The effect of background music on episodic memory and autonomic responses: listening to emotionally touching music enhances facial memory capacity

Affective music during episodic memory recollection modulates subsequent false emotional memory traces: an fMRI study

Music is a powerful medium that influences our emotions and memories. Neuroscience research has demonstrated music's ability to engage brain regions associated with emotion, reward, motivation, and autobiographical memory. While music's role in modulating emotions has been explored extensively, our study investigates whether music can alter the emotional content of memories. Building on the theory that memories can be updated upon retrieval, we tested whether introducing emotional music during memory recollection might introduce false emotional elements into the original memory trace. We developed a 3-day episodic memory task with separate encoding, recollection, and retrieval phases. Our primary hypothesis was that emotional music played during memory recollection would increase the likelihood of introducing novel emotional components into the original memory. Behavioral findings revealed two key outcomes: 1) participants exposed to music during memory recollection were more likely to incorporate novel emotional components congruent with the paired music valence, and 2) memories retrieved 1 day later exhibited a stronger emotional tone than the original memory, congruent with the valence of the music paired during the previous day's recollection. Furthermore, fMRI results revealed altered neural engagement during story recollection with music, including the amygdala, anterior hippocampus, and inferior parietal lobule. Enhanced connectivity between the amygdala and other brain regions, including the frontal and visual cortex, was observed during recollection with music, potentially contributing to more emotionally charged story reconstructions. These findings illuminate the interplay between music, emotion, and memory, offering insights into the consequences of infusing emotional music into memory recollection processes.

Emotional and musical factors combined with song-specific age predict the subjective autobiographical saliency of music in older adults

Music that evokes strong emotional responses is often experienced as autobiographically salient. Through emotional experience, the musical features of songs could also contribute to their subjective autobiographical saliency. Songs which have been popular during adolescence or young adulthood (ages 10-30) are more likely to evoke stronger memories, a phenomenon known as a reminiscence bump. In the present study, we sought to determine how song-specific age, emotional responsiveness to music, musical features, and subjective memory functioning contribute to the subjective autobiographical saliency of music in older adults. In a music listening study, 112 participants rated excerpts of popular songs from the 1950s to the 1980s for autobiographical saliency. Additionally, they filled out questionnaires about emotional responsiveness to music and subjective memory functioning. The song excerpts' musical features were extracted computationally using MIRtoolbox. Results showed that autobiographical saliency was best predicted by song-specific age and emotional responsiveness to music and musical features. Newer songs that were more similar in rhythm to older songs were also rated higher in autobiographical saliency. Overall, this study contributes to autobiographical memory research by uncovering a set of factors affecting the subjective autobiographical saliency of music.

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.

Representational Dissimilarity of Faces and Places during a Working Memory Task is Associated with Subsequent Recognition Memory during Development

Nearly 50 years of research has focused on faces as a special visual category, especially during development. Yet it remains unclear how spatial patterns of neural similarity of faces and places relate to how information processing supports subsequent recognition of items from these categories. The current study uses representational similarity analysis and functional imaging data from 9- and 10-year-old youth during an emotional n-back task from the Adolescent Brain and Cognitive Development Study 3.0 data release to relate spatial patterns of neural similarity during working memory to subsequent out-of-scanner performance on a recognition memory task. Specifically, we examine how similarities in representations within face categories (neutral, happy, and fearful faces) and representations between visual categories (faces and places) relate to subsequent recognition memory of these visual categories. Although working memory performance was higher for faces than places, subsequent recognition memory was greater for places than faces. Representational similarity analysis revealed category-specific patterns in face-and place-sensitive brain regions (fusiform gyrus, parahippocampal gyrus) compared with a nonsensitive visual region (pericalcarine cortex). Similarity within face categories and dissimilarity between face and place categories in the parahippocampus was related to better recognition of places from the n-back task. Conversely, in the fusiform, similarity within face categories and their relative dissimilarity from places was associated with better recognition of new faces, but not old faces. These findings highlight how the representational distinctiveness of visual categories influence what information is subsequently prioritized in recognition memory during development.

Emotional valence perception in music and subjective arousal: Experimental validation of stimuli

Musical stimuli are widely used in emotion research and intervention studies. However, reviews have repeatedly noted that a lack of pre-evaluated musical stimuli is stalling progress in our understanding of specific effects of varying music. Musical stimuli vary along a plethora of dimensions. Of particular interest are emotional valence and tempo. Thus, we aimed to evaluate the emotional valence of a set of slow and fast musical stimuli. N = 102 (mean age: 39.95, SD: 13.60, 61% female) participants rated the perceived emotional valence in 20 fast (>110 beats per minute [bmp]) and 20 slow (<90 bpm) stimuli. Moreover, we collected reports on subjective arousal for each stimulus to explore arousal's association with tempo and valence. Finally, participants completed questionnaires on demographics, mood (profile of mood states), personality (10-item personality index), musical sophistication (Gold-music sophistication index), and sound preferences and hearing habits (sound preference and hearing habits questionnaire). Using mixed-effect model estimates, we identified 19 stimuli that participants rated to have positive valence and 16 stimuli that they rated to have negative valence. Higher age predicted more positive valence ratings across stimuli. Higher tempo and more extreme valence ratings were each associated with higher arousal. Higher educational attainment was also associated with higher arousal reports. Pre-evaluated stimuli can be used in future musical research.

Silence and its effects on the autonomic nervous system: A systematic review

This systematic review explores the influence of silence on the autonomic nervous system. The Polyvagal Theory has been used as a reference model to describe the autonomic nervous system by explaining its role in emotional regulation, social engagement, and adaptive physiological responses. PubMed, Scopus, PsycInfo, EMBASE, and Google Scholar were systematically searched up until July 2023 for relevant studies. The literature search yielded 511 results, and 37 studies were eventually included in this review. Silence affects the autonomic nervous system differently based on whether it is inner or outer silence. Inner silence enhances activity of the ventral vagus, favoring social engagement, and reducing sympathetic nervous system activity and physiological stress. Outer silence, conversely, can induce a heightened state of alertness, potentially triggering vagal brake removal and sympathetic nervous system activation, though with training, it can foster inner silence, preventing such activation. The autonomic nervous system response to silence can also be influenced by other factors such as context, familiarity with silence, presence and quality of outer noise, and empathy.

Music that is used while studying and music that is used for sleep share similar musical features, genres and subgroups

Music is an integral part of daily human life, and certain types of music are often associated with certain contexts, such as specific music for sleeping or for studying. The mood-arousal hypothesis suggests that music used for studying should be uplifting to boost arousal and increase cognitive performance while previous studies suggest that music used as a sleep aid should be calm, gentle and slow to decrease arousal. In this study, we created the Study music dataset by collecting tracks from Spotify playlists with the words 'study' or 'studying' in the title or description. In comparison with a pre-existing dataset, the Sleep music dataset, we show that the music's audio features, as defined by Spotify, are highly similar. Additionally, they share most of the same genres and have similar subgroups after a k-means clustering analysis. We suggest that both sleep music and study music aim to create a pleasant but not too disturbing auditory environment, which enables one to focus on studying and to lower arousal for sleeping. Using large Spotify-based datasets, we were able to uncover similarities between music used in two different contexts one would expect to be different.

Investigating the interaction of pleasantness and arousal and the role of aesthetic emotions on episodic memory using a musical what-where-when paradigm

Recent evidence suggests that the presence of music experienced as pleasant positively influences episodic memory (EM) encoding. However, it is unclear whether this impact of pleasant music holds regardless of how arousing the music is, and what influence, if any, music-induced aesthetic emotions have. Furthermore, most music EM studies have used verbal or facial memory tasks limiting the generalisability of these findings to everyday EMs with spatiotemporal richness. The current study used an online what-where-when paradigm to assess music's influence on EM encoding in a rich spatiotemporal environment. 105 participants carried out the what-where-when task in the presence of either silence or one of four musical stimuli falling into the four corners of the 2-D circumplex emotion model. We observed an interaction effect between the pleasantness and arousingness of music stimuli, whereby for pleasant stimuli, the low arousing excerpt was associated with better recall performance compared to the high arousing excerpt. We also observed that, across all excerpts, experience of negative aesthetic emotions was associated with compromised recall performance. Together, our results confirm the deleterious influence arousing stimuli can have on memory and support the notion that aesthetic-emotional experience of music can influence how memories are encoded in everyday life.

Background Music and Memory in Mild Cognitive Impairment: The Role of Interindividual Differences

BACKGROUND

Recent research has shown that background music may improve memory consolidation and retrieval. Nevertheless, in the clinical conditions preceding dementia such as mild cognitive impairment (MCI), there is no current evidence speaking to what effect background music during memory tasks has on impaired cognition.

OBJECTIVE

Across three experiments, we investigated if background music is able to improve memory performance, the most impacted cognitive domain in amnestic MCI.

METHODS

We tested the effect of background music by using a face recognition memory task in patients with amnestic MCI. In Experiment 1, we tested the effect of background music on memory when it was played solely during an encoding phase. In Experiment 2, we explored effects of background music when played during both encoding and recognition phases. In Experiment 3, we explored the role of musically induced arousal on memory.

RESULTS

The main finding from these three experiments was that background music played during a memory task did not improve or worsen participant performance. However, when exposed to high-arousal music, memory performance was predicted by individual mood regulation. For low-arousal music conditions, there was a negative relationship between rating scores for music pleasantness and performance on the memory task.

CONCLUSION

Our results suggest that the benefits of background music on memory in individuals with MCI are modulated by interindividual preferences towards music.

The impact of background music on film audience's attentional processes: Electroencephalography alpha-rhythm and event-related potential analyses

Background music is an indispensable part of films and plays an important role in enhancing audiences' attention to scenes. However, few studies have examined the cognitive effect of background music at the neurophysiological level. Using electroencephalography (EEG), the present study examines the effect of background music tempo on the viewer's attentional processes. Participants' (N = 24) EEG responses were recorded while the participants watched segments of action films in three conditions with variations on the presence and tempo of background music (i.e., no background music vs. slow-tempo music vs. fast-tempo music). These responses were analyzed using the alpha-rhythm suppression and event-related potential (ERP) P300, a brainwave indicator of attentional processes. The results suggest that participants' attention levels increased when background music was present (compared to when background music was absent), but there was no difference in participants' attention levels based on tempo. The theoretical and practical implications of these findings are discussed.

Music-based interventions for community-dwelling people with dementia: A systematic review

The majority of people with dementia (PwD) live in the community. Compared to institutionalised PwD, their access to formalised music therapy is limited. Initial works suggest that non-therapist-led music-based interventions (MBIs) may be an accessible and effective alternative. The aim of this review was, therefore, to synthesise evidence on MBIs for community-dwelling PwD. We systematically searched electronic databases (PubMed, PsycInfo, Web of Science) for records reporting on controlled studies of MBIs delivered to community-dwelling PwD. Two reviewers independently screened records according to inclusion/exclusion criteria. A total of 15 relevant publications reporting on 14 studies were initially identified and assessed using the Cochrane risk-of-bias tool for randomised trials (RoB 2) and the risk of bias. In non-randomised studies of interventions (ROBINS-I) tool. A total of 11 records of 10 studies, with a total of n = 327 PwD, were included in the synthesis. MBIs consisted either of singing or music listening interventions and were variable in duration. MBIs had immediate positive effects on cognition. Short-term MBIs (lasting 1-4 months) benefited cognition, anxiety and pain. Evidence on depressive symptoms was conflicting. The benefits of longer term MBIs (lasting 6+ months) were less apparent. According to GRADE criteria, the overall quality of evidence was moderate to low. The inconsistency in designs, procedures and measures prevents specific conclusions at this stage. Still, the diversity observed in existing studies suggests that there are multiple interesting avenues for researchers to pursue, including the involvement of informal caregivers in MBI delivery. Future studies need to ensure adequate reporting to facilitate continued development. The protocol of this review was pre-registered with the Prospective Register of Systematic Reviews (PROSPERO, Registration Number: CRD42020191606).

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.

Dissociable effects of music and white noise on conflict-induced behavioral adjustments

Auditory stimuli, encompassing a continually expanding collection of musical genres and sonic hues, present a safe and easily administrable therapeutic option for alleviating cognitive deficits associated with neuropsychological disorders, but their effects on executive control are yet to be completely understood. To better understand how the processing of certain acoustic properties can influence conflict processing, we had a large of cohort of undergraduate students complete the Stroop colour and word test in three different background conditions: classical music, white noise, and silence. Because of pandemic guidelines and the necessity to run the experiment remotely, participants also completed the Wisconsin card sorting test (WCST), so that the reliability and consistency of acquired data could be assessed. We found that white noise, but not classical music increased the response time difference between congruent (low conflict) and incongruent (high conflict) trials (conflict cost), hence impairing performance. Results from the WCST indicated that home-based data collection was reliable, replicating a performance bias reported in our previous laboratory-based experiments. Both the auditory stimuli were played at a similar intensity, thus their dissociable effects may have resulted from differing emotional responses within participants, where white noise, but not music elicited a negative response. Integrated with previous literature, our findings indicate that outside of changes in tempo and valence, classical music does not affect cognitive functions associated with conflict processing, whilst white noise impairs these functions in a manner similar to other stressors, and hence requires further research before its implementation into neuropsychiatric care.

The scent of attraction and the smell of success: crossmodal influences on person perception

In recent decades, there has been an explosion of research into the crossmodal influence of olfactory cues on multisensory person perception. Numerous peer-reviewed studies have documented that a variety of olfactory stimuli, from ambient malodours through to fine fragrances, and even a range of chemosensory body odours can influence everything from a perceiver's judgments of another person's attractiveness, age, affect, health/disease status, and even elements of their personality. The crossmodal and multisensory contributions to such effects are reviewed and the limitations/peculiarities of the research that have been published to date are highlighted. At the same time, however, it is important to note that the presence of scent (and/or the absence of malodour) can also influence people's (i.e., a perceiver's) self-confidence which may, in turn, affect how attractive they appear to others. Several potential cognitive mechanisms have been put forward to try and explain such crossmodal/multisensory influences, and some of the neural substrates underpinning these effects have now been characterized. At the end of this narrative review, a number of the potential (and actual) applications for, and implications of, such crossmodal/multisensory phenomena involving olfaction are outlined briefly.

The effects of background music on neural responses during reading comprehension

The effects of background speech or noise on visually based cognitive tasks has been widely investigated; however, little is known about how the brain works during such cognitive tasks when music, having a powerful function of evoking emotions, is used as the background sound. The present study used event-related potentials to examine the effects of background music on neural responses during reading comprehension and their modulation by musical arousal. Thirty-nine postgraduates judged the correctness of sentences about world knowledge without or with background music (high-arousal music and low-arousal music). The participants’ arousal levels were reported during the experiment. The results showed that the N400 effect, elicited by world knowledge violations versus correct controls, was significantly smaller for silence than those for high- and low-arousal music backgrounds, with no significant difference between the two musical backgrounds. This outcome might have occurred because the arousal levels of the participants were not affected by the high- and low-arousal music throughout the experiment. These findings suggest that background music affects neural responses during reading comprehension by increasing the difficulty of semantic integration, and thus extend the irrelevant sound effect to suggest that the neural processing of visually based cognitive tasks can also be affected by music.

Uso de la música para modular la memoria: Una revisión sistemática

La memoria es una función cognitiva que permite al ser humano adquirir, almacenar y recuperar información. Dentro de la literatura se identifican diversos factores que tienen la capacidad de modificar la capacidad mnémica, así como también afectar las diferentes fases de formación de la memoria. En este sentido el objetivo del presente artículo de revisión sistemática estuvo orientado a presentar los antecedentes en cuanto al efecto de la música, como entrenamiento musical prolongado, así como intervención focal, sobre esta función cognitiva. Se seleccionaron 39 artículos de investigación empírica extraídos de diversas bases de datos. A través de la evidencia presentada se concluye que las propuestas musicales representan una potencial herramienta para abordar no sólo el estudio de la memoria, sino también para la estimulación y rehabilitación de la misma.

Long-term memory is formed immediately without the need for protein synthesis-dependent consolidation in Drosophila

It is believed that long-term memory (LTM) cannot be formed immediately because it must go through a protein synthesis-dependent consolidation process. However, the current study uses Drosophila aversive olfactory conditioning to show that such processes are dispensable for context-dependent LTM (cLTM). Single-trial conditioning yields cLTM that is formed immediately in a protein-synthesis independent manner and is sustained over 14 days without decay. Unlike retrieval of traditional LTM, which requires only the conditioned odour and is mediated by mushroom-body neurons, cLTM recall requires both the conditioned odour and reinstatement of the training-environmental context. It is mediated through lateral-horn neurons that connect to multiple sensory brain regions. The cLTM cannot be retrieved if synaptic transmission from any one of these centres is blocked, with effects similar to those of altered encoding context during retrieval. The present study provides strong evidence that long-term memory can be formed easily without the need for consolidation.

New protein synthesis is known to be indispensable for the consolidation of long-term memory. Here, the authors report that an olfactory memory can be successfully recalled after 14 days without protein synthesis when the training context is also provided in addition to the conditioned odor.

Effects of Auditory Distraction on Face Memory

Effects of auditory distraction by task-irrelevant background speech on the immediate serial recall of verbal material are well established. Less is known about the influence of background speech on memory for visual configural information. A recent study demonstrated that face learning is disrupted by joyful music relative to soothing violin music and quiet. This pattern is parallel to findings in the serial-recall paradigm showing that auditory distraction is primarily caused by auditory changes. Here we connect these two streams of research by testing whether face learning is impaired by irrelevant speech. Participants learned faces either in quiet or while ignoring auditory changing-state sequences (sentential speech) or steady-state sequences (word repetitions). Face recognition was impaired by irrelevant speech relative to quiet. Furthermore, changing-state speech disrupted performance more than steady-state speech. The results were replicated in a second study using reversed speech, suggesting that the disruptive potential of the background speech does not depend on its semantic content. These findings thus demonstrate robust effects of auditory distraction on face learning. Theoretical explanations and applied implications are discussed.

Speed Biases With Real-Life Video Clips

We live almost literally immersed in an artificial visual world, especially motion pictures. In this exploratory study, we asked whether the best speed for reproducing a video is its original, shooting speed. By using adjustment and double staircase methods, we examined speed biases in viewing real-life video clips in three experiments, and assessed their robustness by manipulating visual and auditory factors. With the tested stimuli (short clips of human motion, mixed human-physical motion, physical motion and ego-motion), speed underestimation was the rule rather than the exception, although it depended largely on clip content, ranging on average from 2% (ego-motion) to 32% (physical motion). Manipulating display size or adding arbitrary soundtracks did not modify these speed biases. Estimated speed was not correlated with estimated duration of these same video clips. These results indicate that the sense of speed for real-life video clips can be systematically biased, independently of the impression of elapsed time. Measuring subjective visual tempo may integrate traditional methods that assess time perception: speed biases may be exploited to develop a simple, objective test of reality flow, to be used for example in clinical and developmental contexts. From the perspective of video media, measuring speed biases may help to optimize video reproduction speed and validate "natural" video compression techniques based on sub-threshold temporal squeezing.

The effects of the music-with-movement intervention on the cognitive functions of people with moderate dementia: a randomized controlled trial

OBJECTIVE

The aim of this study was to examine the effects of the six-week music-with-movement (MM) intervention, as compared with music listening (ML) and social activity (SA), on the cognitive functions of people with moderate dementia over time.

METHODS

A multi-center randomized controlled trial was conducted on 165 nursing home residents with moderate dementia. The MM intervention protocol was developed based on a critical literature review, and tested in three rounds of pilot studies before undergoing testing in this study. The participants were randomly allocated into three groups. Intervention participants (n = 58) received a 12-week MM program led by a trained health care professional, while the participants in the comparison ML group (n = 54) listened to their preferred music, and those in the SA group (n = 53) engaged in social chatting. Cognitive functions, depressive symptoms, and anxiety were measured at baseline, the sixth week, and six weeks post-intervention.

RESULTS

Greater improvements in memory and depressive symptoms for the MM group were revealed in the univariate analysis and pairwise comparisons. The effects on memory could last for at least six weeks post-intervention. However, a mixed multivariate analysis of variance (MANOVA) analysis indicated that there were no significant interactions of group by time effect Conclusion: The findings revealed that the MM intervention may be useful for enhancing the cognitive functions of people with dementia. However, there is insufficient evidence to show that the effects of the MM intervention on outcome variables over time significantly different from those observed among the comparison groups.

When listening to rain sounds boosts arithmetic ability

Studies in the literature have provided conflicting evidence about the effects of background noise or music on concurrent cognitive tasks. Some studies have shown a detrimental effect, while others have shown a beneficial effect of background auditory stimuli. The aim of this study was to investigate the influence of agitating, happy or touching music, as opposed to environmental sounds or silence, on the ability of non-musician subjects to perform arithmetic operations. Fifty university students (25 women and 25 men, 25 introverts and 25 extroverts) volunteered for the study. The participants were administered 180 easy or difficult arithmetic operations (division, multiplication, subtraction and addition) while listening to heavy rain sounds, silence or classical music. Silence was detrimental when participants were faced with difficult arithmetic operations, as it was associated with significantly worse accuracy and slower RTs than music or rain sound conditions. This finding suggests that the benefit of background stimulation was not music-specific but possibly due to an enhanced cerebral alertness level induced by the auditory stimulation. Introverts were always faster than extroverts in solving mathematical problems, except when the latter performed calculations accompanied by the sound of heavy rain, a condition that made them as fast as introverts. While the background auditory stimuli had no effect on the arithmetic ability of either group in the easy condition, it strongly affected extroverts in the difficult condition, with RTs being faster during agitating or joyful music as well as rain sounds, compared to the silent condition. For introverts, agitating music was associated with faster response times than the silent condition. This group difference may be explained on the basis of the notion that introverts have a generally higher arousal level compared to extroverts and would therefore benefit less from the background auditory stimuli.

Auditory enhancement of visual memory encoding is driven by emotional content of the auditory material and mediated by superior frontal cortex

BACKGROUND

The aim of the present study was to investigate how auditory background interacts with learning and memory. Both facilitatory (e.g., "Mozart effect") and interfering effects of background have been reported, depending on the type of auditory stimulation and of concurrent cognitive tasks.

METHOD

Here we recorded event related potentials (ERPs) during face encoding followed by an old/new memory test to investigate the effect of listening to classical music (Čajkovskij, dramatic), environmental sounds (rain) or silence on learning. Participants were 15 healthy non-musician university students. Almost 400 (previously unknown) faces of women and men of various age were presented.

RESULTS

Listening to music during study led to a better encoding of faces as indexed by an increased Anterior Negativity. The FN400 response recorded during the memory test showed a gradient in its amplitude reflecting face familiarity. FN400 was larger to new than old faces, and to faces studied during rain sound listening and silence than music listening.

CONCLUSION

The results indicate that listening to music enhances memory recollection of faces by merging with visual information. A swLORETA analysis showed the main involvement of Superior Temporal Gyrus (STG) and medial frontal gyrus in the integration of audio-visual information.

Interactive effects of music and prefrontal cortex stimulation in modulating response inhibition

Influential hypotheses propose that alterations in emotional state influence decision processes and executive control of behavior. Both music and transcranial direct current stimulation (tDCS) of prefrontal cortex affect emotional state, however interactive effects of music and tDCS on executive functions remain unknown. Learning to inhibit inappropriate responses is an important aspect of executive control which is guided by assessing the decision outcomes such as errors. We found that high-tempo music, but not low-tempo music or low-level noise, significantly influenced learning and implementation of inhibitory control. In addition, a brief period of tDCS over prefrontal cortex specifically interacted with high-tempo music and altered its effects on executive functions. Measuring event-related autonomic and arousal response of participants indicated that exposure to task demands and practice led to a decline in arousal response to the decision outcome and high-tempo music enhanced such practice-related processes. However, tDCS specifically moderated the high-tempo music effect on the arousal response to errors and concomitantly restored learning and improvement in executive functions. Here, we show that tDCS and music interactively influence the learning and implementation of inhibitory control. Our findings indicate that alterations in the arousal-emotional response to the decision outcome might underlie these interactive effects.

Women are better at seeing faces where there are none: an ERP study of face pareidolia

Event-related potentials (ERPs) were recorded in 26 right-handed students while they detected pictures of animals intermixed with those of familiar objects, faces and faces-in-things (FITs). The face-specific N170 ERP component over the right hemisphere was larger in response to faces and FITs than to objects. The vertex positive potential (VPP) showed a difference in FIT encoding processes between males and females at frontal sites; while for men, the FIT stimuli elicited a VPP of intermediate amplitude (between that for faces and objects), for women, there was no difference in VPP responses to faces or FITs, suggesting a marked anthropomorphization of objects in women. SwLORETA source reconstructions carried out to estimate the intracortical generators of ERPs in the 150-190 ms time window showed how, in the female brain, FIT perception was associated with the activation of brain areas involved in the affective processing of faces (right STS, BA22; posterior cingulate cortex, BA22; and orbitofrontal cortex, BA10) in addition to regions linked to shape processing (left cuneus, BA18/30). Conversely, in the men, the activation of occipito/parietal regions was prevalent, with a considerably smaller activation of BA10. The data suggest that the female brain is more inclined to anthropomorphize perfectly real objects compared to the male brain.

Non-expert listeners show decreased heart rate and increased blood pressure (fear bradycardia) in response to atonal music

Previous studies suggested that listening to different types of music may modulate differently psychological mood and physiological responses associated with the induced emotions. In this study the effect of listening to instrumental classical vs. atonal contemporary music was examined in a group of 50 non-expert listeners. The subjects’ heart rate and diastolic and systolic blood pressure values were measured while they listened to music of different style and emotional typologies. Pieces were selected by asking a group of composers and conservatory professors to suggest a list of the most emotional music pieces (from Renaissance to present time). A total of 214 suggestions from 20 respondents were received. Then it was asked them to identify which pieces best induced in the listener feelings of agitation, joy or pathos and the number of suggested pieces per style was computed. Atonal pieces were more frequently indicated as agitating, and tonal pieces as joyful. The presence/absence of tonality in a musical piece did not affect the affective dimension of pathos (being touching). Among the most frequently cited six pieces were selected that were comparable for structure and style, to represent each emotion and style. They were equally evaluated as unfamiliar by an independent group of 10 students of the same cohort) and were then used as stimuli for the experimental session in which autonomic parameters were recorded. Overall, listening to atonal music (independent of the pieces’ emotional characteristics) was associated with a reduced heart rate (fear bradycardia) and increased blood pressure (both diastolic and systolic), possibly reflecting an increase in alertness and attention, psychological tension, and anxiety. This evidence fits with the results of the esthetical assessment showing how, overall, atonal music is perceived as more agitating and less joyful than tonal one.