Neural correlates of specific musical anhedonia

State-dependent connectivity in auditory-reward networks predicts peak pleasure experiences to music

Music can evoke pleasurable and rewarding experiences. Past studies that examined task-related brain activity revealed individual differences in musical reward sensitivity traits and linked them to interactions between the auditory and reward systems. However, state-dependent fluctuations in spontaneous neural activity in relation to music-driven rewarding experiences have not been studied. Here, we used functional MRI to examine whether the coupling of auditory-reward networks during a silent period immediately before music listening can predict the degree of musical rewarding experience of human participants (N = 49). We used machine learning models and showed that the functional connectivity between auditory and reward networks, but not others, could robustly predict subjective, physiological, and neurobiological aspects of the strong musical reward of chills. Specifically, the right auditory cortex-striatum/orbitofrontal connections predicted the reported duration of chills and the activation level of nucleus accumbens and insula, whereas the auditory-amygdala connection was associated with psychophysiological arousal. Furthermore, the predictive model derived from the first sample of individuals was generalized in an independent dataset using different music samples. The generalization was successful only for state-like, pre-listening functional connectivity but not for stable, intrinsic functional connectivity. The current study reveals the critical role of sensory-reward connectivity in pre-task brain state in modulating subsequent rewarding experience.

Music reward sensitivity is associated with greater information transfer capacity within dorsal and motor white matter networks in musicians

There are pronounced differences in the degree to which individuals experience music-induced pleasure which are linked to variations in structural connectivity between auditory and reward areas. However, previous studies exploring the link between white matter structure and music reward sensitivity (MRS) have relied on standard diffusion tensor imaging methods, which present challenges in terms of anatomical accuracy and interpretability. Further, the link between MRS and connectivity in regions outside of auditory-reward networks, as well as the role of musical training, have yet to be investigated. Therefore, we investigated the relation between MRS and structural connectivity in a large number of directly segmented and anatomically verified white matter tracts in musicians (n = 24) and non-musicians (n = 23) using state-of-the-art tract reconstruction and fixel-based analysis. Using a manual tract-of-interest approach, we additionally tested MRS-white matter associations in auditory-reward networks seen in previous studies. Within the musician group, there was a significant positive relation between MRS and fiber density and cross section in the right middle longitudinal fascicle connecting auditory and inferior parietal cortices. There were also positive relations between MRS and fiber-bundle cross-section in tracts connecting the left thalamus to the ventral precentral gyrus and connecting the right thalamus to the right supplementary motor area, however, these did not survive FDR correction. These results suggest that, within musicians, dorsal auditory and motor networks are crucial to MRS, possibly via their roles in top-down predictive processing and auditory-motor transformations.

Acquiring musical knowledge increases music liking: Evidence from a neurophysiological study

People possessing musical knowledge tend to enjoy music more, but the linkage remains to be determined. Based on the shared affective motion experience model for music appreciation, we hypothesized that acquiring musical knowledge about the music itself, for example, an analytical understanding of music elements and the related emotional expressions, would increase music liking. To test the hypothesis, we asked 48 participants to learn analytical or historical information about a piece of music by watching a pre-recorded teaching video. Learners' physiological responses, such as skin conductance and heart rate, were recorded during learning. The increase of music liking was observed after both types of knowledge acquisition, but more so for analytical knowledge. Notably, acquiring analytical knowledge made learners' skin conductance more similar, indicating the alignment of physiological responses. This physiological similarity, correlated with analytical knowledge similarity, could mediate the effect of knowledge acquisition on music liking. In sum, this study reveals the impact of analytical knowledge on music enjoyment and the associated neurophysiological mechanism. It extends the theoretical framework of shared affective motion experience to explain how musical knowledge influences music appreciation.

Musical and electrical stimulation as intervention in disorder of consciousness (DOC) patients: A randomised cross-over trial

BACKGROUND

Disorders of consciousness (DOC), i.e., unresponsive wakefulness syndrome (UWS) or vegetative state (VS) and minimally conscious state (MCS), are conditions that can arise from severe brain injury, inducing widespread functional changes. Given the damaging implications resulting from these conditions, there is an increasing need for rehabilitation treatments aimed at enhancing the level of consciousness, the quality of life, and creating new recovery perspectives for the patients. Music may represent an additional rehabilitative tool in contexts where cognition and language are severely compromised, such as among DOC patients. A further type of rehabilitation strategies for DOC patients consists of Non-Invasive Brain Stimulation techniques (NIBS), including transcranial electrical stimulation (tES), affecting neural excitability and promoting brain plasticity.

OBJECTIVE

We here propose a novel rehabilitation protocol for DOC patients that combines music-based intervention and NIBS in neurological patients. The main objectives are (i) to assess the residual neuroplastic processes in DOC patients exposed to music, (ii) to determine the putative neural modulation and the clinical outcome in DOC patients of non-pharmacological strategies, i.e., tES(control condition), and music stimulation, and (iii) to evaluate the putative positive impact of this intervention on caregiver's burden and psychological distress.

METHODS

This is a randomised cross-over trial in which a total of 30 participants will be randomly allocated to one of three different combinations of conditions: (i) Music only, (ii) tES only (control condition), (iii) Music + tES. The music intervention will consist of listening to an individually tailored playlist including familiar and self-relevant music together with fixed songs; concerning NIBS, tES will be applied for 20 minutes every day, 5 times a week, for two weeks. After these stimulations two weeks of placebo treatments will follow, with sham stimulation combined with noise for other two weeks. The primary outcomes will be clinical, i.e., based on the differences in the scores obtained on the neuropsychological tests, such as Coma Recovery Scale-Revised, and neurophysiological measures as EEG, collected pre-intervention, post-intervention and post-placebo.

DISCUSSION

This study proposes a novel rehabilitation protocol for patients with DOC including a combined intervention of music and NIBS. Considering the need for rigorous longitudinal randomised controlled trials for people with severe brain injury disease, the results of this study will be highly informative for highlighting and implementing the putative beneficial role of music and NIBS in rehabilitation treatments.

TRIAL REGISTRATION

ClinicalTrials.gov identifier: NCT05706831, registered on January 30, 2023.

Elevator music as a tool for the quantitative characterization of reward

While certain musical genres and songs are widely popular, there is still large variability in the music that individuals find rewarding or emotional, even among those with a similar musical enculturation. Interestingly, there is one Western genre that is intended to attract minimal attention and evoke a mild emotional response: elevator music. In a series of behavioral experiments, we show that elevator music consistently elicits low pleasure and surprise. Participants reported elevator music as being less pleasurable than music from popular genres, even when participants did not regularly listen to the comparison genre. Participants reported elevator music to be familiar even when they had not explicitly heard the presented song before. Computational and behavioral measures of surprisal showed that elevator music was less surprising, and thus more predictable, than other well-known genres. Elevator music covers of popular songs were rated as less pleasurable, surprising, and arousing than their original counterparts. Finally, we used elevator music as a control for self-selected rewarding songs in a proof-of-concept physiological (electrodermal activity and piloerection) experiment. Our results suggest that elevator music elicits low emotional responses consistently across Western music listeners, making it a unique control stimulus for studying musical novelty, pleasure, and surprise.

Predictive coding in musical anhedonia: A study of groove

Groove, or the pleasurable urge to move to music, offers unique insight into the relationship between emotion and action. The predictive coding of music model posits that groove is linked to predictions of music formed over time, with stimuli of moderate complexity rated as most pleasurable and likely to engender movement. At the same time, listeners vary in the pleasure they derive from music listening: individuals with musical anhedonia report reduced pleasure during music listening despite no impairments in music perception and no general anhedonia. Little is known about musical anhedonics' subjective experience of groove. Here we examined the relationship between groove and music reward sensitivity. Participants (n = 287) heard drum-breaks that varied in perceived complexity, and rated each for pleasure and wanting to move. Musical anhedonics (n = 13) had significantly lower ratings compared to controls (n = 13) matched on music perception abilities and general anhedonia. However, both groups demonstrated the classic inverted-U relationship between ratings of pleasure & move and stimulus complexity, with ratings peaking for intermediately complex stimuli. Across our entire sample, pleasure ratings were most strongly related with music reward sensitivity for highly complex stimuli (i.e., there was an interaction between music reward sensitivity and stimulus complexity). Finally, the sensorimotor subscale of music reward was uniquely associated with move, but not pleasure, ratings above and beyond the five other dimensions of musical reward. Results highlight the multidimensional nature of reward sensitivity and suggest that pleasure and wanting to move are driven by overlapping but separable mechanisms.

Musical anhedonia, timbre, and the rewards of music listening

Pleasure in music has been linked to predictive coding of melodic and rhythmic patterns, subserved by connectivity between regions in the brain's auditory and reward networks. Specific musical anhedonics derive little pleasure from music and have altered auditory-reward connectivity, but no difficulties with music perception abilities and no generalized physical anhedonia. Recent research suggests that specific musical anhedonics experience pleasure in nonmusical sounds, suggesting that the implicated brain pathways may be specific to music reward. However, this work used sounds with clear real-world sources (e.g., babies laughing, crowds cheering), so positive hedonic responses could be based on the referents of these sounds rather than the sounds themselves. We presented specific musical anhedonics and matched controls with isolated short pleasing and displeasing synthesized sounds of varying timbres with no clear real-world referents. While the two groups found displeasing sounds equally displeasing, the musical anhedonics gave substantially lower pleasure ratings to the pleasing sounds, indicating that their sonic anhedonia is not limited to musical rhythms and melodies. Furthermore, across a large sample of participants, mean pleasure ratings for pleasing synthesized sounds predicted significant and similar variance in six dimensions of musical reward considered to be relatively independent, suggesting that pleasure in sonic timbres play a role in eliciting reward-related responses to music. We replicate the earlier findings of preserved pleasure ratings for semantically referential sounds in musical anhedonics and find that pleasure ratings of semantic referents, when presented without sounds, correlated with ratings for the sounds themselves. This association was stronger in musical anhedonics than in controls, suggesting the use of semantic knowledge as a compensatory mechanism for affective sound processing. Our results indicate that specific musical anhedonia is not entirely specific to melodic and rhythmic processing, and suggest that timbre merits further research as a source of pleasure in music.

Bodily maps of musical sensations across cultures

Emotions, bodily sensations and movement are integral parts of musical experiences. Yet, it remains unknown i) whether emotional connotations and structural features of music elicit discrete bodily sensations and ii) whether these sensations are culturally consistent. We addressed these questions in a cross-cultural study with Western (European and North American, n = 903) and East Asian (Chinese, n = 1035). We precented participants with silhouettes of human bodies and asked them to indicate the bodily regions whose activity they felt changing while listening to Western and Asian musical pieces with varying emotional and acoustic qualities. The resulting bodily sensation maps (BSMs) varied as a function of the emotional qualities of the songs, particularly in the limb, chest, and head regions. Music-induced emotions and corresponding BSMs were replicable across Western and East Asian subjects. The BSMs clustered similarly across cultures, and cluster structures were similar for BSMs and self-reports of emotional experience. The acoustic and structural features of music were consistently associated with the emotion ratings and music-induced bodily sensations across cultures. These results highlight the importance of subjective bodily experience in music-induced emotions and demonstrate consistent associations between musical features, music-induced emotions, and bodily sensations across distant cultures.

Generating New Musical Preferences From Multilevel Mapping of Predictions to Reward

Much of what we know and love about music hinges on our ability to make successful predictions, which appears to be an intrinsically rewarding process. Yet the exact process by which learned predictions become pleasurable is unclear. Here we created novel melodies in an alternative scale different from any established musical culture to show how musical preference is generated de novo. Across nine studies (n = 1,185), adult participants learned to like more frequently presented items that adhered to this rapidly learned structure, suggesting that exposure and prediction errors both affected self-report liking ratings. Learning trajectories varied by music-reward sensitivity but were similar for U.S. and Chinese participants. Furthermore, functional MRI activity in auditory areas reflected prediction errors, whereas functional connectivity between auditory and medial prefrontal regions reflected both exposure and prediction errors. Collectively, results support predictive coding as a cognitive mechanism by which new musical sounds become rewarding.

Dopamine dysregulation in Parkinson's disease flattens the pleasurable urge to move to musical rhythms

The pleasurable urge to move to music (PLUMM) activates motor and reward areas of the brain and is thought to be driven by predictive processes. Dopamine in motor and limbic networks is implicated in beat-based timing and music-induced pleasure, suggesting a central role of basal ganglia (BG) dopaminergic systems in PLUMM. This study tested this hypothesis by comparing PLUMM in participants with Parkinson's disease (PD), age-matched controls, and young controls. Participants listened to musical sequences with varying rhythmic and harmonic complexity (low, medium and high), and rated their experienced pleasure and urge to move to the rhythm. In line with previous results, healthy younger participants showed an inverted U-shaped relationship between rhythmic complexity and ratings, with preference for medium complexity rhythms, while age-matched controls showed a similar, but weaker, inverted U-shaped response. Conversely, PD showed a significantly flattened response for both the urge to move and pleasure. Crucially, this flattened response could not be attributed to differences in rhythm discrimination and did not reflect an overall decrease in ratings. For harmonic complexity, PD showed a negative linear pattern for both the urge to move and pleasure while healthy age-matched controls showed the same pattern for pleasure and an inverted U for the urge to move. This contrasts with the pattern observed in young healthy controls in previous studies, suggesting that both healthy aging and PD also influence affective responses to harmonic complexity. Together, these results support the role of dopamine within cortico-striatal circuits in the predictive processes that form the link between the perceptual processing of rhythmic patterns and the affective and motor responses to rhythmic music.

The impact of musical reward responses on cognitive function in older adults with type 2 diabetes

Cognitive decline is prevalent in older adults with type 2 diabetes (T2DM). The use of music has emerged to improve cognitive health. Even though reward from music has been shown to improve cognitive function, no studies have focused on specific factors of musical reward. This study investigated which factors of musical reward impact cognitive function in older adults with T2DM. A secondary data analysis was conducted with 185 older adults with T2DM and subjective cognitive decline. Among the musical reward factors, mood regulation significantly influenced subjective cognitive function (β = 0.315; p < 0.001). The findings suggest that music interventions for older adults with T2DM may need to focus on managing their psychological states for the intervention to have beneficial effects on cognitive function. Future rigorous studies with larger sample sizes should be done to obtain robust evidence for optimal music interventions for older adults with T2DM.

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.

Auditory and reward structures reflect the pleasure of musical expectancies during naturalistic listening

Enjoying music consistently engages key structures of the neural auditory and reward systems such as the right superior temporal gyrus (R STG) and ventral striatum (VS). Expectations seem to play a central role in this effect, as preferences reliably vary according to listeners' uncertainty about the musical future and surprise about the musical past. Accordingly, VS activity reflects the pleasure of musical surprise, and exhibits stronger correlations with R STG activity as pleasure grows. Yet the reward value of musical surprise - and thus the reason for these surprises engaging the reward system - remains an open question. Recent models of predictive neural processing and learning suggest that forming, testing, and updating hypotheses about one's environment may be intrinsically rewarding, and that the constantly evolving structure of musical patterns could provide ample opportunity for this procedure. Consistent with these accounts, our group previously found that listeners tend to prefer melodic excerpts taken from real music when it either validates their uncertain melodic predictions (i.e., is high in uncertainty and low in surprise) or when it challenges their highly confident ones (i.e., is low in uncertainty and high in surprise). An independent research group (Cheung et al., 2019) replicated these results with musical chord sequences, and identified their fMRI correlates in the STG, amygdala, and hippocampus but not the VS, raising new questions about the neural mechanisms of musical pleasure that the present study seeks to address. Here, we assessed concurrent liking ratings and hemodynamic fMRI signals as 24 participants listened to 50 naturalistic, real-world musical excerpts that varied across wide spectra of computationally modeled uncertainty and surprise. As in previous studies, liking ratings exhibited an interaction between uncertainty and surprise, with the strongest preferences for high uncertainty/low surprise and low uncertainty/high surprise. FMRI results also replicated previous findings, with music liking effects in the R STG and VS. Furthermore, we identify interactions between uncertainty and surprise on the one hand, and liking and surprise on the other, in VS activity. Altogether, these results provide important support for the hypothesized role of the VS in deriving pleasure from learning about musical structure.

Functional Organization of Auditory and Reward Systems in Aging

The intrinsic organization of functional brain networks is known to change with age, and is affected by perceptual input and task conditions. Here, we compare functional activity and connectivity during music listening and rest between younger (n = 24) and older (n = 24) adults, using whole-brain regression, seed-based connectivity, and ROI-ROI connectivity analyses. As expected, activity and connectivity of auditory and reward networks scaled with liking during music listening in both groups. Younger adults show higher within-network connectivity of auditory and reward regions as compared with older adults, both at rest and during music listening, but this age-related difference at rest was reduced during music listening, especially in individuals who self-report high musical reward. Furthermore, younger adults showed higher functional connectivity between auditory network and medial prefrontal cortex that was specific to music listening, whereas older adults showed a more globally diffuse pattern of connectivity, including higher connectivity between auditory regions and bilateral lingual and inferior frontal gyri. Finally, connectivity between auditory and reward regions was higher when listening to music selected by the participant. These results highlight the roles of aging and reward sensitivity on auditory and reward networks. Results may inform the design of music-based interventions for older adults and improve our understanding of functional network dynamics of the brain at rest and during a cognitively engaging task.

Graph Theoretical Network Structures Underlie Age-Related Differences in the Functional Connectome During Rest and Music Listening

Aging is associated with decreased functional connectivity within the default mode network, as well as auditory and reward systems which are involved in music listening. Understanding how music listening affects network organization of the aging brain, both globally and specific to the brain networks, will have implications for designing lifestyle interventions that tap into distinct networks in the brain. Here we apply graph-theory metrics of modularity, global efficiency, clustering coefficients, degrees, and betweenness centrality to compare younger and older adults (YA/OA, N=24 per group) in fMRI connectivity during rest and a music listening task. Results show a less modular but more globally efficient connectome in OAs, especially during music listening, resulting in main effects of group and task, as well as group-by-task interactions. ROI analyses indicated that the posterior cingulate is more centrally located than the medial prefrontal cortex in OAs. Overall, reduced modularity and increased global efficiency with age is in keeping with previously-observed functional reorganizations, and interaction effects show that age-related differences in baseline network organization are reflected in, potentially magnified by, music listening.

Increased low-frequency brain responses to music after psilocybin therapy for depression

BACKGROUND

Psychedelic-assisted psychotherapy with psilocybin is an emerging therapy with great promise for depression, and modern psychedelic therapy (PT) methods incorporate music as a key element. Music is an effective emotional/hedonic stimulus that could also be useful in assessing changes in emotional responsiveness following PT.

METHODS

Brain responses to music were assessed before and after PT using functional Magnetic Resonance Imaging (fMRI) and ALFF (Amplitude of Low Frequency Fluctuations) analysis methods. Nineteen patients with treatment-resistant depression underwent two treatment sessions involving administration of psilocybin, with MRI data acquired one week prior and the day after completion of psilocybin dosing sessions.

RESULTS

Comparison of music-listening and resting-state scans revealed significantly greater ALFF in bilateral superior temporal cortex for the post-treatment music scan, and in the right ventral occipital lobe for the post-treatment resting-state scan. ROI analyses of these clusters revealed a significant effect of treatment in the superior temporal lobe for the music scan only. Voxelwise comparison of treatment effects showed relative increases for the music scan in the bilateral superior temporal lobes and supramarginal gyrus, and relative decreases in the medial frontal lobes for the resting-state scan. ALFF in these music-related clusters was significantly correlated with intensity of subjective effects felt during the dosing sessions.

LIMITATIONS

Open-label trial. Relatively small sample size.

CONCLUSIONS

These data suggest an effect of PT on the brain's response to music, implying an elevated responsiveness to music after psilocybin therapy that was related to subjective drug effects felt during dosing.

Universality, domain-specificity, and development of psychological responses to music

Humans can find music happy, sad, fearful, or spiritual. They can be soothed by it or urged to dance. Whether these psychological responses reflect cognitive adaptations that evolved expressly for responding to music is an ongoing topic of study. In this Review, we examine three features of music-related psychological responses that help to elucidate whether the underlying cognitive systems are specialized adaptations: universality, domain-specificity, and early expression. Focusing on emotional and behavioural responses, we find evidence that the relevant psychological mechanisms are universal and arise early in development. However, the existing evidence cannot establish that these mechanisms are domain-specific. To the contrary, many findings suggest that universal psychological responses to music reflect more general properties of emotion, auditory perception, and other human cognitive capacities that evolved for non-musical purposes. Cultural evolution, driven by the tinkering of musical performers, evidently crafts music to compellingly appeal to shared psychological mechanisms, resulting in both universal patterns (such as form-function associations) and culturally idiosyncratic styles.

Functional Organization of Auditory and Reward Systems in Aging

The intrinsic organization of functional brain networks is known to change with age, and is affected by perceptual input and task conditions. Here, we compare functional activity and connectivity during music listening and rest between younger (N=24) and older (N=24) adults, using whole brain regression, seed-based connectivity, and ROI-ROI connectivity analyses. As expected, activity and connectivity of auditory and reward networks scaled with liking during music listening in both groups. Younger adults show higher within-network connectivity of auditory and reward regions as compared to older adults, both at rest and during music listening, but this age-related difference at rest was reduced during music listening, especially in individuals who self-report high musical reward. Furthermore, younger adults showed higher functional connectivity between auditory network and medial prefrontal cortex (mPFC) that was specific to music listening, whereas older adults showed a more globally diffuse pattern of connectivity, including higher connectivity between auditory regions and bilateral lingual and inferior frontal gyri. Finally, connectivity between auditory and reward regions was higher when listening to music selected by the participant. These results highlight the roles of aging and reward sensitivity on auditory and reward networks. Results may inform the design of music- based interventions for older adults, and improve our understanding of functional network dynamics of the brain at rest and during a cognitively engaging task.

Can rhythm-mediated reward boost learning, memory, and social connection? Perspectives for future research

Studies of rhythm processing and of reward have progressed separately, with little connection between the two. However, consistent links between rhythm and reward are beginning to surface, with research suggesting that synchronization to rhythm is rewarding, and that this rewarding element may in turn also boost this synchronization. The current mini review shows that the combined study of rhythm and reward can be beneficial to better understand their independent and combined roles across two central aspects of cognition: 1) learning and memory, and 2) social connection and interpersonal synchronization; which have so far been studied largely independently. From this basis, it is discussed how connections between rhythm and reward can be applied to learning and memory and social connection across different populations, taking into account individual differences, clinical populations, human development, and animal research. Future research will need to consider the rewarding nature of rhythm, and that rhythm can in turn boost reward, potentially enhancing other cognitive and social processes.

The role of opioid transmission in music-induced pleasure

Studies conducted in rodents indicate a crucial role of the opioid circuit in mediating objective hedonic reactions to primary rewards. However, it remains unclear whether opioid transmission is also essential to experience pleasure with more abstract rewards, such as music. We addressed this question using a double-blind within-subject pharmacological design in which opioid levels were up- and downregulated by administering an opioid agonist (oxycodone) and antagonist (naltrexone), respectively, before healthy participants (n = 21) listened to music. Participants also performed a monetary incentive delay (MID) task to control for the effectiveness of the treatment and the specificity of the effects. Our results revealed that the pharmacological intervention did not modulate subjective reports of pleasure, nor the occurrence of chills. On the contrary, psychophysiological (objective) measures of emotional arousal, such as skin conductance responses (SCRs), were bidirectionally modulated in both the music and MID tasks. This modulation specifically occurred during reward consumption, with greater pleasure-related SCR following oxycodone than naltrexone. These findings indicate that opioid transmission does not modulate subjective evaluations but rather affects objective reward-related psychophysiological responses. These findings raise new caveats about the role of the opioidergic system in the modulation of pleasure for more abstract or cognitive forms of rewarding experiences, such as music.

Music engagement is negatively correlated with depressive symptoms during the COVID-19 pandemic via reward-related mechanisms

The COVID-19 pandemic has deeply affected the mental health of millions of people. We assessed which of many leisure activities correlated with positive mental health outputs, with particular attention to music, which has been reported to be important for coping with the psychological burden of the pandemic. Questionnaire data from about 1000 individuals primarily from Italy, Spain, and the United States during May-June 2020 show that people picked music activities (listening to, playing, singing, etc.) most often as the leisure experiences that helped them the most to cope with psychological distress related with the pandemic. During the pandemic, hours of engagement in music and food-related activities were associated with lower depressive symptoms. The negative correlation between music and depression was mediated by individual differences in sensitivity to reward, whereas the correlation between food-related activities and improved mental health outputs was explained by differences in emotion suppression strategies. Our results, while correlational, suggest that engaging in music activities could be related to improved well-being with the underlying mechanism being related to reward, consistent with neuroscience findings. Our data have practical significance in pointing to effective strategies to cope with mental health issues beyond those related to the COVID-19 pandemic.

Music and Brain Circuitry: Strategies for Strengthening Evidence-Based Research for Music-Based Interventions

The neuroscience of music and music-based interventions (MBIs) is a fascinating but challenging research field. While music is a ubiquitous component of every human society, MBIs may encompass listening to music, performing music, music-based movement, undergoing music education and training, or receiving treatment from music therapists. Unraveling the brain circuits activated and influenced by MBIs may help us gain better understanding of the therapeutic and educational values of MBIs by gathering strong research evidence. However, the complexity and variety of MBIs impose unique research challenges. This article reviews the recent endeavor led by the National Institutes of Health to support evidence-based research of MBIs and their impact on health and diseases. It also highlights fundamental challenges and strategies of MBI research with emphases on the utilization of animal models, human brain imaging and stimulation technologies, behavior and motion capturing tools, and computational approaches. It concludes with suggestions of basic requirements when studying MBIs and promising future directions to further strengthen evidence-based research on MBIs in connections with brain circuitry.SIGNIFICANCE STATEMENT Music and music-based interventions (MBI) engage a wide range of brain circuits and hold promising therapeutic potentials for a variety of health conditions. Comparative studies using animal models have helped in uncovering brain circuit activities involved in rhythm perception, while human imaging, brain stimulation, and motion capture technologies have enabled neural circuit analysis underlying the effects of MBIs on motor, affective/reward, and cognitive function. Combining computational analysis, such as prediction method, with mechanistic studies in animal models and humans may unravel the complexity of MBIs and their effects on health and disease.

Do we enjoy what we sense and perceive? A dissociation between aesthetic appreciation and basic perception of environmental objects or events

This integrative review rearticulates the notion of human aesthetics by critically appraising the conventional definitions, offerring a new, more comprehensive definition, and identifying the fundamental components associated with it. It intends to advance holistic understanding of the notion by differentiating aesthetic perception from basic perceptual recognition, and by characterizing these concepts from the perspective of information processing in both visual and nonvisual modalities. To this end, we analyze the dissociative nature of information processing in the brain, introducing a novel local-global integrative model that differentiates aesthetic processing from basic perceptual processing. This model builds on the current state of the art in visual aesthetics as well as newer propositions about nonvisual aesthetics. This model comprises two analytic channels: aesthetics-only channel and perception-to-aesthetics channel. The aesthetics-only channel primarily involves restricted local processing for quality or richness (e.g., attractiveness, beauty/prettiness, elegance, sublimeness, catchiness, hedonic value) analysis, whereas the perception-to-aesthetics channel involves global/extended local processing for basic feature analysis, followed by restricted local processing for quality or richness analysis. We contend that aesthetic processing operates independently of basic perceptual processing, but not independently of cognitive processing. We further conjecture that there might be a common faculty, labeled as aesthetic cognition faculty, in the human brain for all sensory aesthetics albeit other parts of the brain can also be activated because of basic sensory processing prior to aesthetic processing, particularly during the operation of the second channel. This generalized model can account not only for simple and pure aesthetic experiences but for partial and complex aesthetic experiences as well.

Memory modulations through musical pleasure

Music, thanks to its strong evocative power, is considered a powerful mnemonic tool for both normal and clinical populations. However, the mechanisms underpinning the music-driven benefits on memory remain unclear. In memory research, reward dopaminergic signals have been highlighted as a major modulator of memory traces consolidation. Over the last years, via behavioral and pharmacological approaches, we have investigated the hypothesis that dopaminergic-dependent musical pleasure is a crucial mechanism underpinning music-driven memory benefits. Our results show that the pleasure felt during music listening, modulated by both the dopaminergic transmission and participants' sensitivity to music reward, can increase episodic memory performance for the music itself as well as for nonmusical-associated information. In this commentary paper, we aim to review the main findings obtained from three different studies, in order to discuss current advances and future directions in this research area.

The early adolescent brain on music: Analysis of functional dynamics reveals engagement of orbitofrontal cortex reward system

Music listening plays a pivotal role for children and adolescents, yet it remains unclear how music modulates brain activity at the level of functional networks in this young population. Analysing the dynamics of brain networks occurring and dissolving over time in response to music can provide a better understanding of the neural underpinning of music listening. We collected functional magnetic resonance imaging (fMRI) data from 17 preadolescents aged 10-11 years while listening to two similar music pieces separated by periods without music. We subsequently tracked the occurrence of functional brain networks over the recording time using a recent method that detects recurrent patterns of phase-locking in the fMRI signals: the leading eigenvector dynamics analysis (LEiDA). The probabilities of occurrence and switching profiles of different functional networks were compared between periods of music and no music. Our results showed significantly increased occurrence of a specific functional network during the two music pieces compared to no music, involving the medial orbitofrontal and ventromedial prefrontal cortices-a brain subsystem associated to reward processing. Moreover, the higher the musical reward sensitivity of the preadolescents, the more this network was preceded by a pattern involving the insula. Our findings highlight the involvement of a brain subsystem associated with hedonic and emotional processing during music listening in the early adolescent brain. These results offer novel insight into the neural underpinnings of musical reward in early adolescence, improving our understanding of the important role and the potential benefits of music at this delicate age.

Integrating music-based interventions with Gamma-frequency stimulation: Implications for healthy ageing

In recent years, music-based interventions (MBIs) have risen in popularity as a non-invasive, sustainable form of care for treating dementia-related disorders, such as Mild Cognitive Impairment (MCI) and Alzheimer's disease (AD). Despite their clinical potential, evidence regarding the efficacy of MBIs on patient outcomes is mixed. Recently, a line of related research has begun to investigate the clinical impact of non-invasive Gamma-frequency (e.g., 40 Hz) sensory stimulation on dementia. Current work, using non-human-animal models of AD, suggests that non-invasive Gamma-frequency stimulation can remediate multiple pathophysiologies of dementia at the molecular, cellular and neural-systems scales, and, importantly, improve cognitive functioning. These findings suggest that the efficacy of MBIs could, in theory, be enhanced by incorporating Gamma-frequency stimulation into current MBI protocols. In the current review, we propose a novel clinical framework for non-invasively treating dementia-related disorders that combines previous MBIs with current approaches employing Gamma-frequency sensory stimulation. We theorize that combining MBIs with Gamma-frequency stimulation could increase the therapeutic power of MBIs by simultaneously targeting multiple biomarkers of dementia, restoring neural activity that underlies learning and memory (e.g., Gamma-frequency neural activity, Theta-Gamma coupling), and actively engaging auditory and reward networks in the brain to promote behavioural change.

Musical Enjoyment and Reward: From Hedonic Pleasure to Eudaimonic Listening

This article is a hypothesis and theory paper. It elaborates on the possible relation between music as a stimulus and its possible effects, with a focus on the question of why listeners are experiencing pleasure and reward. Though it is tempting to seek for a causal relationship, this has proven to be elusive given the many intermediary variables that intervene between the actual impingement on the senses and the reactions/responses by the listener. A distinction can be made, however, between three elements: (i) an objective description of the acoustic features of the music and their possible role as elicitors; (ii) a description of the possible modulating factors—both external/exogenous and internal/endogenous ones; and (iii) a continuous and real-time description of the responses by the listener, both in terms of their psychological reactions and their physiological correlates. Music listening, in this broadened view, can be considered as a multivariate phenomenon of biological, psychological, and cultural factors that, together, shape the overall, full-fledged experience. In addition to an overview of the current and extant research on musical enjoyment and reward, we draw attention to some key methodological problems that still complicate a full description of the musical experience. We further elaborate on how listening may entail both adaptive and maladaptive ways of coping with the sounds, with the former allowing a gentle transition from mere hedonic pleasure to eudaimonic enjoyment.

The forgotten role of absorption in music reward

Interindividual differences in music-related reward have been characterized as involving five main facets: musical seeking, emotion evocation, mood regulation, social reward, and sensory-motor. An interesting concept related to how humans decode music as a rewarding experience is music transcendence or absorption (i.e., music-driven states of complete immersion, including momentary loss of self-consciousness or even time-space disorientation). Here, we investigated the relation between previously characterized facets of music reward and individual differences in music absorption. A first sample of participants (N = 370) completed both the Barcelona Music Reward Questionnaire (BMRQ) and the Absorption in Music Scale (AIMS). Results showed that both constructs were highly interrelated (r = 0.78, p < 0.001), indicating that higher music reward sensitivity is associated with a greater tendency to music-related absorption states. In addition, four items from the AIMS were identified as suitable to be added to an extended version of the BMRQ (eBMRQ). A second sample (N = 550) completed the eBMRQ for a validation study. Exploratory and confirmatory factor analyses on the whole sample (N = 920) showed the reliable psychometric properties of the eBMRQ and suggested that taking into account an absorption facet could contribute to a better characterization of individual differences in the sensitivity to experience music-related reward and pleasure.

Musical reward across the lifespan

Music is ubiquitous. Despite the fact that most people find music enjoyable, there are individual differences in the degree to which listeners derive pleasure from music. However, there has been little focus on how musical reward may change across the lifespan. Some theories predict that there would be little change, or even an increase in musical reward across the lifespan, while others suggest that older adults may have decreased capacity for musical reward. Here, we investigated musical reward across the lifespan. Participants consisted of American adults ranging between 20-85 years old (n = 20 participants in each 10-year age bin). Participants in Study 1 completed the Barcelona Music Reward Questionnaire (BMRQ), which is a multi-dimensional assessment of musical reward. We found a negative correlation between age and BMRQ scores, suggesting decreases in musical reward across the lifespan. When investigating which components were driving this effect, we found that the music seeking subscale was the strongest predictor of age. Participants in Study 2 completed the Aesthetic Experiences in Music Scale (AES-M), which focuses on intense emotional responses to music. In contrast to the BMRQ, we found no relationship between age and scores on the AES-M, suggesting that strong emotional responses to music are consistent across the lifespan. These results have implications for the use of music as a therapeutic tool in older adults. In addition, this work points to the importance of considering age when investigating reward for music and suggests that the ways individuals experience music may change across the lifespan.

Relationships between Personality Traits and Brain Gray Matter Are Different in Risky and Non-risky Drivers

Personality traits such as impulsivity or sensitivity to rewards and punishments have been associated with risky driving behavior, but it is still unclear how brain anatomy is related to these traits as a function of risky driving. In the present study, we explore the neuroanatomical basis of risky driving behavior and how the level of risk-taking influences the relationship between the traits of impulsivity and sensitivity to rewards and punishments and brain gray matter volume. One hundred forty-four participants with different risk-taking tendencies assessed by real-life driving situations underwent MRI. Personality traits were assessed with self-report measures. We observed that the total gray matter volume varied as a function of risky driving tendencies, with higher risk individuals showing lower gray matter volumes. Similar results were found for volumes of brain areas involved in the reward and cognitive control networks, such as the frontotemporal, parietal, limbic, and cerebellar cortices. We have also shown that sensitivity to reward and punishment and impulsivity are differentially related to gray matter volumes as a function of risky driving tendencies. Highly risky individuals show lower absolute correlations with gray matter volumes than less risk-prone individuals. Taken together, our results show that risky drivers differ in the brain structure of the areas involved in reward processing, cognitive control, and behavioral modulation, which may lead to dysfunctional decision-making and riskier driving behavior.

Exploring the Effects of Brain Stimulation on Musical Taste: tDCS on the Left Dorso-Lateral Prefrontal Cortex—A Null Result

Humans are the only species capable of experiencing pleasure from esthetic stimuli, such as art and music. Neuroimaging evidence suggests that the left dorsolateral prefrontal cortex (DLPFC) plays a critical role in esthetic judgments, both in music and in visual art. In the last decade, non-invasive brain stimulation (NIBS) has been increasingly employed to shed light on the causal role of different brain regions contributing to esthetic appreciation. In Experiment #1, musician (N = 20) and non-musician (N = 20) participants were required to judge musical stimuli in terms of “liking” and “emotions”. No significant differences between groups were found, although musicians were slower than non-musicians in both tasks, likely indicating a more analytic judgment, due to musical expertise. Experiment #2 investigated the putative causal role of the left dorsolateral pre-frontal cortex (DLPFC) in the esthetic appreciation of music, by means of transcranial direct current stimulation (tDCS). Unlike previous findings in visual art, no significant effects of tDCS were found, suggesting that stimulating the left DLPFC is not enough to affect the esthetic appreciation of music, although this conclusion is based on negative evidence,.

Music in the brain

Music is ubiquitous across human cultures - as a source of affective and pleasurable experience, moving us both physically and emotionally - and learning to play music shapes both brain structure and brain function. Music processing in the brain - namely, the perception of melody, harmony and rhythm - has traditionally been studied as an auditory phenomenon using passive listening paradigms. However, when listening to music, we actively generate predictions about what is likely to happen next. This enactive aspect has led to a more comprehensive understanding of music processing involving brain structures implicated in action, emotion and learning. Here we review the cognitive neuroscience literature of music perception. We show that music perception, action, emotion and learning all rest on the human brain's fundamental capacity for prediction - as formulated by the predictive coding of music model. This Review elucidates how this formulation of music perception and expertise in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music making. This in turn has important implications for human creativity as evinced by music improvisation. These recent advances shed new light on what makes music meaningful from a neuroscientific perspective.

Music affects functional brain connectivity and is effective in the treatment of neurological disorders

In a million years, under the pressure of natural selection, hominins have acquired the abilities for vocal learning, music, and language. Music is a relevant human activity, highly effective in enhancing sociality, is a universal experience common to all known human cultures, although it varies in rhythmic and melodic complexity. It has been part of human life since the beginning of our history, or almost, and it strengthens the mother-baby relation even within the mother's womb. Music engages multiple cognitive functions, and promotes attention, concentration, imagination, creativity, elicits memories and emotions, and stimulates imagination, and harmony of movement. It changes the chemistry of the brain, by inducing the release of neurotransmitters and hormones (dopamine, serotonin, and oxytocin) and activates the reward and prosocial systems. In addition, music is also used to develop new therapies necessary to alleviate severe illness, especially neurological disorders, and brain injuries.

Decoding peak emotional responses to music from computational acoustic and lyrical features

Music can evoke strong emotions. Research has suggested that pleasurable chills (shivering) and tears (weeping) are peak emotional responses to music. The present study examines whether computational acoustic and lyrical features can decode chills and tears. The experiment comprises 186 pieces of self-selected music to evoke emotional responses from 54 Japanese participants. Machine learning analysis with L2-norm-regularization regression revealed the decoding accuracy and specified well-defined features. In Study 1, time-series acoustic features significantly decoded emotional chills, tears, and the absence of chills or tears by using information within a few seconds before and after the onset of the three responses. The classification results showed three significant periods, indicating that complex anticipation-resolution mechanisms lead to chills and tears. Evoking chills was particularly associated with rhythm uncertainty, while evoking tears was related to harmony. Violating rhythm expectancy may have been a trigger for chills, while the harmonious overlapping of acoustic spectra may have played a role in evoking tears. In Study 2, acoustic and lyrical features from the entire piece decoded tears but not chill frequency. Mixed emotions stemming from happiness were associated with major chords, while lyric content related to sad farewells can contribute to the prediction of emotional tears, indicating that distinctive emotions in music may evoke a tear response. When considered in tandem with theoretical studies, the violation of rhythm may biologically boost both the pleasure- and fight-related physiological response of chills, whereas tears may be evolutionarily embedded in the social bonding effect of musical harmony and play a unique role in emotional regulation.

Music in Noise: Neural Correlates Underlying Noise Tolerance in Music-Induced Emotion

Music can be experienced in various acoustic qualities. In this study, we investigated how the acoustic quality of the music can influence strong emotional experiences, such as musical chills, and the neural activity. The music’s acoustic quality was controlled by adding noise to musical pieces. Participants listened to clear and noisy musical pieces and pressed a button when they experienced chills. We estimated neural activity in response to chills under both clear and noisy conditions using functional magnetic resonance imaging (fMRI). The behavioral data revealed that compared with the clear condition, the noisy condition dramatically decreased the number of chills and duration of chills. The fMRI results showed that under both noisy and clear conditions the supplementary motor area, insula, and superior temporal gyrus were similarly activated when participants experienced chills. The involvement of these brain regions may be crucial for music-induced emotional processes under the noisy as well as the clear condition. In addition, we found a decrease in the activation of the right superior temporal sulcus when experiencing chills under the noisy condition, which suggests that music-induced emotional processing is sensitive to acoustic quality.

Different theta connectivity patterns underlie pleasantness evoked by familiar and unfamiliar music

Music-evoked pleasantness has been extensively reported to be modulated by familiarity. Nevertheless, while the brain temporal dynamics underlying the process of giving value to music are beginning to be understood, little is known about how familiarity might modulate the oscillatory activity associated with music-evoked pleasantness. The goal of the present experiment was to study the influence of familiarity in the relation between theta phase synchronization and music-evoked pleasantness. EEG was recorded from 22 healthy participants while they were listening to both familiar and unfamiliar music and rating the experienced degree of evoked pleasantness. By exploring interactions, we found that right fronto-temporal theta synchronization was positively associated with music-evoked pleasantness when listening to unfamiliar music. On the contrary, inter-hemispheric temporo-parietal theta synchronization was positively associated with music-evoked pleasantness when listening to familiar music. These results shed some light on the possible oscillatory mechanisms underlying fronto-temporal and temporo-parietal connectivity and their relationship with music-evoked pleasantness and familiarity.

Audience facial expressions detected by automated face analysis software reflect emotions in music

An abundance of studies on emotional experiences in response to music have been published over the past decades, however, most have been carried out in controlled laboratory settings and rely on subjective reports. Facial expressions have been occasionally assessed but measured using intrusive methods such as facial electromyography (fEMG). The present study investigated emotional experiences of fifty participants in a live concert. Our aims were to explore whether automated face analysis could detect facial expressions of emotion in a group of people in an ecologically valid listening context, to determine whether emotions expressed by the music predicted specific facial expressions and examine whether facial expressions of emotion could be used to predict subjective ratings of pleasantness and activation. During the concert, participants were filmed and facial expressions were subsequently analyzed with automated face analysis software. Self-report on participants’ subjective experience of pleasantness and activation were collected after the concert for all pieces (two happy, two sad). Our results show that the pieces that expressed sadness resulted in more facial expressions of sadness (compared to happiness), whereas the pieces that expressed happiness resulted in more facial expressions of happiness (compared to sadness). Differences for other facial expression categories (anger, fear, surprise, disgust, and neutral) were not found. Independent of the musical piece or emotion expressed in the music facial expressions of happiness predicted ratings of subjectively felt pleasantness, whilst facial expressions of sadness and disgust predicted low and high ratings of subjectively felt activation, respectively. Together, our results show that non-invasive measurements of audience facial expressions in a naturalistic concert setting are indicative of emotions expressed by the music, and the subjective experiences of the audience members themselves.

Differences in regional gray matter volume predict the extent to which openness influences judgments of beauty and pleasantness of interior architectural spaces

Hedonic evaluation of sensory objects varies from person to person. While this variability has been linked to differences in experience, little is known about why stimuli lead to different evaluations in different people. We used linear mixed-effects models to determine the extent to which the openness, contour, and ceiling height of interior spaces influenced the beauty and pleasantness ratings of 18 participants. Then, by analyzing structural brain images acquired for the same group of participants, we asked if any regional gray matter volume (rGMV) covaried with these differences in the extent to which the three features influence beauty and pleasantness ratings. Voxel-based morphometry analysis revealed that the influence of openness on pleasantness ratings correlated with rGMV in the anterior prefrontal cortex (Brodmann area (BA)-10), and the influence of openness on beauty ratings correlated with rGMV in the temporal pole (BA38) and cluster, including the posterior cingulate cortex (BA31) and paracentral lobule (BA5/6). There were no significant correlations involving contour or ceiling height. Our results suggest that regional variance in gray matter volume may play a role in the computation of hedonic valuation and account for differences in the way people weigh certain attributes of interior architectural spaces.

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.

Dopamine modulations of reward-driven music memory consolidation

Music listening provides one of the most significant abstract rewards for humans because hearing music activates the dopaminergic mesolimbic system. Given the strong link between reward, dopamine, and memory, we aimed here to investigate the hypothesis that dopamine-dependent musical reward can drive memory improvements. Twenty-nine healthy participants of both sexes provided reward ratings of unfamiliar musical excerpts that had to be remembered following a consolidation period under three separate conditions: after the ingestion of a dopaminergic antagonist, a dopaminergic precursor, or a placebo. Linear mixed modeling of the intervention data showed that the effect of reward on memory-i.e., the greater the reward experienced while listening to the musical excerpts, the better the memory recollection performance-was modulated by both dopaminergic signaling and individual differences in reward processing. Greater pleasure was consistently associated with better memory outcomes in participants with high sensitivity to musical reward, but this effect was lost when dopaminergic signaling was disrupted in participants with average or low musical hedonia. Our work highlights the flexibility of the human dopaminergic system, which can enhance memory formation not only through explicit and/or primary reinforcers but also via abstract and aesthetic rewards such as music.

Engagement in Music-Related Activities During the COVID-19 Pandemic as a Mirror of Individual Differences in Musical Reward and Coping Strategies

The COVID-19 pandemic and the measures taken to mitigate its impact (e.g., confinement orders) have affected people's lives in profound ways that would have been unimagable only months before the pandemic began. Media reports from the height of the pandemic's initial international surge frequently highlighted that many people were engaging in music-related activities (from singing and dancing to playing music from balconies and attending virtual concerts) to help them cope with the strain of the pandemic. Our first goal in this study was to investigate changes in music-related habits due to the pandemic. We also investigated whether engagement in distinct music-related activities (singing, listening, dancing, etc.) was associated with individual differences in musical reward, music perception, musical training, or emotional regulation strategies. To do so, we collected detailed (~1 h-long) surveys during the initial peak of shelter-in-place order implementation (May-June 2020) from over a thousand individuals across different Countries in which the pandemic was especially devastating at that time: the USA, Spain, and Italy. Our findings indicate that, on average, people spent more time in music-related activities while under confinement than they had before the pandemic. Notably, this change in behavior was dependent on individual differences in music reward sensitivity, and in emotional regulation strategies. Finally, the type of musical activity with which individuals engaged was further associated with the degree to which they used music as a way to regulate stress, to address the lack of social interaction (especially the individuals more concerned about the risk of contracting the virus), or to cheer themselves up (especially those who were more worried about the pandemic consequences). Identifying which music-related activities have been particularly sought for by the population as a means for coping with such heightened uncertainty and stress, and understanding the individual differences that underlie said propensities are crucial to implementing personalized music-based interventions that aim to reduce stress, anxiety, and depression symptoms.

Recognition of musical emotions in the behavioral variant of frontotemporal dementia

INTRODUCTION

Multiple investigations have revealed that patients with behavioral variant of frontotemporal dementia (bvFTD) experience difficulty recognizing emotional signals in multiple processing modalities (e.g., faces, prosody). Few studies have evaluated the recognition of musical emotions in these patients. This research aims to evaluate the ability of subjects with bvFTD to recognize musical stimuli with positive and negative emotions, in comparison with healthy subjects.

METHODS

bvFTD (n=12) and healthy control participants (n=24) underwent a test of musical emotion recognition: 56 fragments of piano music were randomly reproduced, 14 for each of the emotions (happiness, sadness, fear, and peacefulness).

RESULTS

In the subjects with bvFTD, a mean of correct answers of 23.6 (42.26%) was observed in contrast to the control subjects, where the average number of correct answers was 36.3 (64.8%). Statistically significant differences were found for each of the evaluated musical emotions and in the total score on the performed test (P<.01). The within-group analysis showed greater difficulty for both groups in recognizing negative musical emotions (sadness, fear), with the subjects with bvFTD exhibiting worse performance.

CONCLUSIONS

Our results indicate that the recognition of musical stimuli with positive (happiness, peacefulness) and negative (sadness, fear) emotions are compromised in patients with bvFTD. The processing of negative musical emotions is the most difficult for these individuals.

On the estimate of music appraisal from surface EEG: a dynamic-network approach based on cross-sensor PAC measurements

Objective.The aesthetic evaluation of music is strongly dependent on the listener and reflects manifold brain processes that go well beyond the perception of incident sound. Being a high-level cognitive reaction, it is difficult to predict merely from the acoustic features of the audio signal and this poses serious challenges to contemporary music recommendation systems. We attempted to decode music appraisal from brain activity, recorded via wearable EEG, during music listening.Approach.To comply with the dynamic nature of music stimuli, cross-frequency coupling measurements were employed in a time-evolving manner to capture the evolving interactions between distinct brain-rhythms during music listening. Brain response to music was first represented as a continuous flow of functional couplings referring to both regional and inter-regional brain dynamics and then modelled as an ensemble of time-varying (sub)networks. Dynamic graph centrality measures were derived, next, as the final feature-engineering step and, lastly, a support-vector machine was trained to decode the subjective music appraisal. A carefully designed experimental paradigm provided the labeled brain signals.Main results.Using data from 20 subjects, dynamic programming to tailor the decoder to each subject individually and cross-validation, we demonstrated highly satisfactory performance (MAE= 0.948,R²= 0.63) that can be attributed, mostly, to interactions of left frontal gamma rhythm. In addition, our music-appraisal decoder was also employed in a part of the DEAP dataset with similar success. Finally, even a generic version of the decoder (common for all subjects) was found to perform sufficiently.Significance.A novel brain signal decoding scheme was introduced and validated empirically on suitable experimental data. It requires simple operations and leaves room for real-time implementation. Both the code and the experimental data are publicly available.

Neocortical substrates of feelings evoked with music in the ACC, insula, and somatosensory cortex

Neurobiological models of emotion focus traditionally on limbic/paralimbic regions as neural substrates of emotion generation, and insular cortex (in conjunction with isocortical anterior cingulate cortex, ACC) as the neural substrate of feelings. An emerging view, however, highlights the importance of isocortical regions beyond insula and ACC for the subjective feeling of emotions. We used music to evoke feelings of joy and fear, and multivariate pattern analysis (MVPA) to decode representations of feeling states in functional magnetic resonance (fMRI) data of n = 24 participants. Most of the brain regions providing information about feeling representations were neocortical regions. These included, in addition to granular insula and cingulate cortex, primary and secondary somatosensory cortex, premotor cortex, frontal operculum, and auditory cortex. The multivoxel activity patterns corresponding to feeling representations emerged within a few seconds, gained in strength with increasing stimulus duration, and replicated results of a hypothesis-generating decoding analysis from an independent experiment. Our results indicate that several neocortical regions (including insula, cingulate, somatosensory and premotor cortices) are important for the generation and modulation of feeling states. We propose that secondary somatosensory cortex, which covers the parietal operculum and encroaches on the posterior insula, is of particular importance for the encoding of emotion percepts, i.e., preverbal representations of subjective feeling.

Evaluative judgment across domains: Liking balance, contour, symmetry and complexity in melodies and visual designs

Evaluative judgment-i.e., assessing to what degree a stimulus is liked or disliked-is a fundamental aspect of cognition, facilitating comparison and choosing among alternatives, deciding, and prioritizing actions. Neuroimaging studies have shown that evaluative judgment involves the projection of sensory information to the reward circuit. To investigate whether evaluative judgments are based on modality-specific or modality-general attributes, we compared the extent to which balance, contour, symmetry, and complexity affect liking responses in the auditory and visual modalities. We found no significant correlation for any of the four attributes across sensory modalities, except for contour. This suggests that evaluative judgments primarily rely on modality-specific sensory representations elaborated in the brain's sensory cortices and relayed to the reward circuit, rather than abstract modality-general representations. The individual traits art experience, openness to experience, and desire for aesthetics were associated with the extent to which design or compositional attributes influenced liking, but inconsistently across sensory modalities and attributes, also suggesting modality-specific influences.

Decoding Music-Evoked Emotions in the Auditory and Motor Cortex

Music can induce strong subjective experience of emotions, but it is debated whether these responses engage the same neural circuits as emotions elicited by biologically significant events. We examined the functional neural basis of music-induced emotions in a large sample (n = 102) of subjects who listened to emotionally engaging (happy, sad, fearful, and tender) pieces of instrumental music while their hemodynamic brain activity was measured with functional magnetic resonance imaging (fMRI). Ratings of the four categorical emotions and liking were used to predict hemodynamic responses in general linear model (GLM) analysis of the fMRI data. Multivariate pattern analysis (MVPA) was used to reveal discrete neural signatures of the four categories of music-induced emotions. To map neural circuits governing non-musical emotions, the subjects were scanned while viewing short emotionally evocative film clips. The GLM revealed that most emotions were associated with activity in the auditory, somatosensory, and motor cortices, cingulate gyrus, insula, and precuneus. Fear and liking also engaged the amygdala. In contrast, the film clips strongly activated limbic and cortical regions implicated in emotional processing. MVPA revealed that activity in the auditory cortex and primary motor cortices reliably discriminated the emotion categories. Our results indicate that different music-induced basic emotions have distinct representations in regions supporting auditory processing, motor control, and interoception but do not strongly rely on limbic and medial prefrontal regions critical for emotions with survival value.

Unraveling the Temporal Dynamics of Reward Signals in Music-Induced Pleasure with TMS

Music's ability to induce feelings of pleasure has been the subject of intense neuroscientific research lately. Prior neuroimaging studies have shown that music-induced pleasure engages cortico-striatal circuits related to the anticipation and receipt of biologically relevant rewards/incentives, but these reports are necessarily correlational. Here, we studied both the causal role of this circuitry and its temporal dynamics by applying transcranial magnetic stimulation (TMS) over the left dorsolateral PFC combined with fMRI in 17 male and female participants. Behaviorally, we found that, in accord with previous findings, excitation of fronto-striatal pathways enhanced subjective reports of music-induced pleasure and motivation, whereas inhibition of the same circuitry led to the reduction of both. fMRI activity patterns indicated that these behavioral changes were driven by bidirectional TMS-induced alteration of fronto-striatal function. Specifically, changes in activity in the NAcc predicted modulation of both hedonic and motivational responses, with a dissociation between pre-experiential versus experiential components of musical reward. In addition, TMS-induced changes in the fMRI functional connectivity between the NAcc and frontal and auditory cortices predicted the degree of modulation of hedonic responses. These results indicate that the engagement of cortico-striatal pathways and the NAcc, in particular, is indispensable to experience rewarding feelings from music.SIGNIFICANCE STATEMENT Neuroimaging studies have shown that music-induced pleasure engages cortico-striatal circuits involved in the processing of biologically relevant rewards. Yet, these reports are necessarily correlational. Here, we studied both the causal role of this circuitry and its temporal dynamics by combining brain stimulation over the frontal cortex with functional imaging. Behaviorally, we found that excitation and inhibition of fronto-striatal pathways enhanced and disrupted, respectively, subjective reports of music-induced pleasure and motivation. These changes were associated with changes in NAcc activity and NAcc coupling with frontal and auditory cortices, dissociating between pre-experimental versus experiential components of musical reward. These results indicate that the engagement of cortico-striatal pathways, and the NAcc in particular, is indispensable to experience rewarding feeling from music.

Recognition of musical emotions in the behavioral variant of frontotemporal dementia

INTRODUCTION

Multiple investigations have revealed that patients with behavioral variant of frontotemporal dementia (bvFTD) experience difficulty recognizing emotional signals in multiple processing modalities (e.g., faces, prosody). Few studies have evaluated the recognition of musical emotions in these patients. This research aims to evaluate the ability of subjects with bvFTD to recognize musical stimuli with positive and negative emotions, in comparison with healthy subjects.

METHODS

bvFTD (n=12) and healthy control participants (n=24) underwent a test of musical emotion recognition: 56 fragments of piano music were randomly reproduced, 14 for each of the emotions (happiness, sadness, fear, and peacefulness).

RESULTS

In the subjects with bvFTD, a mean of correct answers of 23.6 (42.26%) was observed in contrast to the control subjects, where the average number of correct answers was 36.3 (64.8%). Statistically significant differences were found for each of the evaluated musical emotions and in the total score on the performed test (P<.01). The within-group analysis showed greater difficulty for both groups in recognizing negative musical emotions (sadness, fear), with the subjects with bvFTD exhibiting worse performance.

CONCLUSIONS

Our results indicate that the recognition of musical stimuli with positive (happiness, peacefulness) and negative (sadness, fear) emotions are compromised in patients with bvFTD. The processing of negative musical emotions is the most difficult for these individuals.

'Defrosting' music chills with naltrexone: The role of endogenous opioids for the intensity of musical pleasure

The endogenous opioid system has been implicated during experiences of pleasure (i.e., from food or sex). Music can elicit intense emotional and bodily sensations of pleasure, called 'Chills'. We investigated the effects of an opioid antagonist (50 mg naltrexone) or placebo (40 μg d3-vitamin) while listening to self-selected music or other 'control' music selected by another participant. We used a novel technique of continuous measurement of pleasantness with an eye tracker system, where participants shifted their eyes along a visual analogue scale, in the semblance of a thermometer so that, as the music unfolded, gaze positions indicated the self-reported hedonic experience. Simultaneously, we obtained pupil diameters. Self-reported pleasure remained unchanged by naltrexone, which - however - selectively decreased pupillary diameters during 'Chills'. Hence, the endogenous μ-opioid signaling is not necessary for subjective enjoyment of music but an opioid blockade dampens pupil responses to peak pleasure, consistent with decreased arousal to the music.