ISSN 0439-755X
CN 11-1911/B
主办:中国心理学会
   中国科学院心理研究所
出版:科学出版社

心理学报 ›› 2020, Vol. 52 ›› Issue (7): 847-860.doi: 10.3724/SP.J.1041.2020.00847

• 研究报告 • 上一篇    下一篇

音乐训练促进诗句韵律整合加工的神经过程

张政华1,2, 韩梅1,2, 张放3, 李卫君1,2()   

  1. 1 辽宁师范大学脑与认知神经科学研究中心
    2 辽宁省脑与认知神经科学重点实验室
    3 辽宁师范大学音乐学院, 大连 116029
  • 收稿日期:2019-12-04 发布日期:2020-05-25 出版日期:2020-07-25
  • 通讯作者: 李卫君 E-mail:li_wj@126.com
  • 基金资助:
    * 辽宁省教育厅自然科学基金(LJ2019016);辽宁省自然科学基金(20180550313);中国科学院行为科学重点实验室开放课题基金(Y5CX052003)

Musical training improves rhythm integrative processing of classical Chinese poem

ZHANG Zhenghua1,2, HAN Mei1,2, ZHANG Fang3, LI Weijun1,2()   

  1. 1 Research Center of Brain and Cognitive Neuroscience, Liaoning Normal University, Dalian 116029, China
    2 Key Laboratory of Brain and Cognitive Neuroscience, Liaoning Province, Dalian 116029, China
    3 Conservatory of Music, Liaoning Normal University, Dalian 116029, China
  • Received:2019-12-04 Online:2020-05-25 Published:2020-07-25
  • Contact: LI Weijun E-mail:li_wj@126.com

摘要:

本研究采用ERP技术, 考察音乐训练组和对照组完成诗句押韵判断任务时, 在绝句末对韵律信息(含声调和韵母两个维度)的整合加工过程。结果发现, 在100~300 ms, 仅音乐训练组在声调/韵母合适条件下, 对韵母/声调的一致性进行深入分析, 并诱发了更大的正波; 在韵母违反条件下, 声调违反相比声调合适诱发了更小的正波。在300~750 ms, 两组被试均在绝句末对诗句内出现的韵母和声调违反进行整合分析并诱发了广泛分布的负波。不过, 对照组仅在声调/韵母合适条件下进行, 而音乐训练组则在声调/韵母违反条件下完成此过程。综上, 音乐训练组和对照组均会在诗句末完成押韵信息的整合加工, 但是音乐训练组对韵律信息(尤其是声调)的加工更敏感和快速, 并且对不同类型的违反有更精细的差异性反应

关键词: 音乐训练, 韵律, 诗句, 整合加工

Abstract:

Long-term rigorous musical training changes the brain structure and function, which impacts speech processing. Many studies have demonstrated that subcortical and cortical neural plasticity interact to give musicians linguistic advantages, allowing them to construct more elaborate perceptions of speech signals than non-musicians. There is ample empirical support for integrative processing at the end of a sentence. Studies have found that participants completed integrative processing of syntactic or semantic information at the end of a sentence containing an earlier syntactic or semantic violation. As speech rhythms play an important role in establishing the lexical, syntactic, and semantic representation of sentences, is it necessary for listeners to integrate rhythm at the end of sentence containing an earlier rhythm violation? Further, it remains unknown whether and (if yes) how musical training contributes to this process. The present ERP study used the rhyming judgment task to explore these questions using Chinese poems.
We used 160 unfamiliar, seven-character quatrains as experimental materials, with the last syllable (that is, targets) in the second line of the quatrain either appropriate or deviating from the appropriate syllable in tone, vowel, or both. Fifty undergraduates participated in this experiment. A total of 25 were musicians (9 males, mean age 20.56) with more than 10 years of formal music training who started at 7 years old or younger. The other 25 were non-musicians (9 males, mean age 20.84) who had never received any formal music training. Both were told to listen carefully and complete a ‘‘yes’’ or ‘‘no’’ judgment task on the appropriateness of the metrical feet. The EEG was recorded using 64 electrodes placed according to the international extended 10-20 system. The continuous EEG data were segmented into epochs of -200 to 1000 ms relative to the onset of the last syllable of each quatrain. The ERPs were analyzed and compared between conditions at time windows of 100~300 ms and 300~750 ms after the onset of the last syllable.
The behavioral results indicated that average accuracy rate in rhyming judgment task for musicians (83.24%, SE = 6.64%) was not significantly different from nonmusicians (82.64%, SE = 9.15%), t(48) = 0.27, p = 0.791. However, musicians responded faster when the tone was inappropriate compared to the appropriate condition, F(1, 48) = 16.88, p < 0.001, ηp 2= 0.26. ERP results indicated that during 100-300 ms the interaction between Subject, Vowel and Tone was significant in the midline, F(1, 48) = 7.59, p = 0.008, ηp 2 = 0.14, and lateral areas, F(1, 48) = 7.54, p = 0.008, ηp 2 = 0.14. Simple effect analysis indicated that for musicians, the inappropriate vowel elicited larger positivities than the appropriate vowel when the tone was appropriate [midline: F(1, 48) = 9.84, p = 0.003, ηp 2= 0.17; lateral: F(1, 48) = 15.41, p < 0.001, ηp 2= 0.24]; the inappropriate tone elicited larger positivities than the appropriate tone when the vowel was appropriate[midline: F(1, 48) = 3.80, p = 0.057, ηp 2 = 0.07; lateral: F(1, 48) = 7.27, p = 0.010, ηp 2 = 0.13]. Besides, the inappropriate tone elicited smaller positivities than the appropriate tone when the vowel was inappropriate[midline: F(1, 48) = 10.68, p = 0.002, ηp 2 = 0.18; lateral: F(1, 48) = 7.37, p = 0.009, ηp 2 = 0.13]. However, for nonmusicians, no significant difference was found in this time window (ps > 0.1). During 300-750 ms, we found that the interaction between Subject, Vowel and Tone was significant in the midline, F(1, 48) = 6.66, p = 0.013, ηp 2 = 0.12, and lateral areas, F(1, 48) = 5.60, p = 0.022, ηp 2 = 0.10. Simple effect analysis indicated that for musicians, the inappropriate vowel elicited larger negativities than the appropriate vowel when the tone was inappropriate [midline: F(1, 48) = 5.14, p = 0.028, ηp 2 = 0.10; lateral: F(1, 48) = 2.92, p = 0.094, ηp 2 = 0.06], and the inappropriate tone elicited larger negativities than the appropriate tone when the vowel was inappropriate[midline: F(1, 48) = 12.94, p = 0.001, ηp 2 = 0.21; lateral: F(1, 48) = 9.65, p = 0.003, ηp 2 = 0.17]. However, for nonmusicians, the inappropriate vowel elicited larger negativities than the appropriate vowel when the tone was appropriate [midline: F(1, 48) = 15.07, p < 0.001, ηp 2 = 0.24; lateral: F(1, 48) = 12.04, p = 0.001, ηp 2 = 0.20], while the inappropriate tone elicited larger negativities than the appropriate tone when the vowel was appropriate[midline: F(1, 48) = 10.88, p = 0.002, ηp 2 = 0.19; lateral: F(1, 48) = 8.27, p = 0.006, ηp 2 = 0.15].
In summary, the current study found that both musicians and non-musicians completed rhythm integrative processing at the end of sentence containing an earlier rhythm violation that was reflected by a late negative effect (during 300~750 ms). More importantly, through years of musical training, the musicians were more sensitive and faster at the integrative processing of rhythm information as reflected by an early positive component during 100~300 ms. In line with the behavioral data, the musicians developed increased sensitivity to tone variations during both early and late time windows. Taken together, both musicians and non-musicians completed the integrative processing of rhythm information at the end of quatrains, whereas the musicians were more sensitive and faster.

Key words: musical training, rhythm, poem, integrative processing

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