz et al, 2014).…”

Section: Introductionmentioning

confidence: 99%

The Glasgow Voice Memory Test: Assessing the ability to memorize and recognize unfamiliar voices

et al. 2016

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One thousand one hundred and twenty subjects as well as a developmental phonagnosic subject (KH) along with age-matched controls performed the Glasgow Voice Memory Test, which assesses the ability to encode and immediately recognize, through an old/new judgment, both unfamiliar voices (delivered as vowels, making language requirements minimal) and bell sounds. The inclusion of non-vocal stimuli allows the detection of significant dissociations between the two categories (vocal vs. non-vocal stimuli). The distributions of accuracy and sensitivity scores (d') reflected a wide range of individual differences in voice recognition performance in the population. As expected, KH showed a dissociation between the recognition of voices and bell sounds, her performance being significantly poorer than matched controls for voices but not for bells. By providing normative data of a large sample and by testing a developmental phonagnosic subject, we demonstrated that the Glasgow Voice Memory Test, available online and accessible from all over the world, can be a valid screening tool (~5 min) for a preliminary detection of potential cases of phonagnosia and of "super recognizers" for voices.

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Superior voice timbre processing in musicians

Cited by 95 publications

References 13 publications

The impact of musical training and tone language experience on talker identification

The impact of musical training and tone language experience on talker identification

Enhancement of Auditory-evoked Potentials in Musicians Reflects an Influence of Expertise but not Selective Attention

The Glasgow Voice Memory Test: Assessing the ability to memorize and recognize unfamiliar voices

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