Changes in Spoken and Sung Productions Following Adaptation to Pitch-shifted Auditory Feedback.

Abstract

OBJECTIVE\nUsing voice to speak or to sing is made possible by remarkably complex sensorimotor processes. Like any other sensorimotor system, the speech motor controller guides its actions with maximum performance at minimum cost, using available sources of information, among which, auditory feedback plays a major role. Manipulation of this feedback forces the speech monitoring system to refine its expectations for further actions. The present study hypothesizes that the duration of this refinement and the weight applied on different feedbacks loops would depend on the intended sounds to be produced, namely reading aloud versus singing.\n\n\nMATERIAL AND METHODS\nWe asked participants to sing Happy Birthday and read a paragraph of Harry Potter before and after experiencing pitch-shifted feedback. A detailed fundamental frequency (F0) analysis was conducted for each note in the song and each segment in the paragraph (at the level of a sentence, a word, or a vowel) to determine whether some aspects of F0 production changed in response to the pitch perturbations experienced during the adaptation paradigm.\n\n\nRESULTS\nOur results showed that changes in the degree of F0-drift across the song or the paragraph was the metric that was the most consistent with a carry-over effect of adaptation, and in this regard, reading new material was more influenced by recent remapping than singing.\n\n\nCONCLUSION\nThe motor commands used by (normally-hearing) speakers are malleable via altered-feedback paradigms, perhaps more so when reading aloud than when singing. But these effects are not revealed through simple indicators such as an overall change in mean F0 or F0 range, but rather through subtle metrics, such as a drift of the voice pitch across the recordings.