Academic literature on the topic 'Auditory-motor integration'
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Journal articles on the topic "Auditory-motor integration"
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Jay, M. F., and D. L. Sparks. "Sensorimotor integration in the primate superior colliculus. I. Motor convergence." Journal of Neurophysiology 57, no. 1 (January 1, 1987): 22–34. http://dx.doi.org/10.1152/jn.1987.57.1.22.
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Orienting movements of the eyes and head are made to both auditory and visual stimuli even though in the primary sensory pathways the locations of auditory and visual stimuli are encoded in different coordinates. This study was designed to differentiate between two possible mechanisms for sensory-to-motor transformation. Auditory and visual signals could be translated into common coordinates in order to share a single motor pathway or they could maintain anatomically separate sensory and motor routes for the initiation and guidance of orienting eye movements. The primary purpose of the study was to determine whether neurons in the superior colliculus (SC) that discharge before saccades to visual targets also discharge before saccades directed toward auditory targets. If they do, this would indicate that auditory and visual signals, originally encoded in different coordinates, have been converted into a single coordinate system and are sharing a motor circuit. Trained monkeys made saccadic eye movements to auditory or visual targets while the activity of visual-motor (V-M) cells and saccade-related burst (SRB) cells was monitored. The pattern of spike activity observed during trials in which saccades were made to visual targets was compared with that observed when comparable saccades were made to auditory targets. For most (57 of 59) V-M cells, sensory responses were observed only on visual trials. Auditory stimuli originating from the same region of space did not activate these cells. Yet, of the 72 V-M and SRB cells studied, 79% showed motor bursts prior to saccades to either auditory or visual targets. This finding indicates that visual and auditory signals, originally encoded in retinal and head-centered coordinates, respectively, have undergone a transformation that allows them to share a common efferent pathway for the generation of saccadic eye movements. Saccades to auditory targets usually have lower velocities than saccades of the same amplitude and direction made to acquire visual targets. Since fewer collicular cells are active prior to saccades to auditory targets, one determinant of saccadic velocity may be the number of collicular neurons discharging before a particular saccade.
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Loucks, Torrey M. J., Edward Ofori, Christopher M. Grindrod, Luc F. De Nil, and Jacob J. Sosnoff. "Auditory Motor Integration in Oral and Manual Effectors." Journal of Motor Behavior 42, no. 4 (July 2010): 233–39. http://dx.doi.org/10.1080/00222895.2010.492723.
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Tran, Huynh-Truc, Yao-Chuen Li, Hung-Yu Lin, Shin-Da Lee, and Pei-Jung Wang. "Sensory Processing Impairments in Children with Developmental Coordination Disorder." Children 9, no. 10 (September 22, 2022): 1443. http://dx.doi.org/10.3390/children9101443.
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The two objectives of this systematic review were to examine the following: (1) the difference in sensory processing areas (auditory, visual, vestibular, touch, proprioceptive, and multi-sensory) between children with and without developmental coordination disorder (DCD), and (2) the relationship between sensory processing and motor coordination in DCD. The following databases were comprehensively searched for relevant articles: PubMed, Science Direct, Web of Science, and Cochrane library. There were 1107 articles (published year = 2010 to 2021) found in the initial search. Full-text articles of all possibly relevant citations were obtained and inspected for suitability by two authors. The outcome measures were sensory processing impairments and their relationship with motor coordination. A total of 10 articles met the inclusion criteria. Children with DCD showed significant impairments in visual integration, tactile integration, proprioceptive integration, auditory integration, vestibular integration, and oral integration processes when compared with typically developing children. Evidence also supported that sensory processing impairments were associated with poor motor coordination in DCD. Preliminary support indicated that DCD have sensory processing impairments in visual, tactile, proprioceptive, auditory, and vestibular areas, which might contribute to participation restriction in motor activities. It is important to apply sensory integration therapy in rehabilitation programs for DCD in order to facilitate participation in daily activities.
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Jay, M. F., and D. L. Sparks. "Sensorimotor integration in the primate superior colliculus. II. Coordinates of auditory signals." Journal of Neurophysiology 57, no. 1 (January 1, 1987): 35–55. http://dx.doi.org/10.1152/jn.1987.57.1.35.
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Based on the findings of the preceding paper, it is known that auditory and visual signals have been translated into common coordinates at the level of the superior colliculus (SC) and share a motor circuit involved in the generation of saccadic eye movements. It is not known, however, whether the translation of sensory signals into motor coordinates occurs prior to or within the SC. Nor is it known in what coordinates auditory signals observed in the SC are encoded. The present experiment tested two alternative hypotheses concerning the frame of reference of auditory signals found in the deeper layers of the SC. The hypothesis that auditory signals are encoded in head coordinates predicts that, with the head stationary, the response of auditory neurons will not be affected by variations in eye position but will be determined by the location of the sound source. The hypothesis that auditory responses encode the trajectory of the eye movement required to look to the target (motor error) predicts that the response of auditory cells will depend on both the position of the sound source and the position of the eyes in the orbit. Extracellular single-unit recordings were obtained from neurons in the SC while monkeys made delayed saccades to auditory or visual targets in a darkened room. The coordinates of auditory signals were studied by plotting auditory receptive fields while the animal fixated one of three targets placed 24 degrees apart along the horizontal plane. For 99 of 121 SC cells, the spatial location of the auditory receptive field was significantly altered by the position of the eyes in the orbit. In contrast, the responses of five sound-sensitive cells isolated in the inferior colliculus were not affected by variations in eye position. The possibility that systematic variations in the position of the pinnae associated with different fixation positions could account for these findings was controlled for by plotting auditory receptive fields while the pinnae were mechanically restrained. Under these conditions, the position of the eyes in the orbit still had a significant effect on the responsiveness of collicular neurons to auditory stimuli. The average magnitude of the shift of the auditory receptive field with changes in eye position (12.9 degrees) did not correspond to the magnitude of the shift in eye position (24 degrees). Alternative explanations for this finding were considered. One possibility is that, within the SC, there is a gradual transition from auditory signals in head coordinates to signals in motor error coordinates.(ABSTRACT TRUNCATED AT 400 WORDS)
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Matchin, William, Kier Groulx, and Gregory Hickok. "Audiovisual Speech Integration Does Not Rely on the Motor System: Evidence from Articulatory Suppression, the McGurk Effect, and fMRI." Journal of Cognitive Neuroscience 26, no. 3 (March 2014): 606–20. http://dx.doi.org/10.1162/jocn_a_00515.
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Visual speech influences the perception of heard speech. A classic example of this is the McGurk effect, whereby an auditory /pa/ overlaid onto a visual /ka/ induces the fusion percept of /ta/. Recent behavioral and neuroimaging research has highlighted the importance of both articulatory representations and motor speech regions of the brain, particularly Broca's area, in audiovisual (AV) speech integration. Alternatively, AV speech integration may be accomplished by the sensory system through multisensory integration in the posterior STS. We assessed the claims regarding the involvement of the motor system in AV integration in two experiments: (i) examining the effect of articulatory suppression on the McGurk effect and (ii) determining if motor speech regions show an AV integration profile. The hypothesis regarding experiment (i) is that if the motor system plays a role in McGurk fusion, distracting the motor system through articulatory suppression should result in a reduction of McGurk fusion. The results of experiment (i) showed that articulatory suppression results in no such reduction, suggesting that the motor system is not responsible for the McGurk effect. The hypothesis of experiment (ii) was that if the brain activation to AV speech in motor regions (such as Broca's area) reflects AV integration, the profile of activity should reflect AV integration: AV > AO (auditory only) and AV > VO (visual only). The results of experiment (ii) demonstrate that motor speech regions do not show this integration profile, whereas the posterior STS does. Instead, activity in motor regions is task dependent. The combined results suggest that AV speech integration does not rely on the motor system.
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Westerman, Gert, and Eduardo Reck Miranda. "Modelling the Development of Mirror Neurons for Auditory-Motor Integration." Journal of New Music Research 31, no. 4 (December 1, 2002): 367–75. http://dx.doi.org/10.1076/jnmr.31.4.367.14166.
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Cardin, Jessica A., Jonathan N. Raksin, and Marc F. Schmidt. "Sensorimotor Nucleus NIf Is Necessary for Auditory Processing But Not Vocal Motor Output in the Avian Song System." Journal of Neurophysiology 93, no. 4 (April 2005): 2157–66. http://dx.doi.org/10.1152/jn.01001.2004.
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Sensorimotor integration in the avian song system is crucial for both learning and maintenance of song, a vocal motor behavior. Although a number of song system areas demonstrate both sensory and motor characteristics, their exact roles in auditory and premotor processing are unclear. In particular, it is unknown whether input from the forebrain nucleus interface of the nidopallium (NIf), which exhibits both sensory and premotor activity, is necessary for both auditory and premotor processing in its target, HVC. Here we show that bilateral NIf lesions result in long-term loss of HVC auditory activity but do not impair song production. NIf is thus a major source of auditory input to HVC, but an intact NIf is not necessary for motor output in adult zebra finches.
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Kagerer, Florian A., Priya Viswanathan, Jose L. Contreras-Vidal, and Jill Whitall. "Auditory–motor integration of subliminal phase shifts in tapping: better than auditory discrimination would predict." Experimental Brain Research 232, no. 4 (January 22, 2014): 1207–18. http://dx.doi.org/10.1007/s00221-014-3837-9.
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Lagarrigue, Yannick, Céline Cappe, and Jessica Tallet. "Regular rhythmic and audio-visual stimulations enhance procedural learning of a perceptual-motor sequence in healthy adults: A pilot study." PLOS ONE 16, no. 11 (November 15, 2021): e0259081. http://dx.doi.org/10.1371/journal.pone.0259081.
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Procedural learning is essential for the effortless execution of many everyday life activities. However, little is known about the conditions influencing the acquisition of procedural skills. The literature suggests that sensory environment may influence the acquisition of perceptual-motor sequences, as tested by a Serial Reaction Time Task. In the current study, we investigated the effects of auditory stimulations on procedural learning of a visuo-motor sequence. Given that the literature shows that regular rhythmic auditory rhythm and multisensory stimulations improve motor speed, we expected to improve procedural learning (reaction times and errors) with repeated practice with auditory stimulations presented either simultaneously with visual stimulations or with a regular tempo, compared to control conditions (e.g., with irregular tempo). Our results suggest that both congruent audio-visual stimulations and regular rhythmic auditory stimulations promote procedural perceptual-motor learning. On the contrary, auditory stimulations with irregular or very quick tempo alter learning. We discuss how regular rhythmic multisensory stimulations may improve procedural learning with respect of a multisensory rhythmic integration process.
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Peschke, C., W. Ziegler, J. Kappes, and A. Baumgaertner. "Auditory–motor integration during fast repetition: The neuronal correlates of shadowing." NeuroImage 47, no. 1 (August 2009): 392–402. http://dx.doi.org/10.1016/j.neuroimage.2009.03.061.
Full textDissertations / Theses on the topic "Auditory-motor integration"
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Brown, Rachel. "Auditory-motor integration in music performance, learning, and memory." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119512.
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Auditory-motor skills such as speaking or playing a musical instrument require skill in processing auditory outcomes and performing actions that produce those outcomes. A growing body of evidence suggests that perception and production components of auditory-motor skill are integrated by reciprocal auditory-to-motor and motor-to-auditory interactions. Much remains unknown about how complex auditory sequences map to complex movement sequences such as those required of speech or music performance. Less still is known about how auditory-motor interactions influence the way skilled performers learn and remember novel auditory-motor sequences. The research described in this thesis examined these questions in the context of music performance. Music performance is a common and complex auditory-motor behavior that presents a useful model for examining human auditory-motor capabilities as it requires precise control of both pitch and temporal sequences of events. Three studies examined how auditory-motor interactions influence the way skilled musicians map pitch and temporal sequences to movements and the way musicians learn and remember music. The first study examined how auditory pitch and temporal sequence structure in music engage motor neural networks in auditory-motor interactions (Chapter 2). This study revealed motor networks that are sensitive to both pitch and temporal structure when musicians listen to and subsequently perform music. This finding suggests that the motor system integrates multiple dimensions of auditory sequence structure when performers map auditory sequences to motor sequences. The second study examined how performers use auditory and motor information to learn auditory sequences (Chapter 3). This study revealed that musicians better recognize auditory sequences that they hadlearned while producing them with auditory feedback than while hearing them only, indicating that motor learning facilitates subsequent auditory memory for skilled performers. The third study examined how individual differences in auditory and motor imagery abilities influence the way musicians learn novel music and subsequently remember that music (Chapter 4). This study revealed that auditory imagery abilities help performers learn novel music by compensating for missing sound and reducing sensitivity to interfering information; auditory imagery abilities also help performers recall music during performance with greater temporal regularity. Overall, these results suggest that auditory imagery abilities aid learning and subsequent recall of music differently. Together, these studies illuminate how auditory-motor integration functions in skilled performance and how it contributes to auditory-motor sequence learning and memory.Certaines habiletés auditivomotrices, telles que parler ou jouer d'un instrument de musique, requièrent des compétences particulières sur les plans du traitement auditif des sons produits et de la production des actions menant à l'émission de ces sons. À cet égard, un nombre croissant de preuves empiriques suggère que les composantes de perception et de production des habiletés auditivomotrices s'incèrent à l'intérieur d'interactions réciproques entre le système auditif et le système moteur. Plusieurs questions concernant la façon dont des séquences auditives complexes s'alignent avec des séquences complexes de mouvements, telles que retrouvées dans la parole ou les performances musicales, demeurent néanmoins irrésolues. Notamment par rapport à la façon dont les interactions entre les systèmes auditif et moteur influencent l'apprentissage et la rétention de nouvelles séquences auditivomotrices chez des executants compétents. Les recherches décrites dans cette thèse visent à aborder ces questions dans le contexte de performances musicales. En effet, étant donné qu'elles requièrent un contrôle précis de la hauteur du son et de la sequence temporelle des événements, les performances musicales sont des comportements auditivomoteurs communs et complexes représentant un modèle avantageux dans l'examen des capacités auditivomotrices. Trois études sont proposées afin d'examiner l'influence des interactions entre les systèmes auditif et moteur sur la façon dont des musiciens compétents alignent la hauteur sonore et les sequences temporelles avec les mouvements requis lors de performances musicales, de même que sur la façon dont ils apprennent et retiennent une séquence musicale. La première étude examine la manière dont la hauteur sonore et la structuretemporelle d'une séquence musicale engagent certains réseaux neuronaux du système moteur sur le plan des interactions auditivomotrices (Chapitre 2). Cette étude révèle que les réseaux du système moteur sont sensibles à l'intensité sonore et à la structure temporelle lorsque des musiciens écoutent et jouent de la musique. Ces résultats suggèrent que le système moteur intègre de multiples dimensions relatives à la structure de la séquence auditive lorsque ces sequences auditives sont alignées avec des séquences motrices lors de performances musicales. La deuxième étude examine l'utilisation des informations auditives et motrices dans l'apprentissage de séquences auditives (Chapitre 3). Cette etude révèle que les musiciens reconnaissent mieux les séquences auditives qu'ils ont eu à apprendre en les jouant avec rétroaction auditive, par rapport à celles qu'ils ont uniquement eu à écouter. Ces résultats indiquent que l'apprentissage moteur facilite la mémorisation d'information auditive chez les exécutants compétents. La troisième étude examine l'influence des différences individuelles sur le plan des habiletés d'imagerie auditive et motrice, sur l'apprentissage de nouvelles séquences musicales et sur le rappel de ces mêmes séquences (Chapitre 4). Cette étude révèle que les habiletés d'imagerie auditive aident les exécutants à apprendre de nouvelles séquences musicales en compensant pour les sons manquants, de même qu'en réduisant l'interférence liée à l'informations non pertinente; les habiletés d'imagerie auditive améliorent également le rappel de séquences musicales lors de performances comportant une plus grande régularitétemporelle. De manière générale, ces résultats suggèrent que les habiletés d'imagerie auditive aident différemment à l'apprentissage de nouvelles sequences musicales et à leur rappel. Ensemble, ces études illustrent le fonctionnement des intégrations auditivomotrices chez les exécutants compétents, ainsi que leur contribution à l'apprentissage et à la mémorisation de séquences auditivomotrices.
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LEGA, CARLOTTA. "Moving “in tune”: neuro-functional mechanisms mediating auditory-motor associations." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2017. http://hdl.handle.net/10281/141950.
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In everyday life, our senses are constantly surrounded by many different sensory signals. Our cognitive system may combine information from different sensory modalities in order to choose the appropriate responses and ultimately promote a more adaptive behavior. A large body of research now shows that individuals exhibit consistent crossmodal correspondences between many stimulus features in different sensory modalities. Thus, the human brain shows a systematic tendency to preferentially associate certain features of stimuli across senses.
The first two chapters of the present dissertation aim to investigate the human tendency to spontaneously map the pitch dimension in a spatial format, exploring the experiential bases that could modulate this correspondence. Specifically, in three different studies, we investigated whether and how prior visual experience and musical expertise impact on the pitch-space association, testing two particular populations: congenitally blind individuals and professional musicians. We found that sensorimotor experience due to musical training affects the mental representation of pitch on the horizontal space, impacting on both motor responses and the representation of peri-personal space. Conversely, prior visual experience seems not to be critical for the pitch-space association to develop, at least in the vertical dimension.
In the third chapter we considered the association between auditory pitch and visual size, which refers to the finding that high-pitched sounds are perceptually associated with smaller visual stimuli, whereas low-pitched sounds with larger ones. Pushing this mapping one step further, the goal of the study described in the third chapter was to verify whether this crossmodal correspondence, reported so far for perceptual processing, also modulates motor planning. To address this issue, we carried out a series of kinematic experiments to verify whether actions implying size processing are affected by auditory pitch. Our results provide evidence for a close link between musical cognition and motor control, by demonstrating an interaction between representation of pitch dimension and representations of action-coded information for grasping, partially modulated and strengthened by musical expertise.
In the last chapter of the thesis, we tested the possible causal role of different brain regions in mediating auditory-motor associations by means of Transcranical Magnetic Stimulation (TMS). Our findings showed that inhibitory TMS over premotor cortex impairs the ability to learn and apply auditory-motor associations, and that this effect is greater when a novel association must be explicitly acquired. Furthermore, we demonstrated a crucial role of the cerebellum in pitch processing, extending prior neuroimaging and neuropsychological evidence that suggest a cerebellum involvement in perceptual tasks. Overall, the findings reported in this final section provides new evidence in favor of a strong link between the perceptual and the motor systems.
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Kornysheva, Katja [Verfasser], and Ricarda [Akademischer Betreuer] Schubotz. "Function of the ventral premotor cortex in auditory motor integration of musical rhythm / Katja Kornysheva. Betreuer: Ricarda Schubotz." Münster : Universitäts- und Landesbibliothek der Westfälischen Wilhelms-Universität, 2011. http://d-nb.info/1027017444/34.
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Van, Vugt Floris. "Sounds on time: auditory feedback in motor learning, re-learning and over-learning of timing regularity." Phd thesis, Université Claude Bernard - Lyon I, 2013. http://tel.archives-ouvertes.fr/tel-00915893.
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Le feedback auditif se définit comme un signal auditif qui contient de l'information sur un mouvement. Il a été montré que le feedback auditif peut guider le mouvement en temps réel, mais son influence sur l'apprentissage moteur est moins clair. Cette thèse a pour but d'examiner l'influence du feedback auditif sur l'apprentissage moteur, en se focalisant sur le contrôle temporel des mouvements. Premièrement, nous étudions l'apprentissage moteur chez les non-musiciens sains et montrons qu'ils bénéficient de l'information temporelle contenue dans le feedback auditif et qu'ils sont sensibles aux distortions de cette information temporelle. Deuxièmement, nous appliquons ces connaissances à la rehabilitation de patients cérébro-lésés. Nous trouvons que ces patients améliorent leurs capacités de mouvement mais ne dépendent pas de la correspondance temporelle entre le mouvement et le son. Paradoxalement, ces patients ont même benéficié des distortions temporelles dans le feedback. Troisièmement, nous étudions les experts musicaux, car ils ont établi des liens particulièrement forts entre leur mouvement et le son. Nous développons de nouveaux outils d'analyse qui nous permettent de séparer les déviations temporelles en variation systématique et non-systématique. Le résultat principal est que ces experts sont devenu largement indépendents du feedback auditif. La proposition centrale de cette thèse est que le feedback auditif joue un rôle dans l'apprentissage moteur de la regularité, mais la façon dont le cerveau l'utilise dépend de la population étudiée. Ces résultats donnent une nouvelle perspective sur l'intégration audio-motrice et contribuent au développement de nouvelles approches pour l'apprentissage de la musique et la réhabilitation.
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Van, Vugt Floris Tijmen. "Sounds on time : auditory feedback in learning, re-learning and over-learning of motor regularity." Thesis, Lyon 1, 2013. http://www.theses.fr/2013LYO10232.
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Le feedback auditif se définit comme un signal auditif qui contient de l'information sur un mouvement. Il a été montré que le feedback auditif peut guider le mouvement en temps réel, mais son influence sur l'apprentissage moteur est moins clair. Cette thèse a pour but d'examiner l'influence du feedback auditif sur l'apprentissage moteur, en se focalisant sur le contrôle temporel des mouvements. Premièrement, nous étudions l'apprentissage moteur chez les non-musiciens sains et montrons qu'ils bénéficient de l'information temporelle contenue dans le feedback auditif et qu'ils sont sensibles aux distorsions de cette information temporelle. Deuxièmement, nous appliquons ces connaissances à la réhabilitation de patients cérébro-lésés. Nous trouvons que ces patients améliorent leurs capacités de mouvement mais ne dépendent pas de la correspondance temporelle entre le mouvement et le son. Paradoxalement, ces patients ont même bénéficié des distorsions temporelles dans le feedback. Troisièmement, nous étudions les experts musicaux, car ils ont établi des liens particulièrement forts entre leur mouvement et le son. Nous développons de nouveaux outils d'analyse qui nous permettent de séparer les déviations temporelles en variation systématique et non-systématique. Le résultat principal est que ces experts sont devenus largement indépendants du feedback auditif. La proposition centrale de cette thèse est que le feedback auditif joue un rôle dans l'apprentissage moteur de la régularité, mais la façon dont le cerveau l'utilise dépend de la population étudiée. Ces résultats donnent une nouvelle perspective sur l'intégration audio-motrice et contribuent au développement de nouvelles approches pour l'apprentissage de la musique et la réhabilitationAuditory feedback is an auditory signal that contains information about performed movement. Music performance is an excellent candidate to study its influence on motor actions, since the auditory result is the explicit goal of the movement. Indeed, auditory feedback can guide online motor actions, but its influence on motor learning has been investigated less. This thesis investigates the influence of auditory feedback in motor learning, focusing particularly on how we learn temporal control over movements. First, we investigate motor learning in non-musicians, finding that they benefit from temporal information supplied by the auditory signal and are sensitive to distortions of this temporal information. Second, we turn to stroke patients that are re-learning motor actions in a rehabilitation setting. Patients improved their movement capacities but did not depend on the time-locking between movements and the resulting auditory feedback. Surprisingly, they appear to benefit from distortions in feedback. Third, we investigate musical experts, who arguably have established strong links between movement and auditory feedback. We develop a novel analysis framework that allows us to segment timing into systematic and non-systematic variability. Our finding is that these experts have become largely independent of the auditory feedback. The main claim defended in this thesis is that auditory feedback can and does play a role in motor learning of regularity, but the way in which it is used varies qualitatively between different populations. These findings provide new insights into auditory-motor integration and are relevant for developing new perspectives on the role of music in training and rehabilitation settings
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Johnson, Jennifer Lynn. "Effects of delayed auditory feedback on the Bereitschaftspotential /." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2144.pdf.
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亮輔, 橘. "A study on neural mechanisms for integrating auditory information into motor control : functional MRI measurements of brain activities involved in a simplified auditory-motor task." Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB12252684/?lang=0, 2011. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB12252684/?lang=0.
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Schaefer, Martina Christina Marion. "The interaction between speech perception and speech production: implications for speakers with dysarthria." Thesis, University of Canterbury. Communication Disorders, 2013. http://hdl.handle.net/10092/8610.
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The purpose of the research presented here was to systematically investigate the role of speech perception on speech production in speakers of different ages and those with PD and hypokinetic dysarthria. For this, the experimental designs of auditory perturbation and mimicry were chosen. The initial research phase established that the magnitude of
compensation to auditory vowel perturbation was reduced in 54 speakers of New Zealand English (NZE) when compared to previous studies conducted with speakers of American (AE) and Canadian English (CE). A number of factors were studied to determine possible predictors of compensation and distinguish between potential changes associated with ageing.
However, no predictors of compensation were found for the overall group. Post-hoc analyses established an increased variability in response patterns in NZE when compared to previous studies of AE and CE. Subsequent follow-up analyses focused on the response-dependent categories of (1) big compensators, (2) compensators, (3) big followers, and (4) followers. Linear mixed-effect modelling revealed that in big compensators, the magnitude of compensation was greater in speakers who exhibited larger F1 baseline standard deviation
and greater F1 vowel distances of HEAD relative to HEED and HAD. F1 baseline standard deviation was found to have a similar predictive value for the group of compensators. No
predictors of compensation were found for the other two subgroups. Phase two was set up as a continuation of phase one and examined whether a subset of 16 speakers classified as big compensators adapted to auditory vowel perturbation. Linear mixed-effect modelling revealed that in the absence of auditory feedback alterations, big compensators maintained
their revised speech motor commands for a short period of time until a process of de-adaptation was initiated. No predictors of adaptation were found for the group. Due to the
unexpected results from the first two research phases indicating a dominant weighting of somatosensory feedback in NZE compared to auditory-perceptual influences, a different experimental paradigm was selected for phase three - mimicry. The purpose of this study was to determine whether eight speakers with PD and dysarthria and eight age-matched healthy controls (HC) are able to effectively integrate speech perception and speech production when attempting to match an acoustic target. Results revealed that all speakers were able to modify their speech production to approximate the model speaker but the acoustic dimensions of their speech did not move significantly closer to the target over the three mimicry attempts. Although speakers with moderate levels of dysarthria exhibited greater acoustic distances (except for the dimension of pitch variation), neither the perceptual nor the acoustic analyses found significant differences in mimicry behaviour across the two groups. Overall, these findings were considered preliminary evidence that speech perception and speech production can at least to some extent be effectively integrated to induce error-correction mechanisms and subsequent speech motor learning in these speakers with PD and dysarthria.
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"The Effects of Music on Auditory-Motor Integration for Speech: A Behavioral Priming and Interference Study." Master's thesis, 2015. http://hdl.handle.net/2286/R.I.29616.
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abstract: Language and music are fundamentally entwined within human culture. The two domains share similar properties including rhythm, acoustic complexity, and hierarchical structure. Although language and music have commonalities, abilities in these two domains have been found to dissociate after brain damage, leaving unanswered questions about their interconnectedness, including can one domain support the other when damage occurs? Evidence supporting this question exists for speech production. Musical pitch and rhythm are employed in Melodic Intonation Therapy to improve expressive language recovery, but little is known about the effects of music on the recovery of speech perception and receptive language. This research is one of the first to address the effects of music on speech perception. Two groups of participants, an older adult group (n=24; M = 71.63 yrs) and a younger adult group (n=50; M = 21.88 yrs) took part in the study. A native female speaker of Standard American English created four different types of stimuli including pseudoword sentences of normal speech, simultaneous music-speech, rhythmic speech, and music-primed speech. The stimuli were presented binaurally and participants were instructed to repeat what they heard following a 15 second time delay. Results were analyzed using standard parametric techniques. It was found that musical priming of speech, but not simultaneous synchronized music and speech, facilitated speech perception in both the younger adult and older adult groups. This effect may be driven by rhythmic information. The younger adults outperformed the older adults in all conditions. The speech perception task relied heavily on working memory, and there is a known working memory decline associated with aging. Thus, participants completed a working memory task to be used as a covariate in analyses of differences across stimulus types and age groups. Working memory ability was found to correlate with speech perception performance, but that the age-related performance differences are still significant once working memory differences are taken into account. These results provide new avenues for facilitating speech perception in stroke patients and sheds light upon the underlying mechanisms of Melodic Intonation Therapy for speech production.Dissertation/Thesis
Masters Thesis Communication Disorders 2015
Books on the topic "Auditory-motor integration"
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Schlaug, Gottfried. Music, musicians, and brain plasticity. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0018.
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This article reviews studies on the brains of musicians. Making music not only engages primary auditory and motor regions and the connections between them, but also regions that integrate and connect areas involved in both auditory and motor operations, as well as in the integration of other multisensory information. Professional instrumentalists learn and repeatedly practice associating hand/finger movements with meaningful patterns in sound, and sounds and movements with specific visual patterns (notation) while receiving continuous multisensory feedback. Learning to associate actions with particular sounds leads to functional but also structural changes in frontal cortices.
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The effect of dry-fire training with auditory feedback about rifle barrel movement on hold position steadiness of subelite marksman. 1989.
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The effect of dry-fire training with auditory feedback about rifle barrel movement on hold position steadiness of subelite marksman. 1989.
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The effect of dry-fire training with auditory feedback about rifle barrel movement on hold position steadiness of subelite marksman. 1989.
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The effect of dry-fire training with auditory feedback about rifle barrel movement on hold position steadiness of subelite marksman. 1989.
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The effect of dry-fire training with auditory feedback about rifle barrel movement on hold position steadiness of subelite marksman. 1989.
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The effect of dry-fire training with auditory feedback about rifle barrel movement on hold position steadiness of subelite marksman. 1987.
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Guillery, Ray. The pathways for perception. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806738.003.0002.
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Chapter 2 outlines some of the evidence on which the seemingly strong standard view has been based. The early discovery that ventral nerve roots of the spinal cord provide a motor output and dorsal nerve roots provide a sensory input supported the dichotomy of the standard view. Then as each sensory pathway was traced to the thalamus for relay to the cortex, the separate inputs from the sensory receptors—visual, auditory, gustatory, and so on—could be seen as providing the cortex with a ‘view’ of the world. The nature of this view became strikingly clear once investigators could understand (read) the messages that pass along the nerve fibres on the basis of very brief changes in membrane potentials, the action potentials. However, many branches given off by sensory fibres on their way to the thalamus remain unexplained on the standard view. These are important for the integrative sensorimotor view and their precise functional roles need to be defined.
Book chapters on the topic "Auditory-motor integration"
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Hickok, Gregory, and Kourosh Saberi. "Redefining the Functional Organization of the Planum Temporale Region: Space, Objects, and Sensory–Motor Integration." In The Human Auditory Cortex, 333–50. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-2314-0_12.
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Altman, J. A. "Information Processing Concerning Moving Sound Sources in the Auditory Centers and its Utilization by Brain Integrative and Motor Structures." In Auditory Pathway, 349–54. Boston, MA: Springer US, 1988. http://dx.doi.org/10.1007/978-1-4684-1300-7_49.
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Hammel, Alice M., and Ryan M. Hourigan. "Autism, Sensory Dysfunction, and Music Education." In Teaching Music to Students with Autism, 129–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190063177.003.0007.
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Many people with autism struggle with sensory integration challenges. This may have a large impact on their ability to learn music. This chapter addresses the following topics: understanding sensory challenges; tactile strategies for the music classroom; visual strategies for the music classroom; vestibular and proprioceptive strategies in the music classroom; auditory strategies in the music classroom; sensory motor and motor planning; and how to address self-stimulating sensory behavior in the music classroom. Vignettes from teachers in the field are provided for context.
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Tarchynska, Yulia. "WAYS OF FORMING THE TECHNIQUE OF SOUND PRODUCTION IN THE INTERPRETATION OF MULTI-STYLE PIANO MUSIC." In Integration of traditional and innovative scientific researches: global trends and regional as. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-1-9.
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The article discusses the ways of the optimal formation of sound production techniques in the interpretation of multi-style piano music. The research methodology is based on the use of the historical method to highlight the evolution of methodological approaches to the formation of piano performing technique; analytical - to study the problem in scientific research in psychology, psychophysiology, musical pedagogy, piano performance; musicological method of analysis of piano styles; method of generalizing the piano performing experience of leading artists to substantiate the peculiarities of performing intonation of multi-style piano music. The purpose of this study is to identify the integral direction of improving the process of the formation of instrumental and performing technique, to concretize the sound forms of the embodiment of key pianistic skills, and to outline their typical motor characteristics. For the purpose of the study, methodological approaches to the formation of performing technique in the history of piano pedagogy are analyzed. The evolution of views on the technical development of the performer in different piano schools appears as a transition from empirical methods to scientifically grounded ones, as a change in the subject of the direction of the pianist's consciousness: identification of the most advanced forms of playing techniques, maximum attention to the sound result with the intuitive establishment of auditory-motor connection, conscious processing of auditory-motor coordination. The conditions for the optimal development of piano playing technique are considered, taking into account scientific achievements in the field of physiology, psychophysiology, and musical pedagogy. The circle of those skills of the pianist is determined, the acquisition of which optimizes the technical development of the performer: the skills of style-like sound production and sound science, which make up the technique of style-like sound formation. The content of the process of conscious mastering of interdependent and mutually conditioned components of such playing techniques is specified: generalized understanding of the common factors of the musical and linguistic environment of a certain piano style; creation of vivid sound-like performances based on emotional and intellectual comprehension of musical compositions, coordination of auditory-motor representations of such "mobile" expressive means as articulation, dynamics, agogics and timbre; improvement of motor skills from the point of view of physical convenience with the help of associations with previously acquired relevant performance experience, as well as life motor experience of economical expedient use of motor activity. The main stylistic features of sound production techniques in the interpretation of the piano heritage of Ludwig van Beethoven, Fryderyk Chopin, Serhiy Prokofiev are characterized on the basis of an analysis of their aesthetic ideals, "stable" and "mobile" expressive means of the composers' music, and the performing styles of the artists themselves. The examples of effective mastering by specific ways of combining tones that are appropriate in the style of composers are given. The described playing techniques are primarily a reference point in the art of sound production, a generalization of the rich scale of the pianistic initial touch. In practice, certain changes, combinations of techniques and movements can and do occur. In order to render the specific content of a piece of music, it is often necessary to deviate from the "textbook" way of playing with "exemplary" movements. At the same time, mastering the relationship and interdependence of stylistically conditioned sound tasks and expedient motor skills will make it possible to variably apply the playing techniques mastered in the embodiment of many nuances of the soundest images of highly artistic pieces of piano music.
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Svard, Lois. "Music and Musicians—and Why the Brain Matters." In The Musical Brain, 1—C1P58. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197584170.003.0001.
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Abstract Music has traditionally been studied as a cultural product, an art form reflecting a specific time and place. However, since making music requires complex auditory processing, memory storage and retrieval, motor programming, and sensory-motor integration, music can also be studied as science, and neuroscientists are increasingly studying musicians and the process of making music to learn more about the structure and function of the human brain. There is no single area in the brain where music is processed. Instead, various elements of music are processed in areas throughout the brain and are connected by vast neural networks. Brain networks that process music have been identified through imaging studies as well as through lesion studies. Research into aphasia, amusia, musical alexia, and musical savants suggest that music and language are processed separately in the brain. Discoveries in neuroscience, behavioral and cognitive psychology, archaeology, biology, and other areas are leading researchers to conclude that music has biological foundations, and that we are hardwired for music just as we are for language.
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Dias, Bianca Costa, Larissa Canela Ruiz Evangelista, Guilherme Henrique Cardozo Mazer, Ana Carolina Paes de Figueiredo Ferraz, Vitória Colozio Tahan, and Elza de Fátima Ribeiro Higa. "Cognitive and memory changes in COVID-19: Integrative Literature Review." In Implementation of the Therapeutic Play in pediatric hospital units from the perspective of health professionals who are members of BrinquEinstein. Ludomedia, 2022. http://dx.doi.org/10.36367/ntqr.13.2022.e708.
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COVID-19 is a disease with high worldwide prevalence, declared a pandemic in March 2020 by the WHO. In this context, it presents symptoms related to the respiratory, circulatory and cognitive systems. Cognitive alterations can be defined as deficits in attention, language and non-verbal learning, short-term and working memory, visual and auditory processing, problem solving and motor function. Despite the significant impact on patients' lifes, there is a lack of literature about these alterations; Goal The aim of this review was to analyze literary evidence on cognitive and memory alterations after COVID-19 infection; Method This is an Integrative Literature Review developed in six stages. The search was performed using the descriptors COVID-19, Memory, Memory Disorders, Cognition, and Cognitive Dysfunction, in the LILACS and MEDLINE databases. 2483 articles were found, 75 were read integrally and 27 qualitative and quantitative studies were included in this review. Inclusion criteria: primary studies in English, Portuguese and Spanish, published between 2019 and 2021 and that answered the research question. Exclusion criteria: reviews and opinion articles, dissertations, theses, editorials, books and conference proceedings.; Results Of the 27 articles selected, three analytical categories were evidenced: 1. Cognitive alterations - lack of attention, concentration and orientation, mental confusion, difficulties in finding words and mental slowness; 2. Memory alterations - impairment in short and long-term memory, verbal and working memory and coding deficit; and 3. Delirium - disturbances of attention and cognition fluctuation, not explained by pre-existing neurological disease sand Conclusions The qualitative research allowed the compilation of literary evidence that identified post-COVID-19 cognition and memory alterations, to a greater or lesser extent. The present result can support healthcare at this stage of the disease and new researches.
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Mencía, Beatriz López, David D. Pardo, Alvaro Hernández Trapote, and Luis A. Hernández Gómez. "Embodied Conversational Agents in Interactive Applications for Children with Special Educational Needs." In Technologies for Inclusive Education, 59–88. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2530-3.ch004.
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This chapter describes a collection of experiences and recommendations related with the design and evaluation of interactive applications integrating Embodied Conversational Agents (ECA) technology in real environments of use with children in Special Education. Benefits and challenges of using ECAs in this context are presented. These benefits and challenges have guided the creation of Special Education reinforcement applications incorporating ECAs, which have been used for extended periods of time at Infanta Elena Special Education School in Madrid. Co-design principles were applied in the development of two of the applications discussed here, with the participation of the school’s teaching staff and children with severe motor and mental disabilities (mainly with cerebral palsy). From the design experience a set of recommendations and observations were extracted, which the authors hope may serve as guidance for the scientific and educational communities when undertaking further research. For example, in an application to reinforce the learning of emotions it believe it beneficial to include ECAs that display a number of exaggerated facial expressions together with a combination of auditory and gestural reinforcements. The ECA should show its eyes and mouth clearly, in order to help the children focus their attention. These and other ECA strategies have been analysed to provide reinforcement in learning and also to attract the children’s attention when interacting with the application.
Conference papers on the topic "Auditory-motor integration"
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Chon, Heecheong, Torrey M. Loucks, Shelly Jo Kraft, Jingfei Zhang, and Nicoline Ambrose. "Individual differences in auditory-motor integration revealed by speech fluency manipulations." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4798994.
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Rios-Navarro, A., E. Cerezuela-Escudero, M. Dominguez-Morales, A. Jimenez-Fernandez, G. Jimenez-Moreno, and A. Linares-Barranco. "Live demonstration: Real-time motor rotation frequency detection by spike-based visual and auditory AER sensory integration for FPGA." In 2015 IEEE International Symposium on Circuits and Systems (ISCAS). IEEE, 2015. http://dx.doi.org/10.1109/iscas.2015.7169040.
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Wang, Tianqi, Hanjun Liu, Lan Wang, Manwa L. Ng, Hua Li, and Nan Yan. "Effect of Temporal Lobe Epilepsy on Auditory-motor Integration for Vocal Pitch Regulation: Evidence from Brain Functional Network Analysis." In 2019 41st Annual International Conference of the IEEE Engineering in Medicine & Biology Society (EMBC). IEEE, 2019. http://dx.doi.org/10.1109/embc.2019.8856902.
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Rios-Navarro, A., E. Cerezuela-Escudero, M. Dominguez-Morales, A. Jimenez-Fernandez, G. Jimenez-Moreno, and A. Linares-Barranco. "Real-time motor rotation frequency detection with event-based visual and spike-based auditory AER sensory integration for FPGA." In 2015 International Conference on Event-based Control, Communication, and Signal Processing (EBCCSP). IEEE, 2015. http://dx.doi.org/10.1109/ebccsp.2015.7300696.
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