The role of auditory feedback in speech and song.

Abstract

When singing a melody or producing sentences, we take for granted the fact that the sounds we create (auditory feedback) match the intended consequences of our actions. The importance of these perception/action matches to production is illustrated by the detrimental effects of altered auditory feedback (AAF). Previous research in the domain of music has shown that when AAF leads to asynchronies between perception and action, timing of production is disrupted but accuracy of sequencing is not. On the other hand, AAF manipulations of pitch disrupt sequencing but not timing. Such dissociative effects, as well as other findings, suggest that sensitivity to AAF may be based on hierarchical organization of sequences. In the current research we examined whether similar effects are found for the production of speech, for which syllables rather than pitches may constitute content units. In the first experiment, participants either sang melodies or spoke sequences of nonsense syllables. In the second experiment, the tasks were combined such that participants sang syllable sequences. Production in both experiments was accompanied by either normal, asynchronous, or content altered auditory feedback. Across experiments, effects of AAF on the accuracy of sequencing were similar in speaking and singing tasks, and in all cases reflected the dissociative effects described earlier. For timing of production, however, previous results were only found when participants sang sequences that did not have varying syllabic content. These results suggest that sensitivity to timing exists at multiple hierarchical levels, particularly at the syllable and phonetic levels.

Short-Term Choir Singing Supports Speech-in-Noise Perception and Neural Pitch Strength in Older Adults With Age-Related Hearing Loss

“…In addition to the social, cognitive, and emotional benefits, singing appears better positioned to confer near-transfer benefits to speech. All forms of vocal production involve the rapid integration of auditory and vocal-motor systems (Hickok, 2001; Zatorre et al, 2007; Pfordresher and Dalla Bella, 2011; Pruitt and Pfordresher, 2015); this integration requires feedback loops along the auditory dorsal stream that allow for real-time monitoring and adjustments (Houde and Jordan, 1998; Brainard and Doupe, 2000; Zheng et al, 2010). In a recent study that compared temporal lobe activations across perception of singing, instrumental music, and speech, it was found that compared with instrumental music, singing and speech both led to greater bilateral activations of the superior temporal sulcus (STS; Whitehead and Armony, 2018), a critical node in the auditory dorsal stream (Hickok et al, 2003).…”

“…Training the vocal-motor system through singing could theoretically improve the resources upon which older adults draw to perceive degraded speech signals. An emphasis on pitch training, feedback, repetition, and the rewarding nature of improvements have been implicated as key components of successful auditory training paradigms, and in the transfer of musical experience to speech perceptual benefits (Besson et al, 2011; David et al, 2012; Herholz and Zatorre, 2012; Shepard et al, 2013; Patel, 2014; Pruitt and Pfordresher, 2015).…”

Effects of choir participation and musical training on auditory processing in older adults

“…In addition to the social, cognitive, and emotional benefits, singingin particular, group singingprovides the opportunity for more immediate gains than does instrumental musical training, due to the mechanisms and feedback in place for speech production and monitoring (e.g., Pruitt & Pfordresher, 2015). Vocal production and perception involves the rapid integration of sensory and vocal-motor systems (Hickok, 2001;Pfordresher & Dalla Bella, 2011;Pruitt & Pfordresher, 2015); these feedback loops are necessary in order to be able to monitor speech online (vocal perception), and make real-time adjustments to what is being said (vocal production; Brainard & Doupe, 2000;Houde & Jordan, 1998;Zheng, Munhall, & Johnsrude, 2010). In group singing contexts, the singer not only listens to his or her own voice, but also to surrounding voices, for changes in pitch and cues to modulate production (e.g., keeping in tune with neighbouring singers; following the correct melodic or harmonic line; Pruitt & Pfordresher, 2015).…”

“…Vocal production and perception involves the rapid integration of sensory and vocal-motor systems (Hickok, 2001;Pfordresher & Dalla Bella, 2011;Pruitt & Pfordresher, 2015); these feedback loops are necessary in order to be able to monitor speech online (vocal perception), and make real-time adjustments to what is being said (vocal production; Brainard & Doupe, 2000;Houde & Jordan, 1998;Zheng, Munhall, & Johnsrude, 2010). In group singing contexts, the singer not only listens to his or her own voice, but also to surrounding voices, for changes in pitch and cues to modulate production (e.g., keeping in tune with neighbouring singers; following the correct melodic or harmonic line; Pruitt & Pfordresher, 2015). The use of group singing as a method for musical training could capitalize on those preexisting auditory feedback mechanisms, and quickly hone auditory perceptual abilities while promoting a positive social environment that is enjoyable and motivating.…”

Sensitivity to meter in auditory feedback during music performance.

“…As such the feedback melody is serially shifted relative to the planned melody. Serial shifts lead to increased pitch errors in performance, while sparing produced timing (Pfordresher, 2003), can disrupt performance of both pianists and nonpianists (Pfordresher, 2005), can lead to disruption of music performance via keyboard or singing (Pfordresher & Mantell, 2012), and can also disrupt the accuracy of speech production (Pruitt & Pfordresher, 2015). It is important to note that serial shifts are distinct from traditional DAF, even though serial shifts may refer to previous events.…”