Back to feedback: aberrant sensorimotor control in music performance under pressure

Precisely timed production of dexterous actions is often destabilized in anxiogenic situations. Previous studies demonstrated that cognitive functions such as attention and working memory as well as autonomic nervous functions are susceptible to psychological stress in skillful performance while playing sports or musical instruments. However, it is not known whether the degradation of sensorimotor functions underlies such a compromise of skillful performance due to psychophysiological distress. Here, we addressed this issue through a set of behavioral experiments. After artificially delaying the timing of tone production while playing the piano, the local tempo was abnormally disrupted only under pressure. The results suggest that psychological stress degraded the temporal stability of movement control due to an abnormal increase in feedback gain. A learning experiment further demonstrated that the temporal instability of auditory-motor control under pressure was alleviated after practicing piano while ignoring delayed auditory feedback but not after practicing while compensating for the delayed feedback. Together, these findings suggest an abnormal transition from feedforward to feedback control in expert piano performance with psychological stress, which can be mitigated through specialized sensorimotor training that involves piano practice while volitionally ignoring the artificially delayed provision of auditory feedback.

Auditory-Motor Mapping Training Facilitates Speech and Word Learning in Tone Language–Speaking Children With Autism: An Early Efficacy Study

Purpose It has been reported that tone language–speaking children with autism demonstrate speech-specific lexical tone processing difficulty, although they have intact or even better-than-normal processing of nonspeech/melodic pitch analogues. In this early efficacy study, we evaluated the therapeutic potential of Auditory-Motor Mapping Training (AMMT) in facilitating speech and word output for Mandarin-speaking nonverbal and low-verbal children with autism, in comparison with a matched non–AMMT-based control treatment. Method Fifteen Mandarin-speaking nonverbal and low-verbal children with autism spectrum disorder participated and completed all the AMMT-based treatment sessions by intoning (singing) and tapping the target words delivered via an app, whereas another 15 participants received control treatment. Generalized linear mixed-effects models were created to evaluate speech production accuracy and word production intelligibility across different groups and conditions. Results Results showed that the AMMT-based treatment provided a more effective training approach in accelerating the rate of speech (especially lexical tone) and word learning in the trained items. More importantly, the enhanced training efficacy on lexical tone acquisition remained at 2 weeks after therapy and generalized to untrained tones that were not practiced. Furthermore, the low-verbal participants showed higher improvement compared to the nonverbal participants. Conclusions These data provide the first empirical evidence for adopting the AMMT-based training to facilitate speech and word learning in Mandarin-speaking nonverbal and low-verbal children with autism. This early efficacy study holds promise for improving lexical tone production in Mandarin-speaking children with autism but should be further replicated in larger scale randomized studies. Supplemental Material https://doi.org/10.23641/asha.16834627

Floating Boundary Tone: Production and Perception of Syntactically Unmarked Polar Question in Tianjin Mandarin

The present study investigates the intonational tune of syntactically unmarked polar question in Tianjin Mandarin. A production study was conducted to examine the phonological features of the syntactically unmarked polar question (a.k.a intonational yes/no question) tune by comparing against the statement tune. The results show a significant register lift HR and a high floating boundary tone H̥I. The tone shape and tone register played a significant role in how the tunes vary. A tune identification task then further verifies whether the two prosodic features concluded from the production are used in perception. The results showed that both the register difference and the boundary tone made a difference in native speakers' perception in discriminating questions from statements.

Teaching and Learning of Piano Timbre Through Teacher–Student Interactions in Lessons

The ability to play the piano with a variety of timbres requires a performer to have advanced pianistic skills. Little is known about how these skills are acquired and developed in piano lessons and what the role is of elements such as concepts, technique, sonic outcomes, and bodily movements. To investigate the teaching and learning of piano timbre, the lessons of three pairs of university-level teachers and students (two teachers and three students) were observed, during which they behaved as usual in the first two lessons and were asked to use a dialogic teaching approach in the third lesson. Verbal communications of teachers and students about timbre were coded and analyzed, aiming to gain insight into the teaching/learning process of piano timbre and the roles of embodiment and teacher–student interaction in the context of higher music education. The results suggest that piano timbre is not learned through imitation or as “fixed” and objective knowledge, but as a co-constructed conception between the teachers and the students. The meaning of timbre goals in piano lessons is enacted through “in-the-moment” bodily experience and embodied through performance actions. This study contributes to the understanding of piano timbre as a multifaceted phenomenon and illustrates the teacher's role in developing the student's mind–body integration involved in tone production.

Acoustic analysis of Chinese tone production by Thai-speaking learners of L2 Chinese

This article reports on an empirical study of Chinese tone production in various contexts by Thai-speaking learners of L2 Chinese. Comparisons are made between Thai students and Chinese native speakers. The acoustic data are analyzed in terms of pitch register, pitch contour and duration, which show that the main problems of Thai students are: (1) T1 is lower in sentence-mid and sentence-initial positions; (2) T2 is less rising or even exhibits a falling-rising contour at a lower register; (3) T3 cannot approximate a full falling-rising contour in isolated characters and at sentence-final position; (4) T4 is too long and the falling slope is too strong. The implication of our results suggests that Thai students should make efforts in both pitch and rhythm control and pay attention to context variations. It is also suggested that similar research methods can be applied to L2 Chinese learners with different first languages (L1s).

Technical strategies for improving the accompanying skills in the piano-voice duo

This guide of vocal accompanying studies in depth, the nature of a good collaborative relationship between the pianist and the vocalist, it is written from the viewpoint of the pianist, and deals with technical, practical and inspirational elements of accompanying singers. The importance of working with languages and knowledge of the text is emphasized. Much of the vocal repertoire presents technical hurdles that need generous hours of practice. But a good technique also opens up a great deal more in terms of tone production and control. A sensitive touch will allow for a range of flexibility in following the vocalist, and for matching tone quality.

Grover Schiltz

Grover Schiltz was one of the Chicago Symphony Orchestra’s longest-serving members, from 1959 until his retirement in 2005. He played assistant principal oboe until 1964 and served as principal English horn from 1964 to 2005. In this interview, he discussed warming up, technique, breathing, breath control, and vibrato. He provided advice on reeds, auditions, how to prepare for a performance, and tone production. He talked about the differences in performance between oboe and English horn. He offered advice how to teach musicianship, the nature of talent, and Baroque ornamentation. He shared which artists inspired him, reminiscences about his greatest concerts, and his observations on how the American style changed during his career.

Neil Black

Neil Black was an internationally known oboist and a professor at London’s Guildhall School of Music and Drama. Black attended Oxford University and earned a degree in history. Three years after finishing at Oxford, he became principal oboist for the London Philharmonic Orchestra. Later in his career, he became the principal oboist for the Academy of St. Martin in the Fields and the English Chamber Orchestra. In this chapter he discussed his beginnings in music, ideas on tone production, reeds, and technique. He further shared his thoughts on flexibility in musical settings, solo playing, and pedagogy. He also reminisced about his role models and his memorable concerts.