<str<strong>on</strong>g>CIM09</str<strong>on</strong>g> 26-29 octobre 2009Singing proficiency is associated with our ability to entrainto a beatMagdalena BerkowskaDepartment of Cognitive Psychology, University of Finance and Management in Warsaw (Poland)Sim<strong>on</strong>e Dalla BellaBRAMS, M<strong>on</strong>treal (Canada)BACKGROUND IN PSYCHOLOGICAL STUDIES OF ENTRAINMENTMusic allows us to predict when the next beat is going to fall. This makes the musical pulse a cardinaldevice for coordinating the behaviour of several individuals in a synchr<strong>on</strong>ized performance. Humans have anatural tendency to entrain to the temporal properties of external auditory stimuli (e.g., music). A recenthypothesis suggests that beat entrainment may have emerged during evoluti<strong>on</strong> as a byproduct of selecti<strong>on</strong>for vocal learning. It is c<strong>on</strong>vergent withrecent animals’ observati<strong>on</strong>s that they displaying some form of motor entrainment (e.g., parrots),moreover they are also vocal learners (Schachner et al., 2008). This idea pursues to predict a str<strong>on</strong>g linkbetween the mechanisms underlying vocal performance and beat entrainment.BACKGROUND IN NEUROPSYCHOLOGY OF MUSICWhen we think about musical performance we always focus <strong>on</strong> its two basic dimensi<strong>on</strong>s: the pitch and thetime. Moreover, evidence suggests that humans might have neurological specializati<strong>on</strong>s for musicprocessing.Most people without musical training find it particularly pleasurable to sing and do it quite preciselycompared to professi<strong>on</strong>al singers (Dalla Bella et al., 2007). Furthermore, occasi<strong>on</strong>al singers exhibit accuratememory for initial pitch and tempo of popular s<strong>on</strong>gs (e.g. Berges<strong>on</strong> & Trehub, 2002; Levitin & Cook, 1996)but poor vocal pitch matching abilities (e.g. Amir et al., 2003).Nevertheless, as we noticed, occasi<strong>on</strong>al singers who had problems with synchr<strong>on</strong>izati<strong>on</strong> with the beatthey had also difficulties with sing proficiency (they made more errors <strong>on</strong> the pitch and <strong>on</strong> the time). It wasobserved especially when they sang <strong>on</strong> /la/. Participants did not exhibit any form of vocalizati<strong>on</strong> duringthe tapping task.AIMSIn that study we aimed to examine whether accuracy in sung performance is associated with accuracy insensorimotor synchr<strong>on</strong>izati<strong>on</strong> tasks (i.e., requiring beat entrainment).MAIN CONTRIBUTIONWe examined fifty occasi<strong>on</strong>al singers who were asking to perform a sensorimotor synchr<strong>on</strong>izati<strong>on</strong> task.In that task they tapped their index finger with a sequence of isochr<strong>on</strong>ous stimuli (IOI = 600 ms).Moreover, we asked the participants to imitate three familiar melodies (i.e., “Brother John”, “Jingle Bells”,and “Sto lat”) with lyrics, and <strong>on</strong> the syllable /la/ with c<strong>on</strong>trolled slow tempo. The results showed thatsinging proficiency varies with accuracy in the synchr<strong>on</strong>izati<strong>on</strong> task.We noticed that participants who displayed low accuracy in the synchr<strong>on</strong>izati<strong>on</strong> task (i.e., with largeasynchr<strong>on</strong>y between the taps and the pacing stimuli, and high variability) were also poor singers (i.e., theysang out-of-tune and out-of-time). We observed that kind of associati<strong>on</strong> when participants sang with lyricsand when they sang <strong>on</strong> /la/.IMPLICATIONSThe findings of the present study indicate that the ability to sing proficiently and to entrain covary in thegeneral populati<strong>on</strong>. In the future, it would be essential to examine possible links between vocal c<strong>on</strong>trol andentrainment mechanisms in humans.18 <str<strong>on</strong>g>CIM09</str<strong>on</strong>g>
26-29 octobre 2009 <str<strong>on</strong>g>CIM09</str<strong>on</strong>g>REFERENCESAmir, O., Amir, N., & Kish<strong>on</strong>-Rabin, L. (2003). The effect of superior auditory skills <strong>on</strong> vocal accuracy. Journal of theAcoustical Society of America, 113(2), 1102-8.Berges<strong>on</strong>, T.R., & Trehub, S.E. (2002). Absolute pitch and tempo in mothers’ s<strong>on</strong>gs to infants. PsychologicalScience, 13(1), 72-75.Dalla Bella, S., Giguère, J-F., & Peretz, I. (2007). Singing proficiency in the general populati<strong>on</strong>. Journal of theAcoustical Society of America, 121, 1182-1189.Levitin, D.J., & Cook, P.R. (1996). Memory for musical tempo: Additi<strong>on</strong>al evidence that auditory memory isabsolute. Percepti<strong>on</strong> & Psychophysics, 58, 927-935.Schachner, A., Brady, T. F., Pepperberg, I., & Hauser, M. (2008). Sp<strong>on</strong>taneous entrainment to auditory rhythms invocal-learning bird species. Poster presented at The Neurosciences and Music III, M<strong>on</strong>treal, Canada.Poster.BIOGRAPHIESMagdalena BerkowskaMagdalena Berkowska is a Ph.D candidate in the Department of Cognitive Psychology at the University of Financeand Management in Warsaw (Poland).She completed a M.Sc. in speech therapy (Kazimierz Wielki University, Poland) and worked with children sufferingfrom speech disorders.Her research mainly focuses <strong>on</strong> singing proficiency in healthy participants and in patients with developmental learningdisorders.Sim<strong>on</strong>e Dalla BellaSim<strong>on</strong>e Dalla Bella is Associate Professor in the Department of Cognitive Psychology at the University of Finance andManagement in Warsaw (Poland).He completed his Ph.D. (University of M<strong>on</strong>treal) under the supervisi<strong>on</strong> of Isabelle Peretz and received post-doctoraltraining under the supervisi<strong>on</strong> of Tomas Paus (M<strong>on</strong>treal Neurological Institute) and Caroline Palmer (Ohio-StateUniversity).Sim<strong>on</strong>e Dalla Bella’s present research interests c<strong>on</strong>cern music performance (in particular singing and sensory-motorsynchr<strong>on</strong>izati<strong>on</strong>) in normal and brain-damaged individuals.<str<strong>on</strong>g>CIM09</str<strong>on</strong>g> 19
- Page 1 and 2: CIM095 e Congrès
- Page 4 and 5: INTRODUCTIONLe Congrès Interdiscip
- Page 8 and 9: SOMMAIREMécanique de l'archet de v
- Page 12 and 13: CIM09 26-29 octobr
- Page 14: CIM09 26-29 octobr
- Page 18 and 19: CIM09 26-29 octobr
- Page 20 and 21: CIM09 26-29 octobr
- Page 22 and 23: CIM09 26-29 octobr
- Page 24 and 25: CIM09 26-29 octobr
- Page 26 and 27: CIM09 26-29 octobr
- Page 30 and 31: CIM09 26-29 octobr
- Page 32 and 33: CIM09 26-29 octobr
- Page 34 and 35: CIM09 26-29 octobr
- Page 36 and 37: CIM09 26-29 octobr
- Page 38 and 39: CIM09 26-29 octobr
- Page 40 and 41: CIM09 26-29 octobr
- Page 42 and 43: CIM09 26-29 octobr
- Page 44 and 45: CIM09 26-29 octobr
- Page 46 and 47: CIM09 26-29 octobr
- Page 48 and 49: CIM09 26-29 octobr
- Page 50 and 51: CIM09 26-29 octobr
- Page 52 and 53: CIM09 26-29 octobr
- Page 54 and 55: CIM09 26-29 octobr
- Page 56 and 57: CIM09 26-29 octobr
- Page 58 and 59: CIM09 26-29 octobr
- Page 60 and 61: CIM09 26-29 octobr
- Page 62 and 63: CIM09 26-29 octobr
- Page 64 and 65: CIM09 26-29 octobr
- Page 66 and 67: CIM09 26-29 octobr
- Page 68 and 69: CIM09 26-29 octobr
- Page 70 and 71: CIM09 26-29 octobr
- Page 72 and 73: CIM09 26-29 octobr
- Page 74 and 75: CIM09 26-29 octobr
- Page 76 and 77: CIM09 26-29 octobr
- Page 78 and 79:
CIM09 26-29 octobr
- Page 80 and 81:
CIM09 26-29 octobr
- Page 82 and 83:
CIM09 26-29 octobr
- Page 84 and 85:
CIM09 26-29 octobr
- Page 86 and 87:
CIM09 26-29 octobr
- Page 88 and 89:
CIM09 26-29 octobr
- Page 90 and 91:
CIM09 26-29 octobr
- Page 92 and 93:
CIM09 26-29 octobr
- Page 94 and 95:
CIM09 26-29 octobr
- Page 96 and 97:
CIM09 26-29 octobr
- Page 98 and 99:
CIM09 26-29 octobr
- Page 100 and 101:
CIM09 26-29 octobr
- Page 102 and 103:
CIM09 26-29 octobr
- Page 104 and 105:
CIM09 26-29 octobr
- Page 106 and 107:
CIM09 26-29 octobr
- Page 108 and 109:
CIM09 26-29 octobr
- Page 110 and 111:
CIM09 26-29 octobr
- Page 112 and 113:
CIM09 26-29 octobr
- Page 114 and 115:
CIM09 26-29 octobr
- Page 116 and 117:
CIM09 26-29 octobr
- Page 118 and 119:
CIM09 26-29 octobr
- Page 120 and 121:
CIM09 26-29 octobr
- Page 122 and 123:
CIM09 26-29 octobr
- Page 124 and 125:
CIM09 26-29 octobr
- Page 126 and 127:
CIM09 26-29 octobr
- Page 128 and 129:
CIM09 26-29 octobr
- Page 130 and 131:
CIM09 26-29 octobr
- Page 132 and 133:
CIM09 26-29 octobr
- Page 134 and 135:
CIM09 26-29 octobr
- Page 136 and 137:
CIM09 26-29 octobr
- Page 138 and 139:
CIM09 26-29 octobr
- Page 140 and 141:
CIM09 26-29 octobr
- Page 142 and 143:
CIM09 26-29 octobr
- Page 144 and 145:
CIM09 26-29 octobr
- Page 146 and 147:
CIM09 26-29 octobr
- Page 148 and 149:
CIM09 26-29 octobr
- Page 150 and 151:
CIM09 26-29 octobr
- Page 152 and 153:
CIM09 26-29 octobr
- Page 154 and 155:
CIM09 26-29 octobr
- Page 156 and 157:
CIM09 26-29 octobr
- Page 158 and 159:
CIM09 26-29 octobr
- Page 160 and 161:
CIM09 26-29 octobr
- Page 162 and 163:
CIM09 26-29 octobr
- Page 164 and 165:
CIM09 26-29 octobr
- Page 166 and 167:
CIM09 26-29 octobr
- Page 168 and 169:
CIM09 26-29 octobr
- Page 170 and 171:
CIM09 26-29 octobr
- Page 172 and 173:
CIM09 26-29 octobr
- Page 174 and 175:
CIM09 26-29 octobr
- Page 176 and 177:
CIM09 26-29 octobr
- Page 178 and 179:
CIM09 26-29 octobr
- Page 180 and 181:
CIM09 26-29 octobr
- Page 182 and 183:
CIM09 26-29 octobr
- Page 184 and 185:
CIM09 26-29 octobr
- Page 186 and 187:
CIM09 26-29 octobr
- Page 188:
CIM09 26-29 octobr
- Page 191 and 192:
Kotta K.,110Lagrée,38Lähdeoja,112