Tones that are generated by self-performed actions elicit attenuated N1 and P2 amplitudes, as measured by electroencephalography (EEG), compared to identical external tones, which is referred to as neurophysiological sensory attenuation (SA). At the same time, self-generated tones are perceived as less loud compared to external tones (perceptual SA). Action observation led in part to a similar neurophysiological and perceptual SA. The perceptual SA in observers was found in comparison to tones that were temporally predictable, and one study suggested that perceptual SA in observers might depend on the cultural dimension of individualism. In this study, we examined neurophysiological SA for tones elicited by self-performed and observed actions during simultaneous EEG acquisitions in two participants, extending the paradigm with a visual cue condition controlling for effects of temporal predictability. Moreover, we investigated the effect of individualism on neurophysiological SA in action observation. Relative to un-cued external tones, the N1 was only descriptively reduced for tones that were elicited by self-performed or observed actions and significantly attenuated for cued external tones. A P2 attenuation effect relative to un-cued external tones was found in all three conditions, with stronger effects for self- and other-generated tones than for cued external tones. We found no evidence for an effect of individualism. These findings add to previous evidence for neurophysiological SA in action performance and observation with a paradigm well-controlled for the effect of predictability and individualism, showing differential effects of the former on the N1 and P2 components, and no effect of the latter.
Download full-text PDF |
Source |
---|---|
http://dx.doi.org/10.1016/j.biopsycho.2023.108575 | DOI Listing |
Front Psychol
November 2024
Faculty of Philosophy and Center for Cognitive Sciences, University of Niš, Niš, Serbia.
This paper approaches the connection between musical constructs and visuo-haptic experience through the lens of the cognitive-linguistic notion of the "image schema." The proposal is that the subconscious inference of spatial and haptic schematic constructs in music, such as vertical movement, will motivate their equally common occurrence in the language about that music, irrespective of the fact that this language never describes the musical structure in a one-to-one fashion. We have looked for five schemas in the scores for the first ten piano sonatas by Ludwig van Beethoven and three famous analytical and pedagogical texts about them: force, indicating changes in musical dynamics and referential invocation of power-related terms in the books; path, identifying vertical movement in the music and suggestions of upward- or downward motion in the texts; link, suggesting the presence or absence of musical slurs and references to attachment or detachment in the language; balance, indicating the loss and regain of consonance in the harmony and invocation of lost and recovered stability in the verbal semantics; and containment, allocating the nonharmonic tones that "belong" to their resolving notes in the scores and referring to physical or metaphorical enclosed areas in the texts.
View Article and Find Full Text PDFJ Neurosci
October 2024
Physics of Cells and Cancer Unit, Institut Curie, PSL Research University, CNRS UMR168, Paris 75005, France.
The capabilities of the human ear are remarkable. We can normally detect acoustic stimuli down to a threshold sound-pressure level of 0 dB (decibels) at the entrance to the external ear, which elicits eardrum vibrations in the picometer range. From this threshold up to the onset of pain, 120 dB, our ears can encompass sounds that differ in power by a trillionfold.
View Article and Find Full Text PDFPLoS One
October 2024
Schulich School of Music, McGill University, Montreal, Canada.
While absolute pitch (AP)-the ability to identify musical pitches without external reference-is rare even in professional musicians, anecdotal evidence and case-report data suggest that some musicians without traditional AP can nonetheless better name notes played on their musical instrument of expertise than notes played on instruments less familiar to them. We have called this gain in AP ability "instrument-specific absolute pitch" (ISAP). Here, we report the results of the first two experiments designed to investigate ISAP in professional oboists.
View Article and Find Full Text PDFNeurons in the hippocampus are correlated with different variables, including space, time, sensory cues, rewards, and actions, where the extent of tuning depends on ongoing task demands. However, it remains uncertain whether such diverse tuning corresponds to distinct functions within the hippocampal network or if a more generic computation can account for these observations. To disentangle the contribution of externally driven cues versus internal computation, we developed a task in mice where space, auditory tones, rewards, and context were juxtaposed with changing relevance.
View Article and Find Full Text PDFEnter search terms and have AI summaries delivered each week - change queries or unsubscribe any time!