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Congenital amusia is a lifelong disorder that compromises the normal development of musical abilities in 1.5-4% of the general population. There is a substantial genetic contribution to congenital amusia, and it bears similarities to neurodevelopmental disorders of language. Here, we examine the extent to which variants in the forkhead box P2 gene (FOXP2)-the first gene to be identified as causal in developmental speech deficits-are associated with the amusic trait. Using a cohort of 49 individuals with amusia, of which 27 were unrelated, the role of FOXP2 variants in amusia was evaluated. Fourteen variants were examined in the cohort. None segregated with the amusic trait among participants for whom family information was available; nor were they predicted to be deleterious to protein function. Thus, variants in FOXP2 are not likely to cause amusia. Implications for ongoing debates about the distinction between musicality and language are discussed.

Processing auditory sequences involves multiple brain networks and is crucial to complex perception associated with music appreciation and speech comprehension. We used time-resolved cortical imaging in a pitch change detection task to detail the underlying nature of human brain network activity, at the rapid time scales of neurophysiology. In response to tone sequence presentation to the participants, we observed slow inter-regional signaling at the pace of tone presentations (2-4 Hz) that was directed from auditory cortex toward both inferior frontal and motor cortices. Symmetrically, motor cortex manifested directed influence onto auditory and inferior frontal cortices via bursts of faster (15-35 Hz) activity. These bursts occurred precisely at the expected latencies of each tone in a sequence. This expression of interdependency between slow/fast neurophysiological activity yielded a form of local cross-frequency phase-amplitude coupling in auditory cortex, which strength varied dynamically and peaked when pitch changes were anticipated. We clarified the mechanistic relevance of these observations in relation to behavior by including a group of individuals afflicted by congenital amusia, as a model of altered function in processing sound sequences. In amusia, we found a depression of inter-regional slow signaling toward motor and inferior frontal cortices, and a chronic overexpression of slow/fast phase-amplitude coupling in auditory cortex. These observations are compatible with a misalignment between the respective neurophysiological mechanisms of stimulus encoding and internal predictive signaling, which was absent in controls. In summary, our study provides a functional and mechanistic account of neurophysiological activity for predictive, sequential timing of auditory inputs.SIGNIFICANCE STATEMENTAuditory sequences are processed by extensive brain networks, involving multiple systems. In particular, fronto-temporal brain connections participate in the encoding of sequential auditory events, but so far, their study was limited to static depictions. This study details the nature of oscillatory brain activity involved in these inter-regional interactions in human participants. It demonstrates how directed, polyrhythmic oscillatory interactions between auditory and motor cortical regions provide a functional account for predictive timing of incoming items in an auditory sequence. In addition, we show the functional relevance of these observations in relation to behavior, with data from both normal hearing participants and a rare cohort of individuals afflicted by congenital amusia, which we considered here as a model of altered function in processing sound sequences.

Since Darwin (1871), researchers have proposed that musicality evolved in a reproductive context in which males produce music to signal their mate quality. The extent to which evidence supports this contention, however, remains unclear. Related traits in many non-human animals are sexually differentiated, and while some sex differences in human auditory perception have been documented, the pattern of results is murky. Here, we study melodic discrimination, mistuning perception, and beat alignment perception in 360,009 men and 194,291 women from 208 countries. We find that, in contrast to other non-music human traits, and in contrast to non-human traits, there was no overall advantage for either sex, and the observed sex differences were minuscule (Cohen’s d: 0.009 - 0.11) and of inconsistent direction. These results do not provide compelling support for human music perception being a sexually dimorphic trait, and therefore it is unlikely to have been shaped by sexual selection.

In this study, the robustness of an online tool for objectively assessing singing ability was examined by: (1) determining the internal consistency and test-retest reliability of the tool; (2) comparing the task performance of web-based participants (n = 285) with a group (n = 52) completing the tool in a controlled laboratory setting, and then determining the convergent validity between settings, and (3) comparing participants’ task performance with previous research using similar singing tasks and populations. Results indicated that the online singing tool exhibited high internal consistency (Cronbach’s alpha = .92), and moderate-to-high test-retest reliabilities (.65–.80) across an average 4.5-year-span. Task performance for web- and laboratory-based participants (n = 82) matched on age, sex, and music training were not significantly different. Moderate-to-large correlations (|r| =.31–.59) were found between self-rated singing ability and the various singing tasks, supporting convergent validity. Finally, task performance of the web-based sample was not significantly different to previously reported findings. Overall the findings support the robustness of the online tool for objectively measuring singing pitch accuracy beyond a controlled laboratory environment and its potential application in large-scale investigations of singing and music ability.

Humans spontaneously invent songs from an early age. Here, we exploit this natural inclination to probe implicit musical knowledge in 33 untrained and poor singers (amusia). Each sang 28 long improvisations as a response to a verbal prompt or a continuation of a melodic stem. To assess the extent to which each improvisation reflects tonality, which has been proposed to be a core organizational principle of musicality and which is present within most music traditions, we developed a new algorithm that compares a sung excerpt to a probability density function representing the tonal hierarchy of Western music. The results show signatures of tonality in both nonmusicians and individuals with congenital amusia, who have notorious difficulty performing musical tasks that require explicit responses and memory. The findings are a proof of concept that improvisation can serve as a novel, even enjoyable method for systematically measuring hidden aspects of musicality across the spectrum of musical ability.

This study explores how music training impacts the development of inhibition control, phonological processing, and gross and fine motor skills in preschoolers. In a randomized controlled trial, 160...

Amusia is defined as a difficulty processing the tonal pitch structure of music such that an individual cannot tell the difference between notes that are in-key and out-of-key. A fine-grained pitch discrimination deficit is often observed in people with amusia. It is possible that an intervention, early in development, could mitigate amusia; however, one challenge identifying amusia early in development is that identifying in- and out-of-key notes is a metacognitive task. Given the common co-occurrence of difficulties with pitch discrimination, it would be easier to identify amusia in developing children by using a pitch change detection task. The goal of this study was to explore the behavioural and neurophysiological profiles of adolescents with poor pitch processing (Poor PP) abilities compared with those with normal pitch processing (Normal PP) abilities. Neurophysiologically, the Poor PPs exhibited a similar event-related potential (ERP) profile to adult amusics during both acoustic and musical pitch discrimination tasks. That is, early ERPs (ERAN, MMN) were similar in Poor PPs compared with Normal PPs, whereas late positivities (P300, P600) were absent in Poor PPs, but present in Normal PPs. At the same time, behavioural data revealed a double dissociation between the abilities to detect a pitch deviant in acoustic and musical context, suggesting that about a third of the children would be missed by selecting a fine-grained acoustic pitch discrimination task to identify the presence of amusia in early childhood.

Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys the current state of the field and offers a number of concrete recommendations focused on issues involving ethics, empirical methods, and definitions of “music” and “culture.”

Humans spontaneously invent songs from an early age. Here, we exploit this natural inclination to probe implicit musical knowledge in 33 untrained and poor singers (amusia). Each sang 28 long improvisations as a response to a verbal prompt or a continuation of a melodic stem. To assess the extent to which each improvisation reflects tonality, a core organizational principle of musicality, we developed a new algorithm that compares a sung excerpt to a probability density function representing the tonal hierarchy of Western music. The results show signatures of tonality in both nonmusicians and individuals with congenital amusia, who have notorious difficulty performing musical tasks that require explicit responses and memory. The findings are a proof of concept that improvisation can serve as a novel, even enjoyable method for systematically measuring hidden aspects of musicality across the spectrum of musical ability.

Singing ability is a complex human skill influenced by genetic and environmental factors, the relative contributions of which remain unknown. Currently, genetically informative studies using objective measures of singing ability across a range of tasks are limited. We administered a validated online singing tool to measure performance across three everyday singing tasks in Australian twins (n = 1189) to explore the relative genetic and environmental influences on singing ability. We derived a reproducible phenotypic index for singing ability across five performance measures of pitch and interval accuracy. Using this index we found moderate heritability of singing ability (

The detection of pitch changes is crucial to sound localization, music appreciation and speech comprehension, yet the brain network oscillatory dynamics involved remain unclear. We used time-resolved cortical imaging in a pitch change detection task. Tone sequences were presented to both typical listeners and participants affected with congenital amusia, as a model of altered pitch change perception.Our data show that tone sequences entrained slow (2-4 Hz) oscillations in the auditory cortex and inferior frontal gyrus, at the pace of tone presentations. Inter-regional signaling at this slow pace was directed from auditory cortex towards the inferior frontal gyrus and motor cortex. Bursts of faster (15-35Hz) oscillations were also generated in these regions, with directed influence from the motor cortex. These faster components occurred precisely at the expected latencies of each tone in a sequence, yielding a form of local phase-amplitude coupling with slower concurrent activity. The intensity of this coupling peaked dynamically at the moment of anticipated pitch changes.We clarify the mechanistic relevance of these observations in relation to behavior as, by task design, typical listeners outperformed amusic participants. Compared to typical listeners, inter-regional slow signaling toward motor and inferior frontal cortices was depressed in amusia. Also, the auditory cortex of amusic participants over-expressed tonic, fast-slow phase-amplitude coupling, pointing at a possible misalignment between stimulus encoding and internal predictive signaling. Our study provides novel insight into the functional architecture of polyrhythmic brain activity in auditory perception and emphasizes active, network processes involving the motor system in sensory integration.

Vocal melodies sung without lyrics (la la) are remembered better than instrumental melodies. What causes the advantage? One possibility is that vocal music elicits subvocal imitation, which could promote enhanced motor representations of a melody. If this motor interpretation is correct, distracting the motor system during encoding should reduce the memory advantage for vocal over piano melodies. In Experiment 1, participants carried out movements of the mouth (i.e., chew gum) or hand (i.e., squeeze a beanbag) while listening to 24 unfamiliar folk melodies (half vocal, half piano). In a subsequent memory test, they rated the same melodies and 24 timbre-matched foils from '1-Definitely New' to '7-Definitely Old'. There was a memory advantage for vocal over piano melodies with no effect of group and no interaction. In Experiment 2, participants carried out motor activities during encoding more closely related to singing, either silently articulating (la la) or vocalizing without articulating (humming continuously). Once again, there was a significant advantage for vocal melodies with no effect or interaction of group. In Experiment 3, participants audibly whispered (la la) repeatedly during encoding. Again, the voice advantage was present and did not differ appreciably from prior research with no motor task during encoding. However, we observed that the spontaneous phase-locking of whisper rate and musical beat tended to predict enhanced memory for vocal melodies. Altogether the results challenge the notion that subvocal rehearsal of the melody drives enhanced memory for vocal melodies. Instead, the voice may enhance engagement.

Listeners remember vocal melodies better than instrumental melodies, but the origins of the effect are unclear. One explanation for the 'voice advantage' is that general perceptual mechanisms enhance processing of conspecific signals. An alternative possibility is that the voice, by virtue of its expressiveness in pitch, simply provides more musical information to the listener. Individuals with congenital amusia provide a unique opportunity to disentangle the effects of conspecific status and vocal expressiveness because they cannot readily process subtleties in musical pitch. Forty-one participants whose musical pitch discrimination ability ranged from congenitally amusic to typical were tested. Participants heard vocal and instrumental melodies during an exposure phase, and heard the same melodies intermixed with timbre-matched foils in a recognition phase. Memory was better for vocal than instrumental melodies, but the magnitude of the advantage was unrelated to musical pitch discrimination or memory overall. The voice enhances melodic memory regardless of music perception ability, ruling out the role of pitch expressiveness in the voice advantage. More importantly, listeners across a wide range of musical ability can benefit from the privileged status of the voice.

Congenital amusia in its most common form is a disorder characterized by a musical pitch processing deficit. Although pitch is involved in conveying emotion in music, the implications for pitch deficits on musical emotion judgements is still under debate. Relatedly, both limited and spared musical emotion recognition was reported in amusia in conditions where emotion cues were not determined by musical mode or dissonance. Additionally, assumed links between musical abilities and visuo-spatial attention processes need further investigation in congenital amusics. Hence, we here test to what extent musical emotions can influence attentional performance. Fifteen congenital amusic adults and fifteen healthy controls matched for age and education were assessed in three attentional conditions: executive control (distractor inhibition), alerting, and orienting (spatial shift) while music expressing either joy, tenderness, sadness, or tension was presented. Visual target detection was in the normal range for both accuracy and response times in the amusic relative to the control participants. Moreover, in both groups, music exposure produced facilitating effects on selective attention that appeared to be driven by the arousal dimension of musical emotional content, with faster correct target detection during joyful compared to sad music. These findings corroborate the idea that pitch processing deficits related to congenital amusia do not impede other cognitive domains, particularly visual attention. Furthermore, our study uncovers an intact influence of music and its emotional content on the attentional abilities of amusic individuals. The results highlight the domain-selectivity of the pitch disorder in congenital amusia, which largely spares the development of visual attention and affective systems.

The mental representation of pitch structure (tonal knowledge) is a core component of musical experience and is learned implicitly through exposure to music. One theory of congenital amusia (tone deafness) posits that conscious access to tonal knowledge is disrupted, leading to a severe deficit of music cognition. We tested this idea by providing random performance feedback to neurotypical listeners while they listened to melodies for tonal incongruities and had their electrical brain activity monitored. The introduction of random feedback was associated with a reduction of accuracy and confidence, and a suppression of the late positive brain response usually elicited by conscious detection of a tonal violation. These effects mirror the behavioural and neurophysiological profile of amusia. In contrast, random feedback was associated with an increase in the amplitude of the early right anterior negativity, possibly due to heightened attention to the experimental task. This successful simulation of amusia in a normal brain highlights the key role of feedback in learning, and thereby provides a new avenue for the rehabilitation of learning disorders.

Cochlear implants can successfully restore hearing in profoundly deaf individuals and enable speech comprehension. However, the acoustic signal provided is severely degraded and, as a result, many important acoustic cues for perceiving emotion in voices and music are unavailable. The deficit of cochlear implant users in auditory emotion processing has been clearly established. Yet, the extent to which this deficit and the specific cues that remain available to cochlear implant users are unknown due to several confounding factors. Here we assessed the recognition of the most basic forms of auditory emotion and aimed to identify which acoustic cues are most relevant to recognize emotions through cochlear implants. To do so, we used stimuli that allowed vocal and musical auditory emotions to be comparatively assessed while controlling for confounding factors. These stimuli were used to evaluate emotion perception in cochlear implant users (Experiment 1) and to investigate emotion perception in natural versus cochlear implant hearing in the same participants with a validated cochlear implant simulation approach (Experiment 2). Our results showed that vocal and musical fear was not accurately recognized by cochlear implant users. Interestingly, both experiments found that timbral acoustic cues (energy and roughness) correlate with participant ratings for both vocal and musical emotion bursts in the cochlear implant simulation condition. This suggests that specific attention should be given to these cues in the design of cochlear implant processors and rehabilitation protocols (especially energy, and roughness). For instance, music-based interventions focused on timbre could improve emotion perception and regulation, and thus improve social functioning, in children with cochlear implants during development.

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.

Whether emotions carried by voice and music are processed by the brain using similar mechanisms has long been investigated. Yet neuroimaging studies do not provide a clear picture, mainly due to lack of control over stimuli. Here, we report a functional magnetic resonance imaging (fMRI) study using comparable stimulus material in the voice and music domains-the Montreal Affective Voices and the Musical Emotional Bursts-which include nonverbal short bursts of happiness, fear, sadness, and neutral expressions. We use a multivariate emotion-classification fMRI analysis involving cross-timbre classification as a means of comparing the neural mechanisms involved in processing emotional information in the two domains. We find, for affective stimuli in the violin, clarinet, or voice timbres, that local fMRI patterns in the bilateral auditory cortex and upper premotor regions support above-chance emotion classification when training and testing sets are performed within the same timbre category. More importantly, classifier performance generalized well across timbre in cross-classifying schemes, albeit with a slight accuracy drop when crossing the voice-music boundary, providing evidence for a shared neural code for processing musical and vocal emotions, with possibly a cost for the voice due to its evolutionary significance.

We investigated whether dancing influences the emotional response to music, compared to when music is listened to in the absence of movement. Forty participants without previous dance training listened to "groovy" and "nongroovy" music excerpts while either dancing or refraining from movement. Participants were also tested while imitating their own dance movements, but in the absence of music as a control condition. Emotion ratings and ratings of flow were collected following each condition. Dance movements were recorded using motion capture. We found that the state of flow was increased specifically during spontaneous dance to groovy excerpts, compared with both still listening and motor imitation. Emotions in the realms of vitality (such as joy and power) and sublimity (such as wonder and nostalgia) were evoked by music in general, whether participants moved or not. Significant correlations were found between the emotional and flow responses to music and whole-body acceleration profiles. Thus, the results highlight a distinct state of flow when dancing, which may be of use to promote well-being and to address certain clinical conditions.

Congenital amusia is a neurodevelopmental disorder, characterized by a difficulty detecting pitch deviation that is related to abnormal electrical brain responses. Abnormalities found along the right fronto-temporal pathway between the inferior frontal gyrus (IFG) and the auditory cortex (AC) are the likely neural mechanism responsible for amusia. To investigate the causal role of these regions during the detection of pitch deviants, we applied cathodal (inhibitory) transcranial direct current stimulation (tDCS) over right frontal and right temporal regions during separate testing sessions. We recorded participants' electrical brain activity (EEG) before and after tDCS stimulation while they performed a pitch change detection task. Relative to a sham condition, there was a decrease in P3 amplitude after cathodal stimulation over both frontal and temporal regions compared to pre-stimulation baseline. This decrease was associated with small pitch deviations (6.25 cents), but not large pitch deviations (200 cents). Overall, this demonstrates that using tDCS to disrupt regions around the IFG and AC can induce temporary changes in evoked brain activity when processing pitch deviants. These electrophysiological changes are similar to those observed in amusia and provide causal support for the connection between P3 and fronto-temporal brain regions.

For many researchers and clinicians working in the field of aphasia, as well as for those in music, the first thought that springs to mind on the topic of “Music and Aphasia” is the clinical use of...

Little empirical research has been conducted on prodigies, in no small part due to the fact that there exists no agreed-upon definition with which to identify them. The most widespread definition characterizes a prodigy as a child who, at a very young age (typically before 10) performs at an adult professional level (Feldman & Goldsmith, 1986). We tested this definition by asking musicians and nonmusicians to (1) judge whether audio clips were played by a prodigy or a professional, and (2) identify which of two clips of the same piece was played by a prodigy. Listeners performed above chance in both tasks but by a very modest margin, and musicians performed better than nonmusicians. Their low performance implies that prodigies perform well enough to be judged in terms of the most demanding criteria of performance in the field. Yet older prodigies (11 to 14) were harder to distinguish from professionals than younger prodigies (under 10), suggesting a protracted developmental trajectory for prodigy performance. Furthermore, the rate at which prodigies progressed in their playing appears higher than for regular students, suggesting that rate of progress might be used as an additional criterion for defining music prodigy.

Neural overlap in processing music and speech, as measured by the co-activation of brain regions in neuroimaging studies, may suggest that parts of the neural circuitries established for language may have been recycled during evolution for musicality, or vice versa that musicality served as a springboard for language emergence. Such a perspective has important implications for several topics of general interest besides evolutionary origins. For instance, neural overlap is an important premise for the possibility of music training to influence language acquisition and literacy. However, neural overlap in processing music and speech does not entail sharing neural circuitries. Neural separability between music and speech may occur in overlapping brain regions. In this paper, we review the evidence and outline the issues faced in interpreting such neural data, and argue that converging evidence from several methodologies is needed before neural overlap is taken as evidence of sharing.

Background/Study Context: The age-related differences in divided attention and attentional control have been associated with several negative outcomes later in life. However, numerous questions remain unanswered regarding the nature of these age differences and the role of attentional control abilities in dual-tasking. The aim of this study was to evaluate the sources for age differences in dual-tasking and more specifically: (1) whether they occur because of differences in attentional control skills, or (2) whether the age-related decrement in dual-tasking is due to a general resource reduction that would affect the ability to complete any demanding task.In two experiments, young and older adults were required to combine an auditory digit span task and a visuospatial tracking task, for which performance was individually adjusted on each task. In Experiment 1, attentional control skills were measured by instructing participants to deliberately vary attentional priority between the two tasks. In Experiment 2, resource availability was measured by varying the level of difficulty of the visuospatial tracking task in a parametric manner by increasing the speed of the target to be tracked.Both experiments confirmed the presence of a larger dual-task cost in older adults than in young adults. In Experiment 1, older participants were unable to vary their performance according to task instructions compared with younger adults. Experiment 2 showed that the age-related difference in dual-task cost was not amplified by a variation in difficulty.A marked age-related difference was found in the ability to control attentional focus in response to task instructions. However, increasing resource demand in a parametric manner does not increase the age-related differences in dual-tasking, suggesting that the difficulties experienced by older adults cannot be entirely accounted for by an increased competition for resources. A reduction in attentional control skills is proposed to account for the divided attention deficit reported in aging.

Normal aging affects explicit memory while leaving implicit memory relatively spared. Normal aging also modifies how emotions are processed and experienced, with increasing evidence that older adults (OAs) focus more on positive information than younger adults (YAs). The aim of the present study was to investigate how age-related changes in emotion processing influence explicit and implicit memory. We used emotional melodies that differed in terms of valence (positive or negative) and arousal (high or low). Implicit memory was assessed with a preference task exploiting exposure effects, and explicit memory with a recognition task. Results indicated that effects of valence and arousal interacted to modulate both implicit and explicit memory in YAs. In OAs, recognition was poorer than in YAs; however, recognition of positive and high-arousal (happy) studied melodies was comparable. Insofar as socioemotional selectivity theory (SST) predicts a preservation of the recognition of positive information, our findings are not fully consistent with the extension of this theory to positive melodies since recognition of low-arousal (peaceful) studied melodies was poorer in OAs. In the preference task, YAs showed stronger exposure effects than OAs, suggesting an age-related decline of implicit memory. This impairment is smaller than the one observed for explicit memory (recognition), extending to the musical domain the dissociation between explicit memory decline and implicit memory relative preservation in aging. Finally, the disproportionate preference for positive material seen in OAs did not translate into stronger exposure effects for positive material suggesting no age-related emotional bias in implicit memory. (PsycINFO Database Record

Congenital amusia is a condition in which an individual suffers from a deficit of musical pitch perception and production. Individuals suffering from congenital amusia generally tend to abstain from musical activities. Here, we present the unique case of Tim Falconer, a self-described musicophile who also suffers from congenital amusia. We describe and assess Tim’s attempts to train himself out of amusia through a self-imposed 18-month program of formal vocal training and practice. We tested Tim with respect to music perception and vocal production across seven sessions including pre- and post-training assessments. We also obtained diffusion-weighted images of his brain to assess connectivity between auditory and motor planning areas via the arcuate fasciculus (AF). Tim’s behavioral and brain data were compared to that of normal and amusic controls. While Tim showed temporary gains in his singing ability, he did not reach normal levels, and these gains faded when he was not engaged in regular lessons and practice. Tim did show some sustained gains with respect to the perception of musical rhythm and meter. We propose that Tim’s lack of improvement in pitch perception and production tasks is due to long-standing and likely irreversible reduction in connectivity along the AF fiber tract.

Background: Aphasia challenges the functional communication abilities that people use for everyday social interaction. People with non-fluent aphasia struggle to express themselves when speaking, yet they have been shown to better pronounce words when singing familiar songs or novel songs in a choral context. Choral singing and familiar songs are at the core of choir practice, a recreational activity that has long been offered in aphasic associations. Beneficial effects of this activity have been suggested for aphasia rehabilitation but have never been tested in a randomised controlled trial (RCT).Aim: Our study addressed whether the process of such a study is feasible and aimed to provide the first controlled trial of the effects of choir practice on aphasia rehabilitation.Methods: We piloted a three armed-prospective, randomised, parallel-group, open-label, blinded end point (PROBE) pragmatic study with a 1:1:1 allocation ratio and stratification for aphasia severity. The primary outcome was imp...

Judgement of emotion conveyed by music is determined notably by mode (major-minor) and tempo (fast-slow). This suggestion was examined using the same set of equitone melodies, in two experiments. Melodies were presented to nonmusicians who were required to judge whether the melodies sounded "happy" or "sad" on a 10-point scale. In order to assess the specific and relative contributions of mode and tempo to these emotional judgements, the melodies were manipulated so that the only verying characteristic was either the mode or the tempo in two "isolated" conditions. In two further conditions, mode and tempo manipulations were combined so that mode and tempo either converged towards the same emotion (Convergent condition) or suggested opposite emotions (Divergent condition). The results confirm that both mode and tempo determine the "happy-sad" judgements in isolation, with the tempo being more salient, even when tempo salience was adjusted. The findings further support the view that, in music, structural features that are emotionally meaningful are easy to isolate, and that music is an effective and reliable medium to study emotions.

The most studied form of congenital amusia is characterized by a difficulty with detecting pitch anomalies in melodies, also referred to as pitch deafness. Here, we tested for the presence of associated deficits in rhythm processing, beat in particular, in pitch deafness. In Experiment 1, participants performed beat perception and production tasks with musical excerpts of various genres. The results show a beat finding disorder in six of the ten assessed pitch-deaf participants. In order to remove a putative interference of pitch variations with beat extraction, the same participants were tested with percussive rhythms in Experiment 2 and showed a similar impairment. Furthermore, musical pitch and beat processing abilities were correlated. These new results highlight the tight connection between melody and rhythm in music processing that can nevertheless dissociate in some individuals.

Much is known about the efficacy of infant-directed (ID) speech and singing for capturing attention, but little is known about their role in regulating affect. In Experiment 1, infants 7–10 months of age listened to scripted recordings of ID speech, adult-directed speech, or singing in an unfamiliar language (Turkish) until they met a criterion of distress based on negative facial expression. They listened to singing for roughly twice as long as speech before meeting the distress criterion. In Experiment 2, they were exposed to natural recordings of ID speech or singing in a familiar language. As in Experiment 1, ID singing was considerably more effective than speech for delaying the onset of distress. We suggest that the temporal patterning of ID singing, with its regular beat, metrical organization, and tempo, plays an important role in inhibiting distress, perhaps by promoting entrainment and predictive listening.

Congenital amusia is a neurogenetic condition, characterized by a deficit in music perception and production, not explained by hearing loss, brain damage or lack of exposure to music. Despite inferior musical performance, amusics exhibit normal auditory cortical responses, with abnormal neural correlates suggested to lie beyond auditory cortices. Here we show, using auditory brainstem responses to complex sounds in humans, that fine-grained automatic processing of sounds is impoverished in amusia. Compared with matched non-musician controls, spectral amplitude was decreased in amusics for higher harmonic components of the auditory brainstem response. We also found a delayed response to the early transient aspects of the auditory stimulus in amusics. Neural measures of spectral amplitude and response timing correlated with participants' behavioral assessments of music processing. We demonstrate, for the first time, that amusia affects how complex acoustic signals are processed in the auditory brainstem. This neural signature of amusia mirrors what is observed in musicians, such that the aspects of the auditory brainstem responses that are enhanced in musicians are degraded in amusics. By showing that gradients of music abilities are reflected in the auditory brainstem, our findings have implications not only for current models of amusia but also for auditory functioning in general.

Several studies have identified, using functional magnetic resonance imaging (fMRI), a region within the superior temporal gyrus that preferentially responds to musical stimuli. However, in most cases, significant responses to other complex stimuli, particularly human voice, were also observed. Thus, it remains unknown if the same neurons respond to both stimulus types, albeit with different strengths, or whether the responses observed with fMRI are generated by distinct, overlapping neural populations. To address this question, we conducted an fMRI experiment in which short music excerpts and human vocalizations were presented in a pseudo-random order. Critically, we performed an adaptation-based analysis in which responses to the stimuli were analyzed taking into account the category of the preceding stimulus. Our results confirm the presence of a region in the anterior STG that responds more strongly to music than voice. Moreover, we found a music-specific adaptation effect in this area, consistent with the existence of music-preferred neurons. Lack of differences between musicians and non-musicians argues against an expertise effect. These findings provide further support for neural separability between music and speech within the temporal lobe.

It is well known that hearing abilities decline with age, and one of the most commonly reported hearing difficulties reported in older adults is a reduced ability to understand speech in noisy environments. Older adult musicians have an enhanced ability to understand speech in noise, and this has been associated with enhanced brain responses related to both speech processing and the deployment of attention; however, the causal impact of music lessons in older adults has not yet been demonstrated. To investigate whether a causal relationship exists between short-term musical training and performance on auditory tests in older adults and to determine if musical training can be used to improve hearing in older adult nonmusicians, we conducted a longitudinal training study with random assignment. A sample of older adults was randomly assigned to learn to play piano (Music), to learn to play a visuospatially demanding video game (Video), or to serve as a no-contact control (No-contact). After 6 months, the Music group improved their ability to understand a word presented in loud background noise, whereas the other 2 groups did not. This improvement was related to an increase in positive-going electrical brain activity at fronto-left electrodes 200–1000 ms after the presentation of a word in noise. Source analyses suggest that this activity was due to sources located in the left inferior frontal gyrus and other regions involved in the speech-motor system. These findings support the idea that musical training provides a causal benefit to hearing abilities. Importantly, these findings suggest that musical training could be used as a foundation to develop auditory rehabilitation programs for older adults.

Dancing emphasizes the motor expression of emotional experiences. The bodily expression of emotions can modulate the subjective experience of emotions, as when adopting emotion-specific postures and faces. Thus, dancing potentially offers a ground for emotional coping through emotional enhancement and regulation. Here we investigated the emotional responses to music in individuals without any prior dance training while they either freely danced or refrained from movement. Participants were also tested while imitating their own dance movements but in the absence of music as a control condition. Emotional ratings and cardio-respiratory measures were collected following each condition. Dance movements were recorded using motion capture. We found that emotional valence was increased specifically during spontaneous dance of groovy excerpts, compared to both still listening and motor imitation. Furthermore, parasympathetic-related heart rate variability (HRV) increased during dance compared to motor imitation. Nevertheless, subjective and physiological arousal increased during movement production, regardless of whether participants were dancing or imitating. Significant correlations were found between inter-individual differences in the emotions experienced during dance and whole-body acceleration profiles. The combination of movement and music during dance results in a distinct state characterized by acutely heightened pleasure, which is of potential interest for the use of dance in therapeutic settings.

We investigated whether dancing influences the emotional response to music, compared to when music is listened to in the absence of movement. Forty participants without previous dance training listened to "groovy" and "nongroovy" music excerpts while either dancing or refraining from movement. Participants were also tested while imitating their own dance movements, but in the absence of music as a control condition. Emotion ratings and ratings of flow were collected following each condition. Dance movements were recorded using motion capture. We found that the state of flow was increased specifically during spontaneous dance to groovy excerpts, compared with both still listening and motor imitation. Emotions in the realms of vitality (such as joy and power) and sublimity (such as wonder and nostalgia) were evoked by music in general, whether participants moved or not. Significant correlations were found between the emotional and flow responses to music and whole-body acceleration profiles. Thus, the results highlight a distinct state of flow when dancing, which may be of use to promote well-being and to address certain clinical conditions.

We evaluated the effect of different forms of singing on cardiorespiratory physiology, and we aimed at disentangling the role of breathing from that of vocal production. Cardiorespiratory recordings were obtained from 20 healthy adults at rest and during: a) singing of familiar slow songs as in the standard form of Western culture; b) improvised vocalization of free vowel sounds, known as toning. To disentangle the role of breathing from that of vocal production, we compared the vocal conditions with matched breathing-only conditions. Toning significantly improved heart rate variability, ventilatory efficiency and slowed respiration to almost exactly six breaths per minute (p

Music and speech are two of the most relevant and common sounds in the human environment. Perceiving and processing these two complex acoustical signals rely on a hierarchical functional network distributed throughout several brain regions within and beyond the auditory cortices. Given their similarities, the neural bases for processing these two complex sounds overlap to a certain degree, but particular brain regions may show selectivity for one or the other acoustic category, which we aimed to identify. We examined 53 subjects (28 of them professional musicians) by functional magnetic resonance imaging (fMRI), using a paradigm designed to identify regions showing increased activity in response to different types of musical stimuli, compared to different types of complex sounds, such as speech and non-linguistic vocalizations. We found a region in the anterior portion of the superior temporal gyrus (aSTG) (planum polare) that showed preferential activity in response to musical stimuli and was present in all our subjects, regardless of musical training, and invariant across different musical instruments (violin, piano or synthetic piano). Our data show that this cortical region is preferentially involved in processing musical, as compared to other complex sounds, suggesting a functional role as a second-order relay, possibly integrating acoustic characteristics intrinsic to music (e.g., melody extraction). Moreover, we assessed whether musical experience modulates the response of cortical regions involved in music processing and found evidence of functional differences between musicians and non-musicians during music listening. In particular, bilateral activation of the planum polare was more prevalent, but not exclusive, in musicians than non-musicians, and activation of the right posterior portion of the superior temporal gyrus (planum temporale) differed between groups. Our results provide evidence of functional specialization for music processing in specific regions of the auditory cortex and show domain-specific functional differences possibly correlated with musicianship.

The inability to vocally match a pitch can be caused by poor pitch perception or by poor vocal-motor control. Although previous studies have tried to examine the relationship between pitch perception and vocal production, they have failed to control for the timbre of the target to be matched. In the present study, we compare pitch-matching accuracy with an unfamiliar instrument (the slider) and with the voice, designed such that the slider plays back recordings of the participant's own voice. We also measured pitch accuracy in singing a familiar melody ("Happy Birthday") to assess the relationship between single-pitch-matching tasks and melodic singing. Our results showed that participants (all nonmusicians) were significantly better at matching recordings of their own voices with the slider than with their voice, indicating that vocal-motor control is an important limiting factor on singing ability. We also found significant correlations between the ability to sing a melody in tune and vocal pitch matching, but not pitch matching on the slider. Better melodic singers also tended to have higher quality voices (as measured by acoustic variables). These results provide important evidence about the role of vocal-motor control in poor singing ability and demonstrate that single-pitch-matching tasks can be useful in measuring general singing abilities.

Previous studies have suggested that presenting to-be-memorised lyrics in a singing mode, instead of a speaking mode, may facilitate learning and retention in normal adults. In this study, seven healthy older adults and eight participants with mild Alzheimer's disease (AD) learned and memorised lyrics that were either sung or spoken. We measured the percentage of words recalled from these lyrics immediately and after 10 minutes. Moreover, in AD participants, we tested the effect of successive learning episodes for one spoken and one sung excerpt, as well as long-term retention after a four week delay. Sung conditions did not influence lyrics recall in immediate recall but increased delayed recall for both groups. In AD, learning slopes for sung and spoken lyrics did not show a significant difference across successive learning episodes. However, sung lyrics showed a slight advantage over spoken ones after a four week delay. These results suggest that singing may increase the load of initial learning but improve long-term retention of newly acquired verbal information. We further propose some recommendations on how to maximise these effects and make them relevant for therapeutic applications.

Experienced musicians outperform non-musicians in understanding speech-in-noise (SPIN). The benefits of lifelong musicianship endure into older age, where musicians experience smaller declines in their ability to understand speech in noisy environments. However, it is presently unknown whether commencing musical training in old age can also counteract age-related decline in speech perception, and whether such training induces changes in neural processing of speech. Here, we recruited older adult non-musicians and assigned them to receive a short course of piano or videogame training, or no training. Participants completed two sessions of functional Magnetic Resonance Imaging where they performed a SPIN task prior to and following training. While we found no direct benefit of musical training upon SPIN perception, an exploratory Region of Interest analysis revealed increased cortical responses to speech in left Middle Frontal and Supramarginal Gyri which correlated with changes in SPIN task performance in the group which received music training. These results suggest that short-term musical training in older adults may enhance neural encoding of speech, with the potential to reduce age-related decline in speech perception.

We compared the electrophysiological correlates for the maintenance of non-musical tones sequences in auditory short-term memory (ASTM) to those for the short-term maintenance of sequences of coloured disks held in visual short-term memory (VSTM). The visual stimuli yielded a sustained posterior contralateral negativity (SPCN), suggesting that the maintenance of sequences of coloured stimuli engaged structures similar to those involved in the maintenance of simultaneous visual displays. On the other hand, maintenance of acoustic sequences produced a sustained negativity at fronto-central sites. This component is named the Sustained Anterior Negativity (SAN). The amplitude of the SAN increased with increasing load in ASTM and predicted individual differences in the performance. There was no SAN in a control condition with the same auditory stimuli but no memory task, nor one associated with visual memory. These results suggest that the SAN is an index of brain activity related to the maintenance of representations in ASTM that is distinct from the maintenance of representations in VSTM.

Pitch deafness, the most commonly known form of congenital amusia, refers to a severe deficit in musical pitch processing (i.e., melody discrimination and recognition) that can leave time processing--including rhythm, metre, and "feeling the beat"--preserved. In Experiment 1, we show that by presenting musical excerpts in nonpitched drum timbres, rather than pitched piano tones, amusics show normal metre recognition. Experiment 2 reveals that body movement influences amusics' interpretation of the beat of an ambiguous drum rhythm. Experiment 3 and a subsequent exploratory study show an ability to synchronize movement to the beat of popular dance music and potential for improvement when given a modest amount of practice. Together the present results are consistent with the idea that rhythm and beat processing are spared in pitch deafness--that is, being pitch-deaf does not mean one is beat-deaf. In the context of drum music especially, amusics can be musical.

Congenital amusia is a lifelong disorder characterized by a difficulty in perceiving and producing music despite normal intelligence and hearing. Behavioral data have indicated that it originates from a deficit in fine-grained pitch discrimination, and is expressed by the absence of a P3b event-related brain response for pitch differences smaller than a semitone and a bigger N2b–P3b brain response for large pitch differences as compared to controls. However, it is still unclear why the amusic brain overreacts to large pitch changes. Furthermore, another electrophysiological study indicates that the amusic brain can respond to changes in melodies as small as a quarter-tone, without awareness, by exhibiting a normal mismatch negativity (MMN) brain response. Here, we re-examine the event-related N2b–P3b components with the aim to clarify the cause of the larger amplitude observed by Peretz, Brattico, and Tervaniemi (2005) , by experimentally matching the number of deviants presented to the controls according to the number of deviants detected by amusics. We also re-examine the MMN component as well as the N1 in an acoustical context to investigate further the pitch discrimination deficit underlying congenital amusia. In two separate conditions, namely ignore and attend, we measured the MMN, the N1, the N2b and the P3b to tones that deviated by an eight of a tone (25 cents) or whole tone (200 cents) from a repeated standard tone. The results show a normal MMN, a seemingly normal N1, a normal P3b for the 200 cents pitch deviance, and no P3b for the small 25 cents pitch differences in amusics. These results indicate that the amusic brain responds to small pitch differences at a pre-attentive level of perception, but is unable to detect consciously those same pitch deviances at a later attentive level. The results are consistent with previous MRI and fMRI studies indicating that the auditory cortex of amusic individuals is functioning normally.

We tested whether congenital amusics, who exhibit pitch perception deficits, nevertheless adjust the pitch of their voice in response to a sudden pitch shift applied to vocal feedback. Nine amusics and matched controls imitated their own previously-recorded speech or singing, while the online feedback they received was shifted mid-utterance by 25 or 200 cents. While a few amusics failed to show pitch-shift effects, a majority showed a pitch-shift response and nearly half showed a normal response to both large and small shifts, with similar magnitudes and response times as controls. The size and presence of the shift response to small shifts were significantly predicted by participants' vocal pitch matching accuracy, rather than their ability to perceive small pitch changes. The observed dissociation between the ability to consciously perceive small pitch changes and to produce and monitor vocal pitch provides evidence for a dual-route model of pitch processing in the brain.

Objectives: Children who use cochlear implants (CIs) have characteristic pitch processing deficits leading to impairments in music perception and in understanding emotional intention in spoken language. Music training for normal-hearing children has previously been shown to benefit perception of emotional prosody. The purpose of the present study was to assess whether deaf children who use CIs obtain similar benefits from music training. We hypothesized that music training would lead to gains in auditory processing and that these gains would transfer to emotional speech prosody perception. Design: Study participants were 18 child CI users (ages 6 to 15). Participants received either 6 months of music training (i.e., individualized piano lessons) or 6 months of visual art training (i.e., individualized painting lessons). Measures of music perception and emotional speech prosody perception were obtained pre-, mid-, and post-training. The Montreal Battery for Evaluation of Musical Abilities was used to measure five different aspects of music perception (scale, contour, interval, rhythm, and incidental memory). The emotional speech prosody task required participants to identify the emotional intention of a semantically neutral sentence under audio-only and audiovisual conditions. Results: Music training led to improved performance on tasks requiring the discrimination of melodic contour and rhythm, as well as incidental memory for melodies. These improvements were predominantly found from mid- to post-training. Critically, music training also improved emotional speech prosody perception. Music training was most advantageous in audio-only conditions. Art training did not lead to the same improvements. Conclusions: Music training can lead to improvements in perception of music and emotional speech prosody, and thus may be an effective supplementary technique for supporting auditory rehabilitation following cochlear implantation.