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音乐训练促进诗句韵律整合加工的神经过程

本站小编 Free考研考试/2022-01-01
张政华1,2, 韩梅1,2, 张放3, 李卫君1,2()
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出版日期:2020-07-25发布日期:2020-05-25
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 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:2019-12-04Online:2020-07-25Published:2020-05-25
Contact:LI Weijun E-mail:li_wj@126.com






摘要/Abstract


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


表1被试人口学资料
编号 性别 年龄(岁) 受教育程度 训练开始年龄(岁) 训练时长(年) 乐器
M N M N M N M N M N M N
1 男 男 18 18 本科生 本科生 7 无 11 0 竹笛 无
2 男 男 18 19 本科生 本科生 7 无 11 0 爵士鼓、小军鼓 无
3 男 男 19 19 本科生 本科生 7 无 12 0 钢琴 无
4 男 男 19 20 本科生 本科生 7 无 11 0 钢琴 无
5 男 男 19 20 本科生 本科生 7 无 10 0 二胡、双排键 无
6 男 男 21 20 本科生 本科生 7 无 10 0 竹笛、葫芦丝 无
7 男 男 21 21 本科生 本科生 6 无 10 0 二胡、钢琴 无
8 男 男 22 22 本科生 本科生 7 无 15 0 二胡 无
9 男 男 23 23 本科生 本科生 7 无 15 0 钢琴、吉他 无
10 女 女 19 19 本科生 本科生 7 无 11 0 扬琴 无
11 女 女 19 19 本科生 本科生 6 无 12 0 扬琴 无
12 女 女 19 19 本科生 本科生 6 无 13 0 扬琴 无
13 女 女 19 20 本科生 本科生 6 无 13 0 琵琶 无
14 女 女 19 20 本科生 本科生 5 无 10 0 琵琶 无
15 女 女 20 20 本科生 本科生 7 无 13 0 钢琴、古筝 无
16 女 女 20 20 本科生 本科生 7 无 13 0 钢琴、吉他 无
17 女 女 20 20 本科生 本科生 6 无 14 0 钢琴 无
18 女 女 21 21 本科生 本科生 7 无 14 0 钢琴 无
19 女 女 21 21 本科生 本科生 5 无 16 0 钢琴、大提琴 无
20 女 女 21 22 本科生 本科生 4 无 17 0 钢琴、古筝 无
21 女 女 21 22 本科生 本科生 4 无 17 0 钢琴、小号、古筝 无
22 女 女 23 23 本科生 本科生 7 无 16 0 钢琴、古筝、架子鼓 无
23 女 女 23 23 本科生 本科生 7 无 16 0 钢琴、双排键、琵琶 无
24 女 女 23 24 研究生 研究生 5 无 18 0 钢琴、双排键、琵琶 无
25 女 女 26 26 研究生 研究生 7 无 12 0 钢琴、葫芦丝、长笛 无

表1被试人口学资料
编号 性别 年龄(岁) 受教育程度 训练开始年龄(岁) 训练时长(年) 乐器
M N M N M N M N M N M N
1 男 男 18 18 本科生 本科生 7 无 11 0 竹笛 无
2 男 男 18 19 本科生 本科生 7 无 11 0 爵士鼓、小军鼓 无
3 男 男 19 19 本科生 本科生 7 无 12 0 钢琴 无
4 男 男 19 20 本科生 本科生 7 无 11 0 钢琴 无
5 男 男 19 20 本科生 本科生 7 无 10 0 二胡、双排键 无
6 男 男 21 20 本科生 本科生 7 无 10 0 竹笛、葫芦丝 无
7 男 男 21 21 本科生 本科生 6 无 10 0 二胡、钢琴 无
8 男 男 22 22 本科生 本科生 7 无 15 0 二胡 无
9 男 男 23 23 本科生 本科生 7 无 15 0 钢琴、吉他 无
10 女 女 19 19 本科生 本科生 7 无 11 0 扬琴 无
11 女 女 19 19 本科生 本科生 6 无 12 0 扬琴 无
12 女 女 19 19 本科生 本科生 6 无 13 0 扬琴 无
13 女 女 19 20 本科生 本科生 6 无 13 0 琵琶 无
14 女 女 19 20 本科生 本科生 5 无 10 0 琵琶 无
15 女 女 20 20 本科生 本科生 7 无 13 0 钢琴、古筝 无
16 女 女 20 20 本科生 本科生 7 无 13 0 钢琴、吉他 无
17 女 女 20 20 本科生 本科生 6 无 14 0 钢琴 无
18 女 女 21 21 本科生 本科生 7 无 14 0 钢琴 无
19 女 女 21 21 本科生 本科生 5 无 16 0 钢琴、大提琴 无
20 女 女 21 22 本科生 本科生 4 无 17 0 钢琴、古筝 无
21 女 女 21 22 本科生 本科生 4 无 17 0 钢琴、小号、古筝 无
22 女 女 23 23 本科生 本科生 7 无 16 0 钢琴、古筝、架子鼓 无
23 女 女 23 23 本科生 本科生 7 无 16 0 钢琴、双排键、琵琶 无
24 女 女 23 24 研究生 研究生 5 无 18 0 钢琴、双排键、琵琶 无
25 女 女 26 26 研究生 研究生 7 无 12 0 钢琴、葫芦丝、长笛 无



图1实验材料各条件举例及实验流程。V+T+：韵母合适、声调合适; V+T-：韵母合适、声调违反; V-T+：韵母违反、声调合适; V-T-：韵母违反、声调违反
图1实验材料各条件举例及实验流程。V+T+：韵母合适、声调合适; V+T-：韵母合适、声调违反; V-T+：韵母违反、声调合适; V-T-：韵母违反、声调违反



图2音乐训练者(25人)和相应对照组(25人)完成押韵判断任务时, 韵母(左)和声调(右)在合适和违反条件下的平均正确率(上)和反应时(下)。
图2音乐训练者(25人)和相应对照组(25人)完成押韵判断任务时, 韵母(左)和声调(右)在合适和违反条件下的平均正确率(上)和反应时(下)。



图325个音乐训练者(左)和25个对照者(右)加工七言绝句押韵信息的总平均波形(上)和地形图(下)。ERP分析的开始时间为第二联末字开始位置。地形图为全合适条件的地形图以及各违反条件与全合适条件的差异波地形图。
图325个音乐训练者(左)和25个对照者(右)加工七言绝句押韵信息的总平均波形(上)和地形图(下)。ERP分析的开始时间为第二联末字开始位置。地形图为全合适条件的地形图以及各违反条件与全合适条件的差异波地形图。



图425个音乐训练者(左)和25个对照组被试(右)加工七言绝句押韵信息时大脑两侧100~300 ms (上)和300~750 ms (下)诱发脑电效应的平均波幅。V+T+：韵母正常, 声调正常; V+T-：韵母正常, 声调违反; V-T+：韵母违反, 声调正常; V-T-：韵母违反, 声调违反。
图425个音乐训练者(左)和25个对照组被试(右)加工七言绝句押韵信息时大脑两侧100~300 ms (上)和300~750 ms (下)诱发脑电效应的平均波幅。V+T+：韵母正常, 声调正常; V+T-：韵母正常, 声调违反; V-T+：韵母违反, 声调正常; V-T-：韵母违反, 声调违反。







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