The feeling of familiarity for music in patients with a unilateral temporal lobe lesion: A gating study

Beyond the ears: A review exploring the interconnected brain behind the hierarchical memory of music

Music is a ubiquitous element of daily life. Understanding how music memory is represented and expressed in the brain is key to understanding how music can influence human daily cognitive tasks. Current music-memory literature is built on data from very heterogeneous tasks for measuring memory, and the neural correlates appear to differ depending on different forms of memory function targeted. Such heterogeneity leaves many exceptions and conflicts in the data underexplained (e.g., hippocampal involvement in music memory is debated). This review provides an overview of existing neuroimaging results from music-memory related studies and concludes that although music is a special class of event in our lives, the memory systems behind it do in fact share neural mechanisms with memories from other modalities. We suggest that dividing music memory into different levels of a hierarchy (structural level and semantic level) helps understand overlap and divergence in neural networks involved. This is grounded in the fact that memorizing a piece of music recruits brain clusters that separately support functions including-but not limited to-syntax storage and retrieval, temporal processing, prediction versus reality comparison, stimulus feature integration, personal memory associations, and emotion perception. The cross-talk between frontal-parietal music structural processing centers and the subcortical emotion and context encoding areas explains why music is not only so easily memorable but can also serve as strong contextual information for encoding and retrieving nonmusic information in our lives.

The hearing hippocampus

The hippocampus has a well-established role in spatial and episodic memory but a broader function has been proposed including aspects of perception and relational processing. Neural bases of sound analysis have been described in the pathway to auditory cortex, but wider networks supporting auditory cognition are still being established. We review what is known about the role of the hippocampus in processing auditory information, and how the hippocampus itself is shaped by sound. In examining imaging, recording, and lesion studies in species from rodents to humans, we uncover a hierarchy of hippocampal responses to sound including during passive exposure, active listening, and the learning of associations between sounds and other stimuli. We describe how the hippocampus' connectivity and computational architecture allow it to track and manipulate auditory information - whether in the form of speech, music, or environmental, emotional, or phantom sounds. Functional and structural correlates of auditory experience are also identified. The extent of auditory-hippocampal interactions is consistent with the view that the hippocampus makes broad contributions to perception and cognition, beyond spatial and episodic memory. More deeply understanding these interactions may unlock applications including entraining hippocampal rhythms to support cognition, and intervening in links between hearing loss and dementia.

The famous melodies stimulus set

Famous musical melodies, such as "Row, Row, Row Your Boat" and "Hot Cross Buns," are frequently used in psychological research. Such melodies have been used to assess the degree of cognitive impairments in various neurological disorders, and to investigate differences between "naming" vs. "knowing." Despite their utility as an experimental stimulus, there is currently no standardized, openly available set of famous musical melodies based on a United States population, as prior work on the topic has primarily relied on creating stimuli in an ad hoc manner. Therefore, the goal of the present work was to create a set of famous musical melodies. Here, we describe the development of the Famous Melodies Stimulus Set, a set of 107 melodies. We provide normative data for the melodies on five dimensions: familiarity, age of acquisition, emotional valence, emotional arousal, and naming ability. Participants (N = 397) rated the melodies on these five variables, validating that most melodies were highly familiar and reliably named. While familiarity ratings were skewed, all other rating scales covered a relatively broad range, allowing for researchers to select melodies for future work based on particular attributes.

Anomia for musical entities

BACKGROUND

Previous work has investigated extensively the neuroanatomical correlates of lexical retrieval for words for concrete entities. Musical entities, such as musical instruments, are often included in studies of category-specific naming deficits, but have rarely been the focus of such work.

AIMS

This article reviews a program of research investigating the neuroanatomical basis for lexical retrieval of words for unique (i.e., melodies) and non-unique (i.e., musical instruments) musical entities.

MAIN CONTRIBUTION

We begin by reporting findings on the retrieval of words for unique musical entities, including musical melodies. We then consider work focusing on retrieval of words for non-unique musical entities, specifically musical instruments. We highlight similarities between the two lines of work, and then report results from new analyses including direct comparisons between the two. These comparisons suggest that impairments in naming musical melodies and in naming musical instruments are both associated with damage to the left temporal pole (LTP). However, musical instrument naming appears to rely on a more distributed set of brain regions, possibly including those relating to sensorimotor interactions with such instruments, whereas melody naming relies more exclusively on the left temporal pole.

CONCLUSIONS

Retrieval of names for musical melodies appears to rely on similar neuroanatomical correlates as for other proper nouns, namely the LTP. Musical instrument naming seems to rely on a broader network of regions, including the LTP and sensorimotor areas. Overall, melody naming seems to coincide with naming of other proper nouns, while musical instrument naming appears distinct from other categories of non-unique items.