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Neural correlates of intentional switching from ternary to binary meter in a musical hemiola pattern

机译:神经半音模式有意从三进制转换为二进制的神经相关

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摘要

Musical rhythms are often perceived and interpreted within a metrical framework that integrates timing information hierarchically based on interval ratios. Endogenous timing processes facilitate this metrical integration and allow us using the sensory context for predicting when an expected sensory event will happen (“predictive timing”). Previously, we showed that listening to metronomes and subjectively imagining the two different meters of march and waltz modulated the resulting auditory evoked responses in the temporal lobe and motor-related brain areas such as the motor cortex, basal ganglia, and cerebellum. Here we further explored the intentional transitions between the two metrical contexts, known as hemiola in the Western classical music dating back to the sixteenth century. We examined MEG from 12 musicians while they repeatedly listened to a sequence of 12 unaccented clicks with an interval of 390 ms, and tapped to them with the right hand according to a 3 + 3 + 2 + 2 + 2 hemiola accent pattern. While participants listened to the same metronome sequence and imagined the accents, their pattern of brain responses significantly changed just before the “pivot” point of metric transition from ternary to binary meter. Until 100 ms before the pivot point, brain activities were more similar to those in the simple ternary meter than those in the simple binary meter, but the pattern was reversed afterwards. A similar transition was also observed at the downbeat after the pivot. Brain areas related to the metric transition were identified from source reconstruction of the MEG using a beamformer and included auditory cortices, sensorimotor and premotor cortices, cerebellum, inferior/middle frontal gyrus, parahippocampal gyrus, inferior parietal lobule, cingulate cortex, and precuneus. The results strongly support that predictive timing processes related to auditory-motor, fronto-parietal, and medial limbic systems underlie metrical representation and its transitions.
机译:音乐节奏通常是在基于间隔比率将时序信息分层集成的度量框架内感知和解释的。内源性计时过程促进了这种度量整合,并允许我们使用感官上下文来预测何时会发生预期的感官事件(“预测性计时”)。以前,我们证明了聆听节拍器并主观地想象行进和华尔兹这两个不同的高度会调制颞叶和运动相关的大脑区域(例如运动皮层,基底神经节和小脑)的听觉诱发反应。在这里,我们进一步探讨了两种音符语境之间的有意过渡,这可以追溯到16世纪的西方古典音乐中称为半音琴。我们检查了12位音乐家的MEG,他们以390毫秒的间隔反复听了12次无重音的点击,然后按照3 + 3 + 2 + 2 + 2半音重音模式用右手轻敲了他们。当参与者聆听相同的节拍器序列并想象口音时,他们的大脑反应模式在从三进制到二进制的公制转换的“枢轴”点之前发生了显着变化。直到枢轴点之前的100毫秒,大脑活动与简单三元仪中的大脑活动比简单二元仪中的大脑活动更相似,但之后的模式相反。在枢轴之后的低调处也观察到类似的过渡。使用波束形成器从MEG的源重建中识别了与度量转换有关的脑区域,包括听觉皮层,感觉运动和运动前皮层,小脑,下/中额叶回,海马旁回,顶叶小叶下,扣带回皮层和前突。结果强烈支持与听觉运动,额顶叶和内侧边缘系统有关的预测性计时过程是度量表示及其过渡的基础。

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