Toward a neural basis of music perception - a review and updated model

Violation of rhythmic expectancies can elicit late frontal gamma activity nested in theta oscillations

Rhythm processing involves building expectations according to the hierarchical temporal structure of auditory events. Although rhythm processing has been addressed in the context of predictive coding, the properties of the oscillatory response in different cortical areas are still not clear. We explored the oscillatory properties of the neural response to rhythmic incongruence and the cross-frequency coupling between multiple frequencies to further investigate the mechanisms underlying rhythm perception. We designed an experiment to investigate the neural response to rhythmic deviations in which the tone either arrived earlier than expected or the tone in the same metrical position was omitted. These two manipulations modulate the rhythmic structure differently, with the former creating a larger violation of the general structure of the musical stimulus than the latter. Both deviations resulted in an MMN response, whereas only the rhythmic deviant resulted in a subsequent P3a. Rhythmic deviants due to the early occurrence of a tone, but not omission deviants, seemed to elicit a late high gamma response (60-80 Hz) at the end of the P3a over the left frontal region, which, interestingly, correlated with the P3a amplitude over the same region and was also nested in theta oscillations. The timing of the elicited high-frequency gamma oscillations related to rhythmic deviation suggests that it might be related to the update of the predictive neural model, corresponding to the temporal structure of the events in higher-level cortical areas.

Individuals with autism spectrum disorder are impaired in absolute but not relative pitch and duration matching in speech and song imitation

Individuals with autism spectrum disorder (ASD) often exhibit atypical imitation. However, few studies have identified clear quantitative characteristics of vocal imitation in ASD. This study investigated imitation of speech and song in English-speaking individuals with and without ASD and its modulation by age. Participants consisted of 25 autistic children and 19 autistic adults, who were compared to 25 children and 19 adults with typical development matched on age, gender, musical training, and cognitive abilities. The task required participants to imitate speech and song stimuli with varying pitch and duration patterns. Acoustic analyses of the imitation performance suggested that individuals with ASD were worse than controls on absolute pitch and duration matching for both speech and song imitation, although they performed as well as controls on relative pitch and duration matching. Furthermore, the two groups produced similar numbers of pitch contour, pitch interval-, and time errors. Across both groups, sung pitch was imitated more accurately than spoken pitch, whereas spoken duration was imitated more accurately than sung duration. Children imitated spoken pitch more accurately than adults when it came to speech stimuli, whereas age showed no significant relationship to song imitation. These results reveal a vocal imitation deficit across speech and music domains in ASD that is specific to absolute pitch and duration matching. This finding provides evidence for shared mechanisms between speech and song imitation, which involves independent implementation of relative versus absolute features. LAY SUMMARY: Individuals with autism spectrum disorder (ASD) often exhibit atypical imitation of actions and gestures. Characteristics of vocal imitation in ASD remain unclear. By comparing speech and song imitation, this study shows that individuals with ASD have a vocal imitative deficit that is specific to absolute pitch and duration matching, while performing as well as controls on relative pitch and duration matching, across speech and music domains.

Human Genomics and the Biocultural Origin of Music

Music is an exclusive feature of humankind. It can be considered as a form of universal communication, only partly comparable to the vocalizations of songbirds. Many trends of research in this field try to address music origins, as well as the genetic bases of musicality. On one hand, several hypotheses have been made on the evolution of music and its role, but there is still debate, and comparative studies suggest a gradual evolution of some abilities underlying musicality in primates. On the other hand, genome-wide studies highlight several genes associated with musical aptitude, confirming a genetic basis for different musical skills which humans show. Moreover, some genes associated with musicality are involved also in singing and song learning in songbirds, suggesting a likely evolutionary convergence between humans and songbirds. This comprehensive review aims at presenting the concept of music as a sociocultural manifestation within the current debate about its biocultural origin and evolutionary function, in the context of the most recent discoveries related to the cross-species genetics of musical production and perception.

fNIRS & e-drum: An ecological approach to monitor hemodynamic and behavioural effects of rhythmic auditory cueing training

Converging evidence suggests a beneficial effect of rhythmic music-therapy in easing motor dysfunctions. Nevertheless, the neural systems underpinning both the direct effect and the influence of rhythm on movement control and execution during training in ecological settings are still largely unknown. In this study, we propose an ecological approach to monitor brain activity and behavioural performance during rhythmic auditory cueing short-term training. Our approach envisages the combination of functional near-infrared spectroscopy (fNIRS), which is a non-invasive neuroimaging technique that allows unconstrained movements of participants, with electronic drum (e-drum), which is an instrument able to collect behavioural tapping data in real time. The behavioural and brain effects of this short-term training were investigated on a group of healthy participants, who well tolerated the experimental settings, since none of them withdrew from the study. The rhythmic auditory cueing short-term training improved beat regularity and decreased group variability. At the group level, the training resulted in a reduction of brain activity primarily in premotor areas. Furthermore, participants with the highest behavioural improvement during training showed the smallest reduction in brain activity. Overall, we conclude that our study could pave the way towards translating the proposed approach to clinical settings.

Deficits in musical rhythm perception in children with specific learning disabilities

BACKGROUND

A specific learning disability comes with a cluster of deficits in the neurocognitive domain. Phonological processing deficits have been the core of different types of specific learning disabilities. In addition to difficulties in phonological processing and cognitive deficits, children with specific learning disability (SLD) are known to have deficits in more innate non-language-based skills like musical rhythm processing.

OBJECTIVES

This paper reviews studies in the area of musical rhythm perception in children with SLD. An attempt was made to throw light on beneficial effects of music and rhythm-based intervention and their underlying mechanism.

METHODS

A hypothesis-driven review of research in the domain of rhythm deficits and rhythm-based intervention in children with SLD was carried out.

RESULTS

A summary of the reviewed literature highlights that music and language processing have shared neural underpinnings. Children with SLD in addition to difficulties in language processing and other neurocognitive deficits are known to have deficits in music and rhythm perception. This is explained in the background of deficits in auditory skills, perceptuo-motor skills and timing skills. Attempt has been made in the field to understand the effect of music training on the children's auditory processing and language development. Music and rhythm-based intervention emerges as a powerful intervention method to target language processing and other neurocognitive functions. Future studies in this direction are highly underscored.

CONCLUSIONS

Suggestions for future research on music-based interventions have been discussed.

Dancing in Your Head: An Interdisciplinary Review

The aim of this review is to highlight the most relevant contributions on dance in neuroscientific research. Neuroscience has analyzed the mirror system through neuroimaging techniques, testing its role in imitative learning, in the recognition of other people's emotions and especially in the understanding of the motor behavior of others. This review analyses the literature related to five general areas: (I) breakthrough studies on the mirror system, and subsequent studies on its involvement in the prediction, the execution, the control of movement, and in the process of "embodied simulation" within the intersubjective relationship; (II) research focused on investigating the neural networks in action observation, and the neural correlates of motor expertise highlighted by comparative studies on different dance styles; (III) studies dealing with the viewer's experience of dance according to specific dance repertoires, which revealed the relevance of choreographic choices for aesthetic appreciation; (IV) studies focused on dance as an aesthetic experience, where both the emotional and the cultural dimension play a significant role, and whose investigation paves the way to further progress both in empirical and in phenomenological research methodologies; (V) collaboration-based experiments, in which neuroscientists and choreographers developed expertise-related questions, especially focusing on the multiple phenomena that underlie motor imagery.

Individuals with congenital amusia do not show context-dependent perception of tonal categories

Perceptual adaptation is an active cognitive process where listeners re-analyse speech categories based on new contexts/situations/talkers. It involves top-down influences from higher cortical levels on lower-level auditory processes. Individuals with congenital amusia have impaired pitch processing with reduced connectivity between frontal and temporal regions. This study examined whether deficits in amusia would lead to impaired perceptual adaptation in lexical tone perception. Thirteen Mandarin-speaking amusics and 13 controls identified the category of target tones on an 8-step continuum ranging from rising to high-level, either in isolation or in a high-/low-pitched context. For tones with no context, amusics exhibited reduced categorical perception than controls. While controls' lexical tone categorization demonstrated a significant context effect due to perceptual adaptation, amusics showed similar categorization patterns across both contexts. These findings suggest that congenital amusia impacts the extraction of context-dependent tonal categories in speech perception, indicating that perceptual adaptation may depend on listeners' perceptual acuity.

Development and Psychometric Validation of the Music Receptivity Scale

A new construct, termed music receptivity, is introduced and discussed in this work. Music receptivity can be defined as a measure of the extent of internalization that an individual has, to a given piece of music, as measured at the point of listening. Through three studies, we demonstrate the psychometric properties of the construct—the Music Receptivity Scale (MRS). Exploratory factor analysis on a sample of 313 revealed good psychometric validity, with a four-factor solution (emotional experience, interest, attention, and hurdles), with a Cronbach’s alpha of 0.89, and a two-factor solution (emotion experience and attention), with a Cronbach’s alpha of 0.87. The tool also had a good test–retest reliability (r = 0.87 for a 15 day interval and r = 0.91 for 1 month interval). Overall, the tool had 20 items in the long form and 12 items in the short version. The MRS could distinguish musicians and non-musicians supporting its discriminant validity. We have also discussed the implication of the MRS in the field of music psychology.

Acute Effects of Self-Selected Music Intervention on Golf Performance and Anxiety Level in Collegiate Golfers: A Crossover Study

Music has been reported as a positive intervention for improving psychophysiological conditions and exercise performance. However, the effects of music intervention on golf performance in association with psychophysiological responses have not been well examined in the literature. The purpose of the study was to investigate the acute effects of self-selected music intervention on golf swing and putting performance, heart rate (HR), HR variability (HRV), and anxiety. Twenty collegiate golfers voluntarily participated in this study (age = 20.2 ± 1.4 years, height = 171.7 ± 8.0 cm, body weight = 69.5 ± 14.6 kg, golf experience = 7.5 ± 2.1 years). A cross-over and within-subject design was used in this study. Participants performed a non-music trial (T1), pre-exercise music trial (T2), and simultaneous music trial (T3) in a randomized order with 48–72 h apart. The participants were attached to a HR monitor to record the HR and HRV during the measurement. The golf swing and putting performance was assessed by using the Golfzon golf simulator system. The state-trait anxiety inventory-state questionnaire (STAI-S) was used to evaluate anxiety state. All measurements were taken during baseline (phase one) and after resting or music intervention (phase two). Repeated measurement of analysis of variance (ANOVA) and Cohen’s effect size (ES) were used for statistical analyses. The results show no significant differences in golf swing and putting performance (p > 0.05). However, significant decrease in STAI-S score was found in T2 (p = 0.047, ES = 0.32). A significant increase in the standard deviation of normal R-R interval (SDNN), low-frequency power spectrum (LF), standard deviation of along the line-of-identity (SD2) in T2 and T3 were observed (p < 0.05). In conclusion, a single pre-exercise or simultaneous self-selected music intervention contributes minor effects to golf performance in collegiate golfers. The positive benefits of self-selected music intervention on the psychological condition and cardia-related modulation while practicing golf is warranted.

Changes in auditory cortical thickness following music training in children: converging longitudinal and cross-sectional results

Evidence is accumulating to suggest that music training is associated with structural brain differences in children and in adults. We used magnetic resonance imagining in two studies to investigate neuroanatomical correlates of music training in children. In study 1, we cross-sectionally compared a group of child musician (ages 9-11) matched to non-musicians and found that cortical thickness was greater in child musician in the posterior segment of the right-superior temporal gyrus (STG), an auditory association area that is involved in processing complex auditory stimuli, including pitch. We also found that thickness in the right posterior STG is related to music proficiency, however this relationship did not reach significance. In study 2, a longitudinal study, we investigated change in cortical thickness over a four-year period comparing a group of children involved in a systematic music training program with another group of children who did not have any music training. In this 2^nd study we assessed both groups at the beginning of the study, prior to music training for the music group, and four years later. We found that children in the music group showed a strong trend of lower rate of cortical thinning in the right posterior superior temporal gyrus. Together, our results provide evidence that music training induces structural brain changes in school-age children and that these changes are predominantly pronounced in the right auditory association areas.

Manipulation of low-level features modulates grouping strength of auditory objects

A central challenge of auditory processing involves the segregation, analysis, and integration of acoustic information into auditory perceptual objects for processing by higher order cognitive operations. This study explores the influence of low-level features on auditory object perception. Participants provided perceived musicality ratings in response to randomly generated pure tone sequences. Previous work has shown that music perception relies on the integration of discrete sounds into a holistic structure. Hence, high (versus low) ratings were viewed as indicative of strong (versus weak) object formation. Additionally, participants rated sequences in which random subsets of tones were manipulated along one of three low-level dimensions (timbre, amplitude, or fade-in) at one of three strengths (low, medium, or high). Our primary findings demonstrate how low-level acoustic features modulate the perception of auditory objects, as measured by changes in musicality ratings for manipulated sequences. Secondarily, we used principal component analysis to categorize participants into subgroups based on differential sensitivities to low-level auditory dimensions, thereby highlighting the importance of individual differences in auditory perception. Finally, we report asymmetries regarding the effects of low-level dimensions; specifically, the perceptual significance of timbre. Together, these data contribute to our understanding of how low-level auditory features modulate auditory object perception.

Perception of musical melody and rhythm as influenced by native language experience

This study used the Musical Ear Test [Wallentin, Nielsen, Friis-Olivarius, Vuust, and Vuust (2010). Learn. Indiv. Diff. 20, 188-196] to compare musical aptitude of native Japanese and Chinese speakers. Although the two groups had similar overall accuracy, they showed significant differences in subtest performance. Specifically, the Chinese speakers outperformed the Japanese counterparts on the melody subtest, but the reverse was observed on the rhythm subtest. Within-group comparisons revealed that Chinese speakers performed better on the melody subtest than the rhythm subtest, while Japanese speakers showed an opposite trend. These results indicate that native language pitch and durational patterns of the listener can have a profound effect on the perception of music melody and rhythm, respectively, reflecting language-to-music transfer of learning.

The Acoustic Dimension of Reading: Does Musical Aptitude Affect Silent Reading Fluency?

Fluent reading in a foreign language includes a complex coordination process of visual and auditory nature as the reading brain transforms written symbols into speaking auditory patterns through subvocalization (inner voice). The auditory information activated for reading involves the projection of speech prosody and allows, beyond letters and words decoding, the recognition of word boundaries and the construction of the melodic contours of the phrase. On the one hand, phonological awareness and auditory working memory have been identified in the literature as relevant factors in the reading process as skilled readers keep the acoustic information in their auditory working memory to predict the construction of larger lexical units. On the other hand, we observed that the inclusion of musical aptitude as an element belonging to the acoustic dimension of the silent reading aptitude of adults learning a foreign language remains understudied. Therefore, this study examines the silent reading fluency of 117 Italian adult students of Spanish as a foreign language. Our main aim was to find a model that could show if linguistic, cognitive and musical skills influence adults’ silent reading fluency. We hypothesized that learners’ contextual word recognition ability in L1 and FL in addition to, phonological awareness, auditory working memory and musical aptitude, elements related to the acoustic dimension of reading, would influence adults’ silent reading fluency. Our structural modeling allows us to describe how these different variables interact to determine the silent reading fluency construct. In fact, the effect of musical aptitude on fluent silent reading in our model reveals to be stronger than phonological awareness or auditory working memory.

Multimodal Recognition of Emotions in Music and Facial Expressions

The aim of the study was to investigate the neural processing of congruent vs. incongruent affective audiovisual information (facial expressions and music) by means of ERPs (Event Related Potentials) recordings. Stimuli were 200 infant faces displaying Happiness, Relaxation, Sadness, Distress and 32 piano musical pieces conveying the same emotional states (as specifically assessed). Music and faces were presented simultaneously, and paired so that in half cases they were emotionally congruent or incongruent. Twenty subjects were told to pay attention and respond to infrequent targets (adult neutral faces) while their EEG was recorded from 128 channels. The face-related N170 (160-180 ms) component was the earliest response affected by the emotional content of faces (particularly by distress), while visual P300 (250-450 ms) and auditory N400 (350-550 ms) responses were specifically modulated by the emotional content of both facial expressions and musical pieces. Face/music emotional incongruence elicited a wide N400 negativity indicating the detection of a mismatch in the expressed emotion. A swLORETA inverse solution applied to N400 (difference wave Incong. - Cong.), showed the crucial role of Inferior and Superior Temporal Gyri in the multimodal representation of emotional information extracted from faces and music. Furthermore, the prefrontal cortex (superior and medial, BA 10) was also strongly active, possibly supporting working memory. The data hints at a common system for representing emotional information derived by social cognition and music processing, including uncus and cuneus.

Why is music therapeutic for neurological disorders? The Therapeutic Music Capacities Model

Music has cognitive, psychosocial, behavioral and motor benefits for people with neurological disorders such as dementia, stroke, Parkinson's disease (PD) and Autism Spectrum Disorder (ASD). Here we discuss seven properties or 'capacities' of music that interact with brain function and contribute to its therapeutic value. Specifically, in its various forms, music can be engaging, emotional, physical, personal, social and persuasive, and it promotes synchronization of movement. We propose the Therapeutic Music Capacities Model (TMCM), which links individual properties of music to therapeutic mechanisms, leading to cognitive, psychosocial, behavioral and motor benefits. We review evidence that these capacities have reliable benefits for people with dementia, stroke, PD and ASD when employed separately or in combination. The model accounts for the profound value that music affords human health and well-being and provides a framework for the development of non-pharmaceutical treatments for neurological disorders.

The Rapid Emergence of Musical Pitch Structure in Human Cortex

In tonal music, continuous acoustic waveforms are mapped onto discrete, hierarchically arranged, internal representations of pitch. To examine the neural dynamics underlying this transformation, we presented male and female human listeners with tones embedded within a Western tonal context while recording their cortical activity using magnetoencephalography. Machine learning classifiers were then trained to decode different tones from their underlying neural activation patterns at each peristimulus time sample, providing a dynamic measure of their dissimilarity in cortex. Comparing the time-varying dissimilarity between tones with the predictions of acoustic and perceptual models, we observed a temporal evolution in the brain's representational structure. Whereas initial dissimilarities mirrored their fundamental-frequency separation, dissimilarities beyond 200 ms reflected the perceptual status of each tone within the tonal hierarchy of Western music. These effects occurred regardless of stimulus regularities within the context or whether listeners were engaged in a task requiring explicit pitch analysis. Lastly, patterns of cortical activity that discriminated between tones became increasingly stable in time as the information coded by those patterns transitioned from low-to-high level properties. Current results reveal the dynamics with which the complex perceptual structure of Western tonal music emerges in cortex at the timescale of an individual tone.SIGNIFICANCE STATEMENT Little is understood about how the brain transforms an acoustic waveform into the complex perceptual structure of musical pitch. Applying neural decoding techniques to the cortical activity of human subjects engaged in music listening, we measured the dynamics of information processing in the brain on a moment-to-moment basis as subjects heard each tone. In the first 200 ms after onset, transient patterns of neural activity coded the fundamental frequency of tones. Subsequently, a period emerged during which more temporally stable activation patterns coded the perceptual status of each tone within the "tonal hierarchy" of Western music. Our results provide a crucial link between the complex perceptual structure of tonal music and the underlying neural dynamics from which it emerges.

Surprise-related activation in the nucleus accumbens interacts with music-induced pleasantness

How can music-merely a stream of sounds-be enjoyable for so many people? Recent accounts of this phenomenon are inspired by predictive coding models, hypothesizing that both confirmation and violations of musical expectations associate with the hedonic response to music via recruitment of the mesolimbic system and its connections with the auditory cortex. Here we provide support for this model, by revealing associations of music-induced pleasantness with musical surprises in the activity and connectivity patterns of the nucleus accumbens (NAcc)-a central component of the mesolimbic system. We examined neurobehavioral responses to surprises in three naturalistic musical pieces using fMRI and subjective ratings of valence and arousal. Surprises were associated with changes in reported valence and arousal, as well as with enhanced activations in the auditory cortex, insula and ventral striatum, relative to unsurprising events. Importantly, we found that surprise-related activation in the NAcc was more pronounced among individuals who experienced greater music-induced pleasantness. These participants also exhibited stronger surprise-related NAcc-auditory cortex connectivity during the most pleasant piece, relative to participants who found the music less pleasant. These findings provide a novel demonstration of a direct link between musical surprises, NAcc activation and music-induced pleasantness.

How the Brain Understands Spoken and Sung Sentences

The present study investigates whether meaning is similarly extracted from spoken and sung sentences. For this purpose, subjects listened to semantically correct and incorrect sentences while performing a correctness judgement task. In order to examine underlying neural mechanisms, a multi-methodological approach was chosen combining two neuroscientific methods with behavioral data. In particular, fast dynamic changes reflected in the semantically associated N400 component of the electroencephalography (EEG) were simultaneously assessed with the topographically more fine-grained vascular signals acquired by the functional near-infrared spectroscopy (fNIRS). EEG results revealed a larger N400 for incorrect compared to correct sentences in both spoken and sung sentences. However, the N400 was delayed for sung sentences, potentially due to the longer sentence duration. fNIRS results revealed larger activations for spoken compared to sung sentences irrespective of semantic correctness at predominantly left-hemispheric areas, potentially suggesting a greater familiarity with spoken material. Furthermore, the fNIRS revealed a widespread activation for correct compared to incorrect sentences irrespective of modality, potentially indicating a successful processing of sentence meaning. The combined results indicate similar semantic processing in speech and song.

Shared neural resources of rhythm and syntax: An ALE meta-analysis

A growing body of evidence has highlighted behavioral connections between musical rhythm and linguistic syntax, suggesting that these abilities may be mediated by common neural resources. Here, we performed a quantitative meta-analysis of neuroimaging studies using activation likelihood estimate (ALE) to localize the shared neural structures engaged in a representative set of musical rhythm (rhythm, beat, and meter) and linguistic syntax (merge movement, and reanalysis) operations. Rhythm engaged a bilateral sensorimotor network throughout the brain consisting of the inferior frontal gyri, supplementary motor area, superior temporal gyri/temporoparietal junction, insula, intraparietal lobule, and putamen. By contrast, syntax mostly recruited the left sensorimotor network including the inferior frontal gyrus, posterior superior temporal gyrus, premotor cortex, and supplementary motor area. Intersections between rhythm and syntax maps yielded overlapping regions in the left inferior frontal gyrus, left supplementary motor area, and bilateral insula-neural substrates involved in temporal hierarchy processing and predictive coding. Together, this is the first neuroimaging meta-analysis providing detailed anatomical overlap of sensorimotor regions recruited for musical rhythm and linguistic syntax.

Structural meter perception is pre-attentive

A prominent question in timing research is whether meter perception is possible without attention to meter. So far, research has probed attention effects on meter perception with a surface-based approach that may create confounds between meter and rhythm, and not with a structural approach requiring abstraction from surface patterns. The available pattern of findings suggests that different meter dimensions (meter as beat hierarchy vs. meter as regular cycle length) may yield different attention effects: meter as cycle-length regularity may require attention (it is attentive but not pre-attentive), while meter as beat-hierarchy may be pre-attentive. However, it is unknown whether this dissociation prevails under structural meter processing. We examined attention effects on the EEG correlates of structural meter-processing, considering the two dimensions of meter perception: hierarchy and cycle-length. While the results for hierarchy violations were inconclusive, cycle-length violations induced pre-attentive, but not attentive, responses. These pre-attentive responses corresponded to late ERPs (300-600 ms), consistent with deep, structural meter-processing. Our findings highlight the importance of pre-attentive processing in meter perception, and they raise the hypothesis of dissociation between surface- and structure-based meter processing.

Neural architectures of music - Insights from acquired amusia

The ability to perceive and produce music is a quintessential element of human life, present in all known cultures. Modern functional neuroimaging has revealed that music listening activates a large-scale bilateral network of cortical and subcortical regions in the healthy brain. Even the most accurate structural studies do not reveal which brain areas are critical and causally linked to music processing. Such questions may be answered by analysing the effects of focal brain lesions in patients´ ability to perceive music. In this sense, acquired amusia after stroke provides a unique opportunity to investigate the neural architectures crucial for normal music processing. Based on the first large-scale longitudinal studies on stroke-induced amusia using modern multi-modal magnetic resonance imaging (MRI) techniques, such as advanced lesion-symptom mapping, grey and white matter morphometry, tractography and functional connectivity, we discuss neural structures critical for music processing, consider music processing in light of the dual-stream model in the right hemisphere, and propose a neural model for acquired amusia.

Tracking Training-Related Plasticity by Combining fMRI and DTI: The Right Hemisphere Ventral Stream Mediates Musical Syntax Processing

As a functional homolog for left-hemispheric syntax processing in language, neuroimaging studies evidenced involvement of right prefrontal regions in musical syntax processing, of which underlying white matter connectivity remains unexplored so far. In the current experiment, we investigated the underlying pathway architecture in subjects with 3 levels of musical expertise. Employing diffusion tensor imaging tractography, departing from seeds from our previous functional magnetic resonance imaging study on music syntax processing in the same participants, we identified a pathway in the right ventral stream that connects the middle temporal lobe with the inferior frontal cortex via the extreme capsule, and corresponds to the left hemisphere ventral stream, classically attributed to syntax processing in language comprehension. Additional morphometric consistency analyses allowed dissociating tract core from more dispersed fiber portions. Musical expertise related to higher tract consistency of the right ventral stream pathway. Specifically, tract consistency in this pathway predicted the sensitivity for musical syntax violations. We conclude that enduring musical practice sculpts ventral stream architecture. Our results suggest that training-related pathway plasticity facilitates the right hemisphere ventral stream information transfer, supporting an improved sound-to-meaning mapping in music.

Probing the Underlying Principles of Perceived Immanent Accents Using a Modeling Approach

This article deals with the question of how the perception of the “immanent accents” can be predicted and modeled. By immanent accent we mean any musical event in the score that is related to important points in the musical structure (e.g., tactus positions, melodic peaks) and is therefore able to capture the attention of a listener. Our aim was to investigate the underlying principles of these accented notes by combining quantitative modeling, music analysis and experimental methods. A listening experiment was conducted where 30 participants indicated perceived accented notes for 60 melodies, vocal and instrumental, selected from Baroque, Romantic and Post-tonal styles. This produced a large and unique collection of perceptual data about the perceived immanent accents, organized by styles consisting of vocal and instrumental melodies within Western art music. The music analysis of the indicated accents provided a preliminary list of musical features that could be identified as possible reasons for the raters’ perception of the immanent accents. These features related to the score in different ways, e.g., repeated fragments, single notes, or overall structure. A modeling approach was used to quantify the influence of feature groups related to pitch contour, tempo, timing, simple phrasing, and meter. A set of 43 computational features was defined from the music analysis and previous studies and extracted from the score representation. The mean ratings of the participants were predicted using multiple linear regression and support vector regression. The latter method (using cross-validation) obtained the best result of about 66% explained variance (r = 0.81) across all melodies and for a selected group of raters. The independent contribution of each feature group was relatively high for pitch contour and timing (9.6 and 7.0%). There were also significant contributions from tempo (4.5%), simple phrasing (4.4%), and meter (3.9%). Interestingly, the independent contribution varied greatly across participants, implying different listener strategies, and also some variability across different styles. The large differences among listeners emphasize the importance of considering the individual listener’s perception in future research in music perception.

Auditory rhyme processing in expert freestyle rap lyricists and novices: An ERP study

Music and language processing share and sometimes compete for brain resources. An extreme case of such shared processing occurs in improvised rap music, in which performers, or 'lyricists', combine rhyming, rhythmic, and semantic structures of language with musical rhythm, harmony, and phrasing to create integrally meaningful musical expressions. We used event-related potentials (ERPs) to investigate how auditory rhyme sequence processing differed between expert lyricists and non-lyricists. Participants listened to rhythmically presented pseudo-word triplets each of which terminated in a full-rhyme (e.g., STEEK, PREEK; FLEEK), half-rhyme (e.g., STEEK, PREEK; FREET), or non-rhyme (e.g., STEEK, PREEK; YAME), then judged each sequence in its aesthetic (Do you 'like' the rhyme?) or technical (Is the rhyme 'perfect'?) aspect. Phonological N450 showed rhyming effects between conditions (i.e., non vs. full; half vs. full; non vs. half) similarly across groups in parietal electrodes. However, concurrent activity in frontocentral electrodes showed left-laterality in non-lyricists, but not lyricists. Furthermore, non-lyricists' responses to the three conditions were distinct in morphology and amplitude at left-hemisphere electrodes with no condition difference at right-hemisphere electrodes, while lyricists' responses to half-rhymes they deemed unsatisfactory were similar to full-rhyme at left-hemisphere electrodes, and similar to non-rhyme at right-hemisphere electrodes. The CNV response observed while waiting for the second and third pseudo-word in the sequence was more enhanced to aesthetic rhyme judgments tasks than to technical rhyme judgment tasks in non-lyricists, suggesting their investment of greater effort for aesthetic rhyme judgments. No task effects were observed in lyricists, suggesting that aesthetic and technical rhyme judgments may engage the same processes for experts. Overall, our findings suggest that extensive practice of improvised lyricism may uniquely encourage the neuroplasticity of integrated linguistic and musical feature processing in the brain.

Cultural engagement and incident depression in older adults: evidence from the English Longitudinal Study of Ageing

BACKGROUND

There is a recognised need for the identification of factors that might be protective against the development of depression in older adults. Over the past decade, there has been growing research demonstrating the effects of cultural engagement (which combines a number of protective factors including social interaction, cognitive stimulation and gentle physical activity) on the treatment of depression, but as yet not on its prevention.AimsTo explore whether cultural engagement in older adults is associated with a reduced risk of developing depression over the following decade.

METHOD

Working with data from 2148 adults in the English Longitudinal Study of Ageing who were free from depression at baseline, we used logistic regression models to explore associations between frequency of cultural engagement (including going to museums, theatre and cinema) and the risk of developing depression over the following 10 years using a combined index of the Centre for Epidemiological Studies Depression Scale (CES-D) and physician-diagnosed depression.

RESULTS

There was a dose-response relationship between frequency of cultural engagement and the risk of developing depression independent of sociodemographic, health-related and social confounders. This equated to a 32% lower risk of developing depression for people who attended every few months (odds ratio (OR) = 0.68, 95% CI 0.47-0.99, P = 0.046) and a 48% lower risk for people who attended once a month or more (OR = 0.52, 95% CI 0.34-0.80, P = 0.003). Results were robust to sensitivity analyses exploring reverse causality, subclinical depressive symptoms and alternative CES-D thresholds.

CONCLUSIONS

Cultural engagement appears to be an independent risk-reducing factor for the development of depression in older age.Declaration of interestNone.

Neuroprocessing Mechanisms of Music during Fetal and Neonatal Development: A Role in Neuroplasticity and Neurodevelopment

The primary aim of this viewpoint article is to examine recent literature on fetal and neonatal processing of music. In particular, we examine the behavioral, neurophysiological, and neuroimaging literature describing fetal and neonatal music perception and processing to the first days of term equivalent life. Secondly, in light of the recent systematic reviews published on this topic, we discuss the impact of music interventions on the potential neuroplasticity pathways through which the early exposure to music, live or recorded, may impact the fetal, preterm, and full-term infant brain. We conclude with recommendations for music stimuli selection and its role within the framework of early socioemotional development and environmental enrichment.

Sex-specific Effects of Music Listening on Couples' Stress in Everyday Life

Music listening in daily life is associated with stress-reducing effects on the individual with increasing effects when music listening occurs in a social context. As little is known about effects on couples, we investigated whether beneficial effects can be found in couples. Forty heterosexual couples were investigated using ambulatory assessment. Participants completed six assessments on music listening and subjective stress per day for five consecutive days. With each assessment, saliva samples for the later analysis of cortisol and alpha-amylase were collected. Music listening affected biopsychological stress markers in women and men, however in different ways: While music listening reduced cortisol in women, it increased alpha-amylase in men. Dyadic effects of music listening on stress markers were found. Men showed lower secretion of cortisol if women listened to music which was more pronounced when couples shared musical preferences. Both men and women showed higher alpha-amylase activity when their partner had listened to music. Music listening influences couples’ psychobiological stress levels in a sex-dependent manner with evidence of dyadic co-variation in physiological responses to music. Interventions for promoting stress reduction should consider that women and men differ in their use of music in everyday life.

Musical meaning modulates word acquisition

Musical excerpts have been shown to have the capacity to prime the processing of target words and vice versa, strongly suggesting that music can convey concepts. However, to date no study has investigated an influence of musical semantics on novel word acquisition, thus corroborating evidence for a similarity of underlying semantic processing of music and words behaviourally. The current study investigates whether semantic content of music can assist the acquisition of novel words. Forty novel words and their German translation were visually presented to 26 participants accompanied by either semantically congruent or incongruent music. Semantic congruence between music and words was expected to increase performance in the subsequent forced-choice recognition test. Participants performed significantly better on the retention of novel words presented with semantically congruent music compared to those presented with semantically incongruent music. This provides first evidence that semantic "enrichment" by music during novel word learning can augment novel word acquisition. This finding may lead to novel approaches in foreign language acquisition and language rehabilitation, and further strongly supports the concept that music has a strong capacity to iconically convey meaning.

Syntactic and non-syntactic sources of interference by music on language processing

Music and language are complex hierarchical systems in which individual elements are systematically combined to form larger, syntactic structures. Suggestions that music and language share syntactic processing resources have relied on evidence that syntactic violations in music interfere with syntactic processing in language. However, syntactic violations may affect auditory processing in non-syntactic ways, accounting for reported interference effects. To investigate the factors contributing to interference effects, we assessed recall of visually presented sentences and word-lists when accompanied by background auditory stimuli differing in syntactic structure and auditory distraction: melodies without violations, scrambled melodies, melodies that alternate in timbre, and environmental sounds. In Experiment 1, one-timbre melodies interfered with sentence recall, and increasing both syntactic complexity and distraction by scrambling melodies increased this interference. In contrast, three-timbre melodies reduced interference on sentence recall, presumably because alternating instruments interrupted auditory streaming, reducing pressure on long-distance syntactic structure building. Experiment 2 confirmed that participants were better at discriminating syntactically coherent one-timbre melodies than three-timbre melodies. Together, these results illustrate that syntactic processing and auditory streaming interact to influence sentence recall, providing implications for theories of shared syntactic processing and auditory distraction.

Graph measures in task-based fMRI: Functional integration during read-out of visual and auditory information

This study investigated how attending to auditory and visual information systematically changes graph theoretical measures of integration and functional connectivity between three network modules: auditory, visual, and a joint task core. Functional MRI BOLD activity was recorded while healthy volunteers attended to colour and/or pitch information presented within an audiovisual stimulus sequence. Network nodes and modules were based on peak voxels of BOLD contrasts, including colour and pitch sensitive brain regions as well as the dorsal attention network. Network edges represented correlations between nodes' activity and were computed separately for each condition. Connection strength was increased between the task and the visual module when participants attended to colour, and between the task and the auditory module when they attended to pitch. Moreover, several nodal graph measures showed consistent changes to attentional modulation in form of stronger integration of sensory regions in response to attention. Together, these findings corroborate dynamical adjustments of both modality-specific and modality-independent functional brain networks in response to task demands and their representation in graph theoretical measures.

Musical Creativity and Depth of Implicit Knowledge: Spectral and Temporal Individualities in Improvisation

It has been suggested that musical creativity is mainly formed by implicit knowledge. However, the types of spectro-temporal features and depth of the implicit knowledge forming individualities of improvisation are unknown. This study, using various-order Markov models on implicit statistical learning, investigated spectro-temporal statistics among musicians. The results suggested that lower-order models on implicit knowledge represented general characteristics shared among musicians, whereas higher-order models detected specific characteristics unique to each musician. Second, individuality may essentially be formed by pitch but not rhythm, whereas the rhythms may allow the individuality of pitches to strengthen. Third, time-course variation of musical creativity formed by implicit knowledge and uncertainty (i.e., entropy) may occur in a musician's lifetime. Individuality of improvisational creativity may be formed by deeper but not superficial implicit knowledge of pitches, and that the rhythms may allow the individuality of pitches to strengthen. Individualities of the creativity may shift over a musician's lifetime via experience and training.

Characterization of Music and Photograph Evoked Autobiographical Memories in People with Alzheimer's Disease

BACKGROUND

Music evoked autobiographical memories (MEAMs) have been documented in people with Alzheimer's disease (AD), but it is unclear whether music is more effective than other familiar stimuli at evoking memories.

OBJECTIVE

To explore the frequency and specificity of memories in response to famous songs compared with photographs of famous events (photograph evoked autobiographical memories, PEAMs), and whether stimuli from the period of the reminiscence bump (10-30 years of age) were more likely to elicit memories.

METHODS

10 participants with AD and 10 aged-matched healthy elderly people reported memories following exposure to 2 songs (longest time at number one in Australian music charts) and 2 photographs (of prominent famous events) from each decade from 1930 to 2010.

RESULTS

PEAMs were more frequent than MEAMs in healthy elderly (p < 0.05), but no such differences were observed among people with AD. There was no difference in the frequency of MEAMs between groups, but people with AD showed a significant decline in the frequency of PEAMs. In both groups, MEAMs were typically less specific than PEAMs and comprised semantic knowledge or repeated/extended events. Stimuli from when participants were aged 10-30 years triggered more frequent memories compared with stimuli from later decades, but this was only statistically significant for MEAMs.

CONCLUSION

Our findings indicate a preserved mnemonic effect of music relative to pictures in this patient population, corroborating suggestions that MEAMs represent an island of preservation during the progression of AD.

Effects of audiovisual stimuli on psychological and psychophysiological responses during exercise in adults with obesity

The present experiment sought to further understanding of the effects of personalised audiovisual stimuli on psychological and psychophysiological responses during exercise in adults with obesity. Twenty-four participants (M_age = 28.3, SD = 5.5 years; M_BMI = 32.2, SD = 2.4) engaged in self-paced exercises on a recumbent cycle ergometer and three conditions (sensory stimulation [ST], sensory deprivation [DE], and control [CO]) were administered. Perceptual (attentional focus and perceived exertion), affective (affective state and perceived activation), and psychophysiological (heart rate variability) parameters were monitored throughout the exercise bouts. A one-way repeated measures analysis of variance was used to compare self-reported and psychophysiological variables (main and interaction effects [5 Timepoints × 3 Conditions]). The results indicate that ST increased the use of dissociative thoughts throughout the exercise session (η_p² = .19), ameliorated fatigue-related symptoms (η_p² = .15) and elicited more positive affective responses (η_p² = .12) than CO and DE. Accordingly, personally-compiled videos are highly effective in ameliorating exertional responses and enhancing affective valence during self-paced exercise in adults with obesity. Audiovisual stimuli could be used during the most critical periods of the exercise regimen (e.g., first training sessions) when individuals with obesity are more likely to focus on fatigue-related sensations.

Psychedelics and music: neuroscience and therapeutic implications

From the beginning of therapeutic research with psychedelics, music listening has been consistently used as a method to guide or support therapeutic experiences during the acute effects of psychedelic drugs. Recent findings point to the potential of music to support meaning-making, emotionality, and mental imagery after the administration of psychedelics, and suggest that music plays an important role in facilitating positive clinical outcomes of psychedelic therapy. This review explores the history of, contemporary research on, and future directions regarding the use of music in psychedelic research and therapy, and argues for more detailed and rigorous investigation of the contribution of music to the treatment of psychiatric disorders within the novel framework of psychedelic therapy.

Cerebral effects of music during isometric exercise: An fMRI study

A block-design experiment was conducted using fMRI to examine the brain regions that activate during the execution of an isometric handgrip exercise performed at light-to-moderate-intensity in the presence of music. Nineteen healthy adults (7 women and 12 men; M_age = 24.2, SD = 4.9 years) were exposed to an experimental condition (music [MU]) and a no-music control condition (CO) in a randomized order within a single session. Each condition lasted for 10 min and participants were required to execute 30 exercise trials (i.e., 1 trial = 10 s exercise + 10 s rest). Attention allocation, exertional responses, and affective changes were assessed immediately after each condition. The BOLD response was compared between conditions to identify the combined effects of music and exercise on neural activity. The findings indicate that music reallocated attention toward task-unrelated thoughts (d = 0.52) and upregulated affective arousal (d = 0.72) to a greater degree when compared to a no-music condition. The activity of the left inferior frontal gyrus (lIFG) also increased when participants executed the motor task in the presence of music (F = 24.65), and a significant negative correlation was identified between lIFG activity and perceived exertion for MU (limb discomfort: r = -0.54; overall exertion: r = -0.62). The authors hypothesize that the lIFG activates in response to motor tasks that are executed in the presence of environmental sensory stimuli. Activation of this region might also moderate processing of interoceptive signals - a neurophysiological mechanism responsible for reducing exercise consciousness and ameliorating fatigue-related symptoms.

"Being a bully isn't very cool…": Rap & Sing Music Therapy for enhanced emotional self-regulation in an adolescent school setting - a randomized controlled trial

Music as an effective self-regulative tool for emotions and behavioural adaptation for adolescents might enhance emotion-related skills when applied as a therapeutic school intervention. This study investigated Rap & Sing Music Therapy in a school-based programme, to support self-regulative abilities for well-being. One-hundred-and-ninety adolescents in grade 8 of a public school in the Netherlands were randomly assigned to an experimental group involving Rap & Sing Music Therapy or a control group. Both interventions were applied to six classes once a week during four months. Measurements at baseline and again after four months provided outcome data of adolescents' psychological well-being, self-description, self-esteem and emotion regulation. Significant differences between groups on the SDQ teacher test indicated a stabilized Rap & Sing Music Therapy group, as opposed to increased problems in the control group (p = .001; η_p ² = .132). Total problem scores of all tests indicated significant improvements in the Rap & Sing Music Therapy group. The RCT results imply overall benefits of Rap & Sing Music Therapy in a school setting. There were improved effects on all measures - as they are in line with school interventions of motivational engagement in behavioural, emotional and social themes - a promising result.

Syntactic processing in music and language: Parallel abnormalities observed in congenital amusia

Evidence is accumulating that similar cognitive resources are engaged to process syntactic structure in music and language. Congenital amusia – a neurodevelopmental disorder that primarily affects music perception, including musical syntax – provides a special opportunity to understand the nature of this overlap. Using electroencephalography (EEG), we investigated whether individuals with congenital amusia have parallel deficits in processing language syntax in comparison to control participants. Twelve amusic participants (eight females) and 12 control participants (eight females) were presented melodies in one session, and spoken sentences in another session, both of which had syntactic-congruent and -incongruent stimuli. They were asked to complete a music-related and a language-related task that were irrelevant to the syntactic incongruities. Our results show that amusic participants exhibit impairments in the early stages of both music- and language-syntactic processing. Specifically, we found that two event-related potential (ERP) components – namely Early Right Anterior Negativity (ERAN) and Left Anterior Negativity (LAN), associated with music- and language-syntactic processing respectively, were absent in the amusia group. However, at later processing stages, amusics showed similar brain responses as controls to syntactic incongruities in both music and language. This was reflected in a normal N5 in response to melodies and a normal P600 to spoken sentences. Notably, amusics' parallel music- and language-syntactic impairments were not accompanied by deficits in semantic processing (indexed by normal N400 in response to semantic incongruities). Together, our findings provide further evidence for shared music and language syntactic processing, particularly at early stages of processing.

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Amusics displayed abnormal brain responses to music-syntactic irregularities.

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They also exhibited abnormal brain responses to language-syntactic irregularities.

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These impairments affect an early stage of syntactic processing not a later stage.

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Music and language involve similar cognitive mechanisms for processing syntax.

Direct cortical stimulation of inferior frontal cortex disrupts both speech and music production in highly trained musicians

Music and speech are human-specific behaviours that share numerous properties, including the fine motor skills required to produce them. Given these similarities, previous work has suggested that music and speech may at least partially share neural substrates. To date, much of this work has focused on perception, and has not investigated the neural basis of production, particularly in trained musicians. Here, we report two rare cases of musicians undergoing neurosurgical procedures, where it was possible to directly stimulate the left hemisphere cortex during speech and piano/guitar music production tasks. We found that stimulation to left inferior frontal cortex, including pars opercularis and ventral pre-central gyrus, caused slowing and arrest for both speech and music, and note sequence errors for music. Stimulation to posterior superior temporal cortex only caused production errors during speech. These results demonstrate partially dissociable networks underlying speech and music production, with a shared substrate in frontal regions.

Time-course variation of statistics embedded in music: Corpus study on implicit learning and knowledge

Learning and knowledge of transitional probability in sequences like music, called statistical learning and knowledge, are considered implicit processes that occur without intention to learn and awareness of what one knows. This implicit statistical knowledge can be alternatively expressed via abstract medium such as musical melody, which suggests this knowledge is reflected in melodies written by a composer. This study investigates how statistics in music vary over a composer's lifetime. Transitional probabilities of highest-pitch sequences in Ludwig van Beethoven's Piano Sonata were calculated based on different hierarchical Markov models. Each interval pattern was ordered based on the sonata opus number. The transitional probabilities of sequential patterns that are musical universal in music gradually decreased, suggesting that time-course variations of statistics in music reflect time-course variations of a composer's statistical knowledge. This study sheds new light on novel methodologies that may be able to evaluate the time-course variation of composer's implicit knowledge using musical scores.

Random Feedback Makes Listeners Tone-Deaf

The mental representation of pitch structure (tonal knowledge) is a core component of musical experience and is learned implicitly through exposure to music. One theory of congenital amusia (tone deafness) posits that conscious access to tonal knowledge is disrupted, leading to a severe deficit of music cognition. We tested this idea by providing random performance feedback to neurotypical listeners while they listened to melodies for tonal incongruities and had their electrical brain activity monitored. The introduction of random feedback was associated with a reduction of accuracy and confidence, and a suppression of the late positive brain response usually elicited by conscious detection of a tonal violation. These effects mirror the behavioural and neurophysiological profile of amusia. In contrast, random feedback was associated with an increase in the amplitude of the early right anterior negativity, possibly due to heightened attention to the experimental task. This successful simulation of amusia in a normal brain highlights the key role of feedback in learning, and thereby provides a new avenue for the rehabilitation of learning disorders.

Naturalistic music and dance: Cortical phase synchrony in musicians and dancers

Expertise in music has been investigated for decades and the results have been applied not only in composition, performance and music education, but also in understanding brain plasticity in a larger context. Several studies have revealed a strong connection between auditory and motor processes and listening to and performing music, and music imagination. Recently, as a logical next step in music and movement, the cognitive and affective neurosciences have been directed towards expertise in dance. To understand the versatile and overlapping processes during artistic stimuli, such as music and dance, it is necessary to study them with continuous naturalistic stimuli. Thus, we used long excerpts from the contemporary dance piece Carmen presented with and without music to professional dancers, musicians, and laymen in an EEG laboratory. We were interested in the cortical phase synchrony within each participant group over several frequency bands during uni- and multimodal processing. Dancers had strengthened theta and gamma synchrony during music relative to silence and silent dance, whereas the presence of music decreased systematically the alpha and beta synchrony in musicians. Laymen were the only group of participants with significant results related to dance. Future studies are required to understand whether these results are related to some other factor (such as familiarity to the stimuli), or if our results reveal a new point of view to dance observation and expertise.

A Conceptual Framework: The Musical Self as a Unique Pathway to Outcomes in the Acute Pediatric Health Setting

This article reports on a project at the Royal Children's Hospital Melbourne in which the music therapy team synthesized their practice and related theories to propose a new conceptual framework for music therapy in their acute pediatric setting. The impetus for the project was the realization that in the process of producing key statements about the non-musical benefits of music therapy, the cost was often the suppression of information about the patient's unique musical potential as the major (mediating) pathway from referral reason, to music therapy, and to effective outcomes. The purpose of the project was to articulate how this team of clinicians conceive of the patient's musical self as the major theoretical pathway for music therapy in an evidence-based acute medical setting. The clinicians' shared reflexive process across six months involved robust directed discussion, annotation of shared reading, and documentation of all engagement in words and diagrams. The outcome was a consensus framework including three constructs: the place of music in the life of the infant, child, and young people, Culture and Context, and Musical Manifestations. The constructs were tested in a clinical audit, and found to be robustly inclusive. In addition to the conceptual framework, this project serves to demonstrate a process by which clinical teams may reflect on their individual practice and theory together to create a consensus stance for the overall service they provide in the one setting.

Neurophysiological and Behavioral Differences between Older and Younger Adults When Processing Violations of Tonal Structure in Music

Aging is associated with decline in both cognitive and auditory abilities. However, evidence suggests that music perception is relatively spared, despite relying on auditory and cognitive abilities that tend to decline with age. It is therefore likely that older adults engage compensatory mechanisms which should be evident in the underlying functional neurophysiology related to processing music. In other words, the perception of musical structure would be similar or enhanced in older compared to younger adults, while the underlying functional neurophysiology would be different. The present study aimed to compare the electrophysiological brain responses of younger and older adults to melodic incongruities during a passive and active listening task. Older and younger adults had a similar ability to detect an out-of-tune incongruity (i.e., non-chromatic), while the amplitudes of the ERAN and P600 were reduced in older adults compared to younger adults. On the other hand, out-of-key incongruities (i.e., non-diatonic), were better detected by older adults compared to younger adults, while the ERAN and P600 were comparable between the two age groups. This pattern of results indicates that perception of tonal structure is preserved in older adults, despite age-related neurophysiological changes in how melodic violations are processed.

Decoding the dynamic representation of musical pitch from human brain activity

In music, the perception of pitch is governed largely by its tonal function given the preceding harmonic structure of the music. While behavioral research has advanced our understanding of the perceptual representation of musical pitch, relatively little is known about its representational structure in the brain. Using Magnetoencephalography (MEG), we recorded evoked neural responses to different tones presented within a tonal context. Multivariate Pattern Analysis (MVPA) was applied to “decode” the stimulus that listeners heard based on the underlying neural activity. We then characterized the structure of the brain’s representation using decoding accuracy as a proxy for representational distance, and compared this structure to several well established perceptual and acoustic models. The observed neural representation was best accounted for by a model based on the Standard Tonal Hierarchy, whereby differences in the neural encoding of musical pitches correspond to their differences in perceived stability. By confirming that perceptual differences honor those in the underlying neuronal population coding, our results provide a crucial link in understanding the cognitive foundations of musical pitch across psychological and neural domains.

Not Cure But Heal: Music and Medicine

Do you know that our soul is composed of harmony? Leonardo Da Vinci Despite evidence for music-specific mechanisms at the level of pitch-pattern representations, the most fascinating aspect of music is its transmodality. Recent psychological and neuroscientific evidence suggest that music is unique in the coupling of perception, cognition, action and emotion. This potentially explains why music has been since time immemorial almost inextricably linked to healing processes and should continue to be.

Auditory enhancement of visual memory encoding is driven by emotional content of the auditory material and mediated by superior frontal cortex

BACKGROUND

The aim of the present study was to investigate how auditory background interacts with learning and memory. Both facilitatory (e.g., "Mozart effect") and interfering effects of background have been reported, depending on the type of auditory stimulation and of concurrent cognitive tasks.

METHOD

Here we recorded event related potentials (ERPs) during face encoding followed by an old/new memory test to investigate the effect of listening to classical music (Čajkovskij, dramatic), environmental sounds (rain) or silence on learning. Participants were 15 healthy non-musician university students. Almost 400 (previously unknown) faces of women and men of various age were presented.

RESULTS

Listening to music during study led to a better encoding of faces as indexed by an increased Anterior Negativity. The FN400 response recorded during the memory test showed a gradient in its amplitude reflecting face familiarity. FN400 was larger to new than old faces, and to faces studied during rain sound listening and silence than music listening.

CONCLUSION

The results indicate that listening to music enhances memory recollection of faces by merging with visual information. A swLORETA analysis showed the main involvement of Superior Temporal Gyrus (STG) and medial frontal gyrus in the integration of audio-visual information.

Culture Modulates the Brain Response to Harmonic Violations: An EEG Study on Hierarchical Syntactic Structure in Music

We investigated the role of culture in processing hierarchical syntactic structures in music. We examined whether violation of non-local dependencies manifest in event related potentials (ERP) for Western and Iranian excerpts by recording EEG while participants passively listened to sequences of modified/original excerpts. We also investigated oscillatory and synchronization properties of brain responses during processing of hierarchical structures. For the Western excerpt, subjective ratings of conclusiveness were marginally significant and the difference in the ERP components fell short of significance. However, ERP and behavioral results showed that while listening to culturally familiar music, subjects comprehended whether or not the hierarchical syntactic structure was fulfilled. Irregularities in the hierarchical structures of the Iranian excerpt elicited an early negativity in the central regions bilaterally, followed by two later negativities from 450–700 to 750–950 ms. The latter manifested throughout the scalp. Moreover, violations of hierarchical structure in the Iranian excerpt were associated with (i) an early decrease in the long range alpha phase synchronization, (ii) an early increase in the oscillatory activity in the beta band over the central areas, and (iii) a late decrease in the theta band phase synchrony between left anterior and right posterior regions. Results suggest that rhythmic structures and melodic fragments, representative of Iranian music, created a familiar context in which recognition of complex non-local syntactic structures was feasible for Iranian listeners. Processing of neural responses to the Iranian excerpt indicated neural mechanisms for processing of hierarchical syntactic structures in music at different levels of cortical integration.