Effects of visual and auditory feedback in violin and singing voice pitch matching tasks
Auditory-guided vocal learning is a mechanism that operates both in humans and other animal species making us capable to imitate arbitrary sounds. Both auditory memories and auditory feedback interact to guide vocal learning. This may explain why it is easier for humans to imitate the pitch of a hum...
| Autores: | , , |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | España |
| Institución: | Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya) |
| Repositorio: | Recercat. Dipósit de la Recerca de Catalunya |
| OAI Identifier: | oai:recercat.cat:10230/48758 |
| Acceso en línea: | http://hdl.handle.net/10230/48758 http://dx.doi.org/10.3389/fpsyg.2021.684693 |
| Access Level: | acceso abierto |
| Palabra clave: | Motor learning Feedback Violin Pitch-matching Auditory feedback e-learning Music learning Singing |
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Effects of visual and auditory feedback in violin and singing voice pitch matching tasksBlanco, Angel DavidTassani, SimoneRamírez, Rafael, 1966-Motor learningFeedbackViolinPitch-matchingAuditory feedbacke-learningMusic learningSingingAuditory-guided vocal learning is a mechanism that operates both in humans and other animal species making us capable to imitate arbitrary sounds. Both auditory memories and auditory feedback interact to guide vocal learning. This may explain why it is easier for humans to imitate the pitch of a human voice than the pitch of a synthesized sound. In this study, we compared the effects of two different feedback modalities in learning pitch-matching abilities using a synthesized pure tone in 47 participants with no prior music experience. Participants were divided into three groups: a feedback group (N = 15) receiving real-time visual feedback of their pitch as well as knowledge of results; an equal-timbre group (N = 17) receiving additional auditory feedback of the target note with a similar timbre to the instrument being used (i.e., violin or human voice); and a control group (N = 15) practicing without any feedback or knowledge of results. An additional fourth group of violin experts performed the same task for comparative purposes (N = 15). All groups were posteriorly evaluated in a transfer phase. Both experimental groups (i.e., the feedback and equal-timbre groups) improved their intonation abilities with the synthesized sound after receiving feedback. Participants from the equal-timber group seemed as capable as the feedback group of producing the required pitch with the voice after listening to the human voice, but not with the violin (although they also showed improvement). In addition, only participants receiving real-time visual feedback learned and retained in the transfer phase the mapping between the synthesized pitch and its correspondence with the produced vocal or violin pitch. It is suggested that both the effect of an objective external reward, together with the experience of exploring the pitch space with their instrument in an explicit manner, helped participants to understand how to control their pitch production, strengthening their schemas, and favoring retention.This work was partly sponsored by the Musical AI project—(PID2019-111403GB-I00/AEI/10.13039/501100011033) and the European Union Horizon 2020 research and innovation program under grant agreement No. 688269 (TELMI project).Frontiers202120212021info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfapplication/pdfhttp://hdl.handle.net/10230/48758http://dx.doi.org/10.3389/fpsyg.2021.684693reponame:Recercat. Dipósit de la Recerca de Catalunyainstname:Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya)InglésFrontiers in Psychology. 2021 Jul 8;12.https://zenodo.org/record/4553940#.YUs7zrgzbcshttps://zenodo.org/record/4630144#.YUs75bgzbcsinfo:eu-repo/grantAgreement/EC/H2020/688269© 2021 Blanco, Tassani and Ramirez. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.http://creativecommons.org/licenses/by/4.0/info:eu-repo/semantics/openAccessoai:recercat.cat:10230/487582026-05-29T05:05:01Z |
| dc.title.none.fl_str_mv |
Effects of visual and auditory feedback in violin and singing voice pitch matching tasks |
| title |
Effects of visual and auditory feedback in violin and singing voice pitch matching tasks |
| spellingShingle |
Effects of visual and auditory feedback in violin and singing voice pitch matching tasks Blanco, Angel David Motor learning Feedback Violin Pitch-matching Auditory feedback e-learning Music learning Singing |
| title_short |
Effects of visual and auditory feedback in violin and singing voice pitch matching tasks |
| title_full |
Effects of visual and auditory feedback in violin and singing voice pitch matching tasks |
| title_fullStr |
Effects of visual and auditory feedback in violin and singing voice pitch matching tasks |
| title_full_unstemmed |
Effects of visual and auditory feedback in violin and singing voice pitch matching tasks |
| title_sort |
Effects of visual and auditory feedback in violin and singing voice pitch matching tasks |
| dc.creator.none.fl_str_mv |
Blanco, Angel David Tassani, Simone Ramírez, Rafael, 1966- |
| author |
Blanco, Angel David |
| author_facet |
Blanco, Angel David Tassani, Simone Ramírez, Rafael, 1966- |
| author_role |
author |
| author2 |
Tassani, Simone Ramírez, Rafael, 1966- |
| author2_role |
author author |
| dc.subject.none.fl_str_mv |
Motor learning Feedback Violin Pitch-matching Auditory feedback e-learning Music learning Singing |
| topic |
Motor learning Feedback Violin Pitch-matching Auditory feedback e-learning Music learning Singing |
| description |
Auditory-guided vocal learning is a mechanism that operates both in humans and other animal species making us capable to imitate arbitrary sounds. Both auditory memories and auditory feedback interact to guide vocal learning. This may explain why it is easier for humans to imitate the pitch of a human voice than the pitch of a synthesized sound. In this study, we compared the effects of two different feedback modalities in learning pitch-matching abilities using a synthesized pure tone in 47 participants with no prior music experience. Participants were divided into three groups: a feedback group (N = 15) receiving real-time visual feedback of their pitch as well as knowledge of results; an equal-timbre group (N = 17) receiving additional auditory feedback of the target note with a similar timbre to the instrument being used (i.e., violin or human voice); and a control group (N = 15) practicing without any feedback or knowledge of results. An additional fourth group of violin experts performed the same task for comparative purposes (N = 15). All groups were posteriorly evaluated in a transfer phase. Both experimental groups (i.e., the feedback and equal-timbre groups) improved their intonation abilities with the synthesized sound after receiving feedback. Participants from the equal-timber group seemed as capable as the feedback group of producing the required pitch with the voice after listening to the human voice, but not with the violin (although they also showed improvement). In addition, only participants receiving real-time visual feedback learned and retained in the transfer phase the mapping between the synthesized pitch and its correspondence with the produced vocal or violin pitch. It is suggested that both the effect of an objective external reward, together with the experience of exploring the pitch space with their instrument in an explicit manner, helped participants to understand how to control their pitch production, strengthening their schemas, and favoring retention. |
| publishDate |
2021 |
| dc.date.none.fl_str_mv |
2021 2021 2021 |
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info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
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article |
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publishedVersion |
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http://hdl.handle.net/10230/48758 http://dx.doi.org/10.3389/fpsyg.2021.684693 |
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http://hdl.handle.net/10230/48758 http://dx.doi.org/10.3389/fpsyg.2021.684693 |
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Inglés |
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Inglés |
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Frontiers in Psychology. 2021 Jul 8;12. https://zenodo.org/record/4553940#.YUs7zrgzbcs https://zenodo.org/record/4630144#.YUs75bgzbcs info:eu-repo/grantAgreement/EC/H2020/688269 |
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http://creativecommons.org/licenses/by/4.0/ info:eu-repo/semantics/openAccess |
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http://creativecommons.org/licenses/by/4.0/ |
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Frontiers |
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Frontiers |
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