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ABSTRACT Introduction: Multiple investigations have revealed that patients with behavioral variant of frontotemporal dementia (bvFTD) experience difficulty recognizing emotional signals in multiple processing modalities (e.g., faces, prosody). Few studies have evaluated the recognition of musical emotions in these patients. This research aims to evaluate the ability of subjects with bvFTD to recognize musical stimuli with positive and negative emotions, in comparison with healthy subjects. Methods: bvFTD (n = 12) and healthy control participants (n = 24) underwent a test of musical emotion recognition: 56 fragments of piano music were randomly reproduced, 14 for each of the emotions (happiness, sadness, fear, and peacefulness). Results: In the subjects with bvFTD, a mean of correct answers of 23.6 (42.26%) was observed in contrast to the control subjects, where the average number of correct answers was 36.3 (64.8%). Statistically significant differences were found for each of the evaluated musical emotions and in the total score on the performed test (P<.01). The within-group analysis showed greater difficulty for both groups in recognizing negative musical emotions (sadness, fear), with the subjects with bvFTD exhibiting worse performance. Conclusions: Our results indicate that the recognition of musical stimuli with positive (happiness, peacefulness) and negative (sadness, fear) emotions are compromised in patients with bvFTD. The processing of negative musical emotions is the most difficult for these individuals.
RESUMEN Introducción: Múltiples estudios han revelado que los sujetos con la variante conductual de la demencia frontotemporal (bvFTD) tienen dificultades para reconocer señales emocionales en múltiples diferentes modalidades de procesamiento (p. ej., rostros, prosodia). Actualmente, existen pocos estudios que evalúen el reconocimiento de emociones musicales en esta población. El objetivo de esta investigación es evaluar la capacidad de los sujetos con bvFTD para reconocer estímulos musicales con emociones positivas y negativas, en comparación con sujetos sanos. Métodos: Se evaluó a 12 pacientes con bvFTD y 24 controles sanos mediante una prueba de reconocimiento de emociones musicales. Se reprodujeron aleatoriamente 56 fragmentos de música de piano, 14 para cada una de las emociones (felicidad, tristeza, miedo y tranquilidad). Resultados: En los pacientes con bvFTD, se observó una media de respuestas correctas de 23,6 (42,26%), en contraste con los sujetos de control, quienes obtuvieron un promedio de respuestas correctas de 36,3 (64,8%). Se encontraron diferencias estadísticamente significativas para cada una de las emociones musicales evaluadas y en la puntuación total de la prueba (p < 0,01). El análisis intragrupal mostró una mayor dificultad en ambos grupos para el reconocimiento de emociones musicales negativas (tristeza, miedo), y los sujetos con bvFTD son los que mostraron peor desempeño. Conclusiones: Nuestros resultados indican que el reconocimiento de estímulos musicales con emociones positivas (felicidad, tranquilidad) y negativas (tristeza, miedo) se ve afectado en pacientes con bvFTD. Las emociones musicales negativas son las más difíciles de reconocer para estos pacientes.
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BACKGROUND Historically, clinical researchers have underestimated the prevalence and importance of musical obsessions, which are defined as intrusive, repetitive, persistent sounds or tunes, not controlled by the will, that cause clinically significant anxiety and distress. Musical obsessions have also been described as the "stuck song syndrome" and their prevalence is not clearly established, because few cases have been reported. CASE REPORT This study reports a case of a 32-year-old female with a history of musical obsessions over the course of 12 years. She suffered episodes in which she heard repetitive musical fragments in her head, such as the chorus lines or portions of known or unknown songs, that caused high levels of anxiety in her daily life. The symptoms led her to introduce compulsive behaviors such as listening to the song that matched with the obsessive song. Treatment with fluoxetine 60 mg/day for 12 weeks reduced obsessive symptoms by 60%, improving her quality of life. CONCLUSIONS This case allowed us to explore the semiological spectrum that encompasses musical imagery, in which concepts that belong to normality are involved, such as musical imagination, involuntary musical imagery, and sticky songs, and other concepts that deal with psychopathological aspects such as musical obsessions, musical hallucinations, and palinacousis. Additionally, the case showed us an atypical form of compulsion that accompanied musical obsession, in which the patient sought to complete the obsessive content with real music. Treatment with fluoxetine 60 mg/day generated a symptomatic response but not remission of symptoms.
