Applying Spike-density component analysis for high-accuracy auditory event-related potentials in children.

OBJECTIVE: Overlapping neurophysiological signals are the main obstacle preventing from using cortical auditory event-related potentials (AEPs) in clinical settings. Children AEPs are particularly affected by this problem, as their cerebral cortex is still maturing. To overcome this problem, we applied a new version of Spike-density Component Analysis (SCA), an analysis method recently developed, to isolate with high accuracy the neural components of auditory responses of 8-year-old children. METHODS: Electroencephalography was used with 33 children to record AEPs to auditory stimuli varying in spectrotemporal features. Three different analysis approaches were adopted: the standard AEP analysis procedure, SCA with template-match (SCA-TM), and SCA with half-split average consistency (SCA-HSAC). RESULTS: SCA-HSAC most successfully allowed the extraction of AEPs for each child, revealing that the most consistent components were P1 and N2. An immature N1 component was also detected. CONCLUSION: Superior accuracy in isolating neural components at the individual level was demonstrated for SCA-HSAC over other SCA approaches even for children AEPs. SIGNIFICANCE: Reliable methods of extraction of neurophysiological signals at the individual level are crucial for the application of cortical AEPs for routine diagnostic exams in clinical settings both in children and adults.

Decomposing neural responses to melodic surprise in musicians and non-musicians: Evidence for a hierarchy of predictions in the auditory system.

Neural responses to auditory surprise are typically studied with highly unexpected, disruptive sounds. Consequently, little is known about auditory prediction in everyday contexts that are characterized by fine-grained, non-disruptive fluctuations of auditory surprise. To address this issue, we used IDyOM, a computational model of auditory expectation, to obtain continuous surprise estimates for a set of newly composed melodies. Our main goal was to assess whether the neural correlates of non-disruptive surprising sounds in a musical context are affected by musical expertise. Using magnetoencephalography (MEG), auditory responses were recorded from musicians and non-musicians while they listened to the melodies. Consistent with a previous study, the amplitude of the N1m component increased with higher levels of computationally estimated surprise. This effect, however, was not different between the two groups. Further analyses offered an explanation for this finding: Pitch interval size itself, rather than probabilistic prediction, was responsible for the modulation of the N1m, thus pointing to low-level sensory adaptation as the underlying mechanism. In turn, the formation of auditory regularities and proper probabilistic prediction were reflected in later components: The mismatch negativity (MMNm) and the P3am, respectively. Overall, our findings reveal a hierarchy of expectations in the auditory system and highlight the need to properly account for sensory adaptation in research addressing statistical learning.

Risk of depression enhances auditory Pitch discrimination in the brain as indexed by the mismatch negativity.

OBJECTIVE: Depression is a state of aversion to activity and low mood that affects behaviour, thoughts, feelings and sense of well-being. Moreover, the individual depression trait is associated with altered auditory cortex activation and appraisal of the affective content of sounds. METHODS: Mismatch negativity responses (MMNs) to acoustic feature changes (pitch, timbre, location, intensity, slide and rhythm) inserted in a musical sequence played in major or minor mode were recorded using magnetoencephalography (MEG) in 88 subclinical participants with depression risk. RESULTS: We found correlations between MMNs to slide and pitch and the level of depression risk reported by participants, indicating that higher MMNs correspond to higher risk of depression. Furthermore we found significantly higher MMN amplitudes to mistuned pitches within a major context compared to MMNs to pitch changes in a minor context. CONCLUSIONS: The brains of individuals with depression risk are more responsive to mistuned and fast pitch stimulus changes, even at a pre-attentive level. SIGNIFICANCE: Considering the altered appraisal of affective contents of sounds in depression and the relevance of spectral pitch features for those contents in music and speech, we propose that individuals with subclinical depression risk are more tuned to tracking sudden pitch changes.

Interaction between DRD2 variation and sound environment on mood and emotion-related brain activity.

Sounds, like music and noise, are capable of reliably affecting individuals' mood and emotions. However, these effects are highly variable across individuals. A putative source of variability is genetic background. Here we explored the interaction between a functional polymorphism of the dopamine D2 receptor gene (DRD2 rs1076560, G>T, previously associated with the relative expression of D2S/L isoforms) and sound environment on mood and emotion-related brain activity. Thirty-eight healthy subjects were genotyped for DRD2 rs1076560 (G/G=26; G/T=12) and underwent functional magnetic resonance imaging (fMRI) during performance of an implicit emotion-processing task while listening to music or noise. Individual variation in mood induction was assessed before and after the task. Results showed mood improvement after music exposure in DRD2GG subjects and mood deterioration after noise exposure in GT subjects. Moreover, the music, as opposed to noise environment, decreased the striatal activity of GT subjects as well as the prefrontal activity of GG subjects while processing emotional faces. These findings suggest that genetic variability of dopamine receptors affects sound environment modulations of mood and emotion processing.

Expertise in folk music alters the brain processing of Western harmony.

In various paradigms of modern neurosciences of music, experts of Western classical music have displayed superior brain architecture when compared with individuals without explicit training in music. In this paper, we show that chord violations embedded in musical cadences were neurally processed in a facilitated manner also by musicians trained in Finnish folk music. This result, obtained by using early right anterior negativity (ERAN) as an index of harmony processing, suggests that tonal processing is advanced in folk musicians by their long-term exposure to both Western and non-Western music.

Practice strategies of musicians modulate neural processing and the learning of sound-patterns.

Previous studies suggest that pre-attentive auditory processing of musicians differs depending on the strategies used in music practicing and performance. This study aimed at systematically revealing whether there are differences in auditory processing between musicians preferring and not-preferring aural strategies such as improvising, playing by ear, and rehearsing by listening to records. Participants were assigned to aural and non-aural groups according to how much they employ aural strategies, as determined by a questionnaire. The change-related mismatch negativity (MMN) component of event-related brain potentials (ERPs) was used to probe pre-attentive neural discrimination of simple sound features and melody-like patterns. Further, the musicians' behavioral accuracy in sound perception was tested with a discrimination task and the AMMA musicality test. The data indicate that practice strategies do not affect musicians' pre-attentive neural discrimination of changes in simple sound features but do modulate the speed of neural discrimination of interval and contour changes within melody-like patterns. Moreover, while the aural and non-aural groups did not differ in their initial neural accuracy for discriminating melody-like patterns, they differed after a focused training session. A correlation between behavioral and neural measures was also obtained. Taken together, these results suggest that auditory processing of musicians who prefer aural practice strategies differs in melodic contour and interval processing and perceptual learning, rather than in simple sound processing, in comparison to musicians preferring other practice strategies.