Processing Expectancy Violations during Music Performance and Perception: An ERP Study
Processing Expectancy Violations during Music Performance and Perception: An ERP Study
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DOI：
10.1162/jocn.2009.21332
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发表时间：
2010-10-01
影响因子：
3.2
通讯作者：
Koelsch, Stefan
中科院分区：
文献类型：
--
作者：
Maidhof, Clemens;Vavatzanidis, Niki;Koelsch, Stefan
音乐家是训练有素的运动专家，他们在音乐动作和相应的听觉效果之间有明显的联系。然而，听觉反馈对于音乐表演的重要性存在争议，并且尚不清楚音乐表演期间的反馈是如何处理的。本研究调查了钢琴家听觉反馈操作处理背后的神经机制。为了理清基于行动和基于感知的期望的影响，我们将表演期间的反馈操纵与对相同刺激材料的单纯感知进行了比较。在两个实验中，钢琴家在钢琴上双手演奏序列，同时在随机位置操纵单个音符的听觉反馈，从而在预期和实际感知的动作效果（动作条件）之间产生不匹配。此外，钢琴家聆听包含相同操作的音调序列（感知条件）。感知条件下的操作要么与任务相关（实验 1），要么与任务无关（实验 2）。在动作和感知条件下，由操纵音调引起的事件相关电位显示出约 200 毫秒的早期额中央负性，大概反映了反馈 ERN/N200，随后是正偏转 (P3a)。与感知条件相比，早期的消极情绪在行动期间更为明显。这表明，在表演过程中，产生特定听觉效果的意图会导致比音乐感知过程中建立的期望更强的期望。
Musicians are highly trained motor experts with pronounced associations between musical actions and the corresponding auditory effects. However, the importance of auditory feedback for music performance is controversial, and it is unknown how feedback during music performance is processed. The present study investigated the neural mechanisms underlying the processing of auditory feedback manipulations in pianists. To disentangle effects of action-based and perception-based expectations, we compared feedback manipulations during performance to the mere perception of the same stimulus material. In two experiments, pianists performed bimanually sequences on a piano, while at random positions, the auditory feedback of single notes was manipulated, thereby creating a mismatch between an expected and actually perceived action effect (action condition). In addition, pianists listened to tone sequences containing the same manipulations (perception condition). The manipulations in the perception condition were either task-relevant (Experiment 1) or task-irrelevant (Experiment 2). In action and perception conditions, event-related potentials elicited by manipulated tones showed an early fronto-central negativity around 200 msec, presumably reflecting a feedback ERN/N200, followed by a positive deflection (P3a). The early negativity was more pronounced during the action compared to the perception condition. This shows that during performance, the intention to produce specific auditory effects leads to stronger expectancies than the expectancies built up during music perception.