Search

Conceptual priming studies have shown that listening to musical primes triggers semantic activation. The present study further investigated with a free semantic evocation task, 1) how rhythmic vs. textural structures affect the amount of words evoked after a musical sequence, and 2) whether both features also affect the content of the semantic activation. Rhythmic sequences were composed of various percussion sounds with a strong underlying beat and metrical structure. Textural sound sequences consisted of blended timbres and sound sources evolving over time without identifiable pulse. Participants were asked to verbalize the concepts evoked by the musical sequences. We measured the number of words and lemmas produced after having listened to musical sequences of each condition, and we analyzed whether specific concepts were associated with each sequence type. Results showed that more words and lemmas were produced for textural sound sequences than for rhythmic sequences and that some concepts were specifically associated with each musical condition. Our findings suggest that listening to musical excerpts emphasizing different features influences semantic activation in different ways and extent. This might possibly be instantiated via cognitive mechanisms triggered by the acoustic characteristics of the excerpts as well as the perceived emotions.

Despite the obvious personal relevance of some musical pieces, the cerebral mechanisms associated with listening to personally familiar music and its effects on subsequent brain functioning have not been specifically evaluated yet. We measured cerebral correlates with functional magnetic resonance imaging (fMRI) while composers listened to three types of musical excerpts varying in personal familiarity and self (familiar own/composition, familiar other/favorite or unfamiliar other/unknown music) followed by sequences of names of individuals also varying in personal familiarity and self (familiar own/own name, familiar other/close friend and unfamiliar other/unknown name). Listening to music with autobiographical contents (familiar own and/or other) recruited a fronto-parietal network including mainly the dorsolateral prefrontal cortex, the supramarginal/angular gyri and the precuneus. Additionally, while listening to familiar other music (favorite) was associated with the activation of reward and emotion networks (e.g. the striatum), familiar own music (compositions) engaged brain regions underpinning self-reference (e.g. the medial prefrontal cortex) and visuo-motor imagery. The present findings further suggested that familiar music with self-related reference (compositions) leads to an enhanced activation of the autobiographical network during subsequent familiar name processing (as compared to music without self-related reference); among these structures, the precuneus seems to play a central role in personally familiar processing.

The study under discussion sought to investigate the hemispheric laterality of musical emotions: Is one hemisphere of the brain preferentially involved in recognizing emotions in music? The authors took a neuropsychological approach to answer this question by studying emotional judgments of music in people with brain damage to either hemisphere. Their results indicated that individuals with left hemisphere damage were significantly impaired in recognizing musical emotions as compared to healthy comparison participants. In contrast, individuals with right hemisphere damage were not impaired at identifying emotions in music, but rated the perceived intensity of the emotions lower for sadness and fear (as compared to joy and serenity). Their work suggests that the identification of emotions in music and the perceived intensity of the emotions expressed may rely on different hemispheres of the brain.

International audience; Daily activities can often be performed while listening to music, which could influence the ability to select relevant stimuli while ignoring distractors. Previous studies have established that the level of arousal of music (e.g., relaxing/stimulating) has the ability to modulate mood and affect the performance of cognitive tasks. The aim of this research was to explore the effect of relaxing and stimulating background music on selective attention. To this aim, 46 healthy adults performed a Stroop-type task in five different sound environments: relaxing music, stimulating music, relaxing music-matched noise, stimulating music-matched noise, and silence. Results showed that response times for incongruent and congruent trials as well as the Stroop interference effect were similar across conditions. Interestingly, results revealed a decreased error rate for congruent trials in the relaxing music condition as compared to the relaxing musicmatched noisecondition, and a similar tendency between relaxing music and stimulating musicmatched noise. Taken together, the absence of difference between background music and silence conditions suggest that they have similar effects on adult's selective attention capacities, while noise seems to have a detrimental impact, particularly when the task is easier cognitively. In conclusion, the type of sound stimulation in the environment seems to be a factor that can affect cognitive tasks performance.

International audience; Far transfer rarely occurs, and a recent meta-analysis suggests that music is no exception. The overall effect of musical training on cognition was claimed to be null when considering studies with active control groups or implemented randomization procedures (Sala & Gobet, Memory & Cognition, 48: 1429-1441, 2020). Using the authors' data file and program ( https://osf.io/rquye ), we did not confirm the effect of randomization, and we demonstrated that their conclusion is based in part on the failure to differentiate near and far transfer, with near transfer effect sizes being selectively excluded for the musical training group studies, but not for the active control group studies. Reanalyzing their data file resulted in a significant effect size (g = .234), and also provided new evidence that far-transfer effects of musical training can challenge near-transfer effects of linguistic training. Music is a recreational activity that may be special in allowing for small but statistically significant far-transfer effects.

Numerous neuropsychological studies have investigated the effect of music on patients with Alzheimer's disease. Findings suggest that music can improve behavioral symptoms, but its potential effects on cognitive abilities of patients still require more investigation. In this 2 × 2 crossover study, we measured the impact of learning an individualized song on autobiographical memory recall and other cognitive abilities in 12 patients with mild to moderate Alzheimer's disease. For each patient, one favorite song of the patient and one autobiographical memory with positive valence were associated to create a new personalized song. This song was taught to the patient by a speech and language therapy student throughout 10 sessions. This training period and a non-training period were proposed in a counterbalanced order between participants. We tested participants' autobiographical recall and general cognitive abilities at three time points: at the start of the experiment, at crossover, and at the end of the experiment. After excluding one outlier, results showed a significant improvement in the retrieval of the autobiographical memory and in general cognitive abilities after song training compared to the non-training period. Overall, our findings suggest that the use of personalized songs may be a useful and motivating tool for addressing the decline of autobiographical memory and of cognitive functions in general in persons with Alzheimer's disease.

International audience; For the hemispheric laterality of emotion processing in the brain, two competing hypotheses are currently still debated. The first hypothesis suggests a greater involvement of the right hemisphere in emotion perception whereas the second hypothesis suggests different involvements of each hemisphere as a function of the valence of the emotion. These hypotheses are based on findings for facial and prosodic emotion perception. Investigating emotion perception for other stimuli, such as music, should provide further insight and potentially help to disentangle between these two hypotheses. The present study investigated musical emotion perception in patients with unilateral right brain damage (RBD, n = 16) or left brain damage (LBD, n = 16), as well as in matched healthy comparison participants (n = 28). The experimental task required explicit recognition of musical emotions as well as ratings on the perceived intensity of the emotion. Compared to matched comparison participants, musical emotion recognition was impaired only in LBD participants, suggesting a potential specificity of the left hemisphere for explicit emotion recognition in musical material. In contrast, intensity ratings of musical emotions revealed that RBD patients underestimated the intensity of negative emotions compared to positive emotions, while LBD patients and comparisons did not show this pattern. To control for a potential generalized emotion deficit for other types of stimuli, we also tested facial emotion recognition in the same patients and their matched healthy comparisons. This revealed that emotion recognition after brain damage might depend on the stimulus category or modality used. These results are in line with the hypothesis of a deficit of emotion perception depending on lesion laterality and valence in brain-damaged participants. The present findings provide critical information to disentangle the currently debated competing hypotheses and thus allow for a better characterization of the involvement of each hemisphere for explicit emotion recognition and their perceived intensity.

Research has shown that regular rhythmic primes improve grammaticality judgments of subsequently presented sentences compared with irregular rhythmic primes. In the theoretical framework of dynamic attending, regular rhythmic primes are suggested to act as driving rhythms to entrain neural oscillations. These entrained oscillations then sustain once the prime has finished, engendering a state of global enhanced activation that facilitates the processing of subsequent sentences. Up to now, this global rhythmic priming effect has largely been shown with primes that are approximately 30 s or more. To investigate whether shorter primes also facilitate grammaticality judgments, two experiments were run on two groups of children aged 7 to 9 years (Ms = 8.67 and 8.58 years, respectively). Prime durations were 8 and 16 s in Experiment 1, and they were 16 and 32 s in Experiment 2. Rhythmic priming was observed in Experiment 2 for 32-s primes, as observed previously. Furthermore, positive correlations were found between reading age and performance level after regular primes for both 8-s and 16-s primes in Experiment 1 and for 32-s primes in Experiment 2. In addition, the benefit of the regular primes increased with chronological age for the 32-s primes in Experiment 2. The findings suggest that (at least) 32-s primes are optimal in global rhythmic priming studies when testing children in the current age range and that results may be modulated by chronological age and reading age. Results are discussed in relation to dynamic attending theory, neural oscillation strength, developmental considerations, and implications for rhythmic stimulation in language rehabilitation.

Auditory short-term memory (STM) is a fundamental ability to make sense of auditory information as it unfolds over time. Whether separate STM systems exist for different types of auditory information (music and speech, in particular) is a matter of debate. The present paper reviews studies that have investigated both musical and verbal STM in healthy individuals and in participants with neurodevelopmental and neurological disorders. Overall, the results are in favor of only partly shared networks for musical and verbal STM. Evidence for a distinction in STM for the two materials stems from (1) behavioral studies in healthy participants, in particular from the comparison between nonmusicians and musicians; (2) behavioral studies in congenital amusia, where a selective pitch STM deficit is observed; and (3) studies in brain-damaged patients with cases of double dissociation. In this review we highlight the need for future studies comparing STM for the same perceptual dimension (e.g., pitch) in different materials (e.g., music and speech), as well as for studies aiming at a more insightful characterization of shared and distinct mechanisms for speech and music in the different components of STM, namely encoding, retention, and retrieval.

Recent evidence suggests that working memory (WM) performance can be enhanced in the presence of an isochronous rhythm during the retention interval because it improves refreshing. Considering the cognitive load (CL) effect as an indicator of refreshing, the present study investigated whether an isochronous rhythm might benefit memory performance under varying cognitive load. For that goal, the presence of a regular rhythm and the cognitive load of the concurrent task (i.e., reading of digits that were either same or different within a trial) were systematically varied. Recall performance was decreased by high cognitive load compared with low cognitive load but was improved in the regular rhythm condition compared with the silent condition. No interaction between cognitive load and rhythm was observed. The present results suggest that temporal regularities might speed up the reading of the digits rather than improve the efficiency of refreshing, resulting in more time available for refreshing and, consequently, improved memory performance. These findings are interpreted in the framework of the dynamic attending theory and in the scope of recent models of working memory, which are also considering the temporal components of working memory and the importance of the temporal structure of working memory tasks.

International audience; Auditory cognitive deficits after stroke may concern language and/or music processing, resulting in aphasia and/or amusia. The aim of the present study was to assess the potential deficits of auditory short-term memory for verbal and musical material after stroke and their underlying cerebral correlates with a Voxel-based Lesion Symptom Mapping approach (VLSM). Patients with an ischemic stroke in the right (N=10) or left (N=10) middle cerebral artery territory and matched control participants (N=14) were tested with a detailed neuropsychological assessment including global cognitive functions, music perception and language tasks. All participants then performed verbal and musical auditory short-term memory (STM) tasks that were implemented in the same way for both materials. Participants had to indicate whether series of four words or four tones presented in pairs, were the same or different. To detect domain-general STM deficits, they also had to perform a visual STM task. Behavioral results showed that patients had lower performance for the STM tasks in comparison with control participants, regardless of the material (words, tones, visual) and the lesion side. The individual patient data showed a double dissociation between some patients exhibiting verbal deficits without musical deficits or the reverse. Exploratory VLSM analyses suggested that dorsal pathways are involved in verbal (phonetic), musical (melodic), and visual STM, while the ventral auditory pathway is involved in musical STM.

Objective Previous research associated the left inferior frontal cortex with implicit structure learning. The present study tested patients with lesions encompassing the left inferior frontal gyrus (LIFG; including Brodmann areas 44 and 45) to further investigate this cognitive function, notably by using non-verbal material, implicit investigation methods, and by enhancing potential remaining function via dynamic attending. Patients and healthy matched controls were exposed to an artificial pitch grammar in an implicit learning paradigm to circumvent the potential influence of impaired language processing. Methods Patients and healthy controls listened to pitch sequences generated within a finite-state grammar (exposure phase) and then performed a categorization task on new pitch sequences (test phase). Participants were not informed about the underlying grammar in either the exposure phase or the test phase. Furthermore, the pitch structures were presented in a highly regular temporal context as the beneficial impact of temporal regularity (e.g. meter) in learning and perception has been previously reported. Based on the Dynamic Attending Theory (DAT), we hypothesized that a temporally regular context helps developing temporal expectations that, in turn, facilitate event perception, and thus benefit artificial grammar learning. Results Electroencephalography results suggest preserved artificial grammar learning of pitch structures in patients and healthy controls. For both groups, analyses of event-related potentials revealed a larger early negativity (100–200 msec post-stimulus onset) in response to ungrammatical than grammatical pitch sequence events. Conclusions These findings suggest that (i) the LIFG does not play an exclusive role in the implicit learning of artificial pitch grammars, and (ii) the use of non-verbal material and an implicit task reveals cognitive capacities that remain intact despite lesions to the LIFG. These results provide grounds for training and rehabilitation, that is, learning of non-verbal grammars that may impact the relearning of verbal grammars. © 2019 Jarret et al. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Although a growing literature points to substantial variation in speech/language abilities related to individual differences in musical abilities, mainstream models of communication sciences and disorders have not yet incorporated these individual differences into childhood speech/language development. This article reviews three sources of evidence in a comprehensive body of research aligning with three main themes: (a) associations between musical rhythm and speech/language processing, (b) musical rhythm in children with developmental speech/language disorders and common comorbid attentional and motor disorders, and (c) individual differences in mechanisms underlying rhythm processing in infants and their relationship with later speech/language development. In light of converging evidence on associations between musical rhythm and speech/language processing, we propose the Atypical Rhythm Risk Hypothesis, which posits that individuals with atypical rhythm are at higher risk for developmental speech/language disorders. The hypothesis is framed within the larger epidemiological literature in which recent methodological advances allow for large-scale testing of shared underlying biology across clinically distinct disorders. A series of predictions for future work testing the Atypical Rhythm Risk Hypothesis are outlined. We suggest that if a significant body of evidence is found to support this hypothesis, we can envision new risk factor models that incorporate atypical rhythm to predict the risk of developing speech/language disorders. Given the high prevalence of speech/language disorders in the population and the negative long-term social and economic consequences of gaps in identifying children at-risk, these new lines of research could potentially positively impact access to early identification and treatment. This article is categorized under: Linguistics > Language in Mind and Brain Neuroscience > Development Linguistics > Language Acquisition.

Music cognition research has provided evidence for the benefit of temporally regular structures guiding attention over time. The present study investigated whether maintenance in working memory can benefit from an isochronous rhythm. Participants were asked to remember series of 6 letters for serial recall. In the rhythm condition of Experiment 1A, a wood block sound was presented 6 times with a regular stimulus-onset-asynchrony during the delay between encoding and recall. In the silent condition, no sound was presented. The presence of the regular rhythm resulted in improved memory performance (Experiment 1A.), an effect also observed under articulatory suppression (Experiment 2), suggesting that temporal regularities can enhance maintenance in working memory including attentional refreshing. Experiment 1B confirmed this interpretation by showing that the presentation of a nonisochronous rhythm did not result in improved memory performance in comparison to a silent condition. The findings are discussed in relation to current working memory models and the theoretical framework of dynamic attending. (PsycINFO Database Record

This paper brings together different perspectives on the investigation and understanding of temporal processing and temporal expectations. We aim to bridge different temporal deficit hypotheses in dyslexia, dysphasia, or deafness in a larger framework, taking into account multiple nested temporal scales. We present data testing the hypothesis that temporal attention can be influenced by external rhythmic auditory stimulation (i.e., musical rhythm) and benefits subsequent language processing, including syntax processing and speech production. We also present data testing the hypothesis that phonological awareness can be influenced by several months of musical training and, more particularly, rhythmic training, which in turn improves reading skills. Together, our data support the hypothesis of a causal role of rhythm-based processing for language processing and acquisition. These results open new avenues for music-based remediation of language and hearing impairment.

Background. Music listening conveys beneficial effects on cognitive processes in both normal and pathologic cerebral functioning. Surprisingly, no quantitative study has evaluated the potential effects of music on cognition and consciousness in patients with disorders of consciousness. Objective. The aim of the present study was to evaluate the effect of music on cerebral processing in patients with disorders of consciousness. Methods. Using bedside electroencephalographic recording, we acquired in 13 patients with disorders of consciousness event-related potentials to the patient’s first name after either an excerpt of the patient’s preferred music (music condition) or a continuous sound (control condition). Results. The cerebral response to the patient’s first name was more often observed in the music condition, than in the control condition. Furthermore, the presence or absence of a discriminative response in the music condition seemed to be associated with a favorable or unfavorable outcome, respectively. Conclusions. These findings demonstrate for the first time that music has a beneficial effect on cognitive processes of patients with disorders of consciousness. The autobiographical characteristics of music, that is, its emotional and personal relevance, probably increase arousal and/or awareness.

Implicit learning is the acquisition of complex information without the intention to learn. The aim of this study was to investigate the influence of temporal regularities on the implicit learning of an artificial pitch grammar. According to the dynamic attending theory (DAT) external regularities can entrain internal oscillators that guide attention over time, inducing temporal expectations that influence perception of future events. In the present study, the presentation of the artificial pitch grammar in the exposure phase was temporally either regular or irregular for one of two participant groups. Based on the DAT, it was hypothesized that the regular temporal presentation would favour implicit learning of tone structures in comparison to the irregular temporal presentation. Results demonstrated learning of the artificial grammar for the group with the regular exposure phase and partial learning for the group with the irregular exposure phase. These findings suggest that the regular presentation helps listeners to develop perceptual expectations about the temporal occurrence of future tones and thus facilitates the learning of the artificial pitch grammar.

Musical rhythm and the grammatical structure of language share a surprising number of characteristics that may be intrinsically related in child development. The present study aimed to understand the potential influence of musical rhythmic priming on subsequent spoken grammar task performance in children with typical development who were native speakers of English. Participants (ages 5 to 8 years) listened to rhythmically regular and irregular musical sequences (within-subjects design) followed by blocks of grammatically correct and incorrect sentences upon which they were asked to perform a grammaticality judgment task. Rhythmically regular musical sequences improved performance in grammaticality judgment compared to rhythmically irregular musical sequences. No such effect of rhythmic priming was found in two non-linguistic control tasks, suggesting a neural overlap between rhythm processing and mechanisms recruited during grammar processing. These findings build on previous research investigating the effect of rhythmic priming by extending the paradigm to a different language, testing a younger population, and employing non-language control tasks. These findings of an immediate influence of rhythm on grammar states (temporarily augmented grammaticality judgment performance) also converge with previous findings of associations between rhythm and grammar traits (stable, generalized grammar abilities) in children. Taken together, this study provides additional evidence for shared neural processing for language and music, and warrants future investigations of potentially beneficial effects of innovative musical material on language processing.

Congenital amusia has been described as a lifelong deficit of music perception and production, notably including amusic individuals' difficulties to recognize a familiar tune without the aid of lyrics. The present study aimed to evaluate whether amusic individuals might have acquired long-term knowledge of familiar music, and to test for the minimal amount of acoustic information necessary to access this knowledge (if any) in amusia. Segments of familiar and unfamiliar instrumental musical pieces were presented with increasing duration (250, 500, 1000 msec etc.), and participants provided familiarity judgments for each segment. Results showed that amusic individuals succeeded in differentiating familiar from unfamiliar excerpts with as little acoustic information as did control participants (i.e., within 500 msec). The findings reveal that amusic individuals have stored musical pieces in long-term memory (LTM), and, together with other recent findings, they suggest that congenital amusia might impair conscious access to music processing rather than music processing per se.

Previous research (Music Perception, 2002, Issue 2) demonstrated improvement in recognition memory across delays increasing from 5 to 15 s while listening to novel music, attributable to a decline in false alarms to similar lures. We hypothesize that this improvement results from delayed binding of features. At short delays, targets and similar lures are easily confused because they share individual features such as melodic contour and musical key. Binding those features into a coherent memory representation—such as encoding the pitch level at which the contour is attached to the scale—reduces that confusion and hence false alarms to similar lures. Here we report eight experiments in which we explore the conditions under which this continued encoding occurs, and test specific hypotheses concerning the particular features involved. These phenomena involve the binding of complex features of nonverbal material, and are explained in terms of theoretical descriptions of the features and the representations resulting from binding. We envisage future studies investigating this binding phenomenon with neurophysiological methods in the study of cognition in aging.

Sounds that have been produced with one's own motor system tend to be remembered better than sounds that have only been perceived, suggesting a role of motor information in memory for auditory stimuli. To address potential contributions of the motor network to the recognition of previously produced sounds, we used event-related potential, electric current density, and behavioral measures to investigate memory for produced and perceived melodies. Musicians performed or listened to novel melodies, and then heard the melodies either in their original version or with single pitch alterations. Production learning enhanced subsequent recognition accuracy and increased amplitudes of N200, P300, and N400 responses to pitch alterations. Premotor and supplementary motor regions showed greater current density during the initial detection of alterations in previously produced melodies than in previously perceived melodies, associated with the N200. Primary motor cortex was more strongly engaged by alterations in previously produced melodies within the P300 and N400 timeframes. Motor memory traces may therefore interface with auditory pitch percepts in premotor regions as early as 200 ms following perceived pitch onsets. Outcomes suggest that auditory-motor interactions contribute to memory benefits conferred by production experience, and support a role of motor prediction mechanisms in the production effect.

Like discourse, music is a dynamic process that occurs over time. Listeners usually expect some events or structures of events to occur in the prolongation of a given context. Part of the musical emotional experience would depend upon how composers (improvisers) fulfill these expectancies. Musical expectations are a core phenomenon of music cognition, and the present article provides an overview of its foundation in the score as well as in listeners' behavior and brain, and how it can be simulated by artificial neural networks. We highlight parallels to language processing and include the attentional and emotional dimensions of musical expectations. Studying musical expectations is thus valuable not only for our understanding of music perception and production but also for more general brain functioning. Some open and challenging issues are summarized in this article. WIREs Cogn Sci 2014, 5:105-113. doi: 10.1002/wcs.1262 CONFLICT OF INTEREST: The authors have no conflict of interest to declare. For further resources related to this article, please visit the WIREs website.

Congenital amusia is a neuro-developmental disorder of music perception and production. Recent findings have demonstrated that this deficit is linked to an impaired short-term memory for tone sequences. As it has been shown before that non-musicians' implicit knowledge of musical regularities can improve short-term memory for tone information, the present study investigated if this type of implicit knowledge could also influence amusics' short-term memory performance. Congenital amusics and their matched controls, who were non-musicians, had to indicate whether sequences of five tones, presented in pairs, were the same or different; half of the pairs respected musical regularities (tonal sequences) and the other half did not (atonal sequences). As previously reported for non-musician participants, the control participants showed better performance (as measured with d′) for tonal sequences than for atonal ones. While this improvement was not observed in amusics, both control and amusic participants showed faster response times for tonal sequences than for atonal sequences. These findings suggest that some implicit processing of tonal structures is potentially preserved in congenital amusia. This observation is encouraging as it strengthens the perspective to exploit implicit knowledge to help reducing pitch perception and memory deficits in amusia.

Congenital amusia is a lifelong disorder of music perception and production. The present study investigated the cerebral bases of impaired pitch perception and memory in congenital amusia using behavioural measures, magnetoencephalography and voxel-based morphometry. Congenital amusics and matched control subjects performed two melodic tasks (a melodic contour task and an easier transposition task); they had to indicate whether sequences of six tones (presented in pairs) were the same or different. Behavioural data indicated that in comparison with control participants, amusics' short-term memory was impaired for the melodic contour task, but not for the transposition task. The major finding was that pitch processing and short-term memory deficits can be traced down to amusics' early brain responses during encoding of the melodic information. Temporal and frontal generators of the N100m evoked by each note of the melody were abnormally recruited in the amusic brain. Dynamic causal modelling of the N100m further revealed decreased intrinsic connectivity in both auditory cortices, increased lateral connectivity between auditory cortices as well as a decreased right fronto-temporal backward connectivity in amusics relative to control subjects. Abnormal functioning of this fronto-temporal network was also shown during the retention interval and the retrieval of melodic information. In particular, induced gamma oscillations in right frontal areas were decreased in amusics during the retention interval. Using voxel-based morphometry, we confirmed morphological brain anomalies in terms of white and grey matter concentration in the right inferior frontal gyrus and the right superior temporal gyrus in the amusic brain. The convergence between functional and structural brain differences strengthens the hypothesis of abnormalities in the fronto-temporal pathway of the amusic brain. Our data provide first evidence of altered functioning of the auditory cortices during pitch perception and memory in congenital amusia. They further support the hypothesis that in neurodevelopmental disorders impacting high-level functions (here musical abilities), abnormalities in cerebral processing can be observed in early brain responses.

Objective Children with developmental language disorders have been shown to be impaired not only in language processing (including syntax), but also in rhythm and meter perception. Our study tested the influence of external rhythmic auditory stimulation (i.e., musical rhythm) on syntax processing in children with specific language impairment (SLI; Experiment 1A) and dyslexia (Experiment 1B). Method Children listened to either regular or irregular musical prime sequences followed by blocks of grammatically correct and incorrect sentences. They were required to perform grammaticality judgments for each auditorily presented sentence. Results Performance of all children (SLI, dyslexia, and controls) in the grammaticality judgments was better after regular prime sequences than after irregular prime sequences, as shown by d' data. The benefit of the regular prime was stronger for SLI children (partial η2 = .34) than for dyslexic children (partial η2 = .14), who reached higher performance levels. Conclusion Together with previous findings on deficits in temporal processing and sequencing, as well as with the recent proposition of a temporal sampling (oscillatory) framework for developmental language disorders (U. A. Goswami, 2011, Temporal sampling framework for developmental dyslexia, Trends in Cognitive Sciences, Vol. 15, pp. 3-10), our results point to potential avenues in using rhythmic structures (even in nonverbal materials) to boost linguistic structure processing.

Children with developmental language disorders have been shown to be also impaired in rhythm and meter perception. Temporal processing and its link to language processing can be understood within the dynamic attending theory. An external stimulus can stimulate internal oscillators, which orient attention over time and drive speech signal segmentation to provide benefits for syntax processing, which is impaired in various patient populations. For children with Specific Language Impairment (SLI) and dyslexia, previous research has shown the influence of an external rhythmic stimulation on subsequent language processing by comparing the influence of a temporally regular musical prime to that of a temporally irregular prime. Here we tested whether the observed rhythmic stimulation effect is indeed due to a benefit provided by the regular musical prime (rather than a cost subsequent to the temporally irregular prime). Sixteen children with SLI and 16 age-matched controls listened to either a regular musical prime sequence or an environmental sound scene (without temporal regularities in event occurrence; i.e., referred to as "baseline condition") followed by grammatically correct and incorrect sentences. They were required to perform grammaticality judgments for each auditorily presented sentence. Results revealed that performance for the grammaticality judgments was better after the regular prime sequences than after the baseline sequences. Our findings are interpreted in the theoretical framework of the dynamic attending theory (Jones, 1976) and the temporal sampling (oscillatory) framework for developmental language disorders (Goswami, 2011). Furthermore, they encourage the use of rhythmic structures (even in non-verbal materials) to boost linguistic structure processing and outline perspectives for rehabilitation.

International audience; Congenital amusia is a neurodevelopmental disorder of music perception and production, which has been attributed to a major deficit in pitch processing. While most studies and diagnosis tests have used explicit investigation methods, recent studies using implicit investigation approaches have revealed some unimpaired pitch structure processing in congenital amusia. The present study investigated amusic individuals' processing of tonal structures (e.g., musical structures respecting the Western tonal system) via three different questions. Amusic participants and their matched controls judged tonal versions (original musical excerpts) and atonal versions (with manipulated pitch content to remove tonal structures) of 12 musical pieces. For each piece, participants answered three questions that required judgments from different perspectives: an explicit structural one, a personal, emotional one and a more social one (judging the perception of others). Results revealed that amusic individuals' judgments differed between tonal and atonal versions. However, the question type influenced the extent of the revealed structure processing: while amusic individuals were impaired for the question requiring explicit structural judgments, they performed as well as their matched controls for the two other questions. Together with other recent studies, these findings suggest that congenital amusia might be related to a disorder of the conscious access to music processing rather than music processing per se. (C) 2016 Elsevier Ltd. All rights reserved.

Recent research suggests that perception and action are strongly interrelated and that motor experience may aid memory recognition. We investigated the role of motor experience in auditory memory recognition processes by musicians using behavioral, ERP, and neural source current density measures. Skilled pianists learned one set of novel melodies by producing them and another set by perception only. Pianists then completed an auditory memory recognition test during which the previously learned melodies were presented with or without an out-of-key pitch alteration while the EEG was recorded. Pianists indicated whether each melody was altered from or identical to one of the original melodies. Altered pitches elicited a larger N2 ERP component than original pitches, and pitches within previously produced melodies elicited a larger N2 than pitches in previously perceived melodies. Cortical motor planning regions were more strongly activated within the time frame of the N2 following altered pitches in previously produced melodies compared with previously perceived melodies, and larger N2 amplitudes were associated with greater detection accuracy following production learning than perception learning. Early sensory (N1) and later cognitive (P3a) components elicited by pitch alterations correlated with predictions of sensory echoic and schematic tonality models, respectively, but only for the perception learning condition, suggesting that production experience alters the extent to which performers rely on sensory and tonal recognition cues. These findings provide evidence for distinct time courses of sensory, schematic, and motoric influences within the same recognition task and suggest that learned auditory–motor associations influence responses to out-of-key pitches.

Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes.

Both speech and music are constituted by sequences of sound elements that unfold in time and require listeners to engage cognitive functions such as sequencing, attention, and memory. We recently ran a set of experiments with the aim of testing the effect of musical expertise on a rather high cognitive function: speech segmentation. Here, we will present the main concepts underlying the investigation of speech segmentation as well as its link to music and musical expertise. Interestingly, our results seem to show that musical training and expertise have effects on brain plasticity that may go beyond primary regions. Moreover, to facilitate and improve future research in this domain, we will here describe several delicate methodological precautions that need to be taken into account (e.g., the choice of stimuli, participants, data analyses). Finally, we will give some possible future directions to better understand the impact that music may have on speech processing.

Congenital amusia is a lifelong deficit in music perception thought to reflect an underlying impairment in the perception and memory of pitch. The neural basis of amusic impairments is actively debated. Some prior studies have suggested that amusia stems from impaired connectivity between auditory and frontal cortex. However, it remains possible that impairments in pitch coding within auditory cortex also contribute to the disorder, in part because prior studies have not measured responses from the cortical regions most implicated in pitch perception in normal individuals. We addressed this question by measuring fMRI responses in 11 subjects with amusia and 11 age- and education-matched controls to a stimulus contrast that reliably identifies pitch-responsive regions in normal individuals: harmonic tones versus frequency-matched noise. Our findings demonstrate that amusic individuals with a substantial pitch perception deficit exhibit clusters of pitch-responsive voxels that are comparable in extent, selectivity, and anatomical location to those of control participants. We discuss possible explanations for why amusics might be impaired at perceiving pitch relations despite exhibiting normal fMRI responses to pitch in their auditory cortex: (1) individual neurons within the pitch-responsive region might exhibit abnormal tuning or temporal coding not detectable with fMRI, (2) anatomical tracts that link pitch-responsive regions to other brain areas (e.g., frontal cortex) might be altered, and (3) cortical regions outside of pitch-responsive cortex might be abnormal. The ability to identify pitch-responsive regions in individual amusic subjects will make it possible to ask more precise questions about their role in amusia in future work.SIGNIFICANCE STATEMENTThe neural causes of congenital amusia, a lifelong deficit in pitch and music perception, are not fully understood. We tested the hypothesis that amusia is due to abnormalities in brain regions that respond selectively to sounds with a pitch in normal listeners. Surprisingly, amusic individuals exhibited pitch-responsive regions that were similar to normal-hearing controls in extent, selectivity, and anatomical location. We discuss how our results inform current debates on the neural basis of amusia and how the ability to identify pitch-responsive regions in amusic subjects will make it possible to ask more precise questions about their role in amusic deficits.

The present study investigates whether expectations based on listeners’ schematic knowledge of music (related to tonal functions and reflected in harmonic priming) may be modulated by veridical expectancies (knowing what to come, here tested with repetition priming). It is well established that target chord processing is facilitated when the target acts as the most referential chord of the Western musical system (i.e., the tonic chord) in the prime context. Our study attempted to modulate this harmonic priming effect by presenting half of participants with numerous sequences ending on a moderately referential chord (i.e., the subdominant chord) before the experimental test. The second half of participants was presented with sequences ending on the most referential tonic chord. This repeated processing was supposed to modulate the strength of the harmonic priming effect, with lesser priming in the former than in the latter group. These sequences were either different idioms than those in the exposition phase, but with the same musical structure (Experiment 1) or identical repetitions (Experiment 2). Harmonic priming effects were observed in both experiments, and were only weakly affected by repetition priming in Experiment 2. This outcome underlines the strength of schematic expectations, which resist veridical expectations, and it provides some empirical ground for the role of expectations in musical expressivity despite listeners’ knowing about what will come next.

The present study investigated the learning of a culturally unfamiliar musical rhythm, leading to the development of temporal expectations, and it explored the potential for generalization across tempi and tasks. With that aim, we adapted the serial reaction time task to examine the learning of temporal structures by an indirect method. The temporal pattern employed was based on a complex interval ratio (2:3) and compared to one based on a simple interval ratio (1:2). In the exposure phase, non-musician participants performed a two-choice speeded discrimination task that required responding by key press to each event of the simple or complex auditory pattern. Participants were not informed about the temporal regularities; their task solely concerned the discrimination task. During exposure (Experiments 1-3), response times decreased over time for both temporal patterns, but particularly for the events following the longer interval of the more complex 2:3 pattern. Exposure further influenced performance in subsequent testing phases, notably the precision of tap timing in a production task (Experiment 2) and temporal expectations in a perception task (Experiment 3). Our findings promote the new paradigm introduced here as a method to investigate the learning of temporal structures.

We tested whether the emergence of familiarity to a melody may trigger or co-occur with the processing of the concept(s) conveyed by emotions to, or semantic association with, the melody. With this objective, we recorded ERPs while participants were presented with highly familiar and less familiar melodies in a gating paradigm. The ERPs time locked to a tone of the melody called the “familiarity emergence point” showed a larger fronto-central negativity for highly familiar compared with less familiar melodies between 200 and 500 msec, with a peak latency around 400 msec. This latency and the sensitivity to the degree of familiarity/conceptual information suggest that this component was an N400, a marker of conceptual processing. Our data suggest that the feeling of familiarity evoked by a musical excerpt could be accompanied by other processing mechanisms at the conceptual level. Coupling the gating paradigm with ERP analyses might become a new avenue for investigating the neurocognitive basis of implicit musical knowledge.

Our study investigated whether newly acquired auditory structure knowledge allows listeners to develop perceptual expectations for future events. For that aim, we introduced a new experimental approach that combines implicit learning and priming paradigms. Participants were first exposed to structured tone sequences without being told about the underlying artificial grammar. They then made speeded judgements on a perceptual feature of target tones in new sequences (i.e., in-tune/out-of-tune judgements). The target tones respected or violated the structure of the artificial grammar and were thus supposed to be expected or unexpected. In this priming task, grammatical tones were processed faster and more accurately than ungrammatical ones. This processing advantage was observed for an experimental group performing a memory task during the exposure phase, but was not observed for a control group, which was lacking the exposure phase (Experiment 1). It persisted when participants realized an in-tune/out-of-tune detection task during exposure (Experiment 2). This finding suggests that the acquisition of new structure knowledge not only influences grammaticality judgements on entire sequences (as previously shown in implicit learning research), but allows developing perceptual expectations that influence single event processing. It further promotes the priming paradigm as an implicit access to acquired artificial structure knowledge.

The musical priming paradigm has shown facilitated processing for tonally related over less-related targets. However, the congruence between tonal relatedness and the psychoacoustical properties of music challenges cognitive interpretations of the involved processes. Our goal was to show that cognitive expectations (based on listeners' tonal knowledge) elicit tonal priming in melodies independently of sensory components (e.g., spectral overlap). A first priming experiment minimized sensory components by manipulating tonal relatedness with a single note change in the melodies. Processing was facilitated for related over less-related target tones, but an auditory short-term memory model succeeded in simulating this effect, thus suggesting a sensory-based explanation. When the same melodies were played with pure tones (instead of piano tones), the sensory model failed to differentiate between related and less-related targets, while listeners' data continued to show a tonal relatedness effect (Experiment 2). The tonal priming effect observed here thus provides strong evidence for the influence of listeners' tonal knowledge on music processing. The overall findings point out the need for controlled musical material (and notably beyond tone repetition) to study cognitive components in music perception.

Congenital amusia refers to a lifelong disorder of music processing and is linked to pitch-processing deficits. The present study investigated congenital amusics' short-term memory for tones, musical timbres and words. Sequences of five events (tones, timbres or words) were presented in pairs and participants had to indicate whether the sequences were the same or different. The performance of congenital amusics confirmed a memory deficit for tone sequences, but showed normal performance for word sequences. For timbre sequences, amusics' memory performance was impaired in comparison to matched controls. Overall timbre performance was found to be correlated with melodic contour processing (as assessed by the Montreal Battery of Evaluation of Amusia). The present findings show that amusics' deficits extend to non-verbal sound material other than pitch, in this case timbre, while not affecting memory for verbal material. This is in line with previous suggestions about the domain-specificity of congenital amusia.

Successful recognition of a familiar tune depends on a selection procedure that takes place in a memory system that contains all the representations of the specific musical phrases to which one has been exposed during one's lifetime. We refer to this memory system as the musical lexicon. The goal of the study was to identify its neural correlates. The brains of students with little musical training were scanned with functional magnetic resonance imaging (fMRI) while the student listened to familiar musical themes, unfamiliar music, and random tones. The familiar themes were selected from instrumental pieces well-known to the participants; the unfamiliar music was the retrograde version of the familiar themes, which the participants did not recognize; and the random sequences contained the same musical tones but in a random order. All stimuli were synthesized and played with the sound of a piano, thereby keeping low-level acoustical factors similar across conditions. The comparison of cerebral responses to familiar versus unfamiliar music reveals focal activation in the right superior temporal sulcus (STS). Re-analysis of the data obtained in a previous study by Plailly et al. also points to the STS as the critical region involved in musical memories. The neuroimaging data further suggest that these auditory memories are tightly coupled with action (singing), by showing left activation in the planum temporale, in the supplementary motor area (SMA), and in the inferior frontal gyrus. Such a cortical organization of music recognition is analogous to the dorsal stream model of speech processing proposed by Hickok and Poeppel.

THE MUSICAL PRIMING PARADIGM ALLOWS FOR INVESTIGATION of listeners' expectations based on their implicit knowledge of tonal stability. To date, priming data are limited to reports of facilitated processing for tonic over nontonic events. The special status of the tonic as a cognitive reference point brings into question the subtlety of listeners' tonal knowledge: Is the facilitated processing observed in priming studies limited to tonic events, or is tone processing influenced by subtler tonal contrasts? The present study investigated tonal priming for mediants (the third scale degree) over leading tones (the seventh scale degree) presented in melodic contexts. Experiment 1 used a timbre discrimination task and Experiment 2 an intonation task. Facilitated processing was observed for the more tonally stable mediants over the less stable leading tones, thus showing that priming effects are not limited to pairs of tonal degrees including the tonic. This finding emphasizes the subtlety of nonexpert listeners' tonal knowledge.

The sequencing of dance movements may be thought of as a grammar. We investigate implicit learning of regularities that govern sequences of unfamiliar, discrete dance movements. It was hypothesized that observers without prior experience with contemporary dance would be able to learn regularities that underpin structured human movement. Thirty-one adults were assigned to either an exposure or a control group. Exposure consisted of 22 grammatical 3-, 4-, and 5-movement sequences presented twice in random order; sequence duration ranged from 9 to 19 s. In a test phase, exposure and control groups identified previously unseen sequences as grammatical or ungrammatical, and rated confidence of judgment. The exposure group selected significantly more new grammatical sequences in the test phase than the control group. In addition, for the exposure group, the zero correlation criterion, wherein no relation between confidence and accuracy indicates unconscious knowledge, was satisfied. Through exposure, novice observers can learn a grammar that governs the sequencing of dance movements. This has implications for implicit learning of long sequences, working memory, and the development of expectations through exposure to contemporary dance.

Harmonic priming studies have provided evidence that musical expectations influence sung phoneme monitoring, with facilitated processing for phonemes sung on tonally related (expected) chords in comparison to less-related (less-expected) chords [Bigand, Tillmann, Poulin, D'Adamo, and Madurell (2001). The effect of harmonic context on phoneme monitoring in vocal music. Cognition, 81, B11-B20]. This tonal relatedness effect has suggested two interpretations: (a) processing of music and language interact at some level of processing; and (b) tonal functions of chords influence task performance via listeners' attention. Our study investigated these hypotheses by exploring whether the effect of tonal relatedness extends to the processing of visually presented syllables (Experiments 1 and 2) and geometric forms (Experiments 3 and 4). For Experiments 1-4, visual target identification was faster when the musical background fulfilled listeners' expectations (i.e., a related chord was played simultaneously). In Experiment 4, the addition of a baseline condition (i.e., without an established tonal center) further showed that the observed difference was due to a facilitation linked to the related chord and not to an inhibition or disruption caused by the less-related chord. This outcome suggests the influence of musical structures on attentional mechanisms and that these mechanisms are shared between auditory and visual modalities. The implications for research investigating neural correlates shared by music and language processing are discussed.

Harmonic priming studies have shown that a musical context with its tonal center influences target chord processing. In comparison with targets following baseline contexts, which do not establish a specific tonal center, processing is facilitated for a strongly related target functioning as the tonic, but inhibited for unrelated (out-of-key) and less related (subdominant) targets. This study investigated cost and benefit patterns for the processing of the 3 most important chords of the harmonic hierarchy. Response time patterns reflected the chords' ranking: Processing was fastest for the tonic, followed by the dominant, and then the subdominant. The comparison with baseline contexts replicated the benefit of processing for tonic targets (Experiments 1 and 3) and the cost of processing for subdominant targets (Experiment 3), while dominant targets were situated at baseline level (Experiments 1 to 3). Findings indicate that listeners implicitly understand fine differences in tonal stabilities and confirm the special status of the tonic being the most expected and solely facilitated chord at the end of a tonal context. Findings are discussed with references to sensory and cognitive approaches of music perception.

The feeling of familiarity can be triggered by stimuli from all sensory modalities, suggesting a multimodal nature of its neural bases. In the present experiment, we investigated this hypothesis by studying the neural bases of familiarity processing of odors and music. In particular, we focused on familiarity referring to the participants' life experience. Items were classified as familiar or unfamiliar based on participants' individual responses, and activation patterns evoked by familiar items were compared with those evoked by unfamiliar items. For the feeling of familiarity, a bimodal activation pattern was observed in the left hemisphere, specifically the superior and inferior frontal gyri, the precuneus, the angular gyrus, the parahippocampal gyrus, and the hippocampus. Together with previously reported data on verbal items, visual items, and auditory items other than music, this outcome suggests a multimodal neural system of the feeling of familiarity. The feeling of unfamiliarity was related to a smaller bimodal activation pattern mainly located in the right insula and likely related to the detection of novelty.

In comparison to a more classical approach investigating the modularity of music and language processing, recent research focuses on the investigation how and to what extent music and speech processing share neural correlates. This research has implications for the use of music for education and rehabilitation, and provides us with further insights regarding origins and evolution of music. As reviewed by Peretz et al. (2015), neuroimaging studies have been strongly contributing to this debate, suggesting both neural overlap and separability. In their commentary, Kunert and Slevc (2015) point out that behavioral and electrophysiological studies can also contribute to this investigation, and they provide an overview of research using a music-language interference paradigm. In this paradigm, musical sequences and linguistic sentences were presented simultaneously. Each material (or both at the same time) can introduce a structural violation (or a more complex structure), and behavioral and electrophysiological measures are recorded to investigate whether the violation of the structure in one material (e.g., music) influences the processing of the structure in the other material (e.g., language). For example, participants read syntactic garden-path sentences, presented segment-by-segment and time-locked to the chords of a musical sequence (Slevc et al., 2009). These chords were either musically correct and expected (respecting musical syntactic-like structures), or incorrect and unexpected (i.e., an out-of-key chord). Results reveal interference of the musical material with the processing of linguistic syntax. Some studies have compared this interference effect with the effect of musical structures on semantic structure processing. The different result patterns have been interpreted in terms of interference being syntax-specific, pointing to more general structural integration or reflecting shared attention and cognitive control. Comparing music and language processing, whether using neuroimaging, behavioral or electrophysiological methods, requires careful control and matching of the experimental material. First, when investigating the processing of cognitive structures and expectancy violations, care must be taken that the introduced structure violations (or manipulations) do not create additional violations, which might provide alternative explanations. Second, the manipulations in the material of the two domains need to be comparable in terms of their complexity (also when comparing syntactic and semantic processing). The first point is particularly crucial for musical structure manipulations: the material must be constructed to exclude explanations based on low-level processing, which might provide a more parsimonious interpretation of the data than higher-level cognitive structure processing (e.g., Bigand et al., 2014; Collins et al., 2014). In Western tonal music, sensory and cognitive structures are indeed entwined, leading psychoacoustic and cognitive approaches to provide highly correlated accounts of musical structures (e.g., Bigand et al., 1996; Leman, 2000). Psychoacoustic approaches have challenged cognitive approaches that claimed for musical syntax processing: a short-term sensory memory model, operating on echoic images of periodicity pitch, can account for the musical functions of tones in tonal contexts (Leman, 2000). This long-standing debate in music cognition research does not only concern the investigation of musical structure processing, but also the investigation of interference between musical and linguistic (syntactic, semantic) processing. This research domain should thus also question the relevance to use out-of-key violations as these are not only violating tonal structures and tonal expectations based on listeners' knowledge, but are also violating sensory expectations based on information stored in sensory memory buffer. These sensory violations compromise the unambiguous interpretation of interactive data patterns in terms of shared neural resources for musical and linguistic structure processing. Eight of the ten studies listed in Kunert and Slevc (2015) used musical structure violations that introduced out-of-key notes or chords. Consequently, the question rises in how far the observed interference and interactive patterns are due to the sensory violations of the out-of-key events rather than musical syntax processing. Some of the authors were aware of potential alternative influences of other “types of musical unexpectancy,” which might attract attention, and used control conditions that introduced a timbre or loudness change (Fedorenko et al., 2009; Slevc et al., 2009; Fiveash and Pammer, 2014). However, it seems difficult to match changes on timbre or loudness dimensions in terms of the degree of violation to changes due to an out-of-key event. It might be that the violation of sensory expectations is stronger for out-of-key events, and/or that the out-of-key event combines sensory and cognitive violations, leading to a stronger violation. This discussion leads to the second point, notably the comparability of the structural complexity and violations across music and language materials as well as within the language material, such as the comparability of syntactic and semantic expectancy violations when investigating their interactions with musical expectancy violations. For example, semantic violations based on correct, but low-cloze probability words might be less strong than syntactic violations based on syntactic errors (gender violations) or syntactic complex sentences, thus being less strongly subjected to interference with musical violations (Hoch et al., 2011; Perruchet and Poulin-Charronnat, 2013). Where to go from here? Research investigating neural correlates as well as interference patterns between music and language processing should take into account debates and advances of music cognition and psycholinguistic domains: the need to disentangle musical structure violations from sensory violations (e.g., Leman, 2000; Bigand et al., 2014) as well as the need to equalize strength of structure manipulations across linguistic dimensions (e.g., syntax and semantics; Gibson and Fedorenko, 2013) and between musical and linguistic dimensions. Using other materials might complement the investigation of the interference with musical structures, such as arithmetic processing that allows manipulating more directly the degree of complexity of the structures (e.g., Hoch and Tillmann, 2012). Assuring equal strengths of manipulations across dimensions requires additional testing, including baseline conditions (without the concurrent manipulation of the other dimension), as done similarly in studies using Garner's interference paradigm (Garner, 1974). Even though initially developed to investigate perceptual processes, Garner's paradigm has been used to study sensory and linguistic processes (e.g., Melara and Marks, 1990) or text and melody in song (see Lidji, 2007). It also calls the domain to further study the directionality of the interference between music and language processing (with most studies having investigated the effect of music on language processing, see however Steinbeis and Koelsch, 2008).

Sensory stimuli are used to evaluate and to restore cognitive functions and consciousness in patients with a disorder of consciousness (DOC) following a severe brain injury. Although sophisticated protocols can help assessing higher order cognitive functions and awareness, one major drawback is their lack of sensitivity. The aim of the present review is to show that stimulus selection is crucial for an accurate evaluation of the state of patients with disorders of consciousness as it determines the levels of processing that the patient can have with stimulation from his/her environment. The probability to observe a behavioral response or a cerebral response is increased when her/his personal history and/or her/his personal preferences are taken into account. We show that personally relevant stimuli (i.e., with emotional, autobiographical, or self-related characteristics) are associated with clearer signs of perception than are irrelevant stimuli in patients with DOC. Among personally relevant stimuli, music appears to be a promising clinical tool as it boosts perception and cognition in patients with DOC and could also serve as a prognostic tool. We suggest that the effect of music on cerebral processes in patients might reflect the music’s capacity to act both on the external and internal neural networks supporting consciousness.

Congenital amusia is a neuro-developmental disorder of music perception and production. The hypothesis is that the musical deficits arise from altered pitch processing, with impairments in pitch discrimination (i.e., pitch change detection, pitch direction discrimination and identification) and short-term memory. The present review article focuses on the deficit of short-term memory for pitch. Overall, the data discussed here suggest impairments at each level of processing in short-term memory tasks; starting with the encoding of the pitch information and the creation of the adequate memory trace, the retention of the pitch traces over time as well as the recollection and comparison of the stored information with newly incoming information. These impairments have been related to altered brain responses in a distributed fronto-temporal network, associated with decreased connectivity between these structures, as well as in abnormalities in the connectivity between the two auditory cortices. In contrast, amusic participants׳ short-term memory abilities for verbal material are preserved. These findings show that short-term memory deficits in congenital amusia are specific to pitch, suggesting a pitch-memory system that is, at least partly, separated from verbal memory. This article is part of a Special Issue entitled SI: Auditory working memory .

Neural correlates of the processing of musical syntax-like structures have been investigated via expectancy violation due to musically unrelated (i.e., unexpected) events in musical contexts. Previous studies reported the implication of inferior frontal cortex in musical structure processing. However - due to the strong musical manipulations - activations might be explained by sensory deviance detection or repetition priming. Our present study investigated neural correlates of musical structure processing with subtle musical violations in a musical priming paradigm. Instrumental and sung sequences ended on related and less-related musical targets. The material controlled sensory priming components, and differences in target processing required listeners' knowledge on musical structures. Participants were scanned with functional Magnetic Resonance Imaging (fMRI) while performing speeded phoneme and timbre identification judgments on the targets. Behavioral results acquired in the scanner replicated the facilitation effect of related over less-related targets. The blood oxygen level-dependent (BOLD) signal linked to target processing revealed activation of right inferior frontal areas (i.e., inferior frontal gyrus, frontal operculum, anterior insula) that was stronger for less-related than for related targets, and this was independent of the material carrying the musical structures. This outcome points to the implication of inferior frontal cortex in the processing of syntactic relations also for musical material and to its role in the processing and integration of sequential information over time. In addition to inferior frontal activation, increased activation was observed in orbital gyrus, temporal areas (anterior superior temporal gyrus, posterior superior temporal gyrus and sulcus, posterior middle temporal gyrus) and supramarginal gyrus.

Musical priming research has reported that sensory consonance/dissonance judgements for a target chord were faster when targets were musically related to a musical prime context. The present study extended this context effect to a timbre discrimination task. This new task allowed us to investigate whether musical priming results from congruency effects similar to those reported in other domains. Targets were played with two musical timbres and were either strongly related (i.e., tonic chord) or less related (i.e., subdominant chord) to the prime context. In three experiments, timbre discrimination judgements were always faster for related targets than for less-related targets. This finding establishes that musical relatedness influences the processing of timbres and suggests that this priming effect does not derive from response biases due to congruency effects. Using a timbre discrimination task in musical priming studies offers other methodological advantages and controls, which are discussed in the fin...