Classifying song and speech: effects of focal temporal lesions and musical disorder.

Song and speech represent two auditory categories the brain usually classifies fairly easily. Functionally, this classification ability may depend to a great extent on characteristic features of pitch patterns present in song melody and speech prosody. Anatomically, the temporal lobe (TL) has been discussed as playing a prominent role in the processing of both. Here we tested individuals with congenital amusia and patients with unilateral left and right TL lesions in their ability to categorize song and speech. In a forced-choice paradigm, specifically designed auditory stimuli representing sung, spoken and "ambiguous" stimuli (being perceived as "halfway between" song and speech), had to be classified as either "song" or "speech". Congenital amusics and TL patients, contrary to controls, exhibited a surprising bias to classifying the ambiguous stimuli as "song" despite their apparent deficit to correctly process features typical for song. This response bias possibly reflects a strategy where, based on available context information (here: forced choice for either speech or song), classification of non-processable items may be achieved through elimination of processable classes. This speech-based strategy masks the pitch processing deficit in congenital amusics and TL lesion patients.

Inter-individual differences in audio-motor learning of piano melodies and white matter fiber tract architecture.

Humans vary substantially in their ability to learn new motor skills. Here, we examined inter-individual differences in learning to play the piano, with the goal of identifying relations to structural properties of white matter fiber tracts relevant to audio-motor learning. Non-musicians (n = 18) learned to perform three short melodies on a piano keyboard in a pure audio-motor training condition (vision of their own fingers was occluded). Initial learning times ranged from 17 to 120 min (mean ± SD: 62 ± 29 min). Diffusion-weighted magnetic resonance imaging was used to derive the fractional anisotropy (FA), an index of white matter microstructural arrangement. A correlation analysis revealed that higher FA values were associated with faster learning of piano melodies. These effects were observed in the bilateral corticospinal tracts, bundles of axons relevant for the execution of voluntary movements, and the right superior longitudinal fasciculus, a tract important for audio-motor transformations. These results suggest that the speed with which novel complex audio-motor skills can be acquired may be determined by variability in structural properties of white matter fiber tracts connecting brain areas functionally relevant for audio-motor learning.

Learning piano melodies in visuo-motor or audio-motor training conditions and the neural correlates of their cross-modal transfer.

To investigate the cross-modal transfer of movement patterns necessary to perform melodies on the piano, 22 non-musicians learned to play short sequences on a piano keyboard by (1) merely listening and replaying (vision of own fingers occluded) or (2) merely observing silent finger movements and replaying (on a silent keyboard). After training, participants recognized with above chance accuracy (1) audio-motor learned sequences upon visual presentation (89±17%), and (2) visuo-motor learned sequences upon auditory presentation (77±22%). The recognition rates for visual presentation significantly exceeded those for auditory presentation (p<.05). fMRI revealed that observing finger movements corresponding to audio-motor trained melodies is associated with stronger activation in the left rolandic operculum than observing untrained sequences. This region was also involved in silent execution of sequences, suggesting that a link to motor representations may play a role in cross-modal transfer from audio-motor training condition to visual recognition. No significant differences in brain activity were found during listening to visuo-motor trained compared to untrained melodies. Cross-modal transfer was stronger from the audio-motor training condition to visual recognition and this is discussed in relation to the fact that non-musicians are familiar with how their finger movements look (motor-to-vision transformation), but not with how they sound on a piano (motor-to-sound transformation).

Defective inhibition and inter-regional phase synchronization in pianists with musician's dystonia: an EEG study.

Recent neurophysiological studies have associated focal-task specific dystonia (FTSD) with impaired inhibitory function. However, it remains unknown whether FTSD also affects the inhibition (INH) of long-term overlearned motor programs. Consequently, we investigated in a Go/NoGo paradigm the neural correlates associated with the activation (ACT) and inhibition of long-term overlearned motor memory traces in pianists with musician's dystonia (MD), a form of FTSD, during a relevant motor task under constraint timing conditions with multichannel EEG. In NoGo trials, the movement related cortical potentials showed a positive shift after the NoGo signal related to inhibition and was significantly smaller over sensorimotor areas in musicians with MD. Further, we observed an increase at 850-900 ms in the power of beta oscillations which was significantly weaker for the patient group. The role of the inter-electrode phase coupling in the sensorimotor integration of inhibitory processes turned out to be the most relevant physiological marker: the global phase synchronization during INH exhibited an increase between 230 and 330 ms and 7-8 Hz, increase which was significantly smaller for pianists with MD. This effect was due to a weaker phase synchronization between the supplementary motor cortex and left premotor and sensorimotor electrodes in patients. Thus, our findings support the hypothesis of a deficient phase coupling between the neuronal assemblies required to inhibit motor memory traces in patients with MD. EMG recorded from the right flexor pollicis longus muscle confirmed that patients with MD had a disrupted INH in NoGo trials.

Classical conditioned responses to absent tones.

BACKGROUND: Recent evidence for a tight coupling of sensorimotor processes in trained musicians led to the question of whether this coupling extends to preattentively mediated reflexes; particularly, whether a classically conditioned response in one of the domains (auditory) is generalized to another (tactile/motor) on the basis of a prior association in a second-order Pavlovian paradigm. An eyeblink conditioning procedure was performed in 17 pianists, serving as a model for overlearned audiomotor integration, and 14 non-musicians. RESULTS: During the training session, subjects were conditioned to respond to auditory stimuli (piano tones). During a subsequent testing session, when subjects performed keystrokes on a silent piano, pianists showed significantly higher blink rates than non-musicians. CONCLUSION: These findings suggest a tight coupling of the auditory and motor domains in musicians, pointing towards training-dependent mechanisms of strong cross-modal sensorimotor associations even on sub-cognitive processing levels.

Mapping perception to action in piano practice: a longitudinal DC-EEG study.

BACKGROUND: Performing music requires fast auditory and motor processing. Regarding professional musicians, recent brain imaging studies have demonstrated that auditory stimulation produces a co-activation of motor areas, whereas silent tapping of musical phrases evokes a co-activation in auditory regions. Whether this is obtained via a specific cerebral relay station is unclear. Furthermore, the time course of plasticity has not yet been addressed. RESULTS: Changes in cortical activation patterns (DC-EEG potentials) induced by short (20 minute) and long term (5 week) piano learning were investigated during auditory and motoric tasks. Two beginner groups were trained. The 'map' group was allowed to learn the standard piano key-to-pitch map. For the 'no-map' group, random assignment of keys to tones prevented such a map. Auditory-sensorimotor EEG co-activity occurred within only 20 minutes. The effect was enhanced after 5-week training, contributing elements of both perception and action to the mental representation of the instrument. The 'map' group demonstrated significant additional activity of right anterior regions. CONCLUSION: We conclude that musical training triggers instant plasticity in the cortex, and that right-hemispheric anterior areas provide an audio-motor interface for the mental representation of the keyboard.

Brain processing of meter and rhythm in music. Electrophysiological evidence of a common network.

To determine cortical structures involved in "global" meter and "local" rhythm processing, slow brain potentials (DC potentials) were recorded from the scalp of 18 musically trained subjects while listening to pairs of monophonic sequences with both metric structure and rhythmic variations. The second sequence could be either identical to or different from the first one. Differences were either of a metric or a rhythmic nature. The subjects' task was to judge whether the sequences were identical or not. During processing of the auditory tasks, brain activation patterns along with the subjects' performance were assessed using 32-channel DC electroencephalography. Data were statistically analyzed using MANOVA. Processing of both meter and rhythm produced sustained cortical activation over bilateral frontal and temporal brain regions. A shift towards right hemispheric activation was pronounced during presentation of the second stimulus. Processing of rhythmic differences yielded a more centroparietal activation compared to metric processing. These results do not support Lerdhal and Jackendoff's two-component model, predicting a dissociation of left hemispheric rhythm and right hemispheric meter processing. We suggest that the uniform right temporofrontal predominance reflects auditory working memory and a pattern recognition module, which participates in both rhythm and meter processing. More pronounced parietal activation during rhythm processing may be related to switching of task-solving strategies towards mental imagination of the score.

Effects of variability of practice in music: a pilot study on fast goal-directed movements in pianists.

Variability of Practice (VOP) refers to the acquisition of a particular target movement by practicing a range of varying targets rather than by focusing on fixed repetitions of the target only. VOP has been demonstrated to have beneficial effects on transfer to a novel task and on skill consolidation. This study extends the line of research to musical practice. In a task resembling a barrier-knockdown paradigm, 36 music students trained to perform a wide left-hand interval leap on the piano. Performance at the target distance was tested before and after a 30-min standardized training session. The high-variability group (VAR) practiced four different intervals including the target. Another group (FIX) practiced the target interval only. A third group (SPA) performed spaced practice on the target only, interweaving with periods of not playing. Transfer was tested by introducing an interval novel to either group. After a 24-h period with no further exposure to the instrument, performance was retested. All groups performed at comparable error levels before training, after training, and after the retention (RET) interval. At transfer, however, the FIX group, unlike the other groups, committed significantly more errors than in the target task. After the RET period, the effect was washed out for the FIX group but then was present for VAR. Thus, the results provide only partial support for the VOP hypothesis for the given setting. Additional exploratory observations suggest tentative benefits of VOP regarding execution speed, loudness, and performance confidence. We derive specific hypotheses and specific recommendations regarding sample selection and intervention duration for future investigations. Furthermore, the proposed leap task measurement is shown to be (a) robust enough to serve as a standard framework for studies in the music domain, yet (b) versatile enough to allow for a wide range of designs not previously investigated for music on a standardized basis.

Perception of words and pitch patterns in song and speech.

THIS FUNCTIONAL MAGNETIC RESONANCE IMAGING STUDY EXAMINES SHARED AND DISTINCT CORTICAL AREAS INVOLVED IN THE AUDITORY PERCEPTION OF SONG AND SPEECH AT THE LEVEL OF THEIR UNDERLYING CONSTITUENTS: words and pitch patterns. Univariate and multivariate analyses were performed to isolate the neural correlates of the word- and pitch-based discrimination between song and speech, corrected for rhythmic differences in both. Therefore, six conditions, arranged in a subtractive hierarchy were created: sung sentences including words, pitch and rhythm; hummed speech prosody and song melody containing only pitch patterns and rhythm; and as a control the pure musical or speech rhythm. Systematic contrasts between these balanced conditions following their hierarchical organization showed a great overlap between song and speech at all levels in the bilateral temporal lobe, but suggested a differential role of the inferior frontal gyrus (IFG) and intraparietal sulcus (IPS) in processing song and speech. While the left IFG coded for spoken words and showed predominance over the right IFG in prosodic pitch processing, an opposite lateralization was found for pitch in song. The IPS showed sensitivity to discrete pitch relations in song as opposed to the gliding pitch in speech. Finally, the superior temporal gyrus and premotor cortex coded for general differences between words and pitch patterns, irrespective of whether they were sung or spoken. Thus, song and speech share many features which are reflected in a fundamental similarity of brain areas involved in their perception. However, fine-grained acoustic differences on word and pitch level are reflected in the IPS and the lateralized activity of the IFG.

Specialization of the specialized in features of external human brain morphology.

Recent studies have shown brain differences between professional musicians and non-musicians with respect to size, asymmetry or gray matter density of specific cerebral regions. Here we demonstrate: (1) that anatomical differences in the motor cortex can already be detected by coarse visual inspection; and (2) that within musicians, even a discrimination of instruments with different manual dominance is possible on a gross anatomical scale. Multiple raters, blinded for subject identity and hemisphere, investigated within-musician differences in the Omega Sign (OS), an anatomical landmark of the precentral gyrus associated with hand movement representation. The sample of 64 brains comprised matched groups of 16 expert string-players, 16 expert pianists and 32 non-musicians. Ratings were analysed by means of kappa statistics. Intra- and interobserver reliabilities were high. Musicians had a more pronounced OS expression than non-musicians, with keyboard-players showing a left and string-players a right hemisphere advantage. This suggests a differential brain adaptation depending on instrument played.

Shared networks for auditory and motor processing in professional pianists: evidence from fMRI conjunction.

To investigate cortical auditory and motor coupling in professional musicians, we compared the functional magnetic resonance imaging (fMRI) activity of seven pianists to seven non-musicians utilizing a passive task paradigm established in a previous learning study. The tasks involved either passively listening to short piano melodies or pressing keys on a mute MRI-compliant piano keyboard. Both groups were matched with respect to age and gender, and did not exhibit any overt performance differences in the keypressing task. The professional pianists showed increased activity compared to the non-musicians in a distributed cortical network during both the acoustic and the mute motion-related task. A conjunction analysis revealed a distinct musicianship-specific network being co-activated during either task type, indicating areas involved in auditory-sensorimotor integration. This network is comprised of dorsolateral and inferior frontal cortex (including Broca's area), the superior temporal gyrus (Wernicke's area), the supramarginal gyrus, and supplementary motor and premotor areas.

Perception of emotional speech in Parkinson's disease.

Nonmotor symptoms in Parkinson's disease (PD) involving cognition and emotionality have progressively received attention. The objective of the present study was to investigate recognition of emotional prosody in patients with PD (n = 14) in comparison to healthy control subjects (HC, n = 14). Event-related brain potentials (ERP) were recorded in a modified oddball paradigm under passive listening and active target detection instructions. Results showed a poorer performance of PD patients in classifying emotional prosody. ERP generated by emotional deviants (happy/sad) during passive listening revealed diminished amplitudes of the mismatch-related negativity for sad deviants, indicating an impairment of early preattentive processing of emotional prosody in PD.