The Design, Implementation, and Testing of a Sensorized MRI-Compatible Cello

Hollinger, Avrum; Wanderley, Marcelo M.

doi:10.1109/jsen.2015.2449876

Cited by 7 publications

(6 citation statements)

References 35 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Specifically, we are interested in the auditory-vocal network (Figure 1 ). To accomplish our goal, we have developed an MR compatible cello device where sound feedback is delivered directly to the player during scanning (Hollinger and Wanderley, 2013 , 2015 ) (Figure 2 ). This cello uses optical sensors embedded in the fingerboard and bridge to capture finger position and string vibration, respectively.…”

Section: Introductionmentioning

confidence: 99%

Partially Overlapping Brain Networks for Singing and Cello Playing

et al. 2018

View full text Add to dashboard Cite

This research uses an MR-Compatible cello to compare functional brain activation during singing and cello playing within the same individuals to determine the extent to which arbitrary auditory-motor associations, like those required to play the cello, co-opt functional brain networks that evolved for singing. Musical instrument playing and singing both require highly specific associations between sounds and movements. Because these are both used to produce musical sounds, it is often assumed in the literature that their neural underpinnings are highly similar. However, singing is an evolutionarily old human trait, and the auditory-motor associations used for singing are also used for speech and non-speech vocalizations. This sets it apart from the arbitrary auditory-motor associations required to play musical instruments. The pitch range of the cello is similar to that of the human voice, but cello playing is completely independent of the vocal apparatus, and can therefore be used to dissociate the auditory-vocal network from that of the auditory-motor network. While in the MR-Scanner, 11 expert cellists listened to and subsequently produced individual tones either by singing or cello playing. All participants were able to sing and play the target tones in tune (<50C deviation from target). We found that brain activity during cello playing directly overlaps with brain activity during singing in many areas within the auditory-vocal network. These include primary motor, dorsal pre-motor, and supplementary motor cortices (M1, dPMC, SMA),the primary and periprimary auditory cortices within the superior temporal gyrus (STG) including Heschl's gyrus, anterior insula (aINS), anterior cingulate cortex (ACC), and intraparietal sulcus (IPS), and Cerebellum but, notably, exclude the periaqueductal gray (PAG) and basal ganglia (Putamen). Second, we found that activity within the overlapping areas is positively correlated with, and therefore likely contributing to, both singing and playing in tune determined with performance measures. Third, we found that activity in auditory areas is functionally connected with activity in dorsal motor and pre-motor areas, and that the connectivity between them is positively correlated with good performance on this task. This functional connectivity suggests that the brain areas are working together to contribute to task performance and not just coincidently active. Last, our findings showed that cello playing may directly co-opt vocal areas (including larynx area of motor cortex), especially if musical training begins before age 7.

show abstract

Section: Introductionmentioning

confidence: 99%

Partially Overlapping Brain Networks for Singing and Cello Playing

et al. 2018

View full text Add to dashboard Cite

show abstract

“…The fingerboard and bridge hold intensitymodulated sensors based on pairs of transmitter/receiver waveguides for capturing the user interaction and emulating sound, whereas the bow contains macrobending and magnetic field sensors devoted to force and position readings, respectively. 18 The authors also conceived an optically interrogated piano employing reflection-type fiber probes for assessing key pressing without electronic switches. 19 However, these approaches demand one optical link per string or key, making the interrogation circuit cumbersome.…”

Section: Related Workmentioning

confidence: 99%

“…17 Among the various possibilities, the optical approach is compact, feasible, and advantageous due to its immunity to electromagnetic interference, making it a suitable candidate for portable interfaces, with potential application in neurological studies about the effects of the music playing on the brain. 18,19 These systems are composed of a light source and receiver pair, connected by an optical fiber cable, with a mechanical transducer responsible for attenuating the guided light due to external pressure. However, most of the applications adopt a common light emitting diode (LED) as the light source, so the only information they recover is the average intensity from the user input, meaning that the musical interface requires as many pairs of light emitterreceivers and optical fiber cables as the number of supported notes.…”

Section: Introductionmentioning

confidence: 99%

“…Among the various possibilities, the optical approach is compact, feasible, and advantageous due to its immunity to electromagnetic interference, making it a suitable candidate for portable interfaces, with potential application in neurological studies about the effects of the music playing on the brain 18 , 19 . These systems are composed of a light source and receiver pair, connected by an optical fiber cable, with a mechanical transducer responsible for attenuating the guided light due to external pressure.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Keyboard-type optical fiber musical interface

Wu,

Fujiwara

2023

Opt. Eng.

View full text Add to dashboard Cite

Musical instruments are complex multimodal interfaces combining audiovisual information and motivating researchers to design intuitive and creative ways of communication between the user and the digital system. We demonstrated a musical interface based on an optical fiber specklegram sensor (FSS) for one octave of C major scale. The setup comprises a laser source and a camera connected by a multimode optical fiber cable with foam pads marking the notes. The software recovers the pressed key by computing the cross-correlation coefficient between the immediate speckle pattern and the reference images from prior calibration, estimating their similarity, and taking the closest option as the output. Simultaneously, the software plays the identified key with a sound synthesizer. The experiments validated the proposed interface to play the calibrated notes, independent of the input sequence, with a response delay within 0.5 s, for a single fiber cable and further discuss the possibility of playing chords. With the musical interface processing the positional information of external stimuli, it simplifies the hardware configuration and allows different techniques of musical expression.

show abstract

“…All participants performed both tasks to allow for direct comparisons between cello playing and singing within the same individuals. For the cello playing task, cellists played a fully MR compatible cello device (Hollinger and Wanderley 2013, 2015) used in our previous research (Wollman et al 2018).…”

Section: Introductionmentioning

confidence: 99%

Effector-independent brain network for auditory-motor integration: fMRI evidence from singing and cello playing

Segado

Zatorre

Penhune³

2020

Preprint

View full text Add to dashboard Cite

Many everyday tasks share high-level sensory goals but differ in the movements used to accomplish them. One example of this is musical pitch regulation, where the same notes can be produced using the vocal system or a musical instrument controlled by the hands. Cello playing has previously been shown to rely on brain structures within the singing network for performance of single notes, except in areas related to primary motor control, suggesting that the brain networks for auditory feedback processing and sensorimotor integration may be shared (Segado et al. 2018). However, research has shown that singers and cellists alike can continue singing/playing in tune even in the absence of auditory feedback (Chen et al. 2013, Kleber et al. 2013), so different paradigms are required to test feedback monitoring and control mechanisms. In singing, auditory pitch feedback perturbation paradigms have been used to show that singers engage a network of brain regions including anterior cingulate cortex (ACC), anterior insula (aINS), and intraparietal sulcus (IPS) when compensating for incorrect pitch feedback, and posterior superior temporal gyrus (pSTG) and supramarginal gyrus (SMG) when ignoring it (Zarate et al. 2005, 2008). To determine whether the brain networks for cello playing and singing directly overlap in these sensory-motor integration areas, in the present study expert cellists were asked to compensate for or ignore introduced pitch perturbations when singing/playing during fMRI scanning. We found that cellists were able to sing/play target tones, and compensate for and ignore introduced feedback perturbations equally well. Brain activity overlapped for singing and playing in IPS and SMG when compensating, and pSTG and dPMC when ignoring; differences between singing/playing across all three conditions were most prominent in M1, centered on the relevant motor effectors (hand, larynx). These findings support the hypothesis that pitch regulation during cello playing relies on structures within the singing network and suggests that differences arise primarily at the level of forward motor control.HighlightsExpert cellists were asked to compensate for or ignore introduced pitch perturbations when singing/playing during fMRI scanning.Cellists were able to sing/play target tones, and compensate for and ignore introduced feedback perturbations equally well.Brain activity overlapped for singing and playing in IPS and SMG when compensating, and pSTG and dPMC when ignoring.Differences between singing/playing across were most prominent in M1, centered around the relevant motor effectors (hand, larynx)Findings support the hypothesis that pitch regulation during cello playing relies on structures within the singing network with differences arising primarily at the level of forward motor control

show abstract

The Design, Implementation, and Testing of a Sensorized MRI-Compatible Cello

Cited by 7 publications

References 35 publications

Partially Overlapping Brain Networks for Singing and Cello Playing

Partially Overlapping Brain Networks for Singing and Cello Playing

Keyboard-type optical fiber musical interface

Effector-independent brain network for auditory-motor integration: fMRI evidence from singing and cello playing

Contact Info

Product

Resources

About