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Stroke is a highly disabling condition, for which music therapy is regularly used in rehabilitation. One possible mechanism for the effects of music therapy is the motivational aspect of music, for example regarding treatment adherence based on improved mood. In this study, changes in motivation related to Neurologic Music Therapy (NMT) techniques during rehabilitation in the subacute phase after stroke will be investigated. Using a randomised within-subjects cross-over design, the effects of two NMT techniques and related motivational indices will be investigated. Data will be collected at three timepoints: baseline (TP1), after being randomised into groups and receiving NMT or standard care (TP2), and then at a third time point after the cross-over and having received both conditions (TP3). This design allows to counteract order effects, time effects due to spontaneous and/or nonlinear recovery, as well as single-subject comparisons in a relatively heterogeneous sample. Twenty adult participants who have experienced a supratentorial ischaemic or haemorrhagic stroke and are experiencing upper-limb impairments and/or cognitive deficits will be included. Behavioural measures of motor function, cognition, and quality of life will be collected, along with self-reported indices of overall motivation. The study outcomes will have implications for the understanding of the underlying mechanisms of music therapy in stroke recovery, more specifically regarding the relevance of motivational states in neurorehabilitation., Competing Interests: The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper., (© 2024 The Authors.)

ABSTRACT Music is increasingly used in a wide array of settings, from clinical recovery to sports or well-being interventions. Motivation related to music is often considered as a possible working mechanism for music to facilitate these processes, however this has not previously been systematically evaluated. The current systematic review considered studies that involved music (therapy) interventions, together with motivation-related measures such as wanting to practise, liking the musical activities, or patient adherence to an intervention. Our objective was to examine whether music is related to increased motivation in task performance and/or rehabilitation settings, and whether this is in turn related to better clinical or training outcomes. Seventy-nine studies met the inclusion criteria, the majority of which (85%) indicated an increased level of motivation with music as compared to without. Moreover, in those studies where motivation was increased, clinical or other outcomes were improved in most cases (90%). These results support the notion of motivation as an underlying mechanism of music-based interventions, but more robust evidence is needed to ascertain which mechanisms are crucial in increasing motivation from a behavioural, cognitive, and neurobiological point of view, as well as how motivational mechanisms relate to other factors of effectiveness in music-based paradigms.

Based on the idea that music acts as a mnemonic aid, musical mnemonics (i.e., sung presentation of information, also referred to as 'music as a structural prompt'), are being used in educational and therapeutic settings. However, evidence in general and patient populations is still scarce. We investigated whether musical mnemonics affect working and episodic memory performance in cognitively unimpaired individuals and persons with Alzheimer's dementia (AD). Furthermore, we examined the possible contribution of musical expertise. We comprehensively searched the PubMed and PsycINFO databases for studies published between 1970 and 2022. Also, reference lists of all identified papers were manually extracted to identify additional articles. Of 1,126 records identified, 37 were eligible and included. Beneficial effects of musical mnemonics on some aspect of memory performance were reported in 28 of 37 studies, including nine on AD. Nine studies found no beneficial effect. Familiarity contributed positively to this beneficial effect in cognitively unimpaired adults, but require more extensive investigation in AD. Musical expertise generally did not lead to additional benefits for cognitively unimpaired participants, but may benefit people with AD. Musical mnemonics may help to learn and remember verbal information in cognitively unimpaired individuals and individuals with memory impairment. Here, we provide a theoretical model of the possible underlying mechanisms of musical mnemonics, building on previous frameworks. We also discuss the implications for designing music-based mnemonics., (© 2023. The Author(s).)

Episodic memory (EM) and working memory (WM) are negatively affected by healthy ageing, and additional memory impairment typically occurs in clinical ageing-related conditions such as amnestic mild cognitive impairment (aMCI). Recent studies on musical mnemonics in Alzheimer's dementia (AD) showed promising results on EM performance. However, the effects of musical mnemonics on WM performance have not yet been studied in (a)MCI or AD. Particularly in (a)MCI the use of musical mnemonics may benefit the optimisation of (working) memory performance. Therefore, in the present study, we examined the effects of musical presentation of digits consisting of pre-recorded rhythms, sung unfamiliar pitch sequences, and their combinations, as compared to spoken presentation. Furthermore, musical expertise was assessed with two perceptual tests and the Self-Report Inventory of the Goldsmiths Musical Sophistication Index. Thirty-two persons with aMCI and 32 cognitively unimpaired older adults (OA) participated in this study. Confirming and extending previous findings in research on ageing, our results show a facilitating effect of rhythm in both cognitively unimpaired OA and persons with aMCI (p = .001, η p 2  = .158). Furthermore, pitch (p = .048, η p 2  = .062) and melody (p = .012, η p 2  = .098) negatively affected performance in both groups. Musical expertise increased this beneficial effect of musical mnemonics (p = .021, η p 2  = .090). Implications for the future design of music-based memorisation strategies in (a)MCI are discussed., (© 2023 The Authors. Journal of Neuropsychology published by John Wiley & Sons Ltd on behalf of The British Psychological Society.)

Objective: To overcome memory decrements in healthy aging, compensation strategies and mnemonics have been found to be promising. The effects of musical mnemonics in aging have been scarcely studied., Methods: The present study examined the effects of musical presentation of digits (pitch sequences, rhythms, and their combinations) on working memory performance in young and older adults, as compared to spoken presentation., Results: A facilitating effect of rhythm was found in both groups, whereas pitch and melodic cues affected performance negatively in older adults only. Musical training did not moderate the effect of musical mnemonics., Discussion: To investigate whether persons with working memory impairment also benefit from musical mnemonics, follow-up research in older persons with, for instance, mild cognitive impairment or Alzheimer's dementia is recommended.

Mental imagery is a highly common component of everyday cognitive functioning. While substantial progress is being made in clarifying this fundamental human function, much is still unclear or unknown. A more comprehensive account of mental imagery aspects would be gained by examining individual differences in age, sex, and background experience in an activity and their association with imagery in different modalities and intentionality levels. The current online study combined multiple imagery self-report measures in a sample (n = 279) with a substantial age range (18-65 years), aiming to identify whether age, sex, or background experience in sports, music, or video games were associated with aspects of imagery in the visual, auditory, or motor stimulus modality and voluntary or involuntary intentionality level. The findings show weak positive associations between age and increased vividness of voluntary auditory imagery and decreased involuntary musical imagery frequency, weak associations between being female and more vivid visual imagery, and relations of greater music and video game experience with higher involuntary musical imagery frequency. Moreover, all imagery stimulus modalities were associated with each other, for both intentionality levels, except involuntary musical imagery frequency, which was only related to higher voluntary auditory imagery vividness. These results replicate previous research but also contribute new insights, showing that individual differences in age, sex, and background experience are associated with various aspects of imagery such as modality, intentionality, vividness, and frequency. The study's findings can inform the growing domain of applications of mental imagery to clinical and pedagogical settings., (© 2021. The Author(s).)

It is now widely accepted that the brunt of animal communication is conducted via several modalities, e.g. acoustic and visual, either simultaneously or sequentially. This is a laudable multimodal turn relative to traditional accounts of temporal aspects of animal communication which have focused on a single modality at a time. However, the fields that are currently contributing to the study of multimodal communication are highly varied, and still largely disconnected given their sole focus on a particular level of description or their particular concern with human or non-human animals. Here, we provide an integrative overview of converging findings that show how multimodal processes occurring at neural, bodily, as well as social interactional levels each contribute uniquely to the complex rhythms that characterize communication in human and non-human animals. Though we address findings for each of these levels independently, we conclude that the most important challenge in this field is to identify how processes at these different levels connect. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.

Background: Post-mortem and magnetic resonance imaging (MRI) studies of the central sulcus, as an indicator of motor cortex, have shown that in the general population there is greater representation of the dominant compared to the non-dominant hand. Studies of musicians, who are highly skilled in performing complex finger movements, have suggested this dominance is affected by musical training, but methods and findings have been mixed., Objective: In the present study, an automated image analysis pipeline using a 3D mesh approach was applied to measure central sulcus (CS) asymmetry on MR images obtained for a cohort of right-handed pianists and matched controls., Methods: The depth, length, and surface area (SA) of the CS and thickness of the cortical mantle adjacent to the CS were measured in each cerebral hemisphere by applying the BrainVISA Morphologist 2012 software pipeline to 3D T1-weighted MR images of the brain obtained for 15 right-handed pianists and 14 controls, matched with respect to age, sex, and handedness. Asymmetry indices (AIs) were calculated for each parameter and multivariate analysis of covariance (MANCOVA), and post hoc tests were performed to compare differences between the pianist and control groups., Results: A one-way MANCOVA across the four AIs, controlling for age and sex, revealed a significant main effect of group ( P = 0.04), and post hoc analysis revealed that while SA was significantly greater in the left than the right cerebral hemisphere in controls ( P < 0.001), there was no significant difference between left and right SA in the pianists ( P = 0.634). Independent samples t-tests revealed that the SA of right CS was significantly larger in pianists compared to controls ( P = 0.015), with no between-group differences in left CS., Conclusions: Application of an image analysis pipeline to 3D MR images has provided robust evidence of significantly increased representation of the non-dominant hand in the brain of pianists compared to age-, sex-, and handedness-matched controls. This finding supports prior research showing structural differences in the central sulcus in musicians and is interpreted to reflect the long-term motor training and high skill level of right-handed pianists in using their left hand., Competing Interests: Nothing to declare., (© The Author(s) 2021. Published by Oxford University Press on behalf of West China School of Medicine/West China Hospital (WCSM/WCH) of Sichuan University.)

Music can reduce stress and anxiety, enhance positive mood, and facilitate social bonding. However, little is known about the role of music and related personal or cultural (individualistic vs. collectivistic) variables in maintaining wellbeing during times of stress and social isolation as imposed by the COVID-19 crisis. In an online questionnaire, administered in 11 countries (Argentina, Brazil, China, Colombia, Italy, Mexico, the Netherlands, Norway, Spain, the UK, and USA, N = 5,619), participants rated the relevance of wellbeing goals during the pandemic, and the effectiveness of different activities in obtaining these goals. Music was found to be the most effective activity for three out of five wellbeing goals: enjoyment, venting negative emotions, and self-connection. For diversion, music was equally good as entertainment, while it was second best to create a sense of togetherness, after socialization. This result was evident across different countries and gender, with minor effects of age on specific goals, and a clear effect of the importance of music in people's lives. Cultural effects were generally small and surfaced mainly in the use of music to obtain a sense of togetherness. Interestingly, culture moderated the use of negatively valenced and nostalgic music for those higher in distress., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2021 Granot, Spitz, Cherki, Loui, Timmers, Schaefer, Vuoskoski, Cárdenas-Soler, Soares-Quadros, Li, Lega, La Rocca, Martínez, Tanco, Marchiano, Martínez-Castilla, Pérez-Acosta, Martínez-Ezquerro, Gutiérrez-Blasco, Jiménez-Dabdoub, Coers, Treider, Greenberg and Israel.)

Auditory cues are frequently used to support movement learning and rehabilitation, but the neural basis of this behavioural effect is not yet clear. We investigated the microstructural neuroplasticity effects of adding musical cues to a motor learning task. We hypothesised that music-cued, left-handed motor training would increase fractional anisotropy (FA) in the contralateral arcuate fasciculus, a fibre tract connecting auditory, pre-motor and motor regions. Thirty right-handed participants were assigned to a motor learning condition either with (Music Group) or without (Control Group) musical cues. Participants completed 20minutes of training three times per week over four weeks. Diffusion tensor MRI and probabilistic neighbourhood tractography identified FA, axial (AD) and radial (RD) diffusivity before and after training. Results revealed that FA increased significantly in the right arcuate fasciculus of the Music group only, as hypothesised, with trends for AD to increase and RD to decrease, a pattern of results consistent with activity-dependent increases in myelination. No significant changes were found in the left ipsilateral arcuate fasciculus of either group. This is the first evidence that adding musical cues to movement learning can induce rapid microstructural change in white matter pathways in adults, with potential implications for therapeutic clinical practice., (Copyright © 2017 The Authors. Published by Elsevier Inc. All rights reserved.)

Visualizing acoustic features of speech has proven helpful in speech therapy; however, it is as yet unclear how to create intuitive and fitting visualizations. To better understand the mappings from speech sound aspects to visual space, a large web-based experiment (n = 249) was performed to evaluate spatial parameters that may optimally represent pitch and loudness of speech. To this end, five novel animated visualizations were developed and presented in pairwise comparisons, together with a static visualization. Pitch and loudness of speech were each mapped onto either the vertical (y-axis) or the size (z-axis) dimension, or combined (with size indicating loudness and vertical position indicating pitch height) and visualized as an animation along the horizontal dimension (x-axis) over time. The results indicated that firstly, there is a general preference towards the use of the y-axis for both pitch and loudness, with pitch ranking higher than loudness in terms of fit. Secondly, the data suggest that representing both pitch and loudness combined in a single visualization is preferred over visualization in only one dimension. Finally, the z-axis, although not preferred, was evaluated as corresponding better to loudness than to pitch. This relation between sound and visual space has not been reported previously for speech sounds, and elaborates earlier findings on musical material. In addition to elucidating more general mappings between auditory and visual modalities, the findings provide us with a method of visualizing speech that may be helpful in clinical applications such as computerized speech therapy, or other feedback-based learning paradigms.

It is increasingly well established that music containing an isochronous pulse elicits motor responses at the levels of both brain and behavior. Such motor responses are often used in pedagogical and clinical practice to induce movement, particularly where motor functions are impaired. However, the complex nature of such apparently universal human responses has, arguably, not received adequate research attention to date. In particular, it should be noted that many adults, including those with disabilities, find it somewhat difficult to synchronize their movements with a beat with perfect accuracy; indeed, perfecting the skill of being musically "in time" can take years of training during childhood. Further research is needed on the nature of both the specificity and range of motor responses that can arise from the perception of a steady auditory pulse, with different populations, musical stimuli, conditions, and required levels of accuracy in order to better understand and capture the potential value of the musical beat as a pedagogical and therapeutic tool., (© 2015 New York Academy of Sciences.)

Moving to music is intuitive and spontaneous, and music is widely used to support movement, most commonly during exercise. Auditory cues are increasingly also used in the rehabilitation of disordered movement, by aligning actions to sounds such as a metronome or music. Here, the effect of rhythmic auditory cueing on movement is discussed and representative findings of cued movement rehabilitation are considered for several movement disorders, specifically post-stroke motor impairment, Parkinson's disease and Huntington's disease. There are multiple explanations for the efficacy of cued movement practice. Potentially relevant, non-mutually exclusive mechanisms include the acceleration of learning; qualitatively different motor learning owing to an auditory context; effects of increased temporal skills through rhythmic practices and motivational aspects of musical rhythm. Further considerations of rehabilitation paradigm efficacy focus on specific movement disorders, intervention methods and complexity of the auditory cues. Although clinical interventions using rhythmic auditory cueing do not show consistently positive results, it is argued that internal mechanisms of temporal prediction and tracking are crucial, and further research may inform rehabilitation practice to increase intervention efficacy., (© 2014 The Author(s) Published by the Royal Society. All rights reserved.)

Music is commonly used to facilitate or support movement, and increasingly used in movement rehabilitation. Additionally, there is some evidence to suggest that music imagery, which is reported to lead to brain signatures similar to music perception, may also assist movement. However, it is not yet known whether either imagined or musical cueing changes the way in which the motor system of the human brain is activated during simple movements. Here, functional magnetic resonance imaging was used to compare neural activity during wrist flexions performed to either heard or imagined music with self-pacing of the same movement without any cueing. Focusing specifically on the motor network of the brain, analyses were performed within a mask of BA4, BA6, the basal ganglia (putamen, caudate, and pallidum), the motor nuclei of the thalamus, and the whole cerebellum. Results revealed that moving to music compared with self-paced movement resulted in significantly increased activation in left cerebellum VI. Moving to imagined music led to significantly more activation in pre-supplementary motor area (pre-SMA) and right globus pallidus, relative to self-paced movement. When the music and imagery cueing conditions were contrasted directly, movements in the music condition showed significantly more activity in left hemisphere cerebellum VII and right hemisphere and vermis of cerebellum IX, while the imagery condition revealed more significant activity in pre-SMA. These results suggest that cueing movement with actual or imagined music impacts upon engagement of motor network regions during the movement, and suggest that heard and imagined cues can modulate movement in subtly different ways. These results may have implications for the applicability of auditory cueing in movement rehabilitation for different patient populations.

In recent years, musicians have been increasingly recruited to investigate grey and white matter neuroplasticity induced by skill acquisition. The development of Diffusion Tensor Magnetic Resonance Imaging (DT-MRI) has allowed more detailed investigation of white matter connections within the brain, addressing questions about the effect of musical training on connectivity between specific brain regions. Here, current DT-MRI analysis techniques are discussed and the available evidence from DT-MRI studies into differences in white matter architecture between musicians and non-musicians is reviewed. Collectively, the existing literature tends to support the hypothesis that musical training can induce changes in cross-hemispheric connections, with significant differences frequently reported in various regions of the corpus callosum of musicians compared with non-musicians. However, differences found in intra-hemispheric fibres have not always been replicated, while findings regarding the internal capsule and corticospinal tracts appear to be contradictory. There is also recent evidence to suggest that variances in white matter structure in non-musicians may correlate with their ability to learn musical skills, offering an alternative explanation for the structural differences observed between musicians and non-musicians. Considering the inconsistencies in the current literature, possible reasons for conflicting results are offered, along with suggestions for future research in this area.

The important roles of prediction and prior experience are well established in music research and fit well with Clark's concept of unified perception, cognition, and action arising from hierarchical, bidirectional predictive processing. However, in order to fully account for human musical intelligence, Clark needs to further consider the powerful and variable role of affect in relation to prediction error.

The current work investigates the brain activation shared between perception and imagery of music as measured with electroencephalography (EEG). Meta-analyses of four separate EEG experiments are presented, each focusing on perception and imagination of musical sound, with differing levels of stimulus complexity. Imagination and perception of simple accented metronome trains, as manifested in the clock illusion, as well as monophonic melodies are discussed, as well as more complex rhythmic patterns and ecologically natural music stimuli. By decomposing the data with principal component analysis (PCA), similar component distributions are found to explain most of the variance in each experiment. All data sets show a fronto-central and a more central component as the largest sources of variance, fitting with projections seen for the network of areas contributing to the N1/P2 complex. We expanded on these results using tensor decomposition. This allows us to add in the tasks to find shared activation, but does not make assumptions of independence or orthogonality and calculates the relative strengths of these components for each task. The components found in the PCA were shown to be further decomposable into parts that load primarily on to the perception or imagery task, or both, thereby adding more detail. It is shown that the frontal and central components have multiple parts that are differentially active during perception and imagination. A number of possible interpretations of these results are discussed, taking into account the different stimulus materials and measurement conditions., (Copyright © 2012 Elsevier Inc. All rights reserved.)

Previous work has shown that mental imagination of sound generally elicits an increase of alpha band activity (8-12 Hz) in the electroencephalogram (EEG). In addition, alpha activity has been shown to be related to aspects of music processing. In the current study, EEG signatures were investigated for perception and imagery of two different natural musical phrases. The responses are compared between tasks and between stimuli. For all tasks and stimuli, posterior alpha band activity was seen, but differences are shown in the power of this response. As expected, imagery resulted in a significantly stronger alpha activation than perception. The comparison of the averaged responses to the stimuli also showed a difference in alpha power, although this effect is seen in different directions. These results are interpreted to indicate that both the tasks and the stimuli modulate an attentional network, which may relate to the inhibition of non-task relevant cortical areas, as well as engagement with the music., (Copyright © 2011 Elsevier B.V. All rights reserved.)

In the current study we use electroencephalography (EEG) to detect heard music from the brain signal, hypothesizing that the time structure in music makes it especially suitable for decoding perception from EEG signals. While excluding music with vocals, we classified the perception of seven different musical fragments of about three seconds, both individually and cross-participants, using only time domain information (the event-related potential, ERP). The best individual results are 70% correct in a seven-class problem while using single trials, and when using multiple trials we achieve 100% correct after six presentations of the stimulus. When classifying across participants, a maximum rate of 53% was reached, supporting a general representation of each musical fragment over participants. While for some music stimuli the amplitude envelope correlated well with the ERP, this was not true for all stimuli. Aspects of the stimulus that may contribute to the differences between the EEG responses to the pieces of music are discussed., (Copyright © 2010 Elsevier Inc. All rights reserved.)

Perceiving musical rhythms can be considered a process of attentional chunking over time, driven by accent patterns. A rhythmic structure can also be generated internally, by placing a subjective accent pattern on an isochronous stimulus train. Here, we investigate the event-related potential (ERP) signature of actual and subjective accents, thus disentangling low-level perceptual processes from the cognitive aspects of rhythm processing. The results show differences between accented and unaccented events, but also show that different types of unaccented events can be distinguished, revealing additional structure within the rhythmic pattern. This structure is further investigated by decomposing the ERP into subcomponents, using principal component analysis. In this way, the processes that are common for perceiving a pattern and self-generating it are isolated, and can be visualized for the tasks separately. The results suggest that top-down processes have a substantial role in the cerebral mechanisms of rhythm processing, independent of an externally presented stimulus.

In the current study we investigate the EEG response to listening and imagining melodies and explore the possibility of decomposing this response according to musical features, such as rhythm and pitch patterns. A structural model was created based on musical aspects and multiple regression was used to calculate profiles of the contribution of each aspect, in contrast to traditional ERP components. By decomposing the response, we aimed to uncover pronounced ERP contributions for aspects of the encoding of musical structure, assuming a simple additive combination of these. When using a model built up of metric levels and contour direction, 81% of the variance is explained for perceived, and 57% for imagined melodies. The maximum correlation between the parameters found for the same melodic aspect in perception vs. imagery was 0.88, indicating similar processing between tasks. The decomposition method is shown to be a novel analysis method of complex ERP patterns, which allows subcomponents to be investigated within a continuous context.