Biology subjects

Segado, M.

Publications and source records attributed to Segado, M..

3 recordsLinked to original sources

bioRxiv2025

PrimateFace: A Machine Learning Resource for Automated Face Analysis in Human and Non-human Primates

Machine learning has revolutionized human face analysis, but equivalent tools for non-human primates remain limited and species-specific, hindering progress in neuroscience, anthropology, and conservation. Here, we present PrimateFace, a comprehensive, cross-species platform for primate facial analysis comprising a systematically curated dataset of 260,000+ images spanning over 60 genera, including a genus-balanced subset of 60,000 images, annotated with bounding boxes and facial landmark configurations. Face detection and facial landmark estimation models trained on PrimateFace achieve high cross-species performance, from tarsiers to gorillas, achieving performance comparable to baseline models trained exclusively on human data (0.34 vs. 0.39 mAP for face detection; 0.061 vs. 0.053 normalized landmark error), demonstrating the generalization benefits of cross-species training. PrimateFace enables diverse downstream applications including individual recognition, gaze analysis, and automated extraction of stereotyped (e.g., lip-smacking) and subtle (e.g., soft left turn) facial movements. PrimateFace provides a standardized platform for facial phenotyping across the primate order, empowering data-driven studies that advance the health and well-being of human and non-human primates. All models, notebooks, and data can be found at github.com/KordingLab/PrimateFace.

animal behavior and cognition↗

bioRxiv2020

Effector-independent brain network for auditory-motor integration: fMRI evidence from singing and cello playing

Many everyday tasks share high-level sensory goals but differ in the movements used to accomplish them. One example of this is musical pitch regulation, where the same notes can be produced using the vocal system or a musical instrument controlled by the hands. Cello playing has previously been shown to rely on brain structures within the singing network for performance of single notes, except in areas related to primary motor control, suggesting that the brain networks for auditory feedback processing and sensorimotor integration may be shared (Segado et al. 2018). However, research has shown that singers and cellists alike can continue singing/playing in tune even in the absence of auditory feedback (Chen et al. 2013, Kleber et al. 2013), so different paradigms are required to test feedback monitoring and control mechanisms. In singing, auditory pitch feedback perturbation paradigms have been used to show that singers engage a network of brain regions including anterior cingulate cortex (ACC), anterior insula (aINS), and intraparietal sulcus (IPS) when compensating for altered pitch feedback, and posterior superior temporal gyrus (pSTG) and supramarginal gyrus (SMG) when ignoring it (Zarate et al. 2005, 2008). To determine whether the brain networks for cello playing and singing directly overlap in these sensory-motor integration areas, in the present study expert cellists were asked to compensate for or ignore introduced pitch perturbations when singing/playing during fMRI scanning. We found that cellists were able to sing/play target tones, and compensate for and ignore introduced feedback perturbations equally well. Brain activity overlapped for singing and playing in IPS and SMG when compensating, and pSTG and dPMC when ignoring; differences between singing/playing across all three conditions were most prominent in M1, centered on the relevant motor effectors (hand, larynx). These findings support the hypothesis that pitch regulation during cello playing relies on structures within the singing network and suggests that differences arise primarily at the level of forward motor control. HighlightsO_LIExpert cellists were asked to compensate for or ignore introduced pitch perturbations when singing/playing during fMRI scanning. C_LIO_LICellists were able to sing/play target tones, and compensate for and ignore introduced feedback perturbations equally well. C_LIO_LIBrain activity overlapped for singing and playing in IPS and SMG when compensating, and pSTG and dPMC when ignoring. C_LIO_LIDifferences between singing/playing across were most prominent in M1, centered around the relevant motor effectors (hand, larynx) C_LIO_LIFindings support the hypothesis that pitch regulation during cello playing relies on structures within the singing network with differences arising primarily at the level of forward motor control C_LI

neuroscience↗

bioRxiv2018

Partially Overlapping Brain Networks for Singing and Cello Playing

1This research uses an MR-Compatible cello to compare functional brain activation during singing and cello playing within the same individuals to determine the extent to which arbitrary auditory-motor associations, like those required to play the cello, co-opt functional brain networks that evolved for singing. Musical instrument playing and singing both require highly specific associations between sounds and movements. However, vocal motor control is an evolutionarily old human trait and the auditory-motor associations used for singing are also used for speech and nonspeech vocalizations. This sets it apart from the arbitrary auditory-motor associations required to play musical instruments. The pitch range of the cello is similar to that of the human voice, but cello playing is completely independent of the vocal apparatus and can therefore be used to dissociate the auditory-vocal network from that of the auditory-motor network. While in the MR-Scanner, 11 expert cellists listened to and subsequently produced individual tones either by singing or cello playing. All participants were able to sing and play the target tones in tune (within 50Cents). We found that brain activity during cello playing directly overlaps with brain activity during singing in many areas within the auditory-vocal network. These include primary motor, dorsal pre-motor, and supplementary motor cortices, the primary and periprimary auditory cortices within the superior temporal gyrus including Heschls gyrus, anterior insula, anterior cingulate cortex, and intraparietal sulcus, and cerebellum but, notably, exclude the periaqueductal grey and basal ganglia. Second, we found that activity within the overlapping areas is positively correlated with, and therefore likely contributing to, both singing and playing in tune determined with performance measures. Third, we found that activity in auditory areas is functionally connected with activity in dorsal motor and pre-motor areas, and that the connectivity between them is positively correlated with good performance on this task. This functional connectivity suggests that the brain areas are working together to contribute to task performance and not just coincidently active. Last, our findings showed that cello playing may directly co-opt vocal areas (including larynx area of motor cortex), especially if musical training begins before age 7.

neuroscience↗