FMRI investigation of cross-cultural music comprehension

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 neural bases of familiar music listening in healthy individuals: An activation likelihood estimation meta-analysis

Accumulating evidence suggests that the neural activations during music listening differs as a function of familiarity with the excerpts. However, the implicated brain areas are unclear. After an extensive literature search, we conducted an Activation Likelihood Estimation analysis on 23 neuroimaging studies (232 foci, 364 participants) to identify consistently activated brain regions when healthy adults listen to familiar music, compared to unfamiliar music or an equivalent condition. The results revealed a left cortical-subcortical co-activation pattern comprising three significant clusters localized to the supplementary motor areas (BA 6), inferior frontal gyrus (IFG, BA 44), and the claustrum/insula. Our results are discussed in a predictive coding framework, whereby temporal expectancies and familiarity may drive motor activations, despite any overt movement. Though conventionally associated with syntactic violation, our observed activation in the IFG may support a recent proposal of its involvement in a network that subserves both violation and prediction. Finally, the claustrum/insula plays an integral role in auditory processing, functioning as a hub that integrates sensory and limbic information to (sub)cortical structures.

A tradeoff between musical tension perception and declarative memory

Successful formation of long-term declarative memory is influenced, among other things, by attention, emotion, and deviation from expectations. A unique form of expectation can be elicited through musical tension, evoked by the prolongation of certain musical progressions. We examined the effect that musical tension exerts on the formation of declarative memory, by composing three original music pieces that contained tension segments, achieved by delays in release from dominant to tonic harmonies. Music-evoked tension was validated using music information retrieval (MIR) analysis, as well as skin conductance response (SCR) measures. Indeed, tension-evoking musical excerpts were associated with heightened SCR, corroborated by increased subjective ratings of tension, as compared to neutral excerpts. In the main experiment, 50 participants listened to the three musical pieces while they were presented with unique images that were randomly assigned to four conditions: tension, tension-release, neutral music, and silence. One day later, their memory for the images was examined using a recognition test. We found that memory performance was enhanced for images presented during both neutral and tense music compared to silence. Moreover, we observed a tradeoff effect between post-experiment tension perception and memory, such that individuals who perceived musical tension as such displayed reduced memory performance for images encoded during musical tension, whereas tense music benefited memory for those with lower musical tension perception. Understanding the interrelations between musical components, which exert powerful and fundamental responses in humans, and cognitive faculties, may provide insights as to the basic features of memory formation.

Processes and Experiences of Creative Cognition in Seven Western Classical Composers

In a qualitative study, we explored the range of reflections and experiences involved in the composition of score-based music by administering a 15-item, open-ended, questionnaire to seven professional composers from Europe and North America. Adopting a grounded theory approach, we organized six different codes emerging from our data into two higher-order categories (the act of composing and establishing relationships). Our content analysis, inspired by the theoretical resources of 4E cognitive science, points to three overlapping characteristics of creative cognition in music composition: it is largely exploratory, it is grounded in bodily experience, and it emerges from the recursive dialogue of agents and their environment. More generally, such preliminary findings suggest that musical creativity may be advantageously understood as a process of constant adaptation - one in which composers enact their musical styles and identities by exploring novel interactivities hidden in their contingent and historical milieux.

Chinese and Western Musical Training Impacts the Circuit in Auditory and Reward Systems

Previous studies have provided evidence about the brain plasticity effects of musical training, however, the issue of how expertise in music styles induced by Chinese or Western musical training affects neuroplasticity and reward responses has been less considered, especially for subjects of Chinese origin. In this work, 16 musicians who trained in the Western music style (Western-trained musicians) and 18 musicians who trained in the Chinese music style (Chinese-trained musicians) were recruited as the musician group for the experiment, while 15 non-musicians were recruited as the control group. Using a paradigm that consisted of listening to Chinese and Western music and measurements using functional magnetic resonance imaging (fMRI) technology, we found that Chinese-trained musicians activated the bilateral superior temporal gyrus (STG) when listening to music, while Western-trained musicians activated the left STG. In addition, under the condition of listening to music with Chinese style, Chinese-trained musicians have a stronger functional connection in the circuit of the auditory and reward system than Western-trained musicians. The finding is opposite under the condition of listening to music with Western style. Interestingly, it seems that the circuit of Chinese-trained musicians is partial to the right STG, while Western-trained musicians show the opposite, i.e., a tendency toward the left STG. The influence of different music styles on experienced musicians is reflected by the functional activities and connections between the auditory system and the reward system. This outcome indicates that training in Chinese music style or Western music style affects the strategies of musicians when listening to music. Musical characteristics such as rhythm, melody and cultural attributes play an important role in this process. These findings, which provide evidence for functional neuroplasticity based on musical training, can enrich our insights into the musical brain.

Frontotemporal dementia, music perception and social cognition share neurobiological circuits: A meta-analysis

Frontotemporal dementia (FTD) is a neurodegenerative disease that presents with profound changes in social cognition. Music might be a sensitive probe for social cognition abilities, but underlying neurobiological substrates are unclear. We performed a meta-analysis of voxel-based morphometry studies in FTD patients and functional MRI studies for music perception and social cognition tasks in cognitively normal controls to identify robust patterns of atrophy (FTD) or activation (music perception or social cognition). Conjunction analyses were performed to identify overlapping brain regions. In total 303 articles were included: 53 for FTD (n = 1153 patients, 42.5% female; 1337 controls, 53.8% female), 28 for music perception (n = 540, 51.8% female) and 222 for social cognition in controls (n = 5664, 50.2% female). We observed considerable overlap in atrophy patterns associated with FTD, and functional activation associated with music perception and social cognition, mostly encompassing the ventral language network. We further observed overlap across all three modalities in mesolimbic, basal forebrain and striatal regions. The results of our meta-analysis suggest that music perception and social cognition share neurobiological circuits that are affected in FTD. This supports the idea that music might be a sensitive probe for social cognition abilities with implications for diagnosis and monitoring.

A Comparison of Human and Computational Melody Prediction Through Familiarity and Expertise

Melody prediction is an important aspect of music listening. The success of prediction, i.e., whether the next note played in a song is the same as the one predicted by the listener, depends on various factors. In the paper, we present two studies, where we assess how music familiarity and music expertise influence melody prediction in human listeners, and, expressed in appropriate data/algorithmic ways, computational models. To gather data on human listeners, we designed a melody prediction user study, where familiarity was controlled by two different music collections, while expertise was assessed by adapting the Music Sophistication Index instrument to Slovenian language. In the second study, we evaluated the melody prediction accuracy of computational melody prediction models. We evaluated two models, the SymCHM and the Implication-Realization model, which differ substantially in how they approach melody prediction. Our results show that both music familiarity and expertise affect the prediction accuracy of human listeners, as well as of computational models.

Autobiographical emotional induction in older people through popular songs: Effect of reminiscence bump and enculturation

Aims

This study is based on two experiments, the first, with an exploratory character. The aim of which is to assess the capacity of native vs international pop songs (NAT vs INT) from two consecutive life stages, Reminiscence bump (RB) and the immediately subsequent period (No reminiscence bump, NORB) to elicit positive emotions and autobiographical memories.

Method

A total of 15 middle-aged adults and 15 older adults participated in Experiment 1 (E1). Emotionality, song familiarity and associated autobiographical memories were assessed. Each participant was exposed to 20 randomly selected age-specific songs. Pre-and post-test measures of mood state were also included. Experiment 2 (E2) focused on late adulthood, using a sample of 35 persons. The experimental design was similar to that used in E1. However, this second experiment also included an analysis of the types of autobiographical memories generated by the experimental task and a study of their relationship with the characteristics of the songs, their familiarity and the emotions they produced, and the number of trials. The aim was to delve into the effects that influence the effectiveness of the induction procedure, particularly as regards emotional positivity and memory specificity.

Results

Regarding age effect, E1 results varied: under some conditions, emotionality showed no difference between groups, others showed positive older adult bias. In E2, the analysis of the relationships between memory types and the selected variables suggests the latter are not useful predictors of differences between memory types. The study design yielded a relatively high level of memory specificity and emotional positivity.

Conclusion

The findings question positivity bias in the elderly. RB music produces different effects depending on age. Enculturation can be an important mediating factor in emotionality and memory. Finally, experimental design improves specific memory and positivity.

Crossmodal Correspondences in the Sounds of Chinese Instruments

People tend to associate stimuli from different sensory modalities, a phenomenon known as crossmodal correspondences. We conducted two experiments to investigate how Chinese participants associated musical notes produced by four types of Chinese instruments (bowed strings, plucked strings, winds, and percussion instruments) with different colors, taste terms, and fabric textures. Specifically, the participants were asked to select a sound to match each color patch or taste term in Experiment 1 and to match the experience of touching each fabric in Experiment 2. The results demonstrated some associations between pitch and color, taste term, or the smoothness of fabrics. Moreover, certain types of Chinese instruments were preferentially chosen to match some of the colors, taste terms, and the texture of certain fabrics. These findings therefore provided insights about the perception of Chinese music and shed light on how to apply the multisensory features of sounds to enhance the composition, performance, and appreciation of music.

A Multisensory Multilevel Health Education Model for Diverse Communities

Owing to their enormous capacity to improve health and save lives, effective health promotion frameworks have been at the forefront of public health research and practice. A multilevel focus, as exemplified by the Socio-Ecological Model (SEM), is one common denominator among these frameworks. The SEM highlights important social and ecological influences on health behavior by delineating the different levels of influence. These include public policy, organizational, community, interpersonal, and intrapersonal levels, which, when considered during the development of health promotion campaigns, especially those that focus on health education, strengthen the potential influence of that campaign on targeted behaviors. However, the SEM lacks a complimenting framework for understanding the role of conventional and unconventional approaches to health education; that is, how to design a health education intervention that considers both the context, such as the social and ecological levels of influence, and the best approaches for developing and delivering the health education in a manner that optimizes their effectiveness in today's modern and increasingly diverse world. Addressing this gap, the current article presents an integrative Multisensory Multilevel Health Education Model (MMHEM), which incorporates three key domains-(1) Art (innovativeness/creativity), (2) Culture (cultural tailoring), and (3) Science (evidence-based), while promoting the importance of considering the socio-ecological levels of influence on targeted behaviors. Using a successful health education intervention, called the Hip Hop Stroke, we deconstruct the Multisensory Multilevel Health Education Model and discuss its potential role as a guide for developing public health education interventions.

Recruitment of the motor system during music listening: An ALE meta-analysis of fMRI data

Several neuroimaging studies have shown that listening to music activates brain regions that reside in the motor system, even when there is no overt movement. However, many of these studies report the activation of varying motor system areas that include the primary motor cortex, supplementary motor area, dorsal and ventral pre-motor areas and parietal regions. In order to examine what specific roles are played by various motor regions during music perception, we used activation likelihood estimation (ALE) to conduct a meta-analysis of neuroimaging literature on passive music listening. After extensive search of the literature, 42 studies were analyzed resulting in a total of 386 unique subjects contributing 694 activation foci in total. As suspected, auditory activations were found in the bilateral superior temporal gyrus, transverse temporal gyrus, insula, pyramis, bilateral precentral gyrus, and bilateral medial frontal gyrus. We also saw the widespread activation of motor networks including left and right lateral premotor cortex, right primary motor cortex, and the left cerebellum. These results suggest a central role of the motor system in music and rhythm perception. We discuss these findings in the context of the Action Simulation for Auditory Prediction (ASAP) model and other predictive coding accounts of brain function.

Neural Correlates of Familiarity in Music Listening: A Systematic Review and a Neuroimaging Meta-Analysis

Familiarity in music has been reported as an important factor modulating emotional and hedonic responses in the brain. Familiarity and repetition may increase the liking of a piece of music, thus inducing positive emotions. Neuroimaging studies have focused on identifying the brain regions involved in the processing of familiar and unfamiliar musical stimuli. However, the use of different modalities and experimental designs has led to discrepant results and it is not clear which areas of the brain are most reliably engaged when listening to familiar and unfamiliar musical excerpts. In the present study, we conducted a systematic review from three databases (Medline, PsychoINFO, and Embase) using the keywords (recognition OR familiar OR familiarity OR exposure effect OR repetition) AND (music OR song) AND (brain OR brains OR neuroimaging OR functional Magnetic Resonance Imaging OR Position Emission Tomography OR Electroencephalography OR Event Related Potential OR Magnetoencephalography). Of the 704 titles identified, 23 neuroimaging studies met our inclusion criteria for the systematic review. After removing studies providing insufficient information or contrasts, 11 studies (involving 212 participants) qualified for the meta-analysis using the activation likelihood estimation (ALE) approach. Our results did not find significant peak activations consistently across included studies. Using a less conservative approach (p < 0.001, uncorrected for multiple comparisons) we found that the left superior frontal gyrus, the ventral lateral (VL) nucleus of the left thalamus, and the left medial surface of the superior frontal gyrus had the highest likelihood of being activated by familiar music. On the other hand, the left insula, and the right anterior cingulate cortex had the highest likelihood of being activated by unfamiliar music. We had expected limbic structures as top clusters when listening to familiar music. But, instead, music familiarity had a motor pattern of activation. This could reflect an audio-motor synchronization to the rhythm which is more engaging for familiar tunes, and/or a sing-along response in one's mind, anticipating melodic, harmonic progressions, rhythms, timbres, and lyric events in the familiar songs. These data provide evidence for the need for larger neuroimaging studies to understand the neural correlates of music familiarity.

Culture Modulates the Brain Response to Harmonic Violations: An EEG Study on Hierarchical Syntactic Structure in Music

We investigated the role of culture in processing hierarchical syntactic structures in music. We examined whether violation of non-local dependencies manifest in event related potentials (ERP) for Western and Iranian excerpts by recording EEG while participants passively listened to sequences of modified/original excerpts. We also investigated oscillatory and synchronization properties of brain responses during processing of hierarchical structures. For the Western excerpt, subjective ratings of conclusiveness were marginally significant and the difference in the ERP components fell short of significance. However, ERP and behavioral results showed that while listening to culturally familiar music, subjects comprehended whether or not the hierarchical syntactic structure was fulfilled. Irregularities in the hierarchical structures of the Iranian excerpt elicited an early negativity in the central regions bilaterally, followed by two later negativities from 450–700 to 750–950 ms. The latter manifested throughout the scalp. Moreover, violations of hierarchical structure in the Iranian excerpt were associated with (i) an early decrease in the long range alpha phase synchronization, (ii) an early increase in the oscillatory activity in the beta band over the central areas, and (iii) a late decrease in the theta band phase synchrony between left anterior and right posterior regions. Results suggest that rhythmic structures and melodic fragments, representative of Iranian music, created a familiar context in which recognition of complex non-local syntactic structures was feasible for Iranian listeners. Processing of neural responses to the Iranian excerpt indicated neural mechanisms for processing of hierarchical syntactic structures in music at different levels of cortical integration.

Keypress-Based Musical Preference Is Both Individual and Lawful

Musical preference is highly individualized and is an area of active study to develop methods for its quantification. Recently, preference-based behavior, associated with activity in brain reward circuitry, has been shown to follow lawful, quantifiable patterns, despite broad variation across individuals. These patterns, observed using a keypress paradigm with visual stimuli, form the basis for relative preference theory (RPT). Here, we sought to determine if such patterns extend to non-visual domains (i.e., audition) and dynamic stimuli, potentially providing a method to supplement psychometric, physiological, and neuroimaging approaches to preference quantification. For this study, we adapted our keypress paradigm to two sets of stimuli consisting of seventeenth to twenty-first century western art music (Classical) and twentieth to twenty-first century jazz and popular music (Popular). We studied a pilot sample and then a separate primary experimental sample with this paradigm, and used iterative mathematical modeling to determine if RPT relationships were observed with high R² fits. We further assessed the extent of heterogeneity in the rank ordering of keypress-based responses across subjects. As expected, individual rank orderings of preferences were quite heterogeneous, yet we observed mathematical patterns fitting these data similar to those observed previously with visual stimuli. These patterns in music preference were recurrent across two cohorts and two stimulus sets, and scaled between individual and group data, adhering to the requirements for lawfulness. Our findings suggest a general neuroscience framework that predicts human approach/avoidance behavior, while also allowing for individual differences and the broad diversity of human choices; the resulting framework may offer novel approaches to advancing music neuroscience, or its applications to medicine and recommendation systems.

Event-related brain responses while listening to entire pieces of music

Brain responses to discrete short sounds have been studied intensively using the event-related potential (ERP) method, in which the electroencephalogram (EEG) signal is divided into epochs time-locked to stimuli of interest. Here we introduce and apply a novel technique which enables one to isolate ERPs in human elicited by continuous music. The ERPs were recorded during listening to a Tango Nuevo piece, a deep techno track and an acoustic lullaby. Acoustic features related to timbre, harmony, and dynamics of the audio signal were computationally extracted from the musical pieces. Negative deflation occurring around 100 milliseconds after the stimulus onset (N100) and positive deflation occurring around 200 milliseconds after the stimulus onset (P200) ERP responses to peak changes in the acoustic features were distinguishable and were often largest for Tango Nuevo. In addition to large changes in these musical features, long phases of low values that precede a rapid increase - and that we will call Preceding Low-Feature Phases - followed by a rapid increase enhanced the amplitudes of N100 and P200 responses. These ERP responses resembled those to simpler sounds, making it possible to utilize the tradition of ERP research with naturalistic paradigms.

Cognitive Expertise: An ALE Meta-Analysis

Expert performance constitutes the endpoint of skill acquisition and is accompanied by widespread neuroplastic changes. To reveal common mechanisms of reorganization associated with long-term expertise in a cognitive domain (mental calculation, chess, language, memory, music without motor involvement), we used activation likelihood estimation meta-analysis and compared brain activation of experts to nonexperts. Twenty-six studies matched inclusion criteria, most of which reported an increase and not a decrease of activation foci in experts. Increased activation occurred in the left rolandic operculum (OP 4) and left primary auditory cortex and in bilateral premotor cortex in studies that used auditory stimulation. In studies with visual stimulation, experts showed enhanced activation in the right inferior parietal cortex (area PGp) and the right lingual gyrus. Experts' brain activation patterns seem to be characterized by enhanced or additional activity in domain-specific primary, association, and motor structures, confirming that learning is localized and very specialized.

The Mismatch Negativity: An Indicator of Perception of Regularities in Music

This paper reviews music research using Mismatch Negativity (MMN). MMN is a deviation-specific component of auditory event-related potential (EPR), which detects a deviation between a sound and an internal representation (e.g., memory trace). Recent studies have expanded the notion and the paradigms of MMN to higher-order music processing such as those involving short melodies, harmony chord, and music syntax. In this vein, we firstly reviewed the evolution of MMN from sound to music and then mainly compared the differences of MMN features between musicians and nonmusicians, followed by the discussion of the potential roles of the training effect and the natural exposure in MMN. Since MMN can serve as an index of neural plasticity, it thus can be widely used in clinical and other applied areas, such as detecting music preference in newborns or assessing wholeness of central auditory system of hearing illness. Finally, we pointed out some open questions and further directions. Current music perception research using MMN has mainly focused on relatively low hierarchical structure of music perception. To fully understand the neural substrates underlying processing of regularities in music, it is important and beneficial to combine MMN with other experimental paradigms such as early right-anterior negativity (ERAN).

The steady-state response of the cerebral cortex to the beat of music reflects both the comprehension of music and attention

The brain’s analyses of speech and music share a range of neural resources and mechanisms. Music displays a temporal structure of complexity similar to that of speech, unfolds over comparable timescales, and elicits cognitive demands in tasks involving comprehension and attention. During speech processing, synchronized neural activity of the cerebral cortex in the delta and theta frequency bands tracks the envelope of a speech signal, and this neural activity is modulated by high-level cortical functions such as speech comprehension and attention. It remains unclear, however, whether the cortex also responds to the natural rhythmic structure of music and how the response, if present, is influenced by higher cognitive processes. Here we employ electroencephalography to show that the cortex responds to the beat of music and that this steady-state response reflects musical comprehension and attention. We show that the cortical response to the beat is weaker when subjects listen to a familiar tune than when they listen to an unfamiliar, non-sensical musical piece. Furthermore, we show that in a task of intermodal attention there is a larger neural response at the beat frequency when subjects attend to a musical stimulus than when they ignore the auditory signal and instead focus on a visual one. Our findings may be applied in clinical assessments of auditory processing and music cognition as well as in the construction of auditory brain-machine interfaces.

Cross-cultural influences on rhythm processing: reproduction, discrimination, and beat tapping

The structures of musical rhythm differ between cultures, despite the fact that the ability to entrain movement to musical rhythm occurs in virtually all individuals across cultures. To measure the influence of culture on rhythm processing, we tested East African and North American adults on perception, production, and beat tapping for rhythms derived from East African and Western music. To assess rhythm perception, participants identified whether pairs of rhythms were the same or different. To assess rhythm production, participants reproduced rhythms after hearing them. To assess beat tapping, participants tapped the beat along with repeated rhythms. We expected that performance in all three tasks would be influenced by the culture of the participant and the culture of the rhythm. Specifically, we predicted that a participant's ability to discriminate, reproduce, and accurately tap the beat would be better for rhythms from their own culture than for rhythms from another culture. In the rhythm discrimination task, there were no differences in discriminating culturally familiar and unfamiliar rhythms. In the rhythm reproduction task, both groups reproduced East African rhythms more accurately than Western rhythms, but East African participants also showed an effect of cultural familiarity, leading to a significant interaction. In the beat tapping task, participants in both groups tapped the beat more accurately for culturally familiar than for unfamiliar rhythms. Moreover, there were differences between the two participant groups, and between the two types of rhythms, in the metrical level selected for beat tapping. The results demonstrate that culture does influence the processing of musical rhythm. In terms of the function of musical rhythm, our results are consistent with theories that musical rhythm enables synchronization. Musical rhythm may foster musical cultural identity by enabling within-group synchronization to music, perhaps supporting social cohesion.

Neuroplasticity beyond Sounds: Neural Adaptations Following Long-Term Musical Aesthetic Experiences

Capitalizing from neuroscience knowledge on how individuals are affected by the sound environment, we propose to adopt a cybernetic and ecological point of view on the musical aesthetic experience, which includes subprocesses, such as feature extraction and integration, early affective reactions and motor actions, style mastering and conceptualization, emotion and proprioception, evaluation and preference. In this perspective, the role of the listener/composer/performer is seen as that of an active “agent” coping in highly individual ways with the sounds. The findings concerning the neural adaptations in musicians, following long-term exposure to music, are then reviewed by keeping in mind the distinct subprocesses of a musical aesthetic experience. We conclude that these neural adaptations can be conceived of as the immediate and lifelong interactions with multisensorial stimuli (having a predominant auditory component), which result in lasting changes of the internal state of the “agent”. In a continuous loop, these changes affect, in turn, the subprocesses involved in a musical aesthetic experience, towards the final goal of achieving better perceptual, motor and proprioceptive responses to the immediate demands of the sounding environment. The resulting neural adaptations in musicians closely depend on the duration of the interactions, the starting age, the involvement of attention, the amount of motor practice and the musical genre played.

Differential cognitive responses to guqin music and piano music in Chinese subjects: an event-related potential study

OBJECTIVE

To compare the cognitive effects of guqin (the oldest Chinese instrument) music and piano music.

METHODS

Behavioral and event-related potential (ERP) data in a standard two-stimulus auditory oddball task were recorded and analyzed.

RESULTS

This study replicated the previous results of culture-familiar music effect on Chinese subjects: the greater P300 amplitude in frontal areas in a culture-familiar music environment. At the same time, the difference between guqin music and piano music was observed in N1 and later positive complex (LPC: including P300 and P500): a relatively higher participation of right anterior-temporal areas in Chinese subjects.

CONCLUSION

The results suggest that the special features of ERP responses to guqin music are the outcome of Chinese tonal language environments given the similarity between Guqinos tones and Mandarin lexical tones.

Investigation of global and local network properties of music perception with culturally different styles of music

BACKGROUND

Graph theoretical analysis has recently become a popular research tool in neuroscience, however, there have been very few studies on brain responses to music perception, especially when culturally different styles of music are involved.

METHODS

Electroencephalograms were recorded from ten subjects listening to Chinese traditional music, light music and western classical music. For event-related potentials, phase coherence was calculated in the alpha band and then constructed into correlation matrices. Clustering coefficients and characteristic path lengths were evaluated for global properties, while clustering coefficients and efficiency were assessed for local network properties.

RESULTS

Perception of light music and western classical music manifested small-world network properties, especially with a relatively low proportion of weights of correlation matrices. For local analysis, efficiency was more discernible than clustering coefficient. Nevertheless, there was no significant discrimination between Chinese traditional and western classical music perception.

CONCLUSIONS

Perception of different styles of music introduces different network properties, both globally and locally. Research into both global and local network properties has been carried out in other areas; however, this is a preliminary investigation aimed at suggesting a possible new approach to brain network properties in music perception.

Amusia and cognitive deficits in schizophrenia: is there a relationship?

The current study explored the music perception ability of individuals diagnosed with schizophrenia and its relationship with other cognitive abilities and psychotic symptom severity. The persons with schizophrenia performed significantly worse than the control group on the Montreal Battery of Evaluation of Amusia (MBEA) (p<0.001). The music perception ability of persons with schizophrenia was related to other cognitive abilities (attention, verbal memory, spatial memory, and executive function) and the severity of psychotic symptoms.

Effects of mono- and bicultural experiences on auditory perception

The auditory system functions in the context of everyday life and the cultural environment in which we live. Although cultural-invariant, universal principles certainly contribute to sound processing, cultural factors play a role as well. In this review paper, we discuss two potential sources of cultural influence on auditory perception. We term the first type bottom-up, and use it to refer to the way that increased exposure to particular kinds of sound could shape our auditory and auditory-neural responses. The second type we term top-down, and use it to refer to the way our cultural upbringing broadly shapes how we think, which may in turn have an impact on how we perceive the world. An important consideration regarding cultural influences is that many individuals grow up with exposure to environmental stimulations of more than one culture. In our discussion, we will consider both mono- and bicultural experiences.

The bimusical brain is not two monomusical brains in one: evidence from musical affective processing

Complex auditory exposures in ambient environments include systems of not only linguistic but also musical sounds. Because musical exposure is often passive, consisting of listening rather than performing, examining listeners without formal musical training allows for the investigation of the effects of passive exposure on our nervous system without active use. Additionally, studying listeners who have exposure to more than one musical system allows for an evaluation of how the brain acquires multiple symbolic and communicative systems. In the present fMRI study, listeners who had been exposed to Western-only (monomusicals) and both Indian and Western musical systems (bimusicals) since childhood and did not have significant formal musical training made tension judgments on Western and Indian music. Significant group by music interactions in temporal and limbic regions were found, with effects predominantly driven by between-music differences in temporal regions in the monomusicals and by between-music differences in limbic regions in the bimusicals. Effective connectivity analysis of this network via structural equation modeling (SEM) showed significant path differences across groups and music conditions, most notably a higher degree of connectivity and larger differentiation between the music conditions within the bimusicals. SEM was also used to examine the relationships among the degree of music exposure, affective responses, and activation in various brain regions. Results revealed a more complex behavioral-neural relationship in the bimusicals, suggesting that affective responses in this group are shaped by multiple behavioral and neural factors. These three lines of evidence suggest a clear differentiation of the effects of the exposure of one versus multiple musical systems.

Concerns about cultural neurosciences: a critical analysis

Ten years ago, neuroscientists began to study cultural phenomena by using functional MRI. Since then the number of publications in this field, termed cultural neuroscience (CN), has tremendously increased. In these studies, particular concepts of culture are implied, but rarely explicitly discussed. We argue that it is necessary to make these concepts a topic of debate in order to unravel the foundations of CN. From 40 fMRI studies we extracted two strands of reasoning: models investigating universal mechanisms for the formation of cultural groups and habits and, models assessing differences in characteristics among cultural groups. Both strands simplify culture as an inflexible set of traits and specificities. We question this rigid understanding of culture and highlight its hidden evaluative nature.

Decoding temporal structure in music and speech relies on shared brain resources but elicits different fine-scale spatial patterns

Music and speech are complex sound streams with hierarchical rules of temporal organization that become elaborated over time. Here, we use functional magnetic resonance imaging to measure brain activity patterns in 20 right-handed nonmusicians as they listened to natural and temporally reordered musical and speech stimuli matched for familiarity, emotion, and valence. Heart rate variability and mean respiration rates were simultaneously measured and were found not to differ between musical and speech stimuli. Although the same manipulation of temporal structure elicited brain activation level differences of similar magnitude for both music and speech stimuli, multivariate classification analysis revealed distinct spatial patterns of brain responses in the 2 domains. Distributed neuronal populations that included the inferior frontal cortex, the posterior and anterior superior and middle temporal gyri, and the auditory brainstem classified temporal structure manipulations in music and speech with significant levels of accuracy. While agreeing with previous findings that music and speech processing share neural substrates, this work shows that temporal structure in the 2 domains is encoded differently, highlighting a fundamental dissimilarity in how the same neural resources are deployed.

Neuroanthropology: a humanistic science for the study of the culture-brain nexus

In this article, we argue that a combined anthropology/neuroscience field of enquiry can make a significant and distinctive contribution to the study of the relationship between culture and the brain. This field, which can appropriately be termed as neuroanthropology, is conceived of as being complementary to and mutually informative with social and cultural neuroscience. We start by providing an introduction to the culture concept in anthropology. We then present a detailed characterization of neuroanthropology and its methods and how they relate to the anthropological understanding of culture. The field is described as a humanistic science, that is, a field of enquiry founded on the perceived epistemological and methodological interdependence of science and the humanities. We also provide examples that illustrate the proposed methodological model for neuroanthropology. We conclude with a discussion about specific contributions the field can make to the study of the culture-brain nexus.

Culture and neuroscience: additive or synergistic?

The investigation of cultural phenomena using neuroscientific methods-cultural neuroscience (CN)-is receiving increasing attention. Yet it is unclear whether the integration of cultural study and neuroscience is merely additive, providing additional evidence of neural plasticity in the human brain, or truly synergistic, yielding discoveries that neither discipline could have achieved alone. We discuss how the parent fields to CN: cross-cultural psychology, psychological anthropology and cognitive neuroscience inform the investigation of the role of cultural experience in shaping the brain. Drawing on well-established methodologies from cross-cultural psychology and cognitive neuroscience, we outline a set of guidelines for CN, evaluate 17 CN studies in terms of these guidelines, and provide a summary table of our results. We conclude that the combination of culture and neuroscience is both additive and synergistic; while some CN methodologies and findings will represent the direct union of information from parent fields, CN studies employing the methodological rigor required by this logistically challenging new field have the potential to transform existing methodologies and produce unique findings.

An fMRI investigation of the cultural specificity of music memory

This study explored the role of culture in shaping music perception and memory. We tested the hypothesis that listeners demonstrate different patterns of activation associated with music processing-particularly right frontal cortex-when encoding and retrieving culturally familiar and unfamiliar stimuli, with the latter evoking broader activation consistent with more complex memory tasks. Subjects (n = 16) were right-handed adults born and raised in the USA (n = 8) or Turkey (n = 8) with minimal music training. Using fMRI procedures, we scanned subjects during two tasks: (i) listening to novel musical examples from their own culture and an unfamiliar culture and (ii) identifying which among a series of brief excerpts were taken from the longer examples. Both groups were more successful remembering music of their home culture. We found greater activation for culturally unfamiliar music listening in the left cerebellar region, right angular gyrus, posterior precuneus and right middle frontal area extending into the inferior frontal cortex. Subjects demonstrated greater activation in the cingulate gyrus and right lingual gyrus when engaged in recall of culturally unfamiliar music. This study provides evidence for the influence of culture on music perception and memory performance at both a behavioral and neurological level.

Cultural constraints on music perception and cognition

Research suggests that music, like language, is both a biological predisposition and a cultural universal. While humans naturally attend to and process many of the psychophysical cues present in musical information, there is a great - and often culture-specific - diversity of musical practices differentiated in part by form, timbre, pitch, rhythm, and other structural elements. Musical interactions situated within a given cultural context begin to influence human responses to music as early as one year of age. Despite the world's diversity of musical cultures, the majority of research in cognitive psychology and the cognitive neuroscience of music has been conducted on subjects and stimuli from Western music cultures. From the standpoint of cognitive neuroscience, identification of fundamental cognitive and neurological processes associated with music requires ascertaining that such processes are demonstrated by listeners from a broad range of cultural backgrounds and in relation to various musics across cultural traditions. This chapter will review current research regarding the role of enculturation in music perception and cognition and the degree to which cultural influences are reflected in brain function. Exploring music cognition from the standpoint of culture will lead to a better understanding of the core processes underlying perception and how those processes give rise to the world's diversity of music forms and expressions.

Individual Variability in Brain Activity: A Nuisance or an Opportunity?

Functional imaging research has been heavily influenced by results based on population-level inference. However, group average results may belie the unique patterns of activity present in the individual that ordinarily are considered random noise. Recent advances in the evolution of MRI hardware have led to significant improvements in the stability and reproducibility of blood oxygen level dependent (BOLD) measurements. These enhancements provide a unique opportunity for closer examination of individual patterns of brain activity. Three objectives can be accomplished by considering brain scans at the individual level; (1) Mapping functional anatomy at a fine grained analysis; (2) Determining if an individual scan is normative with respect to a reference population; and (3) Understanding the sources of intersubject variability in brain activity. In this review, we detail these objectives, briefly discuss their histories and present recent trends in the analyses of individual variability. Finally, we emphasize the unique opportunities and challenges for understanding individual differences through international collaboration among Pacific Rim investigators.

Culture-sensitive neural substrates of human cognition: a transcultural neuroimaging approach

Our brains and minds are shaped by our experiences, which mainly occur in the context of the culture in which we develop and live. Although psychologists have provided abundant evidence for diversity of human cognition and behaviour across cultures, the question of whether the neural correlates of human cognition are also culture-dependent is often not considered by neuroscientists. However, recent transcultural neuroimaging studies have demonstrated that one's cultural background can influence the neural activity that underlies both high- and low-level cognitive functions. The findings provide a novel approach by which to distinguish culture-sensitive from culture-invariant neural mechanisms of human cognition.

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.

Neural substrates for forward and backward recitation of numbers and the alphabet: a close examination of the role of intraparietal sulcus and perisylvian areas

Despite numerous studies on the neural basis of numerical processing, few studies have examined the neural substrates of one of the most basic numerical processing-number sequence recitation. The present study used fMRI to investigate neural substrates of number sequence recitation, focusing on the intraparietal sulcus (IPS) and perisylvian areas. This study used a 2 (number versus alphabet) x 2 (forward versus backward recitation) design. 12 Chinese undergraduates were asked to recite overtly but gently numerical and alphabetical sequences forward and backward. Results showed that, for both numerical and alphabetic sequences, the left IPS was activated when performing backward recitation, but not when performing forward recitation. In terms of perisylvian areas, all four tasks elicited activation in bilateral superior temporal gyrus and inferior frontal gyrus, but forward recitation elicited greater activation in the left posterior superior temporal gyrus than did backward recitation, whereas backward recitation elicited greater activation in the left inferior frontal gyrus than did forward recitation. These results suggest that forward recitation of numbers and the alphabet is typically based on verbal processing of numbers implemented in the perisylvian area, whereas backward recitation would likely require additional neural resources in the IPS.

The perception of musical phrase structure: a cross-cultural ERP study

Electroencephalography (EEG) was used in a cross-cultural music study investigating phrase boundary perception. Chinese and German musicians performed a cultural categorization task under Chinese and Western music listening conditions. Western music was the major subject for both groups of musicians, while Chinese music was familiar to Chinese subjects only. By manipulating the presence of pauses between two phrases in the biphrasal melodies, EEG correlates for the perception of phrase boundaries were found in both groups under both music listening conditions. Between 450 and 600 ms, the music CPS (closure positive shift), which had been found in earlier studies with a false tone detection task, was replicated for the more global categorization task and for all combinations of subject group and musical style. At short latencies (100 and 450 ms post phrase boundary offset), EEG correlates varied as a function of musical styles and subject group. Both bottom-up (style properties of the music) and top-down (acculturation of the subjects) information interacted during this early processing stage.

Exploring the Influence of Cultural Familiarity and Expertise on Neurological Responses to Music

Contemporary music education in many countries has begun to incorporate not only the dominant music of the culture, but also a variety of music from around the world. Although the desirability of such a broadened curriculum is virtually unquestioned, the specific function of these musical encounters and their potential role in children's cognitive development remain unclear. We do not know if studying a variety of world music traditions involves the acquisition of new skills or an extension and refinement of traditional skills long addressed by music teachers. Is a student's familiarity with a variety of musical traditions a manifestation of a single overarching "musicianship" or is knowledge of these various musical styles more similar to a collection of discrete skills much like learning a second language? Research on the comprehension of spoken language has disclosed a neurologically distinct response among subjects listening to their native language rather than an unfamiliar language. In a recent study comparing Western subjects' responses to music of their native culture and music of an unfamiliar culture, we found that subjects' activation did not differ on the basis of the cultural familiarity of the music, but on the basis of musical expertise. We discuss possible interpretations of these findings in relation to the concept of musical universals, cross-cultural stimulus characteristics, cross-cultural judgment tasks, and the influence of musical expertise. We conclude with suggestions for future research.