Spatiotemporal characteristics of the neural activities processing consonant/dissonant tones in melody

The Role of the Primary Sensory Cortices in Early Language Processing

The results of this magnetoencephalography study challenge two long-standing assumptions regarding the brain mechanisms of language processing: First, that linguistic processing proper follows sensory feature processing effected by bilateral activation of the primary sensory cortices that lasts about 100 msec from stimulus onset. Second, that subsequent linguistic processing is effected by left hemisphere networks outside the primary sensory areas, including Broca's and Wernicke's association cortices. Here we present evidence that linguistic analysis begins almost synchronously with sensory, prelinguistic verbal input analysis and that the primary cortices are also engaged in these linguistic analyses and become, consequently, part of the left hemisphere language network during language tasks. These findings call for extensive revision of our conception of linguistic processing in the brain.

Differential Processing of Consonance and Dissonance within the Human Superior Temporal Gyrus

The auditory cortex is well-known to be critical for music perception, including the perception of consonance and dissonance. Studies on the neural correlates of consonance and dissonance perception have largely employed non-invasive electrophysiological and functional imaging techniques in humans as well as neurophysiological recordings in animals, but the fine-grained spatiotemporal dynamics within the human auditory cortex remain unknown. We recorded electrocorticographic (ECoG) signals directly from the lateral surface of either the left or right temporal lobe of eight patients undergoing neurosurgical treatment as they passively listened to highly consonant and highly dissonant musical chords. We assessed ECoG activity in the high gamma (γ_high, 70–150 Hz) frequency range within the superior temporal gyrus (STG) and observed two types of cortical sites of interest in both hemispheres: one type showed no significant difference in γ_high activity between consonant and dissonant chords, and another type showed increased γ_high responses to dissonant chords between 75 and 200 ms post-stimulus onset. Furthermore, a subset of these sites exhibited additional sensitivity towards different types of dissonant chords, and a positive correlation between changes in γ_high power and the degree of stimulus roughness was observed in both hemispheres. We also observed a distinct spatial organization of cortical sites in the right STG, with dissonant-sensitive sites located anterior to non-sensitive sites. In sum, these findings demonstrate differential processing of consonance and dissonance in bilateral STG with the right hemisphere exhibiting robust and spatially organized sensitivity toward dissonance.

Magnetoencephalography evidence for different brain subregions serving two musical cultures

Individuals who have been exposed to two different musical cultures (bimusicals) can be differentiated from those exposed to only one musical culture (monomusicals). Just as bilingual speakers handle the distinct language-syntactic rules of each of two languages, bimusical listeners handle two distinct musical-syntactic rules (e.g., tonal schemas) in each musical culture. This study sought to determine specific brain activities that contribute to differentiating two culture-specific tonal structures. We recorded magnetoencephalogram (MEG) responses of bimusical Japanese nonmusicians and amateur musicians as they monitored unfamiliar Western melodies and unfamiliar, but traditional, Japanese melodies, both of which contained tonal deviants (out-of-key tones). Previous studies with Western monomusicals have shown that tonal deviants elicit an early right anterior negativity (mERAN) originating in the inferior frontal cortex. In the present study, tonal deviants in both Western and Japanese melodies elicited mERANs with characteristics fitted by dipoles around the inferior frontal gyrus in the right hemisphere and the premotor cortex in the left hemisphere. Comparisons of the nature of mERAN activity to Western and Japanese melodies showed differences in the dipoles' locations but not in their peak latency or dipole strength. These results suggest that the differentiation between a tonal structure of one culture and that of another culture correlates with localization differences in brain subregions around the inferior frontal cortex and the premotor cortex.

Evoked magnetoencephalographic responses to omission of a tone in a musical scale

The musical scale is a basis for melodies and can be a simple melody by itself. The present study investigated magnetoencephalographic (MEG) responses to omissions of one tone out of the C major scale. The tone preceding the omitted "target" tone was either prolonged or repeated. In another series, the tone after the target tone was repeated. In "normal" oddball experiments, the complete C major scale was presented more frequently than an incomplete scale lacking one tone, and in "reverse" oddball experiments, the roles were exchanged. In the normal oddball experiments, omission of any tone produced a response significantly different in amplitude from the standard response in the group of non-musicians, although the responses differed depending on the types of omission. The leading tone (B in the C major scale) was shown to elicit a large response when omitted and also when its presence was emphasized. The Reverse oddball experiments showed that repeated presentation of an incomplete scale lacking one tone temporarily reduced the influence of the complete scale but could not even temporarily replace it working as "standard." In addition, an auxiliary study was done to see possible influence of rhythmic variations.

Auditory MEG responses to removal of a tone in C major scale measured in a pair of reciprocal oddball schemes

The C major scale was used either as frequent or as infrequent stimulus in the oddball auditory evoked field measurement where the other stimulus was constructed by removing one the tones in the scale. Multivariate statistical analysis was employed to judge whether there was a significant difference between the responses to complete and incomplete scales in each subject for each 'target' tone which was removed in an incomplete scale. Incomplete scales lacking, especially E, or B caused responses in both of the two oddball schemes but less significantly when used as frequent stimuli indicating that the complete major scale stored in the long term memory retained its influence as 'reference' stimulus even when presented with a smaller probability.

Neural basis of music imagery and the effect of musical expertise

Although the influence of long-term musical training on the processing of heard music has been the subject of many studies, the neural basis of music imagery and the effect of musical expertise remain insufficiently understood. By means of magnetoencephalography (MEG) we compared musicians and nonmusicians in a musical imagery task with familiar melodies. Subjects listened to the beginnings of the melodies, continued them in their imagination and then heard a tone which was either a correct or an incorrect further continuation of the melody. Only in musicians was the imagery of these melodies strong enough to elicit an early preattentive brain response to unexpected incorrect continuations of the imagined melodies; this response, the imagery mismatch negativity (iMMN), peaked approximately 175 ms after tone onset and was right-lateralized. In contrast to previous studies the iMMN was not based on a heard but on a purely imagined memory trace. Our results suggest that in trained musicians imagery and perception rely on similar neuronal correlates, and that the musicians' intense musical training has modified this network to achieve a superior ability for imagery and preattentive processing of music.

Comparison of mismatch fields elicited by changes in tonal and atonal sequences

Mismatch fields in magnetoencephalogram were recorded in ;ignore' condition while presenting combinations of standard and deviant tone sequences to the subjects to investigate how the structure of musical scale is represented in the brain function. Both tonal (having a key) and atonal sequences were employed to see the influence of tonality in eliciting mismatch fields. Mismatch fields were larger when the subject encountered the deviant sequence associated with the tonal sequence than with the atonal sequence suggesting connection between auditory cortical activity and recognition of 'key'.

Effects of musical experience on different components of MEG responses elicited by sequential piano-tones and chords

Magnetoencephalographic (MEG) studies have revealed enhancement of neural activity of the N1m response of auditory evoked fields in long-term trained musicians, reflecting neuroplastic modification of the representation of the auditory cortex. In contrast, the amplitude of the P2 response of auditory evoked potentials is modified by musical experience, with no alteration of N1. Here, we performed a comprehensive MEG study using stimulation of successive musical-instrument tones to examine how the neural activities of different MEG responses are modified in long-term experienced musicians who commenced musical lessons at ages of approximately 5 years and had continued to practice. The dipole moment of the P2m response occurring at 160-180 ms was significantly enlarged in musicians compared with that in individuals who had not received musical lessons. The enlargement was found for the dipole moment of N1m occurring at 100-120 ms in a restricted condition but not for the moment of P1m at 50-60 ms. Furthermore, the dipole moment of P2m for successive stimuli, normalized by the moment for the first stimulus, was significantly larger for chord tones than single tones and was significantly larger in the musicians than controls. These results suggest that the P2m response is susceptible to be modified by musical training in a period of neural maturation, with a short refractory period of neural activity for the auditory input of composite tones. The P2m activity may be specialized to the processing of multifrequency sounds, such as musical timbre consisting of abundant harmonics.