The Music of Silence: Part II: Music Listening Induces Imagery Responses
The Music of Silence: Part II: Music Listening Induces Imagery Responses
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DOI：
10.1523/jneurosci.0184-21.2021
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发表时间：
2021-09-01
影响因子：
5.3
通讯作者：
Shamma, Shihab A.
中科院分区：
文献类型：
--
作者：
Liberto, Giovanni M. Di;Marion, Guilhem;Shamma, Shihab A.
在听音乐的过程中，人类例行公事地获取声音序列的规律性，并使用它们来预测和解释正在进行的旋律。具体地说，根据这一预测框架，人们认为在这种收听过程中的大脑反应反映了自下而上的感觉反应和由体现听者的音乐暴露和期望的内部模型产生的自上而下的预测信号之间的比较。为了对这些预测性反应有一个清晰的认识，以前的工作通过插入人为的沉默(或声音遗漏)来消除感官输入，只留下对受挫预期的相应预测。在这里，我们展示了一种新的替代方法，在这种方法中，我们解码了对自然地散布在音乐中的静默间隔的预测性脑电(EEG)反应。我们这样做的参与者(实验1，20名参与者，10名女性；实验2，21名参与者，6名女性)听或想象巴赫钢琴的旋律。预测信号通过音乐旋律结构的计算模型进行量化和评估，并在收听或想象期间进行测量时显示出相同的响应特征。这包括沉默和想象反应相对于倾听的反转极性，以及反应幅度调制，准确地反映了在聆听和想象条件下对音符和沉默的期望。因此，这些发现提供了一个统一的观点，将许多先前范例的结果联系起来，包括遗漏反应和感觉反应的预期调节，所有这些都是在自然音乐聆听的背景下进行的。
During music listening, humans routinely acquire the regularities of the acoustic sequences and use them to anticipate and interpret the ongoing melody. Specifically, in line with this predictive framework, it is thought that brain responses during such listening reflect a comparison between the bottom-up sensory responses and top-down prediction signals generated by an internal model that embodies the music exposure and expectations of the listener. To attain a clear view of these predictive responses, previous work has eliminated the sensory inputs by inserting artificial silences (or sound omissions) that leave behind only the corresponding predictions of the thwarted expectations. Here, we demonstrate a new alternate approach in which we decode the predictive electroencephalography (EEG) responses to the silent intervals that are naturally interspersed within the music. We did this as participants (experiment 1, 20 participants, 10 female; experiment 2, 21 participants, 6 female) listened or imagined Bach piano melodies. Prediction signals were quantified and assessed via a computational model of the melodic structure of the music and were shown to exhibit the same response characteristics when measured during listening or imagining. These include an inverted polarity for both silence and imagined responses relative to listening, as well as response magnitude modulations that precisely reflect the expectations of notes and silences in both listening and imagery conditions. These findings therefore provide a unifying view that links results from many previous paradigms, including omission reactions and the expectation modulation of sensory responses, all in the context of naturalistic music listening.