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International audience; Machine learning classification techniques are frequently applied to structural and resting-state fMRI data to identify brain-based biomarkers for developmental disorders. However, task-related fMRI has rarely been used as a diagnostic tool. Here, we used structural MRI, resting-state connectivity and task-based fMRI data to detect congenital amusia, a pitch-specific developmental disorder. All approaches discriminated amusics from controls in meaningful brain networks at similar levels of accuracy. Interestingly, the classifier outcome was specific to deficit-related neural circuits, as the group classification failed for fMRI data acquired during a verbal task for which amusics were unimpaired. Most importantly, classifier outputs of task-related fMRI data predicted individual behavioral performance on an independent pitch-based task, while this relationship was not observed for structural or resting-state data. These results suggest that task-related imaging data can potentially be used as a powerful diagnostic tool to identify developmental disorders as they allow for the prediction of symptom severity.

This study investigated whether there is a co-occurrence between developmental dyslexia and congenital amusia in adults. First, a database of online musical tests on 18,000 participants was analysed. Self-reported dyslexic participants performed signi!cantly lower on melodic skills than matched controls, suggesting a possible link between reading and musical disorders. In order to test this relationship more directly, we evaluated 20 participants diagnosed with dyslexia, 16 participants diagnosed with amusia, and their matched controls, with a whole battery of literacy (reading, fluency, spelling), phonological (verbal working memory, phonological awareness) and musical tests (melody, rhythm and metre perception, incidental memory). Amusia was diagnosed in six (30%) dyslexic participants and reading difficulties were found in four (25%) amusic participants. Thus, the results point to a moderate comorbidity between amusia and dyslexia. Further research will be needed to determine what factors at the neural and/or cognitive levels are responsible for this co-occurrence., info:eu-repo/semantics/published

International audience; We have shown that an anteromedial temporal lobe resection can impair the recognition of scary music in a prior study (Gosselin et al., 2005). In other studies (Adolphs et al., 2001; Anderson et al., 2000), similar results have been obtained with fearful facial expressions. These findings suggest that scary music and fearful faces may be processed by common cerebral structures. To assess this possibility, we tested patients with unilateral anteromedial temporal excision and normal controls in two emotional tasks. In the task of identifying musical emotion, stimuli evoked either fear, peacefulness, happiness or sadness. Participants were asked to rate to what extent each stimulus expressed these four emotions on 10-point scales. The task of facial emotion included morphed stimuli whose expression varied from faint to more pronounced and evoked fear, happiness, sadness, surprise, anger or disgust. Participants were requested to select the appropriate label. Most patients were found to be impaired in the recognition of both scary music and fearful faces. Furthermore, the results in both tasks were correlated, suggesting a multimodal representation of fear within the amygdala. However, inspection of individual results showed that recognition of fearful faces can be preserved whereas recognition of scary music can be impaired. Such a dissociation found in two cases suggests that fear recognition in faces and in music does not necessarily involve exactly the same cerebral networks and this hypothesis is discussed in light of the current literature.

International audience; To study the influence of musical education on emotional reactions to dissonance, we examined self-reports and physiological responses to dissonant and consonant musical excerpts in listeners with low (LE: n=15) and high (HE: n=13) musical experience. The results show that dissonance induces more unpleasant feelings and stronger physiological responses in HE than in LE participants, suggesting that musical education reinforces aversion to dissonance. Skin conductance (SCR) and electromyographic (EMG) signals were analyzed according to a defense cascade model, which takes into account two successive time windows corresponding to orienting and defense responses. These analyses suggest that musical experience can influence the defense response to dissonance and demonstrate a powerful role of musical experience not only in autonomic but also in expressive responses to music.

Congenital amusia is a neurogenetic disorder that affects music processing and that is ascribed to a deficit in pitch processing. We investigated whether this deficit extended to pitch processing in speech, notably the pitch changes used to contrast lexical tones in tonal languages. Congenital amusics and matched controls, all non-tonal language speakers, were tested for lexical tone discrimination in Mandarin Chinese (Experiment 1) and in Thai (Experiment 2). Tones were presented in pairs and participants were required to make same/different judgments. Experiment 2 additionally included musical analogs of Thai tones for comparison. Performance of congenital amusics was inferior to that of controls for all materials, suggesting a domain-general pitch-processing deficit. The pitch deficit of amusia is thus not limited to music, but may compromise the ability to process and learn tonal languages. Combined with acoustic analyses of the tone material, the present findings provide new insights into the nature of the pitch-processing deficit exhibited by amusics.

International audience; Congenital amusia is a neurogenetic disorder of music processing that is currently ascribed to a deficit in pitch processing. A recent study challenges this view and claims the disorder might arise as a consequence of a general spatial-processing deficit. Here, we assessed spatial processing abilities in two independent samples of individuals with congenital amusia by using line bisection tasks (Experiment 1) and a mental rotation task (Experiment 2). Both amusics and controls showed the classical spatial effects on bisection performance and on mental rotation performance, and amusics and controls did not differ from each other. These results indicate that the neurocognitive impairment of congenital amusia does not affect the processing of space.

In everyday life, emotional events are perceived by multiple sensory systems. Research has shown that recognition of emotions in one modality is biased towards the emotion expressed in a simultaneously presented but task irrelevant modality. In the present study, we combine visual and auditory stimuli that convey similar affective meaning but have a low probability of co-occurrence in everyday life. Dynamic face-blurred whole body expressions of a person grasping an object while expressing happiness or sadness are presented in combination with fragments of happy or sad instrumental classical music. Participants were instructed to categorize the emotion expressed by the visual stimulus. The results show that recognition of body language is influenced by the auditory stimuli. These findings indicate that crossmodal influences as previously observed for audiovisual speech can also be obtained from the ignored auditory to the attended visual modality in audiovisual stimuli that consist of whole bodies and music. ispartof: Brain Topography vol:21 issue:3 pages:216-220 ispartof: location:United States status: published

International audience; To what extent do music and language share neural mechanisms for processing pitch patterns? Musical tone-deafness (amusia) provides important evidence on this question. Amusics have problems with musical melody perception, yet early work suggested that they had no problems with the perception of speech intonation (Ayotte, Peretz, & Hyde, 2002). However, here we show that about 30% of amusics from independent studies (British and French-Canadian) have difficulty discriminating a statement from a question on the basis of a final pitch fall or rise.This suggests that pitch direction perception deficits in amusia (known from previous psychophysical work) can extend to speech. For British amusics, the direction deficit is related to the rate of change of the final pitch glide in statements/ questions, with increased discrimination difficulty when rates are relatively slow. These findings suggest that amusia provides a useful window on the neural relations between melodic processing in language and music.

Groups of 4-day-old neonates were tested for dichotic discrimination and ear differences with the High-Amplitude-Sucking procedure. In the first experiment, dichotic speech discrimination was attested by comparison with a control group. Furthermore, among those subjects who showed a substantial recovery of sucking response at least after one of the two syllable changes, it was observed that significantly more subjects manifested a stronger reaction to a right-ear change than to a left-ear change. In the second experiment, 4-day-old neonates were tested on syllable and music timbre discrimination. The significant Stimulus Type × Ear interaction observed suggests perceptual asymmetries indicative of very precocious brain specialization.

This thesis research aims to test the potential of music as a mnemonic support for new learning in normal elderly and Alzheimer’s disease (AD) participants. Several studies have highlighted the beneficial effects of music on cognition in aging and dementia. At the same time, in young adults, the idea that music could serve as a mnemonic support is highly debated. Yet, very few studies addressed this question in aging or dementia. In the present work, we conduct two studies in a cohort of 8 mild Alzheimer’s disease and 7 matched control participants. The first study concerns verbal memory, and compares learning and different retention delays of lyrics (unknown texts) that are either spoken or sung. When lyrics are sung, different degrees of melody familiarity are contrasted. Moreover, as motor activity is strongly related to music, we compare two learning procedures that are either synchronized or not with the production of these lyrics during encoding: 1) participants sing in unison with the model or 2) participants hear the model without singing. Results of this study are presented and discussed in the first two articles of the experimental section. Globally, music does not show aid for learning measured in immediate recall; we even observed a harmful effect when lyrics are sung on a non-familiar melody. But music helps long-term retention of lyrics, particularly for AD participants. Nevertheless, music does not clearly interact with learning procedure involving unison singing. The second study of the thesis investigates the learning of gesture sequences. Similarly to the first study, we explore influence of music versus silence as background accompaniment, and synchronized production versus observation of gestures during encoding. Results (article 3) showed again no interaction between background accompaniment and learning procedure, but different effects of each variable on both groups. Learning gestures with synchronized production is beneficial for normal controls, but harmful for AD participants. On the other hand, musical accompaniment led to greater benefit for AD participants than for controls. In the general discussion, we present the implications of these results for fundamental and clinical neuropsychology. We propose some recommendations to maximize these effects and make them relevant for therapeutic care., L’objectif de ce travail de thèse est d’évaluer le potentiel de la musique comme support mnémotechnique pour l’acquisition de nouvelles informations chez des personnes âgées saines et atteintes de la maladie d’Alzheimer (MA). Les bénéfices de la musique sur la cognition ont souvent été mis en évidence, y compris chez des populations âgées ou atteintes de démence. Parallèlement, chez des sujets jeunes, l’idée que la musique peut servir de support pour la mémoire a été largement débattue. Pourtant, très peu d’études ont posé cette question auprès de populations âgées ou dans la démence, malgré le besoin persistant de stratégies d’intervention dans ce domaine. Dans le présent travail, deux études sont menées dans une cohorte de 8 participants atteints d’un stade léger de la maladie d’Alzheimer, et 7 participants âgés sains appariés en âge et niveau de scolarité. La première étude porte sur la mémoire verbale, et compare l’apprentissage et la rétention de paroles (textes inconnus) présentées de manière récitée ou chantée. Lorsque les paroles sont chantées, différents degrés de familiarité de la mélodie sont contrastés. Aussi, l’action motrice étant intimement liée à l’écoute musicale, nous contrastons deux procédures d’apprentissage impliquant (ou non) la production synchronisée des paroles à mémoriser pendant l’encodage : le participant est invité à chanter à l’unisson avec un modèle (ou à écouter simplement sans chanter). Les résultats de cette étude sont présentés et discutés dans les deux premiers articles de la partie expérimentale. Ils suggèrent globalement que la musique n’aide pas l’apprentissage en rappel immédiat ; un effet délétère est même observé lorsque la mélodie utilisée est non familière. Par contre, la musique favorise la rétention à long terme des paroles, principalement pour les participants MA. Elle ne semble cependant pas interagir avec la procédure d’apprentissage impliquant le chant à l’unisson. La seconde étude porte sur l’apprentissage de séquences de gestes. Suivant la même logique que dans la première étude, nous explorons l’influence d’un accompagnement musical (versus apprentissage en silence) et d’une procédure d’apprentissage avec production synchronisée (versus observation) des gestes durant l’encodage. Les résultats (article 3) ne montrent pas non plus d’interaction entre l’accompagnement et la procédure d’apprentissage, mais différents effets de chaque composante sur les deux groupes de participants. Effectuer les gestes en synchronie avec un modèle lors de l’encodage est bénéfique pour les sujets Contrôles, mais plutôt délétère pour les participants MA. Par contre, l’accompagnement musical favorise davantage l’apprentissage chez les sujet MA que chez les Contrôles. En discussion générale, nous discutons les implications de ces résultats pour la neuropsychologie fondamentale et clinique, et proposons notamment différentes recommandations visant à maximiser ces effets et à les rendre pertinents pour l’usage thérapeutique en stimulation cognitive.