A neuroimaging comparative study of changes in a cellist's brain when playing contemporary and Baroque styles.

The emergence of different styles of Contemporary concert music in the 20th century led to a marked modification of the foundations built on previous styles. This work investigates whether these modifications, which include procedures and technical resources different to those used in the interpretation of previous musical styles, require different encephalic controls to those used in tonal music and if the experience of the musician in these styles influences them. Functional magnetic resonance images of encephalic regions from 13 professional cellists while interpreting Baroque and Contemporary excerpts inside an MRI scanner were acquired. Activation and connectivity encephalic maps show common cortical motor and sensorial regions (Precentral, Postcentral and Supramarginal Gyri) in both interpretation styles, but with different hemispheric intensity levels. However, certain auditory and motor regions only activate during Baroque. Connectivity maps show some exclusive seed-regions; thus, the Heschl's and Superior Frontal Gyri, Planum-Temporal and Caudate appear as prominent seeds when playing Baroque, whereas when playing Contemporary, the main seeds appear in the Cerebellar-Vermis, Insular cortex and Parietal Operculum. The discrepancies found are attributed to different cognitive, sensory and motor demands underlying the musical interpretation of each style, as well as to the musicians' learning of and training in these styles.

Temporal order of musical keys and subjective estimates of time.

The aim of this study was to observe the influence of the temporal order of musical keys involved in sudden modulations, which implies compositional developments in clockwise and counterclockwise directions of the circle of fifths, on subjective time estimations. Seventy-five undergraduate students from Universidade de Ribeirão Preto participated in this experiment, which consisted of listening to a modulating musical stimulus and retrospectively reproducing the duration with the aid of a stopwatch. The results showed that reverse sudden tonal modulation in the counterclockwise direction or, for instance, the temporal order from the original key of A-major to the arrival at the destination key of C-major, elicited shorter time estimations than the clockwise direction or, for instance, the temporal order from original key of C-major to the arrival at the destination key of A-major. These data were interpreted using the Expected Development Fraction model that describes the development of expectations when an inter-key distance is traversed during a certain time interval. This expected development is longer than the perceived duration, leading to the underestimation of time.

The impact of musical experience on neural sound encoding performance.

In this study, 64-channel single trial auditory brain oscillations (STABO) have been firstly analyzed by using complexity metrics to observe the effect of musical experience on brain functions. Experimental data was recorded from eyes-opened volunteers during listening the musical chords by piano. Complexity estimation methods were compared to each other for classification of groups (professional musicians and non-musicians) by using both classifiers (support vector machine (SVM), Naive Bayes (NB)) and statistical tests (one-way ANOVA) with respect to electrode locations. Permutation entropy (PermEn) is found to be the best metric (p ≪ 0.0001, 98.37% and 98.41% accuracies for tonal and atonal ensembles) at fronto-temporal regions which are responsible for cognitive task evaluation and perception of sound. PermEn also provides the meaningful results at the whole cortex (p ≪ 0.0001, 99.81% accuracy for both tonal and atonal ensembles) through SVM with Radial Basis kernels superior to Gaussians. Almost the similar performance is also obtained for temporal features. Although, performance improvements are observed for spectral methods with NB, the considerable better results are obtained with SVM. The results indicate that musical stimuli cause pattern variations instead of spectral variations on STABO due to relatively higher neuronal activities around auditory cortex. In conclusion, temporal regions produce response to auditory stimuli, while frontal area integrates the auditory task at the same time. As well, the parietal cortex produces neural information according to the degree of attention generated by environmental changes such as atonal stimuli. It can be clearly stated that musical experience enhances the neural encoding performance of sound tonality at mostly fronto-temporal regions.

Reexamination of mood-mediation hypothesis of background-music-dependent effects in free recall.

The present study reexamined the mood-mediation hypothesis for explaining background-music-dependent effects in free recall. Experiments 1 and 2 respectively examined tempo- and tonality-dependent effects in free recall, which had been used as evidence for the mood-mediation hypothesis. In Experiments 1 and 2, undergraduates (n = 75 per experiment) incidentally learned a list of 20 unrelated words presented one by one at a rate of 5 s per word and then received a 30-s delayed oral free-recall test. Throughout the study and test sessions, a piece of music was played. At the time of test, one third of the participants received the same piece of music with the same tempo or tonality as at study, one third heard a different piece with the same tempo or tonality, and one third heard a different piece with a different tempo or tonality. Note that the condition of the same piece with a different tempo or tonality was excluded. Furthermore, the number of sampled pieces of background music was increased compared with previous studies. The results showed neither tempo- nor tonality-dependent effects, but only a background-music-dependent effect. Experiment 3 (n = 40) compared the effects of background music with a verbal association task and focal music (only listening to musical selections) on the participants' moods. The results showed that both the music tempo and tonality influenced the corresponding mood dimensions (arousal and pleasantness). These results are taken as evidence against the mood-mediation hypothesis. Theoretical implications are discussed.