Swinging in the brain: shared neural substrates for behaviors related to sequencing and music

Music perception and cognition: a review of recent cross-cultural research

Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the way music moves via emotional response. Further research is needed to test deep-rooted psychological assumptions about music cognition with diverse materials and groups in dynamic contexts. Although empirical musicology provides keystones to unlock musical structures and organization, the psychological reality of those theorized structures for listeners and performers, and the broader implications for theories of music perception and cognition, awaits investigation.

Music training for the development of speech segmentation

The role of music training in fostering brain plasticity and developing high cognitive skills, notably linguistic abilities, is of great interest from both a scientific and a societal perspective. Here, we report results of a longitudinal study over 2 years using both behavioral and electrophysiological measures and a test-training-retest procedure to examine the influence of music training on speech segmentation in 8-year-old children. Children were pseudo-randomly assigned to either music or painting training and were tested on their ability to extract meaningless words from a continuous flow of nonsense syllables. While no between-group differences were found before training, both behavioral and electrophysiological measures showed improved speech segmentation skills across testing sessions for the music group only. These results show that music training directly causes facilitation in speech segmentation, thereby pointing to the importance of music for speech perception and more generally for children's language development. Finally these results have strong implications for promoting the development of music-based remediation strategies for children with language-based learning impairments.

Music and language perception: expectations, structural integration, and cognitive sequencing

Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes.

Offline improvement occurs for temporal stability but not accuracy following practice of integer and non-integer rhythms

Procedural learning benefits from memory processes occurring outside practice resulting in offline learning. Offline gains have been demonstrated almost exclusively for the ordinal structure of sequential motor tasks. Many skills also demand that the correct serial order of events be appropriately timed. Evidence indicates that the temporal aspect of a procedural skill can be encoded independent of serial order knowledge and governed by at least two distinct neural circuits. The present experiment determined if (a) offline gains emerge for temporal learning, and (b) if such gains occur for timing supervised by distinct timing systems. Participants experienced 216 practice trials of a 7-key press sequence that involved integer- or non-integer timing rhythms. Twenty-four hours after training 30 test trials were administered. Results revealed robust offline enhancement for timing performance of the non-integer based temporal sequences. This improvement was localized to stabilization of the required relative but not absolute time profiles. The neural circuitry central to supporting the performance of non-integer timing sequences is also a principal constituent of what is described as the "cognitive" timing system. Timing governed by this system appears most susceptible to offline gains via consolidation.

Differentiating maturational and training influences on fMRI activation during music processing

Two major influences on how the brain processes music are maturational development and active musical training. Previous functional neuroimaging studies investigating music processing have typically focused on either categorical differences between "musicians versus nonmusicians" or "children versus adults." In the present study, we explored a cross-sectional data set (n=84) using multiple linear regression to isolate the performance-independent effects of age (5 to 33 years) and cumulative duration of musical training (0 to 21,000 practice hours) on fMRI activation similarities and differences between melodic discrimination (MD) and rhythmic discrimination (RD). Age-related effects common to MD and RD were present in three left hemisphere regions: temporofrontal junction, ventral premotor cortex, and the inferior part of the intraparietal sulcus, regions involved in active attending to auditory rhythms, sensorimotor integration, and working memory transformations of pitch and rhythmic patterns. By contrast, training-related effects common to MD and RD were localized to the posterior portion of the left superior temporal gyrus/planum temporale, an area implicated in spectrotemporal pattern matching and auditory-motor coordinate transformations. A single cluster in right superior temporal gyrus showed significantly greater activation during MD than RD. This is the first fMRI which has distinguished maturational from training effects during music processing.

What artificial grammar learning reveals about the neurobiology of syntax

In this paper we examine the neurobiological correlates of syntax, the processing of structured sequences, by comparing FMRI results on artificial and natural language syntax. We discuss these and similar findings in the context of formal language and computability theory. We used a simple right-linear unification grammar in an implicit artificial grammar learning paradigm in 32 healthy Dutch university students (natural language FMRI data were already acquired for these participants). We predicted that artificial syntax processing would engage the left inferior frontal region (BA 44/45) and that this activation would overlap with syntax-related variability observed in the natural language experiment. The main findings of this study show that the left inferior frontal region centered on BA 44/45 is active during artificial syntax processing of well-formed (grammatical) sequence independent of local subsequence familiarity. The same region is engaged to a greater extent when a syntactic violation is present and structural unification becomes difficult or impossible. The effects related to artificial syntax in the left inferior frontal region (BA 44/45) were essentially identical when we masked these with activity related to natural syntax in the same subjects. Finally, the medial temporal lobe was deactivated during this operation, consistent with the view that implicit processing does not rely on declarative memory mechanisms that engage the medial temporal lobe. In the context of recent FMRI findings, we raise the question whether Broca's region (or subregions) is specifically related to syntactic movement operations or the processing of hierarchically nested non-adjacent dependencies in the discussion section. We conclude that this is not the case. Instead, we argue that the left inferior frontal region is a generic on-line sequence processor that unifies information from various sources in an incremental and recursive manner, independent of whether there are any processing requirements related to syntactic movement or hierarchically nested structures. In addition, we argue that the Chomsky hierarchy is not directly relevant for neurobiological systems.

Measuring time with different neural chronometers during a synchronization-continuation task

Temporal information processing is critical for many complex behaviors including speech and music cognition, yet its neural substrate remains elusive. We examined the neurophysiological properties of medial premotor cortex (MPC) of two Rhesus monkeys during the execution of a synchronization-continuation tapping task that includes the basic sensorimotor components of a variety of rhythmic behaviors. We show that time-keeping in the MPC is governed by separate cell populations. One group encoded the time remaining for an action, showing activity whose duration changed as a function of interval duration, reaching a peak at similar magnitudes and times with respect to the movement. The other cell group showed a response that increased in duration or magnitude as a function of the elapsed time from the last movement. Hence, the sensorimotor loops engaged during the task may depend on the cyclic interplay between different neuronal chronometers that quantify the time passed and the remaining time for an action.

Large-scale brain networks emerge from dynamic processing of musical timbre, key and rhythm

We investigated the neural underpinnings of timbral, tonal, and rhythmic features of a naturalistic musical stimulus. Participants were scanned with functional Magnetic Resonance Imaging (fMRI) while listening to a stimulus with a rich musical structure, a modern tango. We correlated temporal evolutions of timbral, tonal, and rhythmic features of the stimulus, extracted using acoustic feature extraction procedures, with the fMRI time series. Results corroborate those obtained with controlled stimuli in previous studies and highlight additional areas recruited during musical feature processing. While timbral feature processing was associated with activations in cognitive areas of the cerebellum, and sensory and default mode network cerebrocortical areas, musical pulse and tonality processing recruited cortical and subcortical cognitive, motor and emotion-related circuits. In sum, by combining neuroimaging, acoustic feature extraction and behavioral methods, we revealed the large-scale cognitive, motor and limbic brain circuitry dedicated to acoustic feature processing during listening to a naturalistic stimulus. In addition to these novel findings, our study has practical relevance as it provides a powerful means to localize neural processing of individual acoustical features, be it those of music, speech, or soundscapes, in ecological settings.

Rhythm evokes action: early processing of metric deviances in expressive music by experts and laymen revealed by ERP source imaging

To examine how musical expertise tunes the brain to subtle metric anomalies in an ecological musical context, we presented piano compositions ending on standard and deviant cadences (endings) to expert pianists and musical laymen, while high-density EEG was recorded. Temporal expectancies were manipulated by substituting standard "masculine" cadences at metrically strong positions with deviant, metrically unaccented, "feminine" cadences. Experts detected metrically deviant cadences better than laymen. Analyses of event-related potentials demonstrated that an early P3a-like component (~150-300 ms), elicited by musical closure, was significantly enhanced at frontal and parietal electrodes in response to deviant endings in experts, whereas a reduced response to deviance occurred in laymen. Putative neuronal sources contributing to the modulation of this component were localized in a network of brain regions including bilateral supplementary motor areas, middle and posterior cingulate cortex, precuneus, associative visual areas, as well as in the right amygdala and insula. In all these regions, experts showed enhanced responses to metric deviance. Later effects demonstrated enhanced activations within the same brain network, as well as higher processing speed for experts. These results suggest that early brain responses to metric deviance in experts may rely on motor representations mediated by the supplementary motor area and motor cingulate regions, in addition to areas involved in self-referential imagery and relevance detection. Such motor representations could play a role in temporal sensory prediction evolved from musical training and suggests that rhythm evokes action more strongly in highly trained instrumentalists.

Musical expertise and statistical learning of musical and linguistic structures

Adults and infants can use the statistical properties of syllable sequences to extract words from continuous speech. Here we present a review of a series of electrophysiological studies investigating (1) Speech segmentation resulting from exposure to spoken and sung sequences (2) The extraction of linguistic versus musical information from a sung sequence (3) Differences between musicians and non-musicians in both linguistic and musical dimensions. The results show that segmentation is better after exposure to sung compared to spoken material and moreover, that linguistic structure is better learned than the musical structure when using sung material. In addition, musical expertise facilitates the learning of both linguistic and musical structures. Finally, an electrophysiological approach, which directly measures brain activity, appears to be more sensitive than a behavioral one.

Cortical plasticity induced by short-term multimodal musical rhythm training

Performing music is a multimodal experience involving the visual, auditory, and somatosensory modalities as well as the motor system. Therefore, musical training is an excellent model to study multimodal brain plasticity. Indeed, we have previously shown that short-term piano practice increase the magnetoencephalographic (MEG) response to melodic material in novice players. Here we investigate the impact of piano training using a rhythmic-focused exercise on responses to rhythmic musical material. Musical training with non musicians was conducted over a period of two weeks. One group (sensorimotor-auditory, SA) learned to play a piano sequence with a distinct musical rhythm, another group (auditory, A) listened to, and evaluated the rhythmic accuracy of the performances of the SA-group. Training-induced cortical plasticity was evaluated using MEG, comparing the mismatch negativity (MMN) in response to occasional rhythmic deviants in a repeating rhythm pattern before and after training. The SA-group showed a significantly greater enlargement of MMN and P2 to deviants after training compared to the A- group. The training-induced increase of the rhythm MMN was bilaterally expressed in contrast to our previous finding where the MMN for deviants in the pitch domain showed a larger right than left increase. The results indicate that when auditory experience is strictly controlled during training, involvement of the sensorimotor system and perhaps increased attentional recources that are needed in producing rhythms lead to more robust plastic changes in the auditory cortex compared to when rhythms are simply attended to in the auditory domain in the absence of motor production.

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

Music perception involves acoustic analysis, auditory memory, auditory scene analysis, processing of interval relations, of musical syntax and semantics, and activation of (pre)motor representations of actions. Moreover, music perception potentially elicits emotions, thus giving rise to the modulation of emotional effector systems such as the subjective feeling system, the autonomic nervous system, the hormonal, and the immune system. Building on a previous article (Koelsch and Siebel, 2005), this review presents an updated model of music perception and its neural correlates. The article describes processes involved in music perception, and reports EEG and fMRI studies that inform about the time course of these processes, as well as about where in the brain these processes might be located.

Complex processes from dynamical architectures with time-scale hierarchy

The idea that complex motor, perceptual, and cognitive behaviors are composed of smaller units, which are somehow brought into a meaningful relation, permeates the biological and life sciences. However, no principled framework defining the constituent elementary processes has been developed to this date. Consequently, functional configurations (or architectures) relating elementary processes and external influences are mostly piecemeal formulations suitable to particular instances only. Here, we develop a general dynamical framework for distinct functional architectures characterized by the time-scale separation of their constituents and evaluate their efficiency. Thereto, we build on the (phase) flow of a system, which prescribes the temporal evolution of its state variables. The phase flow topology allows for the unambiguous classification of qualitatively distinct processes, which we consider to represent the functional units or modes within the dynamical architecture. Using the example of a composite movement we illustrate how different architectures can be characterized by their degree of time scale separation between the internal elements of the architecture (i.e. the functional modes) and external interventions. We reveal a tradeoff of the interactions between internal and external influences, which offers a theoretical justification for the efficient composition of complex processes out of non-trivial elementary processes or functional modes.

Inhibitory stimulation of the ventral premotor cortex temporarily interferes with musical beat rate preference

Behavioral studies suggest that preference for a beat rate (tempo) in auditory sequences is tightly linked to the motor system. However, from a neuroscientific perspective the contribution of motor-related brain regions to tempo preference in the auditory domain remains unclear. A recent fMRI study (Kornysheva et al. [2010]: Hum Brain Mapp 31:48-64) revealed that the activity increase in the left ventral premotor cortex (PMv) is associated with the preference for a tempo of a musical rhythm. The activity increase correlated with how strongly the subjects preferred a tempo. Despite this evidence, it remains uncertain whether an interference with activity in the left PMv affects tempo preference strength. Consequently, we conducted an offline repetitive transcranial magnetic stimulation (rTMS) study, in which the cortical excitability in the left PMv was temporarily reduced. As hypothesized, 0.9 Hz rTMS over the left PMv temporarily affected individual tempo preference strength depending on the individual strength of tempo preference in the control session. Moreover, PMv stimulation temporarily interfered with the stability of individual tempo preference strength within and across sessions. These effects were specific to the preference for tempo in contrast to the preference for timbre, bound to the first half of the experiment following PMv stimulation and could not be explained by an impairment of tempo recognition. Our results corroborate preceding fMRI findings and suggest that activity in the left PMv is part of a network that affects the strength of beat rate preference.

Music and mirror neurons: from motion to 'e'motion

The ability to create and enjoy music is a universal human trait and plays an important role in the daily life of most cultures. Music has a unique ability to trigger memories, awaken emotions and to intensify our social experiences. We do not need to be trained in music performance or appreciation to be able to reap its benefits-already as infants, we relate to it spontaneously and effortlessly. There has been a recent surge in neuroimaging investigations of the neural basis of musical experience, but the way in which the abstract shapes and patterns of musical sound can have such profound meaning to us remains elusive. Here we review recent neuroimaging evidence and suggest that music, like language, involves an intimate coupling between the perception and production of hierarchically organized sequential information, the structure of which has the ability to communicate meaning and emotion. We propose that these aspects of musical experience may be mediated by the human mirror neuron system.

Prediction, cognition and the brain

The term “predictive brain” depicts one of the most relevant concepts in cognitive neuroscience which emphasizes the importance of “looking into the future”, namely prediction, preparation, anticipation, prospection or expectations in various cognitive domains. Analogously, it has been suggested that predictive processing represents one of the fundamental principles of neural computations and that errors of prediction may be crucial for driving neural and cognitive processes as well as behavior. This review discusses research areas which have recognized the importance of prediction and introduces the relevant terminology and leading theories in the field in an attempt to abstract some generative mechanisms of predictive processing. Furthermore, we discuss the process of testing the validity of postulated expectations by matching these to the realized events and compare the subsequent processing of events which confirm to those which violate the initial predictions. We conclude by suggesting that, although a lot is known about this type of processing, there are still many open issues which need to be resolved before a unified theory of predictive processing can be postulated with regard to both cognitive and neural functioning.

Tuning-in to the beat: Aesthetic appreciation of musical rhythms correlates with a premotor activity boost

Listening to music can induce us to tune in to its beat. Previous neuroimaging studies have shown that the motor system becomes involved in perceptual rhythm and timing tasks in general, as well as during preference-related responses to music. However, the role of preferred rhythm and, in particular, of preferred beat frequency (tempo) in driving activity in the motor system remains unknown. The goals of the present functional magnetic resonance imaging (fMRI) study were to determine whether the musical rhythms that are subjectively judged as beautiful boost activity in motor-related areas and if so, whether this effect is driven by preferred tempo, the underlying pulse people tune in to. On the basis of the subjects' judgments, individual preferences were determined for the different systematically varied constituents of the musical rhythms. Results demonstrate the involvement of premotor and cerebellar areas during preferred compared to not preferred musical rhythms and indicate that activity in the ventral premotor cortex (PMv) is enhanced by preferred tempo. Our findings support the assumption that the premotor activity increase during preferred tempo is the result of enhanced sensorimotor simulation of the beat frequency. This may serve as a mechanism that facilitates the tuning-in to the beat of appealing music.

Subsecond timing in primates: comparison of interval production between human subjects and rhesus monkeys

This study describes the psychometric similarities and differences in motor timing performance between 20 human subjects and three rhesus monkeys during two timing production tasks. These tasks involved tapping on a push-button to produce the same set of intervals (range of 450 to 1,000 ms), but they differed in the number of intervals produced (single vs. multiple) and the modality of the stimuli (auditory vs. visual) used to define the time intervals. The data showed that for both primate species, variability increased as a function of the length of the produced target interval across tasks, a result in accordance with the scalar property. Interestingly, the temporal performance of rhesus monkeys was equivalent to that of human subjects during both the production of single intervals and the tapping synchronization to a metronome. Overall, however, human subjects were more accurate than monkeys and showed less timing variability. This was especially true during the self-pacing phase of the multiple interval production task, a behavior that may be related to complex temporal cognition, such as speech and music execution. In addition, the well-known human bias toward auditory as opposed to visual cues for the accurate execution of time intervals was not evident in rhesus monkeys. These findings validate the rhesus monkey as an appropriate model for the study of the neural basis of time production, but also suggest that the exquisite temporal abilities of humans, which peak in speech and music performance, are not all shared with macaques.

Selective neurophysiologic responses to music in instrumentalists with different listening biographies

To appropriately adapt to constant sensory stimulation, neurons in the auditory system are tuned to various acoustic characteristics, such as center frequencies, frequency modulations, and their combinations, particularly those combinations that carry species-specific communicative functions. The present study asks whether such tunings extend beyond acoustic and communicative functions to auditory self-relevance and expertise. More specifically, we examined the role of the listening biography--an individual's long term experience with a particular type of auditory input--on perceptual-neural plasticity. Two groups of expert instrumentalists (violinists and flutists) listened to matched musical excerpts played on the two instruments (J.S. Bach Partitas for solo violin and flute) while their cerebral hemodynamic responses were measured using fMRI. Our experimental design allowed for a comprehensive investigation of the neurophysiology (cerebral hemodynamic responses as measured by fMRI) of auditory expertise (i.e., when violinists listened to violin music and when flutists listened to flute music) and nonexpertise (i.e., when subjects listened to music played on the other instrument). We found an extensive cerebral network of expertise, which implicates increased sensitivity to musical syntax (BA 44), timbre (auditory association cortex), and sound-motor interactions (precentral gyrus) when listening to music played on the instrument of expertise (the instrument for which subjects had a unique listening biography). These findings highlight auditory self-relevance and expertise as a mechanism of perceptual-neural plasticity, and implicate neural tuning that includes and extends beyond acoustic and communication-relevant structures.

Brain activation during anticipation of sound sequences

Music consists of sound sequences that require integration over time. As we become familiar with music, associations between notes, melodies, and entire symphonic movements become stronger and more complex. These associations can become so tight that, for example, hearing the end of one album track can elicit a robust image of the upcoming track while anticipating it in total silence. Here, we study this predictive "anticipatory imagery" at various stages throughout learning and investigate activity changes in corresponding neural structures using functional magnetic resonance imaging. Anticipatory imagery (in silence) for highly familiar naturalistic music was accompanied by pronounced activity in rostral prefrontal cortex (PFC) and premotor areas. Examining changes in the neural bases of anticipatory imagery during two stages of learning conditional associations between simple melodies, however, demonstrates the importance of fronto-striatal connections, consistent with a role of the basal ganglia in "training" frontal cortex (Pasupathy and Miller, 2005). Another striking change in neural resources during learning was a shift between caudal PFC earlier to rostral PFC later in learning. Our findings regarding musical anticipation and sound sequence learning are highly compatible with studies of motor sequence learning, suggesting common predictive mechanisms in both domains.

The neural architecture of music-evoked autobiographical memories

The medial prefrontal cortex (MPFC) is regarded as a region of the brain that supports self-referential processes, including the integration of sensory information with self-knowledge and the retrieval of autobiographical information. I used functional magnetic resonance imaging and a novel procedure for eliciting autobiographical memories with excerpts of popular music dating to one's extended childhood to test the hypothesis that music and autobiographical memories are integrated in the MPFC. Dorsal regions of the MPFC (Brodmann area 8/9) were shown to respond parametrically to the degree of autobiographical salience experienced over the course of individual 30 s excerpts. Moreover, the dorsal MPFC also responded on a second, faster timescale corresponding to the signature movements of the musical excerpts through tonal space. These results suggest that the dorsal MPFC associates music and memories when we experience emotionally salient episodic memories that are triggered by familiar songs from our personal past. MPFC acted in concert with lateral prefrontal and posterior cortices both in terms of tonality tracking and overall responsiveness to familiar and autobiographically salient songs. These findings extend the results of previous autobiographical memory research by demonstrating the spontaneous activation of an autobiographical memory network in a naturalistic task with low retrieval demands.

Time perception is distorted during responses to medical emergencies

An accurate perception of time is critical for responders to cardiac arrests and other medical emergencies. Interventions such as medications or defibrillation are meant to be given at particular times. External chest compressions and bag-valve mask ventilations should be done at a particular rate. Accurate timing of the length of pulselessness may have implications for post-emergency management. Additionally, reported timing of pulselessness may alter clinicians' perception of the patient's chances for neurological recovery. Prior research indicates that stressful situations may impair subjects' time perception. It is hypothesized that this is true for responders to medical emergencies. Although there are many competing factors, responders to medical emergencies most likely feel that time passes more slowly than it actually does. This could have important implications for patient management both during and after medical emergencies.

Cortical plasticity induced by short-term unimodal and multimodal musical training

Learning to play a musical instrument requires complex multimodal skills involving simultaneous perception of several sensory modalities: auditory, visual, somatosensory, as well as the motor system. Therefore, musical training provides a good and adequate neuroscientific model to study multimodal brain plasticity effects in humans. Here, we investigated the impact of short-term unimodal and multimodal musical training on brain plasticity. Two groups of nonmusicians were musically trained over the course of 2 weeks. One group [sensorimotor-auditory (SA)] learned to play a musical sequence on the piano, whereas the other group [auditory (A)] listened to and made judgments about the music that had been played by participants of the sensorimotor-auditory group. Training-induced cortical plasticity was assessed by recording the musically elicited mismatch negativity (MMNm) from magnetoencephalographic measurements before and after training. SA and A groups showed significantly different cortical responses after training. Specifically, the SA group showed significant enlargement of MMNm after training compared with the A group, reflecting greater enhancement of musical representations in auditory cortex after sensorimotor-auditory training compared with after mere auditory training. Thus, we have experimentally demonstrated that not only are sensorimotor and auditory systems connected, but also that sensorimotor-auditory training causes plastic reorganizational changes in the auditory cortex over and above changes introduced by auditory training alone.

Cross-cultural music phrase processing: an fMRI study

The current study used functional magnetic resonance imaging (fMRI) to investigate the neural basis of musical phrase boundary processing during the perception of music from native and non-native cultures. German musicians performed a cultural categorization task while listening to phrased Western (native) and Chinese (non-native) musical excerpts as well as modified versions of these, where the impression of phrasing has been reduced by removing the phrase boundary marking pause (henceforth called "unphrased"). Bilateral planum temporale was found to be associated with an increased difficulty of identifying phrase boundaries in unphrased Western melodies. A network involving frontal and parietal regions showed increased activation for the phrased condition with the orbital part of left inferior frontal gyrus presumably reflecting working memory aspects of the temporal integration between phrases, and the middle frontal gyrus and intraparietal sulcus probably reflecting attention processes. Areas more active in the culturally familiar, native (Western) condition included, in addition to the left planum temporale and right ventro-medial prefrontal cortex, mainly the bilateral motor regions. These latter results are interpreted in light of sensorimotor integration. Regions with increased signal for the unfamiliar, non-native music style (Chinese) included a right lateralized network of angular gyrus and the middle frontal gyrus, possibly reflecting higher demands on attention systems, and the right posterior insula suggesting higher loads on basic auditory processing.

Brain networks for integrative rhythm formation

BACKGROUND

Performance of externally paced rhythmic movements requires brain and behavioral integration of sensory stimuli with motor commands. The underlying brain mechanisms to elaborate beat-synchronized rhythm and polyrhythms that musicians readily perform may differ. Given known roles in perceiving time and repetitive movements, we hypothesized that basal ganglia and cerebellar structures would have greater activation for polyrhythms than for on-the-beat rhythms.

METHODOLOGY/PRINCIPAL FINDINGS

Using functional MRI methods, we investigated brain networks for performing rhythmic movements paced by auditory cues. Musically trained participants performed rhythmic movements at 2 and 3 Hz either at a 1:1 on-the-beat or with a 3:2 or a 2:3 stimulus-movement structure. Due to their prior musical experience, participants performed the 3:2 or 2:3 rhythmic movements automatically. Both the isorhythmic 1:1 and the polyrhythmic 3:2 or 2:3 movements yielded the expected activation in contralateral primary motor cortex and related motor areas and ipsilateral cerebellum. Direct comparison of functional MRI signals obtained during 3:2 or 2:3 and on-the-beat rhythms indicated activation differences bilaterally in the supplementary motor area, ipsilaterally in the supramarginal gyrus and caudate-putamen and contralaterally in the cerebellum.

CONCLUSIONS/SIGNIFICANCE

The activated brain areas suggest the existence of an interconnected brain network specific for complex sensory-motor rhythmic integration that might have specificity for elaboration of musical abilities.

Generation of novel motor sequences: the neural correlates of musical improvisation

While some motor behavior is instinctive and stereotyped or learned and re-executed, much action is a spontaneous response to a novel set of environmental conditions. The neural correlates of both pre-learned and cued motor sequences have been previously studied, but novel motor behavior has thus far not been examined through brain imaging. In this paper, we report a study of musical improvisation in trained pianists with functional magnetic resonance imaging (fMRI), using improvisation as a case study of novel action generation. We demonstrate that both rhythmic (temporal) and melodic (ordinal) motor sequence creation modulate activity in a network of brain regions comprised of the dorsal premotor cortex, the rostral cingulate zone of the anterior cingulate cortex, and the inferior frontal gyrus. These findings are consistent with a role for the dorsal premotor cortex in movement coordination, the rostral cingulate zone in voluntary selection, and the inferior frontal gyrus in sequence generation. Thus, the invention of novel motor sequences in musical improvisation recruits a network of brain regions coordinated to generate possible sequences, select among them, and execute the decided-upon sequence.

Neural mechanisms of the time-order error: an MEG study

The time-order error (TOE) refers to the influence of presentation order on performance accuracy in a discrimination task. Despite it being a well-documented perceptual bias, the underlying mechanisms have not been studied. In this study, observers were trained on a two-interval forced-choice procedure. The stimuli presented for discrimination were a standard, consisting of four tones presented at a 5-Hz rate, and targets, consisting of various rates higher than 5 Hz. Psychometric functions were measured for discrimination of the trained standard and targets, a novel standard of 13 Hz with higher target rates; and the trained 5 Hz standard with novel targets with rates below 5 Hz. Discrimination did not improve with training; in fact, accuracy declined when standard was presented in the first interval during the session, resulting in a TOE. The TOE was specific to the 5-Hz standard generalizing to the novel targets slower than 5 Hz, but not to the 13-Hz STANDARD. Analysis of the event-related magnetic field responses (ERFs) revealed a waveform to the whole stimulus, rather than to each tone in the train. Although ERFs in the second interval were attenuated independent of stimulus type, the M300 component in the second interval was attenuated only when the standard was first, but remained of equivalent magnitude when the standard was second. This was observed only in the two 5-Hz conditions. Combined, these results suggest that the TOE reflects the emergence of an internal representation of the standard, and that the M300 is potentially a neural correlate of plasticity.

When the brain plays music: auditory-motor interactions in music perception and production

Music performance is both a natural human activity, present in all societies, and one of the most complex and demanding cognitive challenges that the human mind can undertake. Unlike most other sensory-motor activities, music performance requires precise timing of several hierarchically organized actions, as well as precise control over pitch interval production, implemented through diverse effectors according to the instrument involved. We review the cognitive neuroscience literature of both motor and auditory domains, highlighting the value of studying interactions between these systems in a musical context, and propose some ideas concerning the role of the premotor cortex in integration of higher order features of music with appropriately timed and organized actions.

A network for audio–motor coordination in skilled pianists and non-musicians

Playing a musical instrument requires efficient auditory and motor processing. Fast feed forward and feedback connections that link the acoustic target to the corresponding motor programs need to be established during years of practice. The aim of our study is to provide a detailed description of cortical structures that participate in this audio-motor coordination network in professional pianists and non-musicians. In order to map these interacting areas using functional magnetic resonance imaging (fMRI), we considered cortical areas that are concurrently activated during silent piano performance and motionless listening to piano sound. Furthermore we investigated to what extent interactions between the auditory and the motor modality happen involuntarily. We observed a network of predominantly secondary and higher order areas belonging to the auditory and motor modality. The extent of activity was clearly increased by imagination of the absent modality. However, this network did neither comprise primary auditory nor primary motor areas in any condition. Activity in the lateral dorsal premotor cortex (PMd) and the pre-supplementary motor cortex (preSMA) was significantly increased for pianists. Our data imply an intermodal transformation network of auditory and motor areas which is subject to a certain degree of plasticity by means of intensive training.

Untangling syntactic and sensory processing: an ERP study of music perception

The present study investigated music-syntactic processing with chord sequences that ended on either regular or irregular chord functions. Sequences were composed such that perceived differences in the cognitive processing between syntactically regular and irregular chords could not be due to the sensory processing of acoustic factors like pitch repetition, pitch commonality (the major component of "sensory dissonance"), or roughness. Three experiments with independent groups of subjects were conducted: a behavioral experiment and two experiments using electroencephalography. Irregular chords elicited an early right anterior negativity (ERAN) in the event-related brain potentials (ERPs) under both task-relevant and task-irrelevant conditions. Behaviorally, participants detected around 75% of the irregular chords, indicating that these chords were only moderately salient. Nevertheless, the irregular chords reliably elicited clear ERP effects. Amateur musicians were slightly more sensitive to musical irregularities than nonmusicians, supporting previous studies demonstrating effects of musical training on music-syntactic processing. The findings indicate that the ERAN is an index of music-syntactic processing and that the ERAN can be elicited even when irregular chords are not detectable based on acoustical factors such as pitch repetition, sensory dissonance, or roughness.

Role of the basal ganglia and frontal cortex in selecting and producing internally guided force pulses

The basal ganglia comprise a crucial circuit involved in force production and force selection, but the specific role of each nucleus to the production of force pulses and the selection of pulses of different force amplitudes remains unknown. We conducted an fMRI study in which participants produced force using a precision grip while (a) holding a steady-state force, (b) performing a series of force pulses with similar amplitude, and (c) selecting force pulses of different amplitude. Region of interest analyses were conducted in the basal ganglia and frontal cortex to compare percent signal change during force pulse versus steady-state force production and compare force amplitude selection to force production when selection of force amplitude was not present. There were three novel findings in the basal ganglia. First, the caudate nucleus increased activation during the selection of different force amplitudes when compared to producing a series of similar force pulses. Second, GPi, STN, and posterior putamen increased activation during the production of similar force amplitudes when compared to holding a steady-state force, and maintained similar activation during the production of different force amplitudes in which force selection was required. Third, GPe and anterior putamen had increased activation during the production of similar force pulses and further increased activation during the selection of different force pulses. These findings suggest that anterior basal ganglia nuclei are involved in selecting the amplitude of force contractions and posterior basal ganglia nuclei regulate basic aspects of dynamic force pulse production.

Music and emotion: Electrophysiological correlates of the processing of pleasant and unpleasant music

Human emotion and its electrophysiological correlates are still poorly understood. The present study examined whether the valence of perceived emotions would differentially influence EEG power spectra and heart rate (HR). Pleasant and unpleasant emotions were induced by consonant and dissonant music. Unpleasant (compared to pleasant) music evoked a significant decrease of HR, replicating the pattern of HR responses previously described for the processing of emotional pictures, sounds, and films. In the EEG, pleasant (contrasted to unpleasant) music was associated with an increase of frontal midline (Fm) theta power. This effect is taken to reflect emotional processing in close interaction with attentional functions. These findings show that Fm theta is modulated by emotion more strongly than previously believed.

Action representation of sound: audiomotor recognition network while listening to newly acquired actions

The discovery of audiovisual mirror neurons in monkeys gave rise to the hypothesis that premotor areas are inherently involved not only when observing actions but also when listening to action-related sound. However, the whole-brain functional formation underlying such "action-listening" is not fully understood. In addition, previous studies in humans have focused mostly on relatively simple and overexperienced everyday actions, such as hand clapping or door knocking. Here we used functional magnetic resonance imaging to ask whether the human action-recognition system responds to sounds found in a more complex sequence of newly acquired actions. To address this, we chose a piece of music as a model set of acoustically presentable actions and trained non-musicians to play it by ear. We then monitored brain activity in subjects while they listened to the newly acquired piece. Although subjects listened to the music without performing any movements, activation was found bilaterally in the frontoparietal motor-related network (including Broca's area, the premotor region, the intraparietal sulcus, and the inferior parietal region), consistent with neural circuits that have been associated with action observations, and may constitute the human mirror neuron system. Presentation of the practiced notes in a different order activated the network to a much lesser degree, whereas listening to an equally familiar but motorically unknown music did not activate this network. These findings support the hypothesis of a "hearing-doing" system that is highly dependent on the individual's motor repertoire, gets established rapidly, and consists of Broca's area as its hub.

Action representation of sound: audiomotor recognition network while listening to newly acquired actions

The discovery of audiovisual mirror neurons in monkeys gave rise to the hypothesis that premotor areas are inherently involved not only when observing actions but also when listening to action-related sound. However, the whole-brain functional formation underlying such "action-listening" is not fully understood. In addition, previous studies in humans have focused mostly on relatively simple and overexperienced everyday actions, such as hand clapping or door knocking. Here we used functional magnetic resonance imaging to ask whether the human action-recognition system responds to sounds found in a more complex sequence of newly acquired actions. To address this, we chose a piece of music as a model set of acoustically presentable actions and trained non-musicians to play it by ear. We then monitored brain activity in subjects while they listened to the newly acquired piece. Although subjects listened to the music without performing any movements, activation was found bilaterally in the frontoparietal motor-related network (including Broca's area, the premotor region, the intraparietal sulcus, and the inferior parietal region), consistent with neural circuits that have been associated with action observations, and may constitute the human mirror neuron system. Presentation of the practiced notes in a different order activated the network to a much lesser degree, whereas listening to an equally familiar but motorically unknown music did not activate this network. These findings support the hypothesis of a "hearing-doing" system that is highly dependent on the individual's motor repertoire, gets established rapidly, and consists of Broca's area as its hub.

Implicit investigations of tonal knowledge in nonmusician listeners

By mere exposure to musical pieces in everyday life, Western listeners acquire sensitivity to the regularities of the tonal system and to the context dependency of musical sounds. This implicitly acquired tonal knowledge allows nonmusician listeners to perceive relationships among musical events and to develop expectations for future events that then influence the processing of these events. The musical priming paradigm is one method of the indirect investigation of listeners' tonal knowledge. It investigates the influence of a preceding context (with its musical structures and relationships) on the processing of a musical target event, without asking participants for direct evaluations. Behavioral priming data have provided evidence for facilitated processing of musically related events in comparison to unrelated and less-related events. The sensitivity of implicit investigations is further shown by I.R., a patient with severe amusia, showing spared implicit knowledge of music. Finally, the priming paradigm allows us to investigate the neural correlates of musical structure processing. Two fMRI studies reported the implication of inferior frontal regions in musical priming, contrasting related and unrelated events, as well as finer structural manipulations contrasting in-key events.

Music and language side by side in the brain: a PET study of the generation of melodies and sentences

Parallel generational tasks for music and language were compared using positron emission tomography. Amateur musicians vocally improvised melodic or linguistic phrases in response to unfamiliar, auditorily presented melodies or phrases. Core areas for generating melodic phrases appeared to be in left Brodmann area (BA) 45, right BA 44, bilateral temporal planum polare, lateral BA 6, and pre-SMA. Core areas for generating sentences seemed to be in bilateral posterior superior and middle temporal cortex (BA 22, 21), left BA 39, bilateral superior frontal (BA 8, 9), left inferior frontal (BA 44, 45), anterior cingulate, and pre-SMA. Direct comparisons of the two tasks revealed activations in nearly identical functional brain areas, including the primary motor cortex, supplementary motor area, Broca's area, anterior insula, primary and secondary auditory cortices, temporal pole, basal ganglia, ventral thalamus, and posterior cerebellum. Most of the differences between melodic and sentential generation were seen in lateralization tendencies, with the language task favouring the left hemisphere. However, many of the activations for each modality were bilateral, and so there was significant overlap. While clarification of this overlapping activity awaits higher-resolution measurements and interventional assessments, plausible accounts for it include component sharing, interleaved representations, and adaptive coding. With these and related findings, we outline a comparative model of shared, parallel, and distinctive features of the neural systems supporting music and language. The model assumes that music and language show parallel combinatoric generativity for complex sound structures (phonology) but distinctly different informational content (semantics).

Auditory processing during deep propofol sedation and recovery from unconsciousness

OBJECTIVE

Using evoked potentials, this study investigated effects of deep propofol sedation, and effects of recovery from unconsciousness, on the processing of auditory information with stimuli suited to elicit a physical MMN, and a (music-syntactic) ERAN.

METHODS

Levels of sedation were assessed using the Bispectral Index (BIS) and the Modified Observer's Assessment of Alertness and Sedation Scale (MOAAS). EEG-measurements were performed during wakefulness, deep propofol sedation (MOAAS 2-3, mean BIS=68), and a recovery period. Between deep sedation and recovery period, the infusion rate of propofol was increased to achieve unconsciousness (MOAAS 0-1, mean BIS=35); EEG measurements of recovery period were performed after subjects regained consciousness.

RESULTS

During deep sedation, the physical MMN was markedly reduced, but still significant. No ERAN was observed in this level. A clear P3a was elicited during deep sedation by those deviants, which were task-relevant during the awake state. As soon as subjects regained consciousness during the recovery period, a normal MMN was elicited. By contrast, the P3a was absent in the recovery period, and the P3b was markedly reduced.

CONCLUSIONS

Results indicate that the auditory sensory memory (as indexed by the physical MMN) is still active, although strongly reduced, during deep sedation (MOAAS 2-3). The presence of the P3a indicates that attention-related processes are still operating during this level. Processes of syntactic analysis appear to be abolished during deep sedation. After propofol-induced anesthesia, the auditory sensory memory appears to operate normal as soon as subjects regain consciousness, whereas the attention-related processes indexed by P3a and P3b are markedly impaired.

SIGNIFICANCE

Results inform about effects of sedative drugs on auditory and attention-related mechanisms. The findings are important because these mechanisms are prerequisites for auditory awareness, auditory learning and memory, as well as language perception during anesthesia.

Cognitive priming in sung and instrumental music: Activation of inferior frontal cortex

Neural correlates of the processing of musical syntax-like structures have been investigated via expectancy violation due to musically unrelated (i.e., unexpected) events in musical contexts. Previous studies reported the implication of inferior frontal cortex in musical structure processing. However - due to the strong musical manipulations - activations might be explained by sensory deviance detection or repetition priming. Our present study investigated neural correlates of musical structure processing with subtle musical violations in a musical priming paradigm. Instrumental and sung sequences ended on related and less-related musical targets. The material controlled sensory priming components, and differences in target processing required listeners' knowledge on musical structures. Participants were scanned with functional Magnetic Resonance Imaging (fMRI) while performing speeded phoneme and timbre identification judgments on the targets. Behavioral results acquired in the scanner replicated the facilitation effect of related over less-related targets. The blood oxygen level-dependent (BOLD) signal linked to target processing revealed activation of right inferior frontal areas (i.e., inferior frontal gyrus, frontal operculum, anterior insula) that was stronger for less-related than for related targets, and this was independent of the material carrying the musical structures. This outcome points to the implication of inferior frontal cortex in the processing of syntactic relations also for musical material and to its role in the processing and integration of sequential information over time. In addition to inferior frontal activation, increased activation was observed in orbital gyrus, temporal areas (anterior superior temporal gyrus, posterior superior temporal gyrus and sulcus, posterior middle temporal gyrus) and supramarginal gyrus.