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      Effects of Visual and Auditory Feedback in Violin and Singing Voice Pitch Matching Tasks

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          Abstract

          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.

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          Most cited references46

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          A schema theory of discrete motor skill learning.

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            The biology and evolution of music: a comparative perspective.

            Studies of the biology of music (as of language) are highly interdisciplinary and demand the integration of diverse strands of evidence. In this paper, I present a comparative perspective on the biology and evolution of music, stressing the value of comparisons both with human language, and with those animal communication systems traditionally termed "song". A comparison of the "design features" of music with those of language reveals substantial overlap, along with some important differences. Most of these differences appear to stem from semantic, rather than structural, factors, suggesting a shared formal core of music and language. I next review various animal communication systems that appear related to human music, either by analogy (bird and whale "song") or potential homology (great ape bimanual drumming). A crucial comparative distinction is between learned, complex signals (like language, music and birdsong) and unlearned signals (like laughter, ape calls, or bird calls). While human vocalizations clearly build upon an acoustic and emotional foundation shared with other primates and mammals, vocal learning has evolved independently in our species since our divergence with chimpanzees. The convergent evolution of vocal learning in other species offers a powerful window into psychological and neural constraints influencing the evolution of complex signaling systems (including both song and speech), while ape drumming presents a fascinating potential homology with human instrumental music. I next discuss the archeological data relevant to music evolution, concluding on the basis of prehistoric bone flutes that instrumental music is at least 40,000 years old, and perhaps much older. I end with a brief review of adaptive functions proposed for music, concluding that no one selective force (e.g., sexual selection) is adequate to explaining all aspects of human music. I suggest that questions about the past function of music are unlikely to be answered definitively and are thus a poor choice as a research focus for biomusicology. In contrast, a comparative approach to music promises rich dividends for our future understanding of the biology and evolution of music.
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              The mirror neuron system and action recognition.

              Mirror neurons, first described in the rostral part of monkey ventral premotor cortex (area F5), discharge both when the animal performs a goal-directed hand action and when it observes another individual performing the same or a similar action. More recently, in the same area mirror neurons responding to the observation of mouth actions have been also found. In humans, through an fMRI study, it has been shown that the observation of actions performed with the hand, the mouth and the foot leads to the activation of different sectors of Broca's area and premotor cortex, according to the effector involved in the observed action, following a somatotopic pattern which resembles the classical motor cortex homunculus. These results strongly support the existence of an execution-observation matching system (mirror neuron system). It has been proposed that this system is involved in action recognition. Experimental evidence in favor of this hypothesis both in the monkey and humans are shortly reviewed.
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                Author and article information

                Contributors
                Journal
                Front Psychol
                Front Psychol
                Front. Psychol.
                Frontiers in Psychology
                Frontiers Media S.A.
                1664-1078
                08 July 2021
                2021
                : 12
                : 684693
                Affiliations
                [1] 1Music and Machine Learning Lab, Department of Information and Communications Technologies, Universitat Pompeu Fabra , Barcelona, Spain
                [2] 2Multiscale and Computational Biomechanics and Mechanobiology Team, Department of Information and Communications Technologies, Universitat Pompeu Fabra , Barcelona, Spain
                [3] 3Music and Machine Learning Lab, Department of Information and Communications Technologies, Universitat Pompeu Fabra , Barcelona, Spain
                Author notes

                Edited by: Virginia Penhune, Concordia University, Canada

                Reviewed by: Melanie Segado, National Research Council Canada, Canada; Peter Pfordresher, University at Buffalo, United States

                *Correspondence: Angel David Blanco ablancocasares@ 123456gmail.com

                This article was submitted to Auditory Cognitive Neuroscience, a section of the journal Frontiers in Psychology

                Article
                10.3389/fpsyg.2021.684693
                8297736
                f973536a-cce8-45d8-bb1f-33aed571f21f
                Copyright © 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.

                History
                : 23 March 2021
                : 04 June 2021
                Page count
                Figures: 5, Tables: 0, Equations: 0, References: 48, Pages: 15, Words: 11862
                Funding
                Funded by: Horizon 2020 10.13039/501100007601
                Categories
                Psychology
                Original Research

                Clinical Psychology & Psychiatry
                motor learning,feedback,violin,pitch-matching,auditory feedback,e-learning,music learning,singing

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