Tunes and Tones: Music, Language, and Inhibitory Control

2018 ◽  
Vol 18 (1-2) ◽  
pp. 104-123
Author(s):  
Robert E. Graham ◽  
Usha Lakshmanan
Keyword(s):  
Inhibitory Control ◽  
Pitch Contour ◽  
Musical Experience ◽  
Lexical Tone ◽  
Cognitive Mechanisms ◽  
Tone Language ◽  
Cognitive Benefits ◽  
Pitch Contours ◽  
English Speaking ◽  
Stroop Tasks

Abstract A debate is underway regarding the perceptual and cognitive benefits of bilingualism and musical experience. This study contributes to the debate by investigating auditory inhibitory control in English-speaking monolingual musicians, non-musicians, tone language bilinguals, and non-tone language bilinguals. We predicted that musicians and tone language bilinguals would demonstrate enhanced processing relative to monolinguals and other bilinguals. Groups of monolinguals (N = 22), monolingual musicians (N = 19), non-tone language bilinguals (N = 20) and tone language bilinguals (N = 18) were compared on auditory Stroop tasks to assess domain-transferable processing benefits (e.g. auditory inhibitory control) resulting from potentially shared underlying cognitive mechanisms (Patel, 2003; Bialystok & DePape, 2009). In one task, participants heard the words “high” and “low” presented in high or low pitches, and responded regarding the pitch of the stimuli as quickly as possible. In another task, participants heard the words “rise” or “fall” presented in rising or falling pitch contours, and responded regarding the contour of the stimuli as quickly as possible. Results suggest transferable auditory inhibitory control benefits for musicians across pitch and contour processing, but any possible enhanced processing for speakers of tone languages may be task-dependent, as lexical tone activation may interfere with pitch contour processing.

Native language, L2 experience, and pitch processing in music

2021 ◽  
Author(s):  
Ao Chen ◽  
Melis Çetinçelik ◽  
M. Paula Roncaglia-Denissen ◽  
Makiko Sadakata
Keyword(s):  
Native Language ◽  
Lexical Tone ◽  
Tone Language ◽  
Significant Difference ◽  
L2 Learners ◽  
Pitch Contours ◽  
Sound Discrimination ◽  
Beginning Learners ◽  
Tone Discrimination

Abstract The current study investigated how the role of pitch in one’s native language and L2 experience influenced musical melodic processing by testing Turkish and Mandarin Chinese advanced and beginning learners of English as an L2. Pitch has a lower functional load and shows a simpler pattern in Turkish than in Chinese as the former only contrasts between presence and the absence of pitch elevation, while the latter makes use of four different pitch contours lexically. Using the Musical Ear Test as the tool, we found that the Chinese listeners outperformed the Turkish listeners, and the advanced L2 learners outperformed the beginning learners. The Turkish listeners were further tested on their discrimination of bisyllabic Chinese lexical tones, and again an L2 advantage was observed. No significant difference was found for working memory between the beginning and advanced L2 learners. These results suggest that richness of tonal inventory of the native language is essential for triggering a music processing advantage, and on top of the tone language advantage, the L2 experience yields a further enhancement. Yet, unlike the tone language advantage that seems to relate to pitch expertise, learning an L2 seems to improve sound discrimination in general, and such improvement exhibits in non-native lexical tone discrimination.

scholarly journals Effects of musical ear training on lexical tone perception

2016 ◽  
Vol 1 ◽  
pp. 4
Author(s):  
Evan D Bradley ◽  
Janet G Van Hell
Keyword(s):  
Musical Training ◽  
Musical Experience ◽  
Lexical Tone ◽  
Ear Training ◽  
Short Term ◽  
Tone Language ◽  
Linguistic Differences ◽  
Tone Perception ◽  
Language Effects ◽  
Tone Discrimination

The effect of short term musical experience on lexical tone perception was examined by administering four hours of daily musical ear training to non-tone language speakers. After training, participants showed some improvement in a tone labeling task, but not a tone discrimination task; however, this improvement did not differ reliably from controls indicating that short-term musical training is thus far not able to replicate language effects observed among lifelong musicians, but some linguistic differences between musicians and nonmusicians may likely be due to experience, rather than individual differences or other factors.

Do Young Children Modulate Their Cognitive Control?

2016 ◽  
Vol 63 (2) ◽  
pp. 117-126 ◽  
Author(s):  
Solène Ambrosi ◽  
Patrick Lemaire ◽  
Agnès Blaye
Keyword(s):  
Young Children ◽  
Cognitive Control ◽  
Inhibitory Control ◽  
Age Range ◽  
Stroop Tasks ◽  
And Task

Abstract. Dynamic, trial-by-trial modulations of inhibitory control are well documented in adults but rarely investigated in children. Here, we examined whether 5-to-7 year-old children, an age range when inhibitory control is still partially immature, achieve such modulations. Fifty three children took flanker, Simon, and Stroop tasks. Above and beyond classic congruency effects, the present results showed two crucial findings. First, we found evidence for sequential modulations of congruency effects in these young children in the three conflict tasks. Second, our results showed both task specificities and task commonalities. These findings in young children have important implications as they suggest that, to be modulated, inhibitory control does not require full maturation and that the precise pattern of trial-by-trial modulations may depend on the nature of conflict.

scholarly journals On Older Listeners' Ability to Perceive Dynamic Pitch

2016 ◽  
Vol 59 (3) ◽  
pp. 572-582 ◽  
Author(s):  
Jing Shen ◽  
Richard Wright ◽  
Pamela E. Souza
Keyword(s):  
Speech Recognition ◽  
Interindividual Variability ◽  
Pitch Perception ◽  
Natural Speech ◽  
Pitch Contour ◽  
Older Individuals ◽  
Pitch Contours ◽  
Pitch Patterns ◽  
Better Than

PurposeNatural speech comes with variation in pitch, which serves as an important cue for speech recognition. The present study investigated older listeners' dynamic pitch perception with a focus on interindividual variability. In particular, we asked whether some of the older listeners' inability to perceive dynamic pitch stems from the higher susceptibility to the interference from formant changes.MethodA total of 22 older listeners and 21 younger controls with at least near-typical hearing were tested on dynamic pitch identification and discrimination tasks using synthetic monophthong and diphthong vowels.ResultsThe older listeners' ability to detect changes in pitch varied substantially, even when musical and linguistic experiences were controlled. The influence of formant patterns on dynamic pitch perception was evident in both groups of listeners. Overall, strong pitch contours (i.e., more dynamic) were perceived better than weak pitch contours (i.e., more monotonic), particularly with rising pitch patterns.ConclusionsThe findings are in accordance with the literature demonstrating some older individuals' difficulty perceiving dynamic pitch cues in speech. Moreover, they suggest that this problem may be prominent when the dynamic pitch is carried by natural speech and when the pitch contour is not strong.

Measuring the Perceptual Similarity of Pitch Contours

1998 ◽  
Vol 41 (1) ◽  
pp. 73-82 ◽  
Author(s):  
Dik J. Hermes
Keyword(s):  
Foreign Language ◽  
Correlation Coefficient ◽  
Visual Display ◽  
Companion Paper ◽  
Pitch Contour ◽  
Maximum Deviation ◽  
Perceptual Similarity ◽  
Pitch Contours ◽  
The Mean ◽  
Display Systems

It has been shown that visual display systems of intonation can be employed beneficially in teaching intonation to persons with deafness and in teaching the intonation of a foreign language. In current training situations the correctness of a reproduced pitch contour is rated either by the teacher or automatically. In the latter case an algorithm mostly estimates the maximum deviation from an example contour. In game-like exercises, for instance, the pupil has to produce a pitch contour within the displayed floor and ceiling of a "tunnel" with a preadjusted height. In an experiment described in the companion paper, phoneticians had rated the dissimilarity of two pitch contours both auditorily, by listening to two resynthesized utterances, and visually, by looking at two pitch contours displayed on a computer screen. A test is reported in which these dissimilarity ratings were compared with automatic ratings obtained with this tunnel measure and with three other measures, the mean distance, the root-mean-square (RMS) distance, and the correlation coefficient. The most frequently used tunnel measure appeared to have the weakest correlation with the ratings by the phoneticians. In general, the automatic ratings obtained with the correlation coefficient showed the strongest correlation with the perceptual ratings. A disadvantage of this measure, however, may be that it normalizes for the range of the pitch contours. If range is important, as in intonation teaching to persons with deafness, the mean distance or the RMS distance are the best physical measures for automatic training of intonation.

Language contact and prosodic change in Slavic and Baltic

Diachronica ◽  
2018 ◽  
Vol 35 (4) ◽  
pp. 552-580
Author(s):  
Tijmen Pronk
Keyword(s):  
Initial Stress ◽  
Language Contact ◽  
Underlying Mechanism ◽  
Target Language ◽  
Pitch Contour ◽  
Prosodic Word ◽  
Initial Syllable ◽  
Pitch Contours ◽  
Final Syllable ◽  
Types Of Change

Abstract This paper discusses several Slavic and Baltic dialects which have undergone stress shifts as a result of language contact. Two types of change are discussed: (1) stress retractions from the final syllable onto the initial syllable of a prosodic word, and (2) the rise of fixed stress replacing earlier free stress. It is argued that in all cases discussed in the paper, contact with a language with fixed initial stress caused a stress shift. Examples from Croatian and Lithuanian demonstrate that pitch contours played an important role in these shifts. The results of the shifts are not always identical, but the underlying mechanism is the same in each of these cases: the lexical pitch contour of the donor language was imposed on the target language, thereby introducing constraints on the position of stress in the target language. It is argued that a similar mechanism operated in West Slavic, where languages with free stress introduced fixed stress on the initial or penultimate syllable due to contact with German and possibly Hungarian.

WHY ARE LEXICAL TONES DIFFICULT TO LEARN?

2019 ◽  
Vol 42 (1) ◽  
pp. 33-59 ◽  
Author(s):  
Ricky KW Chan ◽  
Janny HC Leung
Keyword(s):  
Incidental Learning ◽  
Musical Training ◽  
English Speakers ◽  
Musical Experience ◽  
Language Experience ◽  
Tone Language ◽  
Lexical Tones ◽  
Tone Discrimination ◽  
Level Tone

AbstractL2 sounds present different kinds of challenges to learners at the phonetic, phonological, and lexical levels, but previous studies on L2 tone learning mostly focused on the phonetic and lexical levels. The present study employs an innovative technique to examine the role of prior tonal experience and musical training on forming novel abstract syllable-level tone categories. Eighty Cantonese and English musicians and nonmusicians completed two tasks: (a) AX tone discrimination and (b) incidental learning of artificial tone-segment connections (e.g., words beginning with an aspirated stop always carry a rising tone) with synthesized stimuli modeled on Thai. Although the four participant groups distinguished the target tones similarly well, Cantonese speakers showed abstract and implicit knowledge of the target tone-segment mappings after training but English speakers did not, regardless of their musical experience. This suggests that tone language experience, but not musical experience, is crucial for forming novel abstract syllable-level tone categories.

Sign in / Sign up

Export Citation Format

Share Document