The effects of musicality and language background on cue integration in pitch perception

Perception and imitation of period-doubled phonation: Pitch and voice qualitya)

Period-doubled phonation, henceforth, period doubling, characterized by voicing periods that alternate in amplitudes and/or frequencies, is often perceived rough and with an indeterminate pitch. Lower pitch percept has been suggested by past studies when the degree of amplitude or frequency modulation increases. However, how listeners use period doubling when identifying linguistic tones remains unclear. The current study uses tasks of categorization with training, followed by imitation of tones manipulated with period doubling (with amplitude and frequency modulation, both separately and jointly) in a novel language. Native Mandarin and English speakers with different levels of music experience were tested. I show that period doubling leads to a low-tone bias in perception and imitation, especially as the modulation degree, particularly that of frequency, increases. Interestingly, interactions with stimulus f0 and modulation type show that in amplitude-modulated tokens, when compared to lower f0 (200 Hz), higher f0 (300 Hz) drives more low-tone responses. Period doubling is also imitated with lowered f0 and creaky quality. Language and music experience does not affect perceptual and imitative responses, suggesting that the perception of period doubling is not language-specific or conditioned by tonal knowledge. Period doubling likely signals low tones, even when the original f0 is high.

The effect of tone language background on cue integration in pitch perception

This study explores the effect of native language and musicality on voice quality cue integration in pitch perception. Previous work by Cui and Kang [(2019). J. Acoust. Soc. Am. 146(6), 4086-4096] found no differences in pitch perception strategies between English and Mandarin speakers. The present study asks whether Cantonese listeners may perform differently, as Cantonese consists of multiple level tones. Participants completed two experiments: (i) a forced choice pitch classification experiment involving four spectral slope permutations that vary in fo across an 11 step continuum, and (ii) the MBEMA test that quantifies listeners' musicality. Results show that Cantonese speakers do not differ from English and Mandarin speakers in terms of overall categoricity and perceptual shift, that Cantonese speakers do not have advantages in musicality, and that musicality is a significant predictor for participants' pitch perception strategies. Listeners with higher musicality scores tend to rely more on fo cues than voice quality cues compared to listeners with lower musicality. These findings support the notion that voice quality integration in pitch perception is not language specific, and may be a universal psychoacoustic phenomenon at a non-lexical level.

Neural responses in novice learners' perceptual learning and generalization of lexical tones: The effect of training variability

The acoustics of lexical tones are highly variable across talkers, and require second-language (L2) learners' flexibility in accommodating talker-specific tonal variations for successful learning. This study investigated how tone training with high vs. low talker-variability modulated novice learners' neural responses to non-native tones. A passive oddball paradigm tested Mandarin-speaking participants' neural responses to Cantonese low-high and low-mid tonal contrasts in the pretest and posttest. Participants were trained using a tone identification task with feedback, either with high or low talker-variability. The results of mismatch negativity (MMN) showed no group difference in the pretest whereas the high-variability group demonstrated greater neural sensitivity to the low-high tonal contrast produced by a novel talker and a trained talker in the posttest. The finding provides (tentative) novel evidence that training variability may benefit perceptual learning of the relatively easy tone pair and facilitate the formation of talker-independent representations of non-native tones by novice learners.

Categorical Perception of Mandarin Pitch Directions by Cantonese-Speaking Musicians and Non-musicians

Purpose: This study is to investigate whether Cantonese-speaking musicians may show stronger CP than Cantonese-speaking non-musicians in perceiving pitch directions generated based on Mandarin tones. It also aims to examine whether musicians may be more effective in processing stimuli and more sensitive to subtle differences caused by vowel quality.

Methods: Cantonese-speaking musicians and non-musicians performed a categorical identification and a discrimination task on rising and falling continua of fundamental frequency generated based on Mandarin level, rising and falling tones on two vowels with nine duration values.

Results: Cantonese-speaking musicians exhibited a stronger categorical perception (CP) of pitch contours than non-musicians based on the identification and discrimination tasks. Compared to non-musicians, musicians were also more sensitive to the change of stimulus duration and to the intrinsic F₀ in pitch perception in pitch processing.

Conclusion: The CP was strengthened due to musical experience and musicians benefited more from increased stimulus duration and were more efficient in pitch processing. Musicians might be able to better use the extra time to form an auditory representation with more acoustic details. Even with more efficiency in pitch processing, musicians' ability to detect subtle pitch changes caused by intrinsic F₀ was not undermined, which is likely due to their superior ability to process temporal information. These results thus suggest musicians may have a great advantage in learning tones of a second language.

The effect of Mandarin listeners' musical and pitch aptitude on perceptual learning of Cantonese level-tones

Contrary to studies on speech learning of consonants and vowels, the issue of individual variability is less well understood in the learning of lexical tones. Whereas existing studies have focused on contour-tone learning (Mandarin) by listeners without experience of a tonal language, this study addressed a research gap by investigating the perceptual learning of level-tone contrasts (Cantonese) by learners with experience of a contour-tone system (Mandarin). Critically, we sought to answer the question of how Mandarin listeners' initial perception and learning of Cantonese level-tones are affected by their musical and pitch aptitude. Mandarin-speaking participants completed a pretest, training, and a posttest in the level-tone discrimination and identification (ID) tasks. They were assessed in musical aptitude and speech and nonspeech pitch thresholds before training. The results revealed a significant training effect in the ID task but not in the discrimination task. Importantly, the regression analyses showed an advantage of higher musical and pitch aptitude in perceiving Cantonese level-tone categories. The results explained part of the level-tone learning variability in speakers of a contour-tone system. The finding implies that prior experience of a tonal language does not necessarily override the advantage of listeners' musical and pitch aptitude.

How musical experience affects tone perception efficiency by musicians of tonal and non-tonal speakers?

PURPOSE

To investigate if, regardless of language background (tonal or non-tonal), musicians may show stronger CP than non-musicians; To examine if native speakers of English (English or non-tonal musicians henceforth) or Mandarin Chinese (Mandarin or tonal musicians henceforth) can better accommodate multiple functions of the same acoustic cue and if musicians' sensitivity to pitch of lexical tones comes at the cost of slower processing.

METHOD

English and Mandarin Musicians and non-musicians performed a categorical identification and a discrimination task on rising and falling continua of fundamental frequency on two vowels with 9 duration values.

RESULTS

Non-tonal musicians exhibited significantly stronger categorical perception of pitch contour than non-tonal non-musicians. However, tonal musicians did not consistently perceive the two types of pitch directions more categorically than tonal non-musicians. Both tonal and non-tonal musicians also benefited more from increasing stimulus duration in processing pitch changes than non-musicians and they generally require less time for pitch processing. Musicians were also more sensitive to intrinsic F0 in pitch perception and differences of pitch types.

CONCLUSION

The effect of musical training strengthens categorical perception more consistently in non-tonal speakers than tonal speakers. Overall, musicians benefit more from increased stimulus duration, due perhaps to their greater sensitivity to temporal information, thus allowing them to be better at forming a more robust auditory representation and matching sounds to internalized memory templates. Musicians also attended more to acoustic details such as intrinsic F0 and pitch types in pitch processing, and yet, overall, their categorization of pitch was not compromised by traces of these acoustic details from their auditory short-term working memory. These findings may lead to a better understanding of pitch perception deficits in special populations, particularly among individuals diagnosed with autism spectrum disorder (ASD).