11/25/2023 0 Comments Auditory imagery in art![]() ![]() Participants were then asked to produce vocal sweeps: a continuous change in pitch from the lowest note an individual can comfortably sing up to the highest note he or she can comfortably sing and then back down. The procedure began with a series of warm-up trials consisting of extemporaneous speech (“describe what you had for dinner last night”), reading a page of text, and singing a familiar tune. The session was divided into the following blocks, run in the order in which they are described. Participants were run in a single session that took approximately 30 min. The experimental procedure was run using MATLAB scripts (The Mathworks, Natick, MA). The experiment was conducted on a 3.4-GHz PC running Windows XP. Sound levels were controlled using a Lexicon Omega I/O box. Participant recordings were made using a Shure PG58 microphone. Instructions and stimuli were delivered to participants via a pair of Sennheiser HD 280 Pro headphones. Participants were recorded while sitting inside a Whisper Room SE 2000 recording booth. The sample was predominantly nonmusician most participants ( N = 101, 73 %) reported fewer than 5 years of musical experience, and 72 participants (52 %) reported no experience whatsoever. A total of 37 participants (27 %) reported 5 or more years of experience and were considered musicians (mean for this group = 8.8 years). Across participants, the mean years of summed experience reported was 2.9 years (range: 0–43 the participant reporting 43 years of training had 10 or more years of experience with three instruments and voice). We recorded musical background using reported years of experience, summed across all instruments and voice. Sixty-three participants (46 %) reported a native language other than English of these, 33 (24 %) reported first learning a tone language (Mandarin, Vietnamese, or Cantonese). The mean age was 19 years (range: 18–27). Seventy-six participants (55 %) were female, 61 were male, and 1 participant elected not to report gender. Data reported here come from a prescreening procedure conducted each semester (first described by Pfordresher & Brown, 2007, Experiment 2). Participants ( N = 138) were recruited from the introduction to psychology subject pool at SUNY Buffalo. Behaviorally, past research has shown that better auditory imagery ability facilitates consistency of expressive timing in performance (Clark & Williamon, 2011) and more effective practice (Brown & Palmer, 2012 Highben & Palmer, 2004). ![]() Herholz, Halpern, & Zatorre, 2012 Zatorre, Halpern, & Bouffard, 2010). Thus, auditory imagery may allow one to carry out the kind of sensorimotor transformations that allow inverse modeling of perception and action (cf. For instance, a recent study demonstrated enhanced activation in premotor areas and basal ganglia when participants anticipated a forthcoming auditory event, and these activations were positively correlated with self-reported vividness of imagery of the anticipated tune (Leaver, Van Lare, Zielinski, Halpern, & Rauschecker, 2009). These theoretical assumptions are supported by recent neuroimaging research, which suggests that auditory imagery leads to activation in motor planning areas (for reviews, see Halpern, 2001 Zatorre & Halpern, 2005). As such, limitations in auditory imagery may indicate a poorly functioning inverse model, leading to poor pitch imitation ability. Thus, in the context of pitch imitation, auditory images function as a bridge between perception and action that serve to guide planning of laryngeal movements. We propose (following Keller, 2012) that mental images (here, auditory images) are the contents of such an inverse model. 1 is controlled by motor planning, as well as perceptual input (target pitches). Because it must incorporate schematic knowledge about sensorimotor associations, the inverse model in Fig. Thus, the link from motor planning to perceptual output operates inversely, a process that may or may not be conscious. An inverse model is an internal model of a perception/action system that guides motor planning on the basis of the anticipated outcomes (goals) of the action, similar to the ideomotor hypothesis of William James (cf. Theoretically, the present research rests on the assumption that vocal imitation of pitch relies on an inverse model of the auditory–vocal system and that the contents of this inverse model are auditory images (see Fig.
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