The rewards of music listening: response and physiological connectivity of the mesolimbic system.

Although the neural underpinnings of music cognition have been widely studied in the last 5 years, relatively little is known about the neuroscience underlying emotional reactions that music induces in listeners. Many people spend a significant amount of time listening to music, and its emotional power is assumed but not well understood. Here, we use functional and effective connectivity analyses to show for the first time that listening to music strongly modulates activity in a network of mesolimbic structures involved in reward processing including the nucleus accumbens (NAc) and the ventral tegmental area (VTA), as well as the hypothalamus and insula, which are thought to be involved in regulating autonomic and physiological responses to rewarding and emotional stimuli. Responses in the NAc and the VTA were strongly correlated pointing to an association between dopamine release and NAc response to music. Responses in the NAc and the hypothalamus were also strongly correlated across subjects, suggesting a mechanism by which listening to pleasant music evokes physiological reactions. Effective connectivity confirmed these findings, and showed significant VTA-mediated interaction of the NAc with the hypothalamus, insula, and orbitofrontal cortex. The enhanced functional and effective connectivity between brain regions mediating reward, autonomic, and cognitive processing provides insight into understanding why listening to music is one of the most rewarding and pleasurable human experiences.

Neural correlates of timbre change in harmonic sounds.

Timbre is a major structuring force in music and one of the most important and ecologically relevant features of auditory events. We used sound stimuli selected on the basis of previous psychophysiological studies to investigate the neural correlates of timbre perception. Our results indicate that both the left and right hemispheres are involved in timbre processing, challenging the conventional notion that the elementary attributes of musical perception are predominantly lateralized to the right hemisphere. Significant timbre-related brain activation was found in well-defined regions of posterior Heschl's gyrus and superior temporal sulcus, extending into the circular insular sulcus. Although the extent of activation was not significantly different between left and right hemispheres, temporal lobe activations were significantly posterior in the left, compared to the right, hemisphere, suggesting a functional asymmetry in their respective contributions to timbre processing. The implications of our findings for music processing in particular and auditory processing in general are discussed.

Retrieval dynamics in recognition and list discrimination: further evidence of separate processes of familiarity and recall.

Two experiments tested the hypothesis that the time course of retrieval from memory is different for familiarity and recall. The response-signal method was used to compare memory retrieval dynamics in yes-no recognition memory, as a measure of familiarity, with those of list discrimination, as a measure of contextual recall. Responses were always made with regard to membership in two previous study lists. In Experiment 1 an exclusion task requiring positive responses to words from one list and negative responses to new words and words from the nontarget list was used. In Experiment 2, recognition and list discrimination were separate tasks. Retrieval curves from both experiments were consistent, showing that the minimal retrieval time for recognition was about 100 msec faster than that for list discrimination. Repetition affected asymptotic performance but had no reliable effects on retrieval dynamics in either the recognition or the list-discrimination task.

Memory for musical tempo: additional evidence that auditory memory is absolute.

We report evidence that long-term memory retains absolute (accurate) features of perceptual events. Specifically, we show that memory for music seems to preserve the absolute tempo of the musical performance. In Experiment 1, 46 subjects sang two different popular songs from memory, and their tempos were compared with recorded versions of the songs. Seventy-two percent of the productions on two consecutive trials came within 8% of the actual tempo, demonstrating accuracy near the perceptual threshold (JND) for tempo. In Experiment 2, a control experiment, we found that folk songs lacking a tempo standard generally have a large variability in tempo; this counters arguments that memory for the tempo of remembered songs is driven by articulatory constraints. The relevance of the present findings to theories of perceptual memory and memory for music is discussed.

Absolute memory for musical pitch: evidence from the production of learned melodies.

Evidence for the absolute nature of long-term auditory memory is provided by analyzing the production of familiar melodies. Additionally, a two-component theory of absolute pitch is presented, in which this rare ability is conceived as consisting of a more common ability, pitch memory, and a separate, less common ability, pitch labeling. Forty-six subjects sang two different popular songs, and their productions were compared with the actual pitches used in recordings of those songs. Forty percent of the subjects sang the correct pitch on at least one trial; 12% of the subjects hit the correct pitch on both trials, and 44% came within two semitones of the correct pitch on both trials. The results show a convergence with previous studies on the stability of auditory imagery and latent absolute pitch ability; the results further suggest that individuals might possess representations of pitch that are more stable and accurate than previously recognized.