As Deutsch, Henthorn, and Lapidis (2011, p. This finding has also been replicated in recent research ( Tierney et al., 2018) and suggests that a musical melody can be established perceptually, without any strong acoustic cueing. In contrast, pitch intervals that represent prominent scalar intervals in Western music ( Cross, Howell, & West, 1983 Krumhansl, 2000) do not promote STS ( Falk et al., 2014, Figure 1).
The importance of pitch track stability has recently been replicated with both naturally produced ( Tierney et al., 2018) as well as manipulated ( Groenveld et al., 2020) stimuli, and seems to be one of the most robust acoustic cues to STS. Accordingly, stable local F0-trajectories provide a strong acoustic scaffold for STS to arise while increased local F0-dynamics tend to suppress the effect (see Figure 1). Both methodological approaches have so far provided converging evidence for the crucial role of the fundamental frequency (F0) that corresponds to the perceived pitch of the speaker’s voice. Alternatively, hypothesis-driven manipulations of spoken phrases provide an experimental tool for studying which properties induce or hinder STS ( Falk et al., 2014).
(2012) report having discovered 24 high- and 24 low-transforming phrases after an exhaustive search through two large online libraries of audiobooks available in English. Not all sentences are equally likely to transform into song when repeated ( Falk et al., 2014 Tierney et al., 2012). Despite having been the focus of several recent studies (e.g., Graber, Simchy-Gross, & Margulis, 2017 Groenveld et al., 2020 Jaisin, Suphanchaimat, Figueroa, & Warren, 2016 Tierney, Patel, & Breen, 2018), STS still poses many questions. Once transformed, the phrase often continues to be perceived as song, and its musical melody cannot be “unheard” ( Groenveld, Burgoyne, & Sadakata, 2020). musical signals, recruiting a network of areas associated with pitch extraction, song production, and auditory-motor integration ( Tierney, Dick, Deutsch, & Sereno, 2012). The transformation usually occurs during the third repetition of the phrase ( Falk, Rathcke, & Dalla Bella, 2014) and is accompanied by a change in activation of the involved neural circuits that process spoken vs. This transformation indicates a tight link between language and music and has attracted much research attention since its discovery ( Deutsch, 1995).
#Sonority mode series#
The speech-to-song illusion is a perceptual phenomenon in which a spoken phrase shifts to being heard as sung by listeners after a series of repetitions. Two experiments show that STS is facilitated in high-sonority sentences and in listeners’ non-native languages and support the hypothesis that STS involves a switch between musical and linguistic perception modes. Such prosodic re-analysis places demands on the phonological structure of sentences and language proficiency of listeners. The present study investigates these questions with French and English listeners, testing the hypothesis that the transformation is achieved by means of functional re-evaluation of phrasal prosody during repetition. To date, existing evidence is insufficient to predict who is most likely to experience the transformation, and which sentences may be more conducive to the transformation once spoken repeatedly. It may result partly from linguistic properties of spoken phrases and be partly due to the individual processing difference of listeners exposed to STS. There is a great deal of variability in the perception of the speech-to-song illusion (STS). Yet when a spoken phrase is repeated several times, they often report a perceptual transformation that turns speech into song. Jazz lovers will rejoice over the Super VI model and Accordiona, friends of the Swiss folk music will love the Schwyzer organ, and Oberkrainer fans over the two Alpine models and a Steirische harmonica.Listeners usually have no difficulties telling the difference between speech and song.Sounds with large tremolo or flat tuning can be found as well as musette registers and other specialities of French and Belgian instruments.For the greatest selection of accordion sound samples of instruments from Germany, Italy, and Switzerland, but also from France, Ireland and Scotland.
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