This wide-ranging review presents an overview of the respiratory-vocal system in songbirds, which are the only other vertebrate group known to display a degree of respiratory control during song rivalling that of humans during speech; this despite the fact that the peripheral components of both the respiratory and vocal systems differ substantially in the two groups. We first provide a brief description of these peripheral components in songbirds (lungs, air sacs and respiratory muscles, vocal organ (syrinx), upper vocal tract) and then proceed to a review of the organization of central respiratory-related neurons in the spinal cord and brainstem, the latter having an organization fundamentally similar to that of the ventral respiratory group of mammals. The second half of the review describes the nature of the motor commands generated in a specialized "cortical" song control circuit and how these might engage brainstem respiratory networks to shape the temporal structure of song. We also discuss a bilaterally projecting "respiratory-thalamic" pathway that links the respiratory system to "cortical" song control nuclei. This necessary pathway for song originates in the brainstem's primary inspiratory center and is hypothesized to play a vital role in synchronizing song motor commands both within and across hemispheres.
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http://dx.doi.org/10.1016/B978-0-444-63488-7.00015-X | DOI Listing |
J Neurophysiol
November 2022
GIPSA-lab, CNRS, Grenoble Institute of Technology, University of Grenoble Alpes, Grenoble, France.
Coordination between speech acoustics and manual gestures has been conceived as "not biologically mandated" (McClave E. 27(1): 69-89, 1998). However, recent work suggests a biomechanical entanglement between the upper limbs and the respiratory-vocal system (Pouw W, de Jonge-Hoekstra D, Harrison SJ, Paxton A, Dixon JA.
View Article and Find Full Text PDFNeurosci Biobehav Rev
October 2022
Leibniz Center General Linguistics, Berlin, Germany. Electronic address:
Gestures during speaking are typically understood in a representational framework: they represent absent or distal states of affairs by means of pointing, resemblance, or symbolic replacement. However, humans also gesture along with the rhythm of speaking, which is amenable to a non-representational perspective. Such a perspective centers on the phenomenon of vocal-entangled gestures and builds on evidence showing that when an upper limb with a certain mass decelerates/accelerates sufficiently, it yields impulses on the body that cascade in various ways into the respiratory-vocal system.
View Article and Find Full Text PDFJ Acoust Soc Am
September 2020
Center for the Ecological Study of Perception and Action at the University of Connecticut, 406 Babbidge Road, Storrs, Connecticut 06269, USA.
Expressive moments in communicative hand gestures often align with emphatic stress in speech. It has recently been found that acoustic markers of emphatic stress arise naturally during steady-state phonation when upper-limb movements impart physical impulses on the body, most likely affecting acoustics via respiratory activity. In this confirmatory study, participants (N = 29) repeatedly uttered consonant-vowel (/pa/) mono-syllables while moving in particular phase relations with speech, or not moving the upper limbs.
View Article and Find Full Text PDFProc Natl Acad Sci U S A
September 2020
Center for the Ecological Study of Perception and Action, University of Connecticut, Storrs, CT 06269.
Proc Natl Acad Sci U S A
May 2020
Center for the Ecological Study of Perception and Action, University of Connecticut, Storrs, CT 06269.
We show that the human voice has complex acoustic qualities that are directly coupled to peripheral musculoskeletal tensioning of the body, such as subtle wrist movements. In this study, human vocalizers produced a steady-state vocalization while rhythmically moving the wrist or the arm at different tempos. Although listeners could only hear and not see the vocalizer, they were able to completely synchronize their own rhythmic wrist or arm movement with the movement of the vocalizer which they perceived in the voice acoustics.
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