Name: fmri mapping of brain activity associated with the vocal production of consonant and dissonant intervals
Uploaded: 2017-05-23T13:00:00
Description: Watch this Scientific Journal Video about fMRI Mapping of Brain Activity Associated with the Vocal Production of Consonant and Dissonant Intervals at JoVE.com

De auteurs erkennen financiële steun voor dit onderzoek van Secretaría de Salud de México (HIM / 2011/058 SSA. 1009), CONACYT (SALUD-2012-01-182160) en DGAPA UNAM (PAPIIT IN109214).

Dit protocol is goedgekeurd door het Onderzoek, Ethiek en Veiligheidscomité van het Hospital Infantil de México &quot;Federico Gómez&quot;. 1. Gedragsgedrag <ol><li> Voer een standaard, pure-toon audiometrische test uit om te bevestigen dat alle potentiële deelnemers normaal gehoor hebben (20 dB gehoorniveau (HL) boven octaaf frequenties van -8000 Hz). Gebruik de Edinburgh Handedness Inventory 31 om ervoor te zorgen dat alle deelnemers rechtshandig zijn. </li><l...

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Dit werk beschrijft een protocol waarin zang wordt gebruikt als middel om de hersenactiviteit te bestuderen tijdens de productie van consonante en dissonante intervallen. Hoewel het zingen biedt wat mogelijk is de eenvoudigste methode voor de productie van muzikale intervallen 22 , staat het niet toe voor de productie van akkoorden. Hoewel de meeste fysieke karakteriseringen van het begrip consonantie in zekere mate afhankelijk zijn van de superpositie van gelijktijdige noten, hebben een aantal s...

Bepaalde combinaties van muzikale toonhoogtes worden in het algemeen erkend als consonant, en ze zijn typisch geassocieerd met een aangename sensatie. Andere combinaties worden doorgaans aangeduid als dissonant en zijn geassocieerd met een onaangenaam of onopgelost gevoel 1 . Hoewel het verstandig is om aan te nemen dat enculturatie en training een rol spelen in de perceptie van consonantie 2 , is onlangs aangetoond dat de verschillen in perceptie van consonante en dissonante intervallen en akkoorden waarschijnlijk minder afhankelijk zijn van de muzikale cultuur dan eerder werd gedacht 3 en mei Zelfs afkomstig van eenvoudige biologische bases 4 , 5 , 6 . Ter voorkoming van een dubbelzinnig begrip van de term consonantie, introduceerde Terhardt 7 het begrip zintuiglijke consonantie, in tegenstelling tot consonantie in een muzikale context, Waar harmonie bijvoorbeeld de reactie op een bepaald akkoord of interval kan beïnvloeden. In het onderhavige protocol werden alleen geïsoleerde tweetentintervallen precies gebruikt om activaties uit te sluiten die uitsluitend verband houden met sensorische consonantie, zonder inmenging van contextafhankelijke verwerking 8 . Pogingen om consonantie door middel van zuiver fysieke middelen te karakteriseren begon met Helmholtz 9 , die de waargenomen ruwheid geassocieerd met dissonante akkoorden toonde aan de kloof tussen aangrenzende frequentiecomponenten. Meer recent is echter aangetoond dat zintuiglijke consonantie niet alleen verband houdt met de afwezigheid van ruwheid, maar ook met harmoniciteit, dat wil zeggen de uitlijning van de gedeelten van een gegeven toon of akkoord met die van een ongehoorde toon van een Lagere frequentie 10 , 11 . Gedragsstudies bevestigen dat subjectieve consonantie inderdaad door pu beïnvloed wordtVertrouwen op fysieke parameters, zoals frequentieafstanden 12 , 13 , maar een breder scala aan studies heeft ongetwijfeld aangetoond dat fysieke verschijnselen niet alleen rekening kunnen houden met de verschillen tussen waargenomen consonantie en dissonantie 14 , 15 , 16 , 17 . Al deze studies rapporteren echter deze verschillen bij het luisteren naar een verscheidenheid aan intervallen of akkoorden. Een verscheidenheid aan studies met behulp van Positron Emission Tomography (PET) en functionele Magnetische Resonantie Imaging (fMRI) hebben significante verschillen in de corticale gebieden zichtbaar die actief worden bij het luisteren naar ofwel consonante of dissonante intervallen en akkoorden 8 , 18 , 19 , 20 . Het doel van de onderhavige studie is om de verschillen te onderzoekenIn de hersenactiviteit bij het produceren, in plaats van te luisteren, consonante en dissonante intervallen. De studie van sensorische motorische controle tijdens muzikale productie houdt gewoonlijk het gebruik van muziekinstrumenten in, en vaak vereist het dan ook de fabricage van instrumenten die specifiek zijn aangepast voor hun gebruik tijdens neuroimaging 21 . Zingen lijken echter vanaf het begin een passend mechanisme te bieden voor de analyse van sensorische motorische processen tijdens de productie van muziek, aangezien het instrument de menselijke stem zelf is en het vocale apparaat geen aanpassing nodig heeft om geschikt te zijn gedurende Beeldvorming 22 . Hoewel de neurale mechanismen geassocieerd met zangaspecten, zoals pitchcontrole 23 , vocale imitatie 24 , trainingsgeïnduceerde adaptieve veranderingen 25 en de integratie van externe feedback 25 , , 27 , 28 , 29 , hebben de laatste twee decennia een aantal studies ondergaan, de neurale correlaten van zangcononant en dissonante intervallen werden pas kort beschreven 30 . Voor dit doel beschrijft het huidige document een gedragstest die is ontworpen om de adequate herkenning van consonante en dissonante intervallen door de deelnemers vast te stellen. Dit wordt gevolgd door een fMRI studie van deelnemers die een verscheidenheid aan consonant en dissonante intervallen zingen. Het fMRI-protocol is relatief eenvoudig, maar zoals bij alle MRI-onderzoeken moet er goed voor worden gezorgd dat de experimenten correct worden opgesteld. In dit geval is het bijzonder belangrijk om de hoofd-, mond- en lipbeweging tijdens zangtaken te minimaliseren, waardoor de identificatie van effecten die niet direct verband houden met de lichamelijke daad van zingen, eenvoudiger zijn. Deze methode kan gebruikt worden inVestig de neurale mechanismen in verband met een verscheidenheid aan activiteiten die muzikale productie door zingen betreffen.

<table border="0" cellpadding="0" cellspacing="0" width="926">
	<tbody>
		<tr height="21">
			<td height="21" style="height:21px;width:343px;">Achieva 1.5-T magnetic resonance scanner</td>
			<td style="width:297px;">Philips</td>
			<td style="width:119px;">Release 6.4</td>
			<td style="width:167px;"></td>
		</tr>
		<tr height="21">
			<td height="21" style="height:21px;width:343px;">Audacity</td>
			<td style="width:297px;">Open source</td>
			<td style="width:119px;">2.0.5</td>
			<td></td>
		</tr>
		<tr height="21">
			<td height="21" style="height:21px;width:343px;">Audio interface&#160;</td>
			<td style="width:297px;">Tascam</td>
			<td style="width:119px;">US-144MKII&#160;</td>
			<td></td>
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		<tr height="21">
			<td height="21" style="height:21px;width:343px;">Audiometer</td>
			<td style="width:297px;">Br&#252;el &#38; Kjaer</td>
			<td style="width:119px;">Type 1800</td>
			<td></td>
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		<tr height="21">
			<td height="21" style="height:21px;width:343px;">E-Prime Professional</td>
			<td style="width:297px;">Psychology Software Tools, Inc.</td>
			<td style="width:119px;">2.0.0.74</td>
			<td></td>
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			<td height="21" style="height:21px;width:343px;">Matlab</td>
			<td style="width:297px;">Mathworks</td>
			<td style="width:119px;">R2014A</td>
			<td></td>
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		<tr height="21">
			<td height="21" style="height:21px;width:343px;">MRI-Compatible Insert Earphones</td>
			<td style="width:297px;">Sensimetrics</td>
			<td style="width:119px;">S14</td>
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		<tr height="21">
			<td height="21" style="height:21px;width:343px;">Praat</td>
			<td style="width:297px;">Open source</td>
			<td style="width:119px;">5.4.12</td>
			<td></td>
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		<tr height="21">
			<td height="21" style="height:21px;width:343px;">Pro audio condenser microphone</td>
			<td style="width:297px;">Shure</td>
			<td style="width:119px;">SM93</td>
			<td></td>
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			<td height="21" style="height:21px;width:343px;">SPSS Statistics</td>
			<td style="width:297px;">IBM</td>
			<td style="width:119px;">20</td>
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		<tr height="21">
			<td height="21" style="height:21px;width:343px;">Statistical Parametric Mapping</td>
			<td style="width:297px;">Wellcome Trust Centre for Neuroimaging</td>
			<td style="width:119px;">8</td>
			<td></td>
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fmri mapping of brain activity associated with the vocal production of consonant and dissonant intervals

De neurale correlaten van consonantie en dissonantie perceptie zijn veelal bestudeerd, maar niet de neurale correlaten van consonantie en dissonantie productie. De meest eenvoudige manier van muzikale productie zingt, maar vanuit een beeldvormend perspectief is het nog steeds meer uitdagingen dan luisteren omdat het motoractiviteit betreft. De nauwkeurige zang van muzikale intervallen vereist integratie tussen auditieve feedbackverwerking en vocale motorbesturing om elke notitie correct te produceren. Dit protocol presenteert een methode die het mogelijk maakt om neurale activaties die verband houden met de vocale productie van consonante en dissonante intervallen toe te staan. Vier muzikale intervallen, twee consonant en twee dissonante, worden gebruikt als stimuli, zowel voor een auditieve discriminatie test en een taak die de eerste luistert en vervolgens de gegeven intervallen reproduceert. Deelnemers, alle vrouwelijke vocale studenten op het conservatorium niveau, werden onderzocht met behulp van functionele Magnetic ResOnance Imaging (fMRI) tijdens de uitvoering van de zangtaak, met de luistertaak die als controle conditie dient. Op deze manier werd de activiteit van zowel de motor- als auditieve systemen waargenomen en werd ook een mate van vocale nauwkeurigheid tijdens de zangtaak verkregen. Zo kan het protocol ook gebruikt worden om activaties bij te houden die samenhangen met het zingen van verschillende soorten intervallen of met de vereiste notities nauwkeuriger te zingen. De resultaten wijzen erop dat zangende dissonante intervallen een grotere deelname nodig hebben van de neurale mechanismen die verantwoordelijk zijn voor de integratie van externe feedback van de auditieve en sensorimotorische systemen dan het zingen van consonantintervallen.

<html> Alle 11 deelnemers in ons experiment waren vrouwelijke vocale studenten op het conservatoriumniveau, en ze voerden goed genoeg in de intervalherkenningstaken die geselecteerd zouden worden voor het scannen. De succesfrequentie voor de interval identificatie taak was 65,72 ± 21,67%, wat, zoals verwacht, lager is dan de succesfrequentie bij het identificeren van dissonante en consonant intervallen, die 74,82 ± 14,15% was. <p class="jove_content" fo:keep-together.within-page="1"...

Watch this Scientific Journal Video about fMRI Mapping of Brain Activity Associated with the Vocal Production of Consonant and Dissonant Intervals at JoVE.com

fMRI Mapping of Brain Activity Associated with the Vocal Production of Consonant and Dissonant Intervals

De neurale correlaten van het luisteren naar consonante en dissonante intervallen zijn in grote mate bestudeerd, maar de neurale mechanismen die verband houden met de productie van consonante en dissonante intervallen zijn minder bekend. In dit artikel worden gedragstesten en fMRI gecombineerd met intervalidentificatie en zangtaken om deze mechanismen te beschrijven.

FMRI Mapping of Brain Activity Associated met de Vocal Production of Consonant en Dissonant Intervals

The neural correlates of consonance and dissonance perception have been widely studied, but not the neural correlates of consonance and dissonance ...

The overall goal of this methodology is to monitor neural activations associated with the vocal production of consonant and dissonant intervals, through the use of functional magnetic resonance imaging. This method can help answer key questions in the field of auditory cognitive neuroscience, such as, how does integration of external feedback from the auditory and sensory motor systems differ when singing consonant and dissonant intervals? The main advantage of this technique is that it is designed to track activity of both the motor and the auditory system, while simultaneously obtaining a measure of vocal accuracy during singing.Generally, individuals new to this method will struggle because it is difficult to record some tones faithfully from within the scanner as the entirety of the scanner is extremely noisy. Demonstrating the procedure will be Lucero Pacheco, a grad student from my laboratory. To begin producing pure tones spanning two octaves from G four to G six, open a new project folder in sound editing software.Then, under the generate menu select tone. In the window that appears, select a sine waveform, an amplitude of 0.8, and a duration of one second. Enter the value of the frequency that corresponds to the desired note and click on the okay button.Under the file menu select export. In the window that open enter the desired name for the audio file and choose wav as the desired file type. Click save.Next, generate all possible combinations of notes corresponding to two consonant and two dissonant intervals in the range between G four and G six. To do this for each interval open a new project in the sound editing software and choose import audio under the file menu to import the two wav files to be concatenated. Place the cursor at any point over the second tone and click to select.Click on select all under the edit menu. Under the same menu click on copy. Then, place the cursor at any point over the first tone and click.Under the edit menu, click on move cursor to track end and then click paste under the same menu. Finally, under the file menu select export. In the window that opens enter the desired name for the audio file and choose wav as the desired file type.Click save. Begin by having the participant sit down in front of a laptop computer and wear the provided headphones. Ensure that the sound level is comfortable for the participant.Use behavioral research software to open two previously created tasks with e-run. In the window that appears enter the session and subject Number and click okay. Then, for the two alternative force choice tasks, ask the participants to identify whether the intervals they hear are consonant or dissonant by pressing either c on the computer keyboard for consonant and d for dissonant.Next, in the four alternative force choice tasks have the participants identify the intervals themselves by pressing the numerals four, five, seven, and eight on the computer keyboard, to identify the intervals of an augmented fourth. Perfect fifth. Major seventh.And octave respectively. Finally, at the end of each task press okay to automatically save the results for each participant. Begin by connecting a non-magnetic, MR compatible headset to a laptop, and ensure the sound level is comfortable for the participant.Then, connect a small condenser microphone to an audio interface that is in turn connected to the laptop using a shielded, twisted, triplet cable. To check the microphone frequency response, start a new project in the sound editing software and select the condenser microphone as the input device. Then, generate a 440 hertz test tone with a duration of 10 seconds.After the tone is generated, use sound reproduction software to press play to send the test tone through the headphones to two locations. Inside on top of the head rest and outside of the scanner in the control room with the microphone placed between the sides of the headset in each case. Next, press record in the sound editing software to record approximately one second of the test tone at each location.Then, select plot spectrum from the analyze menu for each case and compare the response of the microphone to the test tone, both inside and outside the scanner by checking that the fundamental frequency of the signal received at each location is 440 hertz. Finally, tape the condenser microphone to the participant's neck just below the larynx, and have them wear the headset. Then, place the participant in the magnetic resonance scanner.Begin by opening the magnetic resonance user interface MRUI software package. Within the MRUI software select the patient option from the onscreen menu. Enter the participant's name, age and weight.Then, click on the exam button. First, choose head and then brain from the available options. Next, select 3D and then T1 isometric with the following values for the relevant parameters:repetition time equals 10.2 milliseconds, echo time equals 4.2 milliseconds, flip angle equals 90 degrees, and voxel size equals one by one by one millimeters cubed.Then, click on program and begin the acquisition of the functional T2 star weighted whole head scan with the values of the relevant parameters as follows:TE equals 40 milliseconds, TR equals three seconds, field of view equals 256 millimeters squared, flip angle equals 90 degrees, matrix dimensions equal 64 by 64, delay in TR equals seven seconds. Note that in this case TR is the total time during which the acquisition takes place. Use the dummy option to acquire five volumes while entering a value of 55 for the total number of volumes.Click copy to make a copy of this sequence. Place the cursor at the bottom of the list of sequences and then click paste twice to set up three consecutive sparse sampling sequences. Then, click start to begin the T1 weighted anatomical volume acquisition.Finally, present three runs to the participant. Synchronize the start of the runs with the acquisition by the scanner using the scanner trigger box and differentiate between each run using the session number. Then, save the results of each run.This study identified neural activity during singing in the regions known to constitute the singing network, which match those reported in prior literature. Results from a two way repeated measures analysis of variance indicated that for the contrast resulting from singing dissonant as opposed to consonant intervals, increased activations were observed in the right primary somatosensory cortex, right primary auditory cortex, left midbrain, right posterior insula, left amygdala, and left putamen. Once mastered, this technique can be done in four hours per subject.If it is performed properly, taking into account, the behaviors test, the fMRI session, and the data analysis. While attempting this procedure, it is important to remember to check that the recording equipment is functioning correctly and to instruct the participants clearly that they should sing by humming, moving their heads as little as possible to avoid artifacts. Following this procedure, which is used to track differences in brain activation between binary conditions, a modified version of the method can be performed in order to study, for example, differences between singing wide and narrow intervals.After each development the fMRI technique paves the way for researchers in the field of auditory neuroscience to explore neural mechanisms associated with audition and vocal production. After watching this video, you should have a good understanding of how to use fMRI to monitor the activity of both the motor and auditory systems during singing, in order to study the neural correlates of vocal production. Don't forget that working with a magnetic resonance scanner can be extremely hazardous and great care should always be taken to keep metallic objects away from the scanner.

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