Cross-frequency coupling in cortico-hippocampal networks supports the maintenance of sequential auditory information in short-term memory.

It has been suggested that cross-frequency coupling in cortico-hippocampal networks enables the maintenance of multiple visuo-spatial items in working memory. However, whether this mechanism acts as a global neural code for memory retention across sensory modalities remains to be demonstrated. Intracranial EEG data were recorded while drug-resistant patients with epilepsy performed a delayed matched-to-sample task with tone sequences. We manipulated task difficulty by varying the memory load and the duration of the silent retention period between the to-be-compared sequences. We show that the strength of theta-gamma phase amplitude coupling in the superior temporal sulcus, the inferior frontal gyrus, the inferior temporal gyrus, and the hippocampus (i) supports the short-term retention of auditory sequences; (ii) decodes correct and incorrect memory trials as revealed by machine learning analysis; and (iii) is positively correlated with individual short-term memory performance. Specifically, we show that successful task performance is associated with consistent phase coupling in these regions across participants, with gamma bursts restricted to specific theta phase ranges corresponding to higher levels of neural excitability. These findings highlight the role of cortico-hippocampal activity in auditory short-term memory and expand our knowledge about the role of cross-frequency coupling as a global biological mechanism for information processing, integration, and memory in the human brain.

Lights on music cognition: A systematic and critical review of fNIRS applications and future perspectives.

Research investigating the neural processes related to music perception and production constitutes a well-established field within the cognitive neurosciences. While most neuroimaging tools have limitations in studying the complexity of musical experiences, functional Near-Infrared Spectroscopy (fNIRS) represents a promising, relatively new tool for studying music processes in both laboratory and ecological settings, which is also suitable for both typical and pathological populations across development. Here we systematically review fNIRS studies on music cognition, highlighting prospects and potentialities. We also include an overview of fNIRS basic theory, together with a brief comparison to characteristics of other neuroimaging tools. Fifty-nine studies meeting inclusion criteria (i.e., using fNIRS with music as the primary stimulus) are presented across five thematic sections. Critical discussion of methodology leads us to propose guidelines of good practices aiming for robust signal analyses and reproducibility. A continuously updated world map is proposed, including basic information from studies meeting the inclusion criteria. It provides an organized, accessible, and updatable reference database, which could serve as a catalyst for future collaborations within the community. In conclusion, fNIRS shows potential for investigating cognitive processes in music, particularly in ecological contexts and with special populations, aligning with current research priorities in music cognition.

Modality-specific and modality-independent neural representations work in concert in predictive processes during sequence learning.

Probabilistic sequence learning supports the development of skills and enables predictive processing. It remains contentious whether visuomotor sequence learning is driven by the representation of the visual sequence (perceptual coding) or by the representation of the response sequence (motor coding). Neurotypical adults performed a visuomotor sequence learning task. Learning occurred incidentally as it was evidenced by faster responses to high-probability than to low-probability targets. To uncover the neurophysiology of the learning process, we conducted both univariate analyses and multivariate pattern analyses (MVPAs) on the temporally decomposed EEG signal. Univariate analyses showed that sequence learning modulated the amplitudes of the motor code of the decomposed signal but not in the perceptual and perceptual-motor signals. However, MVPA revealed that all 3 codes of the decomposed EEG contribute to the neurophysiological representation of the learnt probabilities. Source localization revealed the involvement of a wider network of frontal and parietal activations that were distinctive across coding levels. These findings suggest that perceptual and motor coding both contribute to the learning of sequential regularities rather than to a neither-nor distinction. Moreover, modality-specific encoding worked in concert with modality-independent representations, which suggests that probabilistic sequence learning is nonunitary and encompasses a set of encoding principles.

Consonance Perception in Congenital Amusia: Behavioral and Brain Responses to Harmonicity and Beating Cues.

Congenital amusia is a neurodevelopmental disorder characterized by difficulties in the perception and production of music, including the perception of consonance and dissonance, or the judgment of certain combinations of pitches as more pleasant than others. Two perceptual cues for dissonance are inharmonicity (the lack of a common fundamental frequency between components) and beating (amplitude fluctuations produced by close, interacting frequency components). Amusic individuals have previously been reported to be insensitive to inharmonicity, but to exhibit normal sensitivity to beats. In the present study, we measured adaptive discrimination thresholds in amusic participants and found elevated thresholds for both cues. We recorded EEG and measured the MMN in evoked potentials to consonance and dissonance deviants in an oddball paradigm. The amplitude of the MMN response was similar overall for amusic and control participants; however, in controls, there was a tendency toward larger MMNs for inharmonicity than for beating cues, whereas the opposite tendency was observed for the amusic participants. These findings suggest that initial encoding of consonance cues may be intact in amusia despite impaired behavioral performance, but that the relative weight of nonspectral (beating) cues may be increased for amusic individuals.

Individuals with congenital amusia remember music they like.

Music is better recognized when it is liked. Does this association remain evident when music perception and memory are severely impaired, as in congenital amusia? We tested 11 amusic and 11 matched control participants, asking whether liking of a musical excerpt influences subsequent recognition. In an initial exposure phase, participants-unaware that their recognition would be tested subsequently-listened to 24 musical excerpts and judged how much they liked each excerpt. In the test phase that followed, participants rated whether they recognized the previously heard excerpts, which were intermixed with an equal number of foils matched for mode, tempo, and musical genre. As expected, recognition was in general impaired for amusic participants compared with control participants. For both groups, however, recognition was better for excerpts that were liked, and the liking enhancement did not differ between groups. These results contribute to a growing body of research that examines the complex interplay between emotions and cognitive processes. More specifically, they extend previous findings related to amusics' impairments to a new memory paradigm and suggest that (1) amusic individuals are sensitive to an aesthetic and subjective dimension of the music-listening experience, and (2) emotions can support memory processes even in a population with impaired music perception and memory.

Improving non-native duration contrast with dichotic training in dyslexic and non-dyslexic individuals.

Perceiving and producing English phonemic vowel length contrasts is challenging for non-native speakers. According to multi-time resolution models, endogenous slow/fast rhythms contribute, respectively, in the right/left hemispheres, to long/short acoustic cue processing. This study introduced a perceptual training method implementing dichotic stimulation to improve /i:/-/ɪ/ processing by promoting hemispheric complementarity. Twenty non-dyslexic and 20 dyslexic French adults received 1 hr-training over 3 days. Productions were evaluated with pre-/post-tests. Training enhanced vowel duration contrast in word production by /i:/ lengthening and /ɪ/ shortening in both groups. Adults with dyslexia compensated fewer /i:/ lengthening by /ɪ/ shortening than did non-dyslexic adults. Transfer from perceptual training to production seems possible for foreign-language learning even in dyslexic adults. The extent to which dichotic presentation contributed to training effectiveness cannot be evaluated here, but the triggering of lengthening and shortening mechanisms suggests that lateralized complementary skills have been enhanced by dichotic stimulation.

Episodic memory and recognition are influenced by cues' sensory modality: comparing odours, music and faces using virtual reality.

Most everyday experiences are multisensory, and all senses can trigger the conscious re-experience of unique personal events embedded in their specific spatio-temporal context. Yet, little is known about how a cue's sensory modality influences episodic memory, and which step of this process is impacted. This study investigated recognition and episodic memory across olfactory, auditory and visual sensory modalities in a laboratory-ecological task using a non-immersive virtual reality device. At encoding, participants freely and actively explored unique and rich episodes in a three-room house where boxes delivered odours, musical pieces and pictures of face. At retrieval, participants were presented with modality-specific memory cues and were told to 1) recognise encoded cues among distractors and, 2) go to the room and select the box in which they encountered them at encoding. Memory performance and response times revealed that music and faces outperformed odours in recognition memory, but that odours and faces outperformed music in evoking encoding context. Interestingly, correct recognition of music and faces was accompanied by more profound inspirations than correct rejection. By directly comparing memory performance across sensory modalities, our study demonstrated that despite limited recognition, odours are powerful cues to evoke specific episodic memory retrieval.

Enhanced mismatch negativity in harmonic compared with inharmonic sounds.

Many natural sounds have frequency spectra composed of integer multiples of a fundamental frequency. This property, known as harmonicity, plays an important role in auditory information processing. However, the extent to which harmonicity influences the processing of sound features beyond pitch is still unclear. This is interesting because harmonic sounds have lower information entropy than inharmonic sounds. According to predictive processing accounts of perception, this property could produce more salient neural responses due to the brain's weighting of sensory signals according to their uncertainty. In the present study, we used electroencephalography to investigate brain responses to harmonic and inharmonic sounds commonly occurring in music: Piano tones and hi-hat cymbal sounds. In a multifeature oddball paradigm, we measured mismatch negativity (MMN) and P3a responses to timbre, intensity, and location deviants in listeners with and without congenital amusia-an impairment of pitch processing. As hypothesized, we observed larger amplitudes and earlier latencies (for both MMN and P3a) in harmonic compared with inharmonic sounds. These harmonicity effects were modulated by sound feature. Moreover, the difference in P3a latency between harmonic and inharmonic sounds was larger for controls than amusics. We propose an explanation of these results based on predictive coding and discuss the relationship between harmonicity, information entropy, and precision weighting of prediction errors.

Development of auditory cognition in 5- to 10-year-old children: Focus on musical and verbal short-term memory.

Developmental aspects of auditory cognition were investigated in 5-to-10-year-old children (n = 100). Musical and verbal short-term memory (STM) were assessed by means of delayed matching-to-sample tasks (DMST) (comparison of two four-item sequences separated by a silent retention delay), with two levels of difficulty. For musical and verbal materials, children's performance increased from 5 years to about 7 years of age, then remained stable up to 10 years of age, with performance remaining inferior to performance of young adults. Children and adults performed better with verbal material than with musical material. To investigate auditory cognition beyond STM, we assessed speech-in-noise perception with a four-alternative forced-choice task with two conditions of phonological difficulty and two levels of cocktail-party noise intensity. Partial correlations, factoring out the effect of age, showed a significant link between musical STM and speech-in-noise perception in the condition with increased noise intensity. Our findings reveal that auditory STM improves over development with a critical phase around 6-7 years of age, yet these abilities appear to be still immature at 10 years. Musical and verbal STM might in particular share procedural and serial order processes. Furthermore, musical STM and the ability to perceive relevant speech signals in cocktail-party noise might rely on shared cognitive resources, possibly related to pitch encoding. To the best of our knowledge, this is the first time that auditory STM is assessed with the same paradigm for musical and verbal material during childhood, providing perspectives regarding diagnosis and remediation in developmental learning disorders.

Tonal structures benefit short-term memory for real music: Evidence from non-musicians and individuals with congenital amusia.

Congenital amusia is a neurodevelopmental disorder of music processing, which includes impaired pitch memory, associated to abnormalities in the right fronto-temporal network. Previous research has shown that tonal structures (as defined by the Western musical system) improve short-term memory performance for short tone sequences (in comparison to atonal versions) in non-musician listeners, but the tonal structures only benefited response times in amusic individuals. We here tested the potential benefit of tonal structures for short-term memory with more complex musical material. Congenital amusics and their matched non-musician controls were required to indicate whether two excerpts were the same or different. Results confirmed impaired performance of amusic individuals in this short-term memory task. However, most importantly, both groups of participants showed better memory performance for tonal material than for atonal material. These results revealed that even amusics' impaired short-term memory for pitch shows classical characteristics of short-term memory, that is the mnemonic benefit of structure in the to-be-memorized material. The findings show that amusic individuals have acquired some implicit knowledge of regularities of their culture, allowing for implicit processing of tonal structures, which benefits to memory even for complex material.

Auditory and visual short-term memory: influence of material type, contour, and musical expertise.

Short-term memory has mostly been investigated with verbal or visuospatial stimuli and less so with other categories of stimuli. Moreover, the influence of sensory modality has been explored almost solely in the verbal domain. The present study compared visual and auditory short-term memory for different types of materials, aiming to understand whether sensory modality and material type can influence short-term memory performance. Furthermore, we aimed to assess if music expertise can modulate memory performance, as previous research has reported better auditory memory (and to some extent, visual memory), and better auditory contour recognition for musicians than non-musicians. To do so, we adapted the same recognition paradigm (delayed-matching to sample) across different types of stimuli. In each trial, participants (musicians and non-musicians) were presented with two sequences of events, separated by a silent delay, and had to indicate whether the two sequences were identical or different. The performance was compared for auditory and visual materials belonging to three different categories: (1) verbal (i.e., syllables); (2) nonverbal (i.e., that could not be easily denominated) with contour (based on loudness or luminance variations); and (3) nonverbal without contour (pink noise sequences or kanji letters sequences). Contour and no-contour conditions referred to whether the sequence can entail (or not) a contour (i.e., a pattern of up and down changes) based on non-pitch features. Results revealed a selective advantage of musicians for auditory no-contour stimuli and for contour stimuli (both visual and auditory), suggesting that musical expertise is associated with specific short-term memory advantages in domains close to the trained domain, also extending cross-modally when stimuli have contour information. Moreover, our results suggest a role of encoding strategies (i.e., how the material is represented mentally during the task) for short-term-memory performance.

A stimulus-brain coupling analysis of regular and irregular rhythms in adults with dyslexia and controls.

When listening to temporally regular rhythms, most people are able to extract the beat. Evidence suggests that the neural mechanism underlying this ability is the phase alignment of endogenous oscillations to the external stimulus, allowing for the prediction of upcoming events (i.e., dynamic attending). Relatedly, individuals with dyslexia may have deficits in the entrainment of neural oscillations to external stimuli, especially at low frequencies. The current experiment investigated rhythmic processing in adults with dyslexia and matched controls. Regular and irregular rhythms were presented to participants while electroencephalography was recorded. Regular rhythms contained the beat at 2 Hz; while acoustic energy was maximal at 4 Hz and 8 Hz. These stimuli allowed us to investigate whether the brain responds non-linearly to the beat-level of a rhythmic stimulus, and whether beat-based processing differs between dyslexic and control participants. Both groups showed enhanced stimulus-brain coherence for regular compared to irregular rhythms at the frequencies of interest, with an overrepresentation of the beat-level in the brain compared to the acoustic signal. In addition, we found evidence that controls extracted subtle temporal regularities from irregular stimuli, whereas dyslexics did not. Findings are discussed in relation to dynamic attending theory and rhythmic processing deficits in dyslexia.

Correction to: A case of verbal and emotional prosody processing dissociation after a right temporal venous infarct.

The above article was published online with missing authors.

Rhythmic priming of grammaticality judgments in children: Duration matters.

Research has shown that regular rhythmic primes improve grammaticality judgments of subsequently presented sentences compared with irregular rhythmic primes. In the theoretical framework of dynamic attending, regular rhythmic primes are suggested to act as driving rhythms to entrain neural oscillations. These entrained oscillations then sustain once the prime has finished, engendering a state of global enhanced activation that facilitates the processing of subsequent sentences. Up to now, this global rhythmic priming effect has largely been shown with primes that are approximately 30 s or more. To investigate whether shorter primes also facilitate grammaticality judgments, two experiments were run on two groups of children aged 7 to 9 years (Ms = 8.67 and 8.58 years, respectively). Prime durations were 8 and 16 s in Experiment 1, and they were 16 and 32 s in Experiment 2. Rhythmic priming was observed in Experiment 2 for 32-s primes, as observed previously. Furthermore, positive correlations were found between reading age and performance level after regular primes for both 8-s and 16-s primes in Experiment 1 and for 32-s primes in Experiment 2. In addition, the benefit of the regular primes increased with chronological age for the 32-s primes in Experiment 2. The findings suggest that (at least) 32-s primes are optimal in global rhythmic priming studies when testing children in the current age range and that results may be modulated by chronological age and reading age. Results are discussed in relation to dynamic attending theory, neural oscillation strength, developmental considerations, and implications for rhythmic stimulation in language rehabilitation.

Rhythmic and textural musical sequences differently influence syntax and semantic processing in children.

Effects of music on language processing have been reported separately for syntax and for semantics. Previous studies have shown that regular musical rhythms can facilitate syntax processing and that semantic features of musical excerpts can influence semantic processing of words. It remains unclear whether musical parameters, such as rhythm and sound texture, may specifically influence different components of linguistic processing. In the current study, two types of musical sequences (one focusing on rhythm and the other focusing on sound texture) were presented to children who were requested to perform a syntax or a semantic task thereafter. The results revealed that rhythmic and textural musical sequences differently influence syntax and semantic processing. For grammaticality judgments, children's performance was better after regular rhythmic sequences than after textural sound sequences. In the semantic evocation task, children produced more numerous and more various concepts after textural sound sequences than after regular rhythmic sequences. These results suggest that rhythm boosts perceptual and cognitive sequencing required in syntax processing, whereas texture promote verbalization and concept activation in verbal production. The findings have implications for the interpretation of musical priming effects and are discussed in the frameworks of dynamic attending and conceptual processing.

Do Temporal Regularities during Maintenance Benefit Short-term Memory in the Elderly? Inhibition Capacities Matter.

BACKGROUND/STUDY CONTEXT: Recent research has shown a benefit of temporally regular structure presented during the maintenance period in short-term memory for young adults. Because maintenance is impaired in aging, we investigated whether older adults can also benefit from the temporal regularities for maintenance and how their cognitive capacities might affect this potential benefit. METHODS: Healthy older adults (range: 63-90 years old) had to memorize visually presented letters and maintain them in short-term memory for 6 s until recall. The six-second retention interval was either filled with an isochronous rhythmic sound sequence that provided a temporally regular structure or silent. RESULTS: The effect of the isochronous rhythm on recall performance was modulated by inhibition capacities of older adults: as compared to silence, improved recall performance thanks to the rhythm emerged with increased inhibitory capacity of the participants. CONCLUSION: Even though maintenance of older adults benefits less from the presence of temporal regularities than does the maintenance of younger ones, our findings provide evidence for improved maintenance in short-term memory for older adults in the presence of a temporally regular structure, probably due to enhanced attentional refreshing. It further provides perspectives for training and rehabilitation of age-related working memory deficits.

Specialized neural dynamics for verbal and tonal memory: fMRI evidence in congenital amusia.

Behavioral and neuropsychological studies have suggested that tonal and verbal short-term memory are supported by specialized neural networks. To date however, neuroimaging investigations have failed to confirm this hypothesis. In this study, we investigated the hypothesis of distinct neural resources for tonal and verbal memory by comparing typical nonmusician listeners to individuals with congenital amusia, who exhibit pitch memory impairments with preserved verbal memory. During fMRI, amusics and matched controls performed delayed-match-to-sample tasks with tones and words and perceptual control tasks with the same stimuli. For tonal maintenance, amusics showed decreased activity in the right auditory cortex, inferior frontal gyrus (IFG) and dorso-lateral-prefrontal cortex (DLPFC). Moreover, they exhibited reduced right-lateralized functional connectivity between the auditory cortex and the IFG during tonal encoding and between the IFG and the DLPFC during tonal maintenance. In contrasts, amusics showed no difference compared with the controls for verbal memory, with activation in the left IFG and left fronto-temporal connectivity. Critically, we observed a group-by-material interaction in right fronto-temporal regions: while amusics recruited these regions less strongly for tonal memory than verbal memory, control participants showed the reversed pattern (tonal > verbal). By benefitting from the rare condition of amusia, our findings suggest specialized cortical systems for tonal and verbal short-term memory in the human brain.

Short- and long-term memory for pitch and non-pitch contours: Insights from congenital amusia.

Congenital amusia is a neurodevelopmental disorder characterized by deficits in music perception, including discriminating and remembering melodies and melodic contours. As non-amusic listeners can perceive contours in dimensions other than pitch, such as loudness and brightness, our present study investigated whether amusics' pitch contour deficits also extend to these other auditory dimensions. Amusic and control participants performed an identification task for ten familiar melodies and a short-term memory task requiring the discrimination of changes in the contour of novel four-tone melodies. For both tasks, melodic contour was defined by pitch, brightness, or loudness. Amusic participants showed some ability to extract contours in all three dimensions. For familiar melodies, amusic participants showed impairment in all conditions, perhaps reflecting the fact that the long-term memory representations of the familiar melodies were defined in pitch. In the contour discrimination task with novel melodies, amusic participants exhibited less impairment for loudness-based melodies than for pitch- or brightness-based melodies, suggesting some specificity of the deficit for spectral changes, if not for pitch alone. The results suggest pitch and brightness may not be processed by the same mechanisms as loudness, and that short-term memory for loudness contours may be spared to some degree in congenital amusia.

New evidence of a rhythmic priming effect that enhances grammaticality judgments in children.

Musical rhythm and the grammatical structure of language share a surprising number of characteristics that may be intrinsically related in child development. The current study aimed to understand the potential influence of musical rhythmic priming on subsequent spoken grammar task performance in children with typical development who were native speakers of English. Participants (ages 5-8 years) listened to rhythmically regular and irregular musical sequences (within-participants design) followed by blocks of grammatically correct and incorrect sentences upon which they were asked to perform a grammaticality judgment task. Rhythmically regular musical sequences improved performance in grammaticality judgment compared with rhythmically irregular musical sequences. No such effect of rhythmic priming was found in two nonlinguistic control tasks, suggesting a neural overlap between rhythm processing and mechanisms recruited during grammar processing. These findings build on previous research investigating the effect of rhythmic priming by extending the paradigm to a different language, testing a younger population, and employing nonlanguage control tasks. These findings of an immediate influence of rhythm on grammar states (temporarily augmented grammaticality judgment performance) also converge with previous findings of associations between rhythm and grammar traits (stable generalized grammar abilities) in children. Taken together, the results of this study provide additional evidence for shared neural processing for language and music and warrant future investigations of potentially beneficial effects of innovative musical material on language processing.

Pitch-Responsive Cortical Regions in Congenital Amusia.

Congenital amusia is a lifelong deficit in music perception thought to reflect an underlying impairment in the perception and memory of pitch. The neural basis of amusic impairments is actively debated. Some prior studies have suggested that amusia stems from impaired connectivity between auditory and frontal cortex. However, it remains possible that impairments in pitch coding within auditory cortex also contribute to the disorder, in part because prior studies have not measured responses from the cortical regions most implicated in pitch perception in normal individuals. We addressed this question by measuring fMRI responses in 11 subjects with amusia and 11 age- and education-matched controls to a stimulus contrast that reliably identifies pitch-responsive regions in normal individuals: harmonic tones versus frequency-matched noise. Our findings demonstrate that amusic individuals with a substantial pitch perception deficit exhibit clusters of pitch-responsive voxels that are comparable in extent, selectivity, and anatomical location to those of control participants. We discuss possible explanations for why amusics might be impaired at perceiving pitch relations despite exhibiting normal fMRI responses to pitch in their auditory cortex: (1) individual neurons within the pitch-responsive region might exhibit abnormal tuning or temporal coding not detectable with fMRI, (2) anatomical tracts that link pitch-responsive regions to other brain areas (e.g., frontal cortex) might be altered, and (3) cortical regions outside of pitch-responsive cortex might be abnormal. The ability to identify pitch-responsive regions in individual amusic subjects will make it possible to ask more precise questions about their role in amusia in future work.