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

From Singing to Speaking: Why Singing May Lead to Recovery of Expressive Language Function in Patients with Broca's Aphasia

It has been reported that patients with severely nonfluent aphasia are better at singing lyrics than speaking the same words. This observation inspired the development of Melodic Intonation Therapy (MIT), a treatment whose effects have been shown, but whose efficacy is unproven and neural correlates remain unidentified. Because of its potential to engage/unmask language-capable regions in the unaffected right hemisphere, MIT is particularly well suited for patients with large left-hemisphere lesions. Using two patients with similar impairments and stroke size/location, we show the effects of MIT and a control intervention. Both interventions' post-treatment outcomes revealed significant improvement in propositional speech that generalized to unpracticed words and phrases; however, the MIT-treated patient's gains surpassed those of the control-treated patient. Treatment-associated imaging changes indicate that MIT's unique engagement of the right hemisphere, both through singing and tapping with the left hand to prime the sensorimotor and premotor cortices for articulation, accounts for its effect over nonintoned speech therapy.

High-frequency oscillations in distributed neural networks reveal the dynamics of human decision making

We examine the relative timing of numerous brain regions involved in human decisions that are based on external criteria, learned information, personal preferences, or unconstrained internal considerations. Using magnetoencephalography (MEG) and advanced signal analysis techniques, we were able to non-invasively reconstruct oscillations of distributed neural networks in the high-gamma frequency band (60–150 Hz). The time course of the observed neural activity suggested that two-alternative forced choice tasks are processed in four overlapping stages: processing of sensory input, option evaluation, intention formation, and action execution. Visual areas are activated first, and show recurring activations throughout the entire decision process. The temporo-occipital junction and the intraparietal sulcus are active during evaluation of external values of the options, 250–500 ms after stimulus presentation. Simultaneously, personal preference is mediated by cortical midline structures. Subsequently, the posterior parietal and superior occipital cortices appear to encode intention, with different subregions being responsible for different types of choice. The cerebellum and inferior parietal cortex are recruited for internal generation of decisions and actions, when all options have the same value. Action execution was accompanied by activation peaks in the contralateral motor cortex. These results suggest that high-gamma oscillations as recorded by MEG allow a reliable reconstruction of decision processes with excellent spatiotemporal resolution.

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.

Moving on Time: Brain Network for Auditory-Motor Synchronization is Modulated by Rhythm Complexity and Musical Training

Much is known about the motor system and its role in simple movement execution. However, little is understood about the neural systems underlying auditory-motor integration in the context of musical rhythm, or the enhanced ability of musicians to execute precisely timed sequences. Using functional magnetic resonance imaging, we investigated how performance and neural activity were modulated as musicians and nonmusicians tapped in synchrony with progressively more complex and less metrically structured auditory rhythms. A functionally connected network was implicated in extracting higher-order features of a rhythm's temporal structure, with the dorsal premotor cortex mediating these auditory-motor interactions. In contrast to past studies, musicians recruited the prefrontal cortex to a greater degree than nonmusicians, whereas secondary motor regions were recruited to the same extent. We argue that the superior ability of musicians to deconstruct and organize a rhythm's temporal structure relates to the greater involvement of the prefrontal cortex mediating working memory.

Vestibular influence on auditory metrical interpretation

When we move to music we feel the beat, and this feeling can shape the sound we hear. Previous studies have shown that when people listen to a metrically ambiguous rhythm pattern, moving the body on a certain beat--adults, by actively bouncing themselves in synchrony with the experimenter, and babies, by being bounced passively in the experimenter's arms--can bias their auditory metrical representation so that they interpret the pattern in a corresponding metrical form [Phillips-Silver, J., & Trainor, L. J. (2005). Feeling the beat: Movement influences infant rhythm perception. Science, 308, 1430; Phillips-Silver, J., & Trainor, L. J. (2007). Hearing what the body feels: Auditory encoding of rhythmic movement. Cognition, 105, 533-546]. The present studies show that in adults, as well as in infants, metrical encoding of rhythm can be biased by passive motion. Furthermore, because movement of the head alone affected auditory encoding whereas movement of the legs alone did not, we propose that vestibular input may play a key role in the effect of movement on auditory rhythm processing. We discuss possible cortical and subcortical sites for the integration of auditory and vestibular inputs that may underlie the interaction between movement and auditory metrical rhythm perception.

Listening is behaving verbally

As we celebrate the 50th anniversary of the publication of B. F. Skinner's Verbal Behavior, it may be important to reconsider the role of the listener in the verbal episode. Although by Skinner's own admission, Verbal Behavior was primarily about the behavior of the speaker, his definition of verbal behavior as "behavior reinforced through the mediation of other persons" (1957, p. 2) focused on the behavior of the listener. But because many of the behaviors of the listener are fundamentally no different than other discriminated operants, they may not appropriately be termed listening. Even Skinner noted that the behavior of the listener often goes beyond simply mediating consequences for the speaker's behavior, implying that the listener engages in a repertoire of behaviors that is itself verbal. In the present article I suggest that listening involves subvocal verbal behavior. I then describe some of the forms and functions of the listener's verbal behavior (including echoic and intraverbal behavior) and conclude that there may be no functional distinction between speaking and listening.

Short-term plasticity in auditory cognition

Converging lines of evidence suggest that auditory system short-term plasticity can enable several perceptual and cognitive functions that have been previously considered as relatively distinct phenomena. Here we review recent findings suggesting that auditory stimulation, auditory selective attention and cross-modal effects of visual stimulation each cause transient excitatory and (surround) inhibitory modulations in the auditory cortex. These modulations might adaptively tune hierarchically organized sound feature maps of the auditory cortex (e.g. tonotopy), thus filtering relevant sounds during rapidly changing environmental and task demands. This could support auditory sensory memory, pre-attentive detection of sound novelty, enhanced perception during selective attention, influence of visual processing on auditory perception and longer-term plastic changes associated with perceptual learning.

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.

Multimodal action representation in human left ventral premotor cortex

We used functional magnetic resonance imaging (fMRI) to investigate the neural systems responding to the sight and to the sound of an action. Subjects saw a video of paper tearing in silence (V), heard the sound of paper tearing (A), and saw and heard the action simultaneously (A + V). Compared to a non-action control stimulus, we found that hearing action sounds (A) activated the anterior inferior frontal gyrus and middle frontal gyrus in addition to primary auditory cortex. The anterior inferior frontal gyrus, which is known to be activated by environmental sounds, also seems to be involved in recognizing actions by sound. Consistent with previous research, seeing an action video (V) compared with seeing a non-action video activated the premotor cortex, intraparietal cortex, and the pars opercularis of the inferior frontal gyrus. An A + V facilitation effect was found in the ventral premotor cortex on the border of areas 44, 6, 3a, and 3b for the action stimuli but not for the control stimuli. This region may be involved in integrating multimodal information about actions. These data provide evidence that the ventral premotor cortex may provide an action representation that abstracts across both agency (self and other) and sensory modality (hearing and seeing). This function may be an important precursor of language functions.

Overt and imagined singing of an Italian aria

Activation maps of 16 professional classical singers were evaluated during overt singing and imagined singing of an Italian aria utilizing a sparse sampling functional magnetic imaging (fMRI) technique. Overt singing involved bilateral primary and secondary sensorimotor and auditory cortices but also areas associated with speech and language production. Activation magnitude within the gyri of Heschl (A1) was comparable in both hemispheres. Subcortical motor areas (cerebellum, thalamus, medulla and basal ganglia) were active too. Areas associated with emotional processing showed slight (anterior cingulate cortex, anterior insula) activation. Cerebral activation sites during imagined singing were centered on fronto-parietal areas and involved primary and secondary sensorimotor areas in both hemispheres. Areas processing emotions showed intense activation (ACC and bilateral insula, hippocampus and anterior temporal poles, bilateral amygdala). Imagery showed no significant activation in A1. Overt minus imagined singing revealed increased activation in cortical (bilateral primary motor; M1) and subcortical (right cerebellar hemisphere, medulla) motor as well as in sensory areas (primary somatosensory cortex, bilateral A1). Imagined minus overt singing showed enhanced activity in the medial Brodmann's area 6, the ventrolateral and medial prefrontal cortex (PFC), the anterior cingulate cortex and the inferior parietal lobe. Additionally, Wernicke's area and Brocca's area and their homologues were increasingly active during imagery. We conclude that imagined and overt singing involves partly different brain systems in professional singers with more prefrontal and limbic activation and a larger network of higher order associative functions during imagery.