Full metadata record
| DC Field | Value | Language |
|---|---|---|
| dc.contributor | Department of Language Science and Technology | en_US |
| dc.contributor.advisor | Peng, Gang (LST) | en_US |
| dc.creator | Ye, Yanyuan | - |
| dc.identifier.uri | https://theses.lib.polyu.edu.hk/handle/200/14620 | - |
| dc.language | English | en_US |
| dc.publisher | Hong Kong Polytechnic University | en_US |
| dc.rights | All rights reserved | en_US |
| dc.title | Unveiling the continuity between music and speech : behavioural and neural evidence in Cantonese song processing | en_US |
| dcterms.abstract | The relationship between speech and music perception remains a fundamental question in cognitive neuroscience. Previous research has often framed this relationship as a binary choice between separate, modular systems and shared neural resources. This thesis challenges that dichotomy, proposing instead that the distinction between speech and music is not a single, fixed boundary but a dynamic, multi-stage process. Using the hybrid stimulus of song in Cantonese, this research investigates the interaction between music and speech domains across three progressive levels of analysis through three experiments. | en_US |
| dcterms.abstract | The first experiment characterized the acoustic-perceptual boundary using a Categorical Perception paradigm. Listeners were presented with a seven-step acoustic continuum synthesized from speech to song across different levels of familiarity. The results did not show a classic categorical perception pattern; instead, discrimination accuracy increased continuously as stimuli became more song-like, rather than peaking at the identification boundary. This finding indicates that at the initial acoustic-perceptual level, the speech-song boundary is non-categorical, reflecting a fluid continuum where listening strategies shift gradually based on acoustic properties. The second experiment investigated the divergence of processing at a functional level. Using a contextual normalization paradigm, the study examined how the brain's "speech mode" is selectively engaged by different vocal contexts. A clear functional hierarchy of normalization effects was observed: Speech contexts elicited the strongest effect, followed by the Song context, while Solfège and Instrumental Music contexts elicited the weakest effects. The critical dissociation between Song (sung with lyrics) and Solfège (sung with solmization syllables) demonstrates that acoustic classification alone is insufficient to determine processing strategy. Instead, the brain's specialized speech-processing mechanisms are gated by the perceived linguistic function of the signal, placing Song in an intermediate position between pure speech and pure music. The third experiment explored the neural correlates of this integration and the role of higher-level cognitive modulation using functional near-infrared spectroscopy (fNIRS). This study revealed a distinct neural dissociation driven by top-down factors. Familiarity with a linguistically meaningful Song led to enhanced activation in the prefrontal cortex, mirroring the neural engagement seen in speech processing. In direct contrast, familiarity with the same musical structure but without linguistic meaning (Solfège) led to reduced activation. This finding provides evidence that Song acts as a transitional state: while it shares acoustic features with music, top-down familiarity with semantic content pulls its neural processing toward the linguistic domain, overriding the efficiency mechanisms typically associated with melodic perception. Collectively, these findings delineate a comprehensive architecture for vocal perception. Based on this evidence, a Multi-Stage Interactive Model is proposed. This framework posits that an initial, continuous analysis of acoustic features (Stage 1) is followed by a functional gating process that routes signals based on linguistic intent (Stage 2). Subsequently, these streams are not encapsulated but are subject to a final, synergistic integrative stage (Stage 3) where processing is profoundly modulated by memory and experience. This thesis concludes that the relationship between speech and music is best understood as a continuity, characterized by a dynamic interplay between bottom-up acoustic analysis and top-down functional interpretation. | en_US |
| dcterms.extent | xi, 144 pages : color illustrations | en_US |
| dcterms.isPartOf | PolyU Electronic Theses | en_US |
| dcterms.issued | 2026 | en_US |
| dcterms.educationalLevel | Ph.D. | en_US |
| dcterms.educationalLevel | All Doctorate | en_US |
| dcterms.accessRights | open access | en_US |
Copyright Undertaking
As a bona fide Library user, I declare that:
- I will abide by the rules and legal ordinances governing copyright regarding the use of the Database.
- I will use the Database for the purpose of my research or private study only and not for circulation or further reproduction or any other purpose.
- I agree to indemnify and hold the University harmless from and against any loss, damage, cost, liability or expenses arising from copyright infringement or unauthorized usage.
By downloading any item(s) listed above, you acknowledge that you have read and understood the copyright undertaking as stated above, and agree to be bound by all of its terms.
Please use this identifier to cite or link to this item:
https://theses.lib.polyu.edu.hk/handle/200/14620