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.

Translocator protein (TSPO) ligands attenuate mitophagy deficits in the SH-SY5Y cellular model of Alzheimer's disease via the autophagy adaptor P62.

Mitochondrial dysfunction has been widely implicated in the pathogenesis of Alzheimer's disease (AD), with accumulation of damaged and dysfunctional mitochondria occurring early in the disease. Mitophagy, which governs mitochondrial turnover and quality control, is impaired in the AD brain, and strategies aimed at enhancing mitophagy have been identified as promising therapeutic targets. The translocator protein (TSPO) is an outer mitochondrial membrane protein that is upregulated in AD, and ligands targeting TSPO have been shown to exert neuroprotective effects in mouse models of AD. However, whether TSPO ligands modulate mitophagy in AD has not been explored. Here, we provide evidence that the TSPO-specific ligands Ro5-4864 and XBD173 attenuate mitophagy deficits and mitochondrial fragmentation in a cellular model of AD overexpressing the human amyloid precursor protein (APP). Ro5-4864 and XBD173 appear to enhance mitophagy via modulation of the autophagic cargo receptor P62/SQSTM1, in the absence of an effect on PARK2, PINK1, or LC3 level. Taken together, these findings indicate that TSPO ligands may be promising therapeutic agents for ameliorating mitophagy deficits in AD.

Interpreting Rhythm as Parsing: Syntactic-Processing Operations Predict the Migration of Visual Flashes as Perceived During Listening to Musical Rhythms.

Music can be interpreted by attributing syntactic relationships to sequential musical events, and, computationally, such musical interpretation represents an analogous combinatorial task to syntactic processing in language. While this perspective has been primarily addressed in the domain of harmony, we focus here on rhythm in the Western tonal idiom, and we propose for the first time a framework for modeling the moment-by-moment execution of processing operations involved in the interpretation of music. Our approach is based on (1) a music-theoretically motivated grammar formalizing the competence of rhythmic interpretation in terms of three basic types of dependency (preparation, syncopation, and split; Rohrmeier, 2020), and (2) psychologically plausible predictions about the complexity of structural integration and memory storage operations, necessary for parsing hierarchical dependencies, derived from the dependency locality theory (Gibson, 2000). With a behavioral experiment, we exemplify an empirical implementation of the proposed theoretical framework. One hundred listeners were asked to reproduce the location of a visual flash presented while listening to three rhythmic excerpts, each exemplifying a different interpretation under the formal grammar. The hypothesized execution of syntactic-processing operations was found to be a significant predictor of the observed displacement between the reported and the objective location of the flashes. Overall, this study presents a theoretical approach and a first empirical proof-of-concept for modeling the cognitive process resulting in such interpretation as a form of syntactic parsing with algorithmic similarities to its linguistic counterpart. Results from the present small-scale experiment should not be read as a final test of the theory, but they are consistent with the theoretical predictions after controlling for several possible confounding factors and may form the basis for further large-scale and ecological testing.

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.

Emotional cherry picking: the role of personality and goal orientation in selective emotion regulation for musical practice.

Introduction: Emotion regulation is an important part of optimising performance and successful goal pursuit in practice-based tasks such as making music. Musicians may regulate their own emotions during the course of their musical practice in order to improve their performance and ultimately attain their practice-related goals. The specific emotions they target may depend upon their personality traits but may also relate to the nature of their goal orientation, and the interaction between the two. This study investigates whether the emotions desired by musicians in their musical practice were dependent on their personality traits and Mastery goal orientation (the desire to master musical and technical skills). Methods: Via an online questionnaire, 421 musicians completed a personality scale and answered questions relating to their mastery practice goals. They also completed emotion scales indicating how strongly they desired to increase or decrease the intensity of specific emotions when practicing. Results: Overall, musicians preferred to up-regulate positive rather than negative emotions [paired t(420) = 58.13, p < 0.001]. Bayesian Mixed Effects models showed that personality traits affected musicians' desire to regulate specific emotions. For example, higher levels of Agreeableness predicted greater desire to increase positive but not negative emotions, whereas Extraversion predicted greater desire to increase anger [Est. = 0.05, SE = 0.03, Odds (Est. > 0) = 43.03] but not positive emotions. The inclusion of Mastery goal orientation either amplified or mitigated these effects in several cases, and also introduced new trait-emotion relationships. Findings confirm a general hedonic principle underlying the emotions musicians desired in their musical practice. However, predicted by personality traits, musicians also sometimes sought to increase the intensity of unpleasant emotions. Discussion: These findings complement existing research that suggests that some Mastery-oriented musicians may seek an emotional state consisting of both positive and negative emotions. This and future studies on this topic may contribute to a better understanding of individual differences in emotion regulation ability as a potential aspect of individualised musical practice strategies.

Information processing biases: The effects of negative emotional symptoms on sampling pleasant and unpleasant information.

Although theories of emotion associate negative emotional symptoms with cognitive biases in information processing, they rarely specify the details. Here, we characterize cognitive biases in information processing of pleasant and unpleasant information, and how these biases covary with anxious and depressive symptoms, while controlling for general stress and cognitive ability. Forty undergraduates provided emotional symptom scores (Depression Anxiety Stress Scale-21) and performed a statistical learning task that required predicting the next sound in a long sequence of either pleasant or unpleasant naturalistic sounds (blocks). We used an information weights framework to determine if the degree of behavioral change associated with observing either confirmatory ("B" follows "A") or disconfirmatory ("B" does not follow "A") transitions differs for pleasant and unpleasant sounds. Bayesian mixed-effects models revealed that negative emotional symptom scores predicted performance as well as processing biases of pleasant and unpleasant information. Further, information weights differed between pleasant and unpleasant information, and importantly, this difference varied based on symptom scores. For example, higher depressive symptom scores predicted a bias of underutilizing disconfirmatory information in unpleasant content. These findings have implications for models of emotional disorders by offering a mechanistic explanation and formalization of the associated cognitive biases. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Musical Garden Paths: Evidence for Syntactic Revision Beyond the Linguistic Domain.

While theoretical and empirical insights suggest that the capacity to represent and process complex syntax is crucial in language as well as other domains, it is still unclear whether specific parsing mechanisms are also shared across domains. Focusing on the musical domain, we developed a novel behavioral paradigm to investigate whether a phenomenon of syntactic revision occurs in the processing of tonal melodies under analogous conditions as in language. We present the first proof-of-existence for syntactic revision in a set of tonally ambiguous melodies, supporting the relevance of syntactic representations and parsing with language-like characteristics in a nonlinguistic domain. Furthermore, we find no evidence for a modulatory effect of musical training, suggesting that a general cognitive capacity, rather than explicit knowledge and strategies, may underlie the observed phenomenon in music.

The effect of low-frequency equalisation on preference and sensorimotor synchronisation in music.

Equalisation, a signal processing technique commonly used to shape the sound of music, is defined as the adjustment of the energy in specific frequency components of a signal. In this work, we investigate the effects of equalisation on preference and sensorimotor synchronisation in music. A total of 21 participants engaged in a goal-directed upper body movements in synchrony with stimuli equalised in three low-frequency sub-bands (0-50, 50-100, and 100-200 Hz). To quantify the effect of equalisation, music features including spectral flux, pulse clarity, and beat confidence were extracted from seven differently equalised versions of music tracks-one original and six manipulated versions for each music track. These music tracks were then used in a movement synchronisation task. Bayesian mixed-effects models revealed different synchronisation behaviours in response to the three sub-bands considered. Boosting energy in the 100-200 Hz sub-band reduced synchronisation performance irrespective of the sub-band energy of the original version. An energy boost in the 0-50 Hz band resulted in increased synchronisation performance only when the sub-band energy of the original version was high. An energy boost in the 50-100 Hz band increased synchronisation performance only when the sub-band energy of the original version was low. Boosting the energy in any of the three sub-bands increased preference regardless of the energy of the original version. Our results provide empirical support for the importance of low-frequency information for sensorimotor synchronisation and suggest that the effects of equalisation on preference and synchronisation are largely independent of one another.

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.

Corrigendum: Expertise-Related Differences in Wrist Muscle Co-contraction in Drummers.

[This corrects the article DOI: 10.3389/fpsyg.2020.01360.].

Music influences vividness and content of imagined journeys in a directed visual imagery task.

Directed, intentional imagination is pivotal for self-regulation in the form of escapism and therapies for a wide variety of mental health conditions, such anxiety and stress disorders, as well as phobias. Clinical application in particular benefits from increasing our understanding of imagination, as well as non-invasive means of influencing it. To investigate imagination, this study draws from the prior observation that music can influence the imagined content during non-directed mind-wandering, as well as the finding that relative orientation within time and space is retained in imagination. One hundred participants performed a directed imagination task that required watching a video of a figure travelling towards a barely visible landmark, and then closing their eyes and imagining a continuation of the journey. During each imagined journey, participants either listened to music or silence. After the imagined journeys, participants reported vividness, the imagined time passed and distance travelled, as well as the imagined content. Bayesian mixed effects models reveal strong evidence that vividness, sentiment, as well imagined time passed and distances travelled, are influenced by the music, and show that aspects of these effects can be modelled through features such as tempo. The results highlight music's potential to support therapies such as Exposure Therapy and Imagery Rescripting, which deploy directed imagination as a clinical tool.

Expertise-Related Differences in Wrist Muscle Co-contraction in Drummers.

Background and Aim: Drumming requires excellent motor control and temporal coordination. Deploying specific muscle activation patterns may help achieve these requirements. Muscle activation patterns that involve reciprocal contraction of antagonist muscles are particularly favorable as they enable a high level of muscular economy while maintaining performance. In contrast, simultaneous contraction of antagonist muscles is an inefficient muscle activation pattern. In drumming, co-contraction can lead to increased movement variability and greater fatigue over time. In this study we examine how muscle activation patterns develop with increased drumming expertise. Methods: Eleven expert drummers (ED) and eleven amateur drummers (AD) were recorded using 3D motion capture while performing five different uni-manual and bi-manual repetitive drumming tasks across different tempi. Electromyography was used to record muscle activation of wrist flexor and extensor muscles. Results: Findings indicate that reduced co-contraction resulted in more even drumming performance. Co-contraction also increased in extremely slow and very high tempi. Furthermore, regardless of task or tempo, muscle co-contraction was decreased in participants with higher levels of expertise. In addition to anti-phasic activity of wrist flexor and extensor muscles, expert drummers exhibited a flexor dominance, suggesting more efficient usage of rebound. Conclusion: Taken together, we found that higher levels of drumming expertise go hand in hand with specific muscle activation patterns that can be linked to more precise and efficient drumming performance.

Age-dependent statistical learning trajectories reveal differences in information weighting.

Statistical learning (SL) is the ability to generate predictions based on probabilistic dependencies in the environment, an ability that is present throughout life. The effect of aging on SL is still unclear. Here, we explore statistical learning in healthy adults (40 younger and 40 older). The novel paradigm tracks learning trajectories and shows age-related differences in overall performance, yet similarities in learning rates. Bayesian models reveal further differences between younger and older adults in dealing with uncertainty in this probabilistic SL task. We test computational models of 3 different learning strategies: (a) Win-Stay, Lose-Shift, (b) Delta Rule Learning, (c) Information Weights to explore whether they capture age-related differences in performance and learning in the present task. A likely candidate mechanism emerges in the form of age-dependent differences in information weights, in which young adults more readily change their behavior, but also show disproportionally strong reactions toward erroneous predictions. With lower but more balanced information weights, older adults show slower behavioral adaptation but eventually arrive at more stable and accurate representations of the underlying transitional probability matrix. (PsycInfo Database Record (c) 2020 APA, all rights reserved).

The perceptual relevance of balance, evenness, and entropy in musical rhythms.

There is an uncountable number of different ways of characterizing almost any given real-world stimulus. This necessitates finding stimulus features that are perceptually relevant - that is, they have distinct and independent effects on the perception and cognition of the stimulus. Here, we provide a theoretical framework for empirically testing the perceptual relevance of stimulus features through their association with recognition, memory bias, and æsthetic evaluation. We deploy this framework in the auditory domain to explore the perceptual relevance of three recently developed mathematical characterizations of periodic temporal patterns: balance, evenness, and interonset interval entropy. By modelling recognition responses and liking ratings from 177 participants listening to a total of 1252 different musical rhythms, we obtain very strong evidence that all three features have distinct effects on the memory for, and the liking of, musical rhythms. Interonset interval entropy is a measure of the unpredictability of a rhythm derived from the distribution of its durations. Balance and evenness are both obtained from the discrete Fourier transform (DFT) of periodic patterns represented as points on the unit circle, and we introduce a teleological explanation for their perceptual relevance: the DFT coefficients representing balance and evenness are relatively robust to small random temporal perturbations and hence are coherent in noisy environments. This theory suggests further research to explore the meaning and relevance of robust coefficients such as these to the perception of patterns that are periodic in time and, possibly, space.

Memory for melodies in unfamiliar tuning systems: Investigating effects of recency and number of intervening items.

In a continuous recognition paradigm, most stimuli elicit superior recognition performance when the item to be recognized is the most recent stimulus (a recency-in-memory effect). Furthermore, increasing the number of intervening items cumulatively disrupts memory in most domains. Memory for melodies composed in familiar tuning systems also shows superior recognition for the most recent melody, but no disruptive effects from the number of intervening melodies. A possible explanation has been offered in a novel regenerative multiple representations (RMR) conjecture. The RMR assumes that prior knowledge informs perception and perception influences memory representations. It postulates that melodies are perceived, thus also represented, simultaneously as integrated entities and also as their components (such as pitches, pitch intervals, short phrases and rhythm). Multiple representations of the melody components and melody as a whole can restore one another, thus providing resilience against disruptive effects from intervening items. The conjecture predicts that melodies in an unfamiliar tuning system are not perceived as integrated melodies and should (a) disrupt recency-in-memory advantages and (b) facilitate disruptive effects from the number of intervening items. We test these two predictions in three experiments. Experiments 1 and 2 show that no recency-in-memory effects emerge for melodies in an unfamiliar tuning system. In Experiment 3, disruptive effects occurred as the number of intervening items and unfamiliarity of the stimuli increased. Overall, results are coherent with the predictions of the RMR conjecture. Further investigation of the conjecture's predictions may lead to greater understanding of the fundamental relationships between memory, perception and behavior.

Resilient memory for melodies: The number of intervening melodies does not influence novel melody recognition.

In many memory domains, a decrease in recognition performance between the first and second presentation of an object is observed as the number of intervening items increases. However, this effect is not universal. Within the auditory domain, this form of interference has been demonstrated in word and single-note recognition, but has yet to be substantiated using relatively complex musical material such as a melody. Indeed, it is becoming clear that music shows intriguing properties when it comes to memory. This study investigated how the number of intervening items influences memory for melodies. In Experiments 1, 2 and 3, one melody was presented per trial in a continuous recognition paradigm. After each melody, participants indicated whether they had heard the melody in the experiment before by responding "old" or "new." In Experiment 4, participants rated perceived familiarity for every melody without being told that melodies reoccur. In four experiments using two corpora of music, two different memory tasks, transposed and untransposed melodies and up to 195 intervening melodies, no sign of a disruptive effect from the number of intervening melodies beyond the first was observed. We propose a new "regenerative multiple representations" conjecture to explain why intervening items increase interference in recognition memory for most domains but not music. This conjecture makes several testable predictions and has the potential to strengthen our understanding of domain specificity in human memory, while moving one step closer to explaining the "paradox" that is memory for melody.

Negotiating between individual and joint goals in ensemble musical performance.

Successful joint action requires negotiation, especially in the event of goal incongruence. This article addresses goal incongruence in joint musical performance by manipulating the congruence of score instructions (congruent/incongruent) regarding tempo (speed) and dynamics (sound intensity) given to piano duos. The aim is to investigate how co-performers negotiate incongruent instructions for tempo and dynamics by balancing the prioritisation of individual goals versus the joint outcome and how this negotiation is modulated by musical expertise and personality (locus of control). In total, 14 pairs of pianists, who were not informed of the congruence manipulation, were placed back-to-back and were directed to achieve a successful performance over four repeated performances without verbal communication. Interpersonal coordination generally improved from the first to final performance in the congruent and incongruent conditions for both the tempo and dynamics tasks. Furthermore, in incongruent conditions, results suggest that performers prioritise the joint performance in the tempo task, but prioritise their own performance in the dynamics task. Although individual performance appears to be modulated by musical expertise, the balance of individual/joint performance across the duo is not influenced by musical part (melody vs accompaniment), expressive instruction, musical expertise or locus of control.

Memory for melodies in unfamiliar tuning systems: Investigating effects of recency and number of intervening items.

In a continuous recognition paradigm, most stimuli elicit superior recognition performance when the item to be recognised is the most recent stimulus (a recency-in-memory effect). Furthermore, increasing the number of intervening items cumulatively disrupts memory in most domains. Memory for melodies composed in familiar tuning systems also shows superior recognition for the most recent melody, but no disruptive effects from the number of intervening melodies. A possible explanation has been offered in a novel regenerative multiple representations (RMR) conjecture. The RMR assumes that prior knowledge informs perception and perception influences memory representations. It postulates that melodies are perceived, thus also represented, simultaneously as integrated entities and also their components (such as pitches, pitch intervals, short phrases, and rhythm). Multiple representations of the melody components and melody as a whole can restore one another, thus providing resilience against disruptive effects from intervening items. The conjecture predicts that melodies in an unfamiliar tuning system are not perceived as integrated melodies and should: a) disrupt recency-in-memory advantages; and b) facilitate disruptive effects from the number of intervening items. We test these two predictions in three experiments. Experiments 1 and 2 show that no recency-in-memory effects emerge for melodies in an unfamiliar tuning system. In Experiment 3, disruptive effects occurred as the number of intervening items and unfamiliarity of the stimuli increased. Overall, results are coherent with the predictions of the RMR conjecture. Further investigation of the conjecture's predictions may lead to greater understanding of the fundamental relationships between memory, perception, and behavior.