Music processing deficits in Landau-Kleffner syndrome: Four case studies in adulthood

Deficits in congenital amusia: Pitch, music, speech, and beyond

Congenital amusia is a neurodevelopmental disorder characterized by deficits of music perception and production, which are related to altered pitch processing. The present study used a wide variety of tasks to test potential patterns of processing impairment in individuals with congenital amusia (N = 18) in comparison to matched controls (N = 19), notably classical pitch processing tests (i.e., pitch change detection, pitch direction of change identification, and pitch short-term memory tasks) together with tasks assessing other aspects of pitch-related auditory cognition, such as emotion recognition in speech, sound segregation in tone sequences, and speech-in-noise perception. Additional behavioral measures were also collected, including text reading/copying tests, visual control tasks, and a subjective assessment of hearing abilities. As expected, amusics' performance was impaired for the three pitch-specific tasks compared to controls. This deficit of pitch perception had a self-perceived impact on amusics' quality of hearing. Moreover, participants with amusia were impaired in emotion recognition in vowels compared to controls, but no group difference was observed for emotion recognition in sentences, replicating previous data. Despite pitch processing deficits, participants with amusia did not differ from controls in sound segregation and speech-in-noise perception. Text reading and visual control tests did not reveal any impairments in participants with amusia compared to controls. However, the copying test revealed more numerous eye-movements and a smaller memory span. These results allow us to refine the pattern of pitch processing and memory deficits in congenital amusia, thus contributing further to understand pitch-related auditory cognition. Together with previous reports suggesting a comorbidity between congenital amusia and dyslexia, the findings call for further investigation of language-related abilities in this disorder even in the absence of neurodevelopmental language disorder diagnosis.

Instrumental music training relates to intensity assessment but not emotional prosody recognition in Mandarin

Building on research demonstrating the benefits of music training for emotional prosody recognition in nontonal languages, this study delves into its unexplored influence on tonal languages. In tonal languages, the acoustic similarity between lexical tones and music, along with the dual role of pitch in conveying lexical and affective meanings, create a unique interplay. We evaluated 72 participants, half of whom had extensive instrumental music training, with the other half serving as demographically matched controls. All participants completed an online test consisting of 210 Chinese pseudosentences, each designed to express one of five emotions: happiness, sadness, fear, anger, or neutrality. Our robust statistical analyses, which included effect size estimates and Bayesian factors, revealed that music and nonmusic groups exhibit similar abilities in identifying the emotional prosody of various emotions. However, the music group attributed higher intensity ratings to emotional prosodies of happiness, fear, and anger compared to the nonmusic group. These findings suggest that while instrumental music training is not related to emotional prosody recognition, it does appear to be related to perceived emotional intensity. This dissociation between emotion recognition and intensity evaluation adds a new piece to the puzzle of the complex relationship between music training and emotion perception in tonal languages.

Continuous Spike-Waves during Slow Sleep Today: An Update

In the context of childhood epilepsy, the concept of continuous spike-waves during slow sleep (CSWS) includes several childhood-onset heterogeneous conditions that share electroencephalograms (EEGs) characterized by a high frequency of paroxysmal abnormalities during sleep, which have negative effects on the cognitive development and behavior of the child. These negative effects may have the characteristics of a clear regression or of a slowdown in development. Seizures are very often present, but not constantly. The above makes it clear why CSWS have been included in epileptic encephalopathies, in which, by definition, frequent EEG paroxysmal abnormalities have an unfavorable impact on cognitive functions, including socio-communicative skills, causing autistic features, even regardless of the presence of clinically overt seizures. Although several decades have passed since the original descriptions of the electroclinical condition of CSWS, there are still many areas that are little-known and deserve to be further studied, including the EEG diagnostic criteria, the most effective electrophysiological parameter for monitoring the role of the thalamus in CSWS pathogenesis, its long-term evolution, the nosographic location of Landau-Kleffner syndrome, standardized neuropsychological and behavioral assessments, and pharmacological and non-pharmacological therapies.

Music perception in acquired prosopagnosia

BACKGROUND

Acquired prosopagnosia is often associated with other deficits such as dyschromatopsia and topographagnosia, from damage to adjacent perceptual networks. A recent study showed that some subjects with developmental prosopagnosia also have congenital amusia, but problems with music perception have not been described with the acquired variant.

OBJECTIVE

Our goal was to determine if music perception was also impaired in subjects with acquired prosopagnosia, and if so, its anatomic correlate.

METHOD

We studied eight subjects with acquired prosopagnosia, all of whom had extensive neuropsychological and neuroimaging testing. They performed a battery of tests evaluating pitch and rhythm processing, including the Montréal Battery for the Evaluation of Amusia.

RESULTS

At the group level, subjects with anterior temporal lesions were impaired in pitch perception relative to the control group, but not those with occipitotemporal lesions. Three of eight subjects with acquired prosopagnosia had impaired musical pitch perception while rhythm perception was spared. Two of the three also showed reduced musical memory. These three reported alterations in their emotional experience of music: one reported music anhedonia and aversion, while the remaining two had changes consistent with musicophilia. The lesions of these three subjects affected the right or bilateral temporal poles as well as the right amygdala and insula. None of the three prosopagnosic subjects with lesions limited to the inferior occipitotemporal cortex exhibited impaired pitch perception or musical memory, or reported changes in music appreciation.

CONCLUSION

Together with the results of our previous studies of voice recognition, these findings indicate an anterior ventral syndrome that can include the amnestic variant of prosopagnosia, phonagnosia, and various alterations in music perception, including acquired amusia, reduced musical memory, and subjective reports of altered emotional experience of music.

A Music Emotion Classification Model Based on the Improved Convolutional Neural Network

Aiming at the problems of music emotion classification, a music emotion recognition method based on the convolutional neural network is proposed. First, the mel-frequency cepstral coefficient (MFCC) and residual phase (RP) are weighted and combined to extract the audio low-level features of music, so as to improve the efficiency of data mining. Then, the spectrogram is input into the convolutional recurrent neural network (CRNN) to extract the time-domain features, frequency-domain features, and sequence features of audio. At the same time, the low-level features of audio are input into the bidirectional long short-term memory (Bi-LSTM) network to further obtain the sequence information of audio features. Finally, the two parts of features are fused and input into the softmax classification function with the center loss function to achieve the recognition of four music emotions. The experimental results based on the emotion music dataset show that the recognition accuracy of the proposed method is 92.06%, and the value of the loss function is about 0.98, both of which are better than other methods. The proposed method provides a new feasible idea for the development of music emotion recognition.