Prefrontal High Gamma in ECoG Tags Periodicity of Musical Rhythms in Perception and Imagination

Decoding reveals the neural representation of perceived and imagined musical sounds

Vividly imagining a song or a melody is a skill that many people accomplish with relatively little effort. However, we are only beginning to understand how the brain represents, holds, and manipulates these musical "thoughts." Here, we decoded perceived and imagined melodies from magnetoencephalography (MEG) brain data (N = 71) to characterize their neural representation. We found that, during perception, auditory regions represent the sensory properties of individual sounds. In contrast, a widespread network including fronto-parietal cortex, hippocampus, basal nuclei, and sensorimotor regions hold the melody as an abstract unit during both perception and imagination. Furthermore, the mental manipulation of a melody systematically changes its neural representation, reflecting volitional control of auditory images. Our work sheds light on the nature and dynamics of auditory representations, informing future research on neural decoding of auditory imagination.

Musicians' pursuit of expertise-related goals is characterised by strategic regulation of functional and counterproductive affect

Background

Emotion regulation is an important part of effective goal pursuit. Functional accounts of emotion regulation suggest that the attainment of challenging goals may be supported by regulating emotions which promote utilitarian over hedonic outcomes. When pursuing the challenging, long-term goal of acquiring expert musical skills and knowledge, musicians may wish to prioritise whichever emotions are most conducive to attaining this goal, even if those emotions are not necessarily positive.

Methods

Via an online questionnaire, musicians (N = 421) answered questions concerning their musical experience and their expertise-related practice goals. They also reported how strongly they experienced different emotions during practice, and how strongly they desired to either increase or decrease the intensity of those same emotions. Data were analysed using inferential frequentist statistics and Bayesian mixed effects models. Evidence ratios (ER) > 19 were considered strong evidence in favour of an effect.

Results

Our analysis showed that musicians experienced and desired strong levels of positive emotions in their practice. In addition, they reported greater desire to intensify positive compared to negative emotions [paired t (420) = 58.13, p < 0.001]. Our Bayesian mixed effects model provided strong evidence that greater desire to intensify anger increased the probability that an observation derived from a musician with stronger expertise-related goals [Est = 0.70; Odds (Est > 0) > 9,999]. In addition to anger, higher levels of expertise-related goals were increasingly predicted by less strong desire to intensify guilt and gloom and greater desire to reduce downheartedness (all ER > 19).

Discussion

Overall, musicians had a strong, general desire to intensify positive emotions during their musical practice. However, musicians with higher levels of expertise-related goals increasingly indicated a nuanced approach regarding how they desired to regulate certain negative emotions. Findings suggest that musicians engage in selective and sophisticated emotion regulation behaviour that aligns with their long-term commitment to develop musical expertise. They may prioritise emotions which may be functionally beneficial, whilst avoiding emotions which may be counterproductive or undermine efforts. Findings from this study contribute to our understanding of expertise-related, domain-specific emotion regulation behaviour and may inform the design of prioritised musical practice strategies.

Hierarchical syntax model of music predicts theta power during music listening

Linguistic research showed that the depth of syntactic embedding is reflected in brain theta power. Here, we test whether this also extends to non-linguistic stimuli, specifically music. We used a hierarchical model of musical syntax to continuously quantify two types of expert-annotated harmonic dependencies throughout a piece of Western classical music: prolongation and preparation. Prolongations can roughly be understood as a musical analogue to linguistic coordination between constituents that share the same function (e.g., 'pizza' and 'pasta' in 'I ate pizza and pasta'). Preparation refers to the dependency between two harmonies whereby the first implies a resolution towards the second (e.g., dominant towards tonic; similar to how the adjective implies the presence of a noun in 'I like spicy … '). Source reconstructed MEG data of sixty-five participants listening to the musical piece was then analysed. We used Bayesian Mixed Effects models to predict theta envelope in the brain, using the number of open prolongation and preparation dependencies as predictors whilst controlling for audio envelope. We observed that prolongation and preparation both carry independent and distinguishable predictive value for theta band fluctuation in key linguistic areas such as the Angular, Superior Temporal, and Heschl's Gyri, or their right-lateralised homologues, with preparation showing additional predictive value for areas associated with the reward system and prediction. Musical expertise further mediated these effects in language-related brain areas. Results show that predictions of precisely formalised music-theoretical models are reflected in the brain activity of listeners which furthers our understanding of the perception and cognition of musical structure.

Individualized music induces theta-gamma phase-amplitude coupling in patients with disorders of consciousness

Objective

This study aimed to determine whether patients with disorders of consciousness (DoC) could experience neural entrainment to individualized music, which explored the cross-modal influences of music on patients with DoC through phase-amplitude coupling (PAC). Furthermore, the study assessed the efficacy of individualized music or preferred music (PM) versus relaxing music (RM) in impacting patient outcomes, and examined the role of cross-modal influences in determining these outcomes.

Methods

Thirty-two patients with DoC [17 with vegetative state/unresponsive wakefulness syndrome (VS/UWS) and 15 with minimally conscious state (MCS)], alongside 16 healthy controls (HCs), were recruited for this study. Neural activities in the frontal-parietal network were recorded using scalp electroencephalography (EEG) during baseline (BL), RM and PM. Cerebral-acoustic coherence (CACoh) was explored to investigate participants' abilitiy to track music, meanwhile, the phase-amplitude coupling (PAC) was utilized to evaluate the cross-modal influences of music. Three months post-intervention, the outcomes of patients with DoC were followed up using the Coma Recovery Scale-Revised (CRS-R).

Results

HCs and patients with MCS showed higher CACoh compared to VS/UWS patients within musical pulse frequency (p = 0.016, p = 0.045; p < 0.001, p = 0.048, for RM and PM, respectively, following Bonferroni correction). Only theta-gamma PAC demonstrated a significant interaction effect between groups and music conditions (F (2,44) = 2.685, p = 0.036). For HCs, the theta-gamma PAC in the frontal-parietal network was stronger in the PM condition compared to the RM (p = 0.016) and BL condition (p < 0.001). For patients with MCS, the theta-gamma PAC was stronger in the PM than in the BL (p = 0.040), while no difference was observed among the three music conditions in patients with VS/UWS. Additionally, we found that MCS patients who showed improved outcomes after 3 months exhibited evident neural responses to preferred music (p = 0.019). Furthermore, the ratio of theta-gamma coupling changes in PM relative to BL could predict clinical outcomes in MCS patients (r = 0.992, p < 0.001).

Conclusion

Individualized music may serve as a potential therapeutic method for patients with DoC through cross-modal influences, which rely on enhanced theta-gamma PAC within the consciousness-related network.

Thematic Contents of Mental Imagery are Shaped by Concurrent Task-Irrelevant Music

Imagination plays a key role in evidence-based, cognitive therapies, and recent research highlights that music - a perceptual stimulus imbued with affective and social meaning - can influence some aspects of imagination, such as vividness and emotional tone. However, little is known about music's capability to facilitate specific imagery themes that may be relevant for therapy. Here, we examine whether the quantity and quality (related to themes of affect, social dynamics, and confidence) of people's imagery is affected by the presence of task-irrelevant background music. One hundred participants imagined the continuation of a figure's journey while listening to different musical excerpts or silence. Written reports of imagined journeys underwent linguistic analysis to reveal the number of words belonging to the themes of interest. Bayesian Mixed Effects models revealed that music (vs. silence) led to longer reports and predicted imagery characterised by affect, social dynamics, and confidence. Implications for therapy are discussed.

Music can be reconstructed from human auditory cortex activity using nonlinear decoding models

Music is core to human experience, yet the precise neural dynamics underlying music perception remain unknown. We analyzed a unique intracranial electroencephalography (iEEG) dataset of 29 patients who listened to a Pink Floyd song and applied a stimulus reconstruction approach previously used in the speech domain. We successfully reconstructed a recognizable song from direct neural recordings and quantified the impact of different factors on decoding accuracy. Combining encoding and decoding analyses, we found a right-hemisphere dominance for music perception with a primary role of the superior temporal gyrus (STG), evidenced a new STG subregion tuned to musical rhythm, and defined an anterior-posterior STG organization exhibiting sustained and onset responses to musical elements. Our findings show the feasibility of applying predictive modeling on short datasets acquired in single patients, paving the way for adding musical elements to brain-computer interface (BCI) applications.

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.

Mapping between sound, brain and behaviour: four-level framework for understanding rhythm processing in humans and non-human primates

Humans perceive and spontaneously move to one or several levels of periodic pulses (a meter, for short) when listening to musical rhythm, even when the sensory input does not provide prominent periodic cues to their temporal location. Here, we review a multi-levelled framework to understanding how external rhythmic inputs are mapped onto internally represented metric pulses. This mapping is studied using an approach to quantify and directly compare representations of metric pulses in signals corresponding to sensory inputs, neural activity and behaviour (typically body movement). Based on this approach, recent empirical evidence can be drawn together into a conceptual framework that unpacks the phenomenon of meter into four levels. Each level highlights specific functional processes that critically enable and shape the mapping from sensory input to internal meter. We discuss the nature, constraints and neural substrates of these processes, starting with fundamental mechanisms investigated in macaque monkeys that enable basic forms of mapping between simple rhythmic stimuli and internally represented metric pulse. We propose that human evolution has gradually built a robust and flexible system upon these fundamental processes, allowing more complex levels of mapping to emerge in musical behaviours. This approach opens promising avenues to understand the many facets of rhythmic behaviours across individuals and species. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.

The influence of anodal transcranial direct current stimulation over the right auditory cortex on interference effects in memory for melodies

The study investigates how transcranial direct current stimulation (tDCS) over the auditory cortex (AC) modulates memory for melodies under different noise conditions, whilst also considering cumulative disruptive interference effects. Forty-one participants completed a continuous recognition melody task, as well as a visual control task, which included four noise conditions for which noise was either present only during encoding (N-C), only during retrieval (C-N), during both (N-N) or not at all (C-C) and completed the tasks after receiving anodal or sham tDCS over the right AC. The results of the sham session replicate previous findings by revealing that memory for melodies is worse when noise in added to the encoding phase (N-C) whereas the N-N condition shows good performance, highlighting a context effect, and that cumulative disruptive interference is not present in memory for melodies except in the N-C condition. After anodal stimulation the memory pattern differs such as that memory performance is best in the C-C condition and furthermore the cumulative disruptive interference effect in the N-C condition is diminished. In sum, the study highlights the involvement of the right AC for memory for melodies and the results indicate an association of the AC for creating context effects.

The Argo: a high channel count recording system for neural recording in vivo

OBJECTIVE

Decoding neural activity has been limited by the lack of tools available to record from large numbers of neurons across multiple cortical regions simultaneously with high temporal fidelity. To this end, we developed the Argo system to record cortical neural activity at high data rates.

APPROACH

Here we demonstrate a massively parallel neural recording system based on platinum-iridium microwire electrode arrays bonded to a CMOS voltage amplifier array. The Argo system is the highest channel count in vivo neural recording system, supporting simultaneous recording from 65 536 channels, sampled at 32 kHz and 12-bit resolution. This system was designed for cortical recordings, compatible with both penetrating and surface microelectrodes.

MAIN RESULTS

We validated this system through initial bench testing to determine specific gain and noise characteristics of bonded microwires, followed by in-vivo experiments in both rat and sheep cortex. We recorded spiking activity from 791 neurons in rats and surface local field potential activity from over 30 000 channels in sheep.

SIGNIFICANCE

These are the largest channel count microwire-based recordings in both rat and sheep. While currently adapted for head-fixed recording, the microwire-CMOS architecture is well suited for clinical translation. Thus, this demonstration helps pave the way for a future high data rate intracortical implant.

Neural and Behavioral Evidence for Frequency-Selective Context Effects in Rhythm Processing in Humans

When listening to music, people often perceive and move along with a periodic meter. However, the dynamics of mapping between meter perception and the acoustic cues to meter periodicities in the sensory input remain largely unknown. To capture these dynamics, we recorded the electroencephalography while nonmusician and musician participants listened to nonrepeating rhythmic sequences, where acoustic cues to meter frequencies either gradually decreased (from regular to degraded) or increased (from degraded to regular). The results revealed greater neural activity selectively elicited at meter frequencies when the sequence gradually changed from regular to degraded compared with the opposite. Importantly, this effect was unlikely to arise from overall gain, or low-level auditory processing, as revealed by physiological modeling. Moreover, the context effect was more pronounced in nonmusicians, who also demonstrated facilitated sensory-motor synchronization with the meter for sequences that started as regular. In contrast, musicians showed weaker effects of recent context in their neural responses and robust ability to move along with the meter irrespective of stimulus degradation. Together, our results demonstrate that brain activity elicited by rhythm does not only reflect passive tracking of stimulus features, but represents continuous integration of sensory input with recent context.