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Based on arguments from both philosophical and empirical aesthetics, we hereby propose that the enjoyment of negative emotions in art and fiction is distinct from the immediate pleasure deriving from sensory features, because it requires a conscious, intentional attitude toward the object. This attitude is linked with the compelling goal of providing a judgment of liking, beauty, perfection, or similar.

Background: Independent component analysis (ICA) has been often used to decompose fMRI data mostly for the resting-state, block and event-related designs due to its outstanding advantage. For fMRI data during free-listening experiences, only a few exploratory studies applied ICA.New method: For processing the fMRI data elicited by 512-s modern tango, a FFT based band-pass filter was used to further pre-process the fMRI data to remove sources of no interest and noise. Then, a fast model order selection method was applied to estimate the number of sources. Next, both individual ICA and group ICA were performed. Subsequently, ICA components whose temporal courses were significantly correlated with musical features were selected. Finally, for individual ICA, common components across majority of participants were found by diffusion map and spectral clustering.Results: The extracted spatial maps (by the new ICA approach) common across most participants evidenced slightly right-lateralized activity within and surrounding the auditory cortices. Meanwhile, they were found associated with the musical features.Comparison with existing method(s): Compared with the conventional ICA approach, more participants were found to have the common spatial maps extracted by the new ICA approach. Conventional model order selection methods underestimated the true number of sources in the conventionally pre-processed fMRI data for the individual ICA.Conclusions: Pre-processing the fMRI data by using a reasonable band-pass digital filter can greatly benefit the following model order selection and ICA with fMRI data by naturalistic paradigms. Diffusion map and spectral clustering are straightforward tools to find common ICA spatial maps. (C) 2013 Elsevier B.V. All rights reserved.

We aimed at determining the functional neuroanatomy of working memory (WM) recognition of musical motifs that occurs while listening to music by adopting a non-standard procedure. Western tonal music provides naturally occurring repetition and variation of motifs. These serve as WM triggers, thus allowing us to study the phenomenon of motif tracking within real music. Adopting a modern tango as stimulus, a behavioural test helped to identify the stimulus motifs and build a time-course regressor of WM neural responses. This regressor was then correlated with the participants' (musicians') functional magnetic resonance imaging (fMRI) signal obtained during a continuous listening condition. In order to fine-tune the identification of WM processes in the brain, the variance accounted for by the sensory processing of a set of the stimulus' acoustic features was pruned from participants' neurovascular responses to music. Motivic repetitions activated prefrontal and motor cortical areas, basal ganglia, medial temporal lobe (MTL) structures, and cerebellum. The findings suggest that WM processing of motifs while listening to music emerges from the integration of neural activity distributed over cognitive, motor and limbic subsystems. The recruitment of the hippocampus stands as a novel finding in auditory WM. Effective connectivity and agglomerative hierarchical clustering analyses indicate that the hippocampal connectivity is modulated by motif repetitions, showing strong connections with WM-relevant areas (dorsolateral prefrontal cortex - dlPFC, supplementary motor area - SMA, and cerebellum), which supports the role of the hippocampus in the encoding of the musical motifs in WM, and may evidence long-term memory (LTM) formation, enabled by the use of a realistic listening condition.

Noise sensitive individuals are more likely to experience negative emotions from unwanted sounds and they show greater susceptibility to adverse effects of noise on health. Noise sensitivity does not originate from dysfunctions of the peripheral auditory system, and it is thus far unknown whether and how it relates to abnormalities of auditory processing in the central nervous system. We conducted a combined electroencephalography and magnetoencephalography (M/EEG) study to measure neural sound feature processing in the central auditory system in relation to the individual noise sensitivity. Our results show that high noise sensitivity is associated with altered sound feature encoding and attenuated discrimination of sound noisiness in the auditory cortex. This finding makes a step towards objective measures of noise sensitivity instead of self-evaluation questionnaires and the development of strategies to prevent negative effects of noise on the susceptible population.

Music is often used to regulate emotions and mood. Typically, music conveys and induces emotions even when one does not attend to them. Studies on the neural substrates of musical emotions have, however, only examined brain activity when subjects have focused on the emotional content of the music. Here we address with functional magnetic resonance imaging (fMRI) the neural processing of happy, sad, and fearful music with a paradigm in which 56 subjects were instructed to either classify the emotions (explicit condition) or pay attention to the number of instruments playing (implicit condition) in 4-s music clips. In the implicit vs. explicit condition, stimuli activated bilaterally the inferior parietal lobule, premotor cortex, caudate, and ventromedial frontal areas. The cortical dorsomedial prefrontal and occipital areas activated during explicit processing were those previously shown to be associated with the cognitive processing of music and emotion recognition and regulation. Moreover, happiness in music was associated with activity in the bilateral auditory cortex, left parahippocampal gyrus, and supplementary motor area, whereas the negative emotions of sadness and fear corresponded with activation of the left anterior cingulate and middle frontal gyrus and down-regulation of the orbitofrontal cortex. Our study demonstrates for the first time in healthy subjects the neural underpinnings of the implicit processing of brief musical emotions, particularly in frontoparietal, dorsolateral prefrontal, and striatal areas of the brain. (C) 2016 Elsevier Ltd. All rights reserved.

Cochlear implants (CIs) are primarily designed to assist deaf individuals in perception of speech, although possibilities for music fruition have also been documented. Previous studies have indicated the existence of neural correlates of residual music skills in postlingually deaf adults and children. However, little is known about the behavioral and neural correlates of music perception in the new generation of prelingually deaf adolescents who grew up with CIs. With electroencephalography (EEG), we recorded the mismatch negativity (MMN) of the auditory event-related potential (ERP) to changes in musical features in adolescent CI users and in normal-hearing age mates. EEG recordings and behavioral testing were carried out before (T1) and after (T2) a 2-week music training program for the CI users and in two sessions equally separated in time for normal-hearing (NH) controls. We found significant MMNs in adolescent CI users for deviations in timbre, intensity and rhythm, indicating residual neural prerequisites for musical feature processing. By contrast, only one of the two pitch deviants elicited an MMN in CI users. This pitch discrimination deficit was supported by behavioral measures, in which CI users scored significantly below the NH level. Overall MMN amplitudes were significantly smaller in CI users than in NH controls, suggesting poorer music discrimination ability. Despite compliance from the CI-participants, we found no effect of the music training, likely resulting from the brevity of the program. This is the first study showing significant brain responses to musical feature changes in prelingually deaf adolescent CI users and their associations with behavioral measures, implying neural predispositions for at least some aspects of music processing. Future studies should test any beneficial effects of a longer lasting music intervention in adolescent CI users.

A chord deviating from the conventions of Western tonal music elicits an early right anterior negativity (ERAN) in inferofrontal brain regions. Here, we tested whether the ERAN is modulated by expertise in more than one music culture, as typical of folk musicians. Finnish folk musicians and nonmusicians participated in electroencephalography recordings. The cadences consisted of seven chords. In incongruous cadences, the third, fifth, or seventh chord was a Neapolitan. The ERAN to the Neapolitans was enhanced in folk musicians compared to nonmusicians. Folk musicians showed an enhanced P3a for the ending Neapolitan. The Neapolitan at the fifth position was perceived differently and elicited a late enhanced ERAN in folk musicians. Hence, expertise in more than one music culture seems to modify chord processing by enhancing the ERAN to ambivalent chords and the P3a to incongruous chords, and by altering their perceptual attributes.

The increasingly intensive study of music by neuroscientists over the past two decades has established the neurosciences of music as a subdiscipline of cognitive neuroscience, responsible for investigating the neural basis for music perception, cognition, and emotion. In this endeavor, music perception and cognition have often been compared with language processing and understanding, while music-induced emotions are compared with emotions induced by visual stimuli. Here, we review research that is beginning to define a new field of study called neuroaesthetics of music. According to this fresh perspective, music is viewed primarily as an expressive art rather than as a cognitive domain. The goal of this emerging field is to understand the neural mechanisms and structures involved in the perceptual, affective and cognitive processes that generate the three principal aesthetic responses: emotions, judgments, and preference. Although much is known about the frontotemporal brain mechanisms underlying perceptual and cognitive musical processes, and about the limbic and paralimbic networks responsible for musical affect, there is a great deal of work to be done in understanding the neural chronometry and structures determining aesthetic responses to music. Research has only recently begun to delineate the modulatory effects of the listener, listening situation, and the properties of the music itself on a musical aesthetic experience. This article offers a review and synthesis of our current understanding of the perceptual, cognitive, and affective processes involved in an aesthetic musical experience and introduces a novel framework to coordinate future endeavors in an emerging field.

Musical expertise modulates preattentive neural sound discrimination. However, this evidence up to great extent originates from paradigms using very simple stimulation. Here we use a novel melody paradigm (revealing the auditory profile for six sound parameters in parallel) to compare memory-related mismatch negativity (MMN) and attention-related P3a responses recorded from non-musicians and Finnish Folk musicians. MMN emerged in both groups of participants for all sound changes (except for rhythmic changes in non-musicians). In Folk musicians, the MMN was enlarged for mistuned sounds when compared with non-musicians. This is taken to reflect their familiarity with pitch information which is in key position in Finnish folk music when compared with e.g., rhythmic information. The MMN was followed by P3a after timbre changes, rhythm changes, and melody transposition. The MMN and P3a topographies differentiated the groups for all sound changes. Thus, the melody paradigm offers a fast and cost-effective means fordetermining the auditory profile for music-sound encoding and also, importantly, for probing the effects of musical expertise on it.

The ability to recognize emotions contained in facial expressions are affected by both affective traits and states and varies widely between individuals. While affective traits are stable in time, affective states can be regulated more rapidly by environmental stimuli, such as music, that indirectly modulate the brain state. Here, we tested whether a relaxing or irritating sound environment affects implicit processing of facial expressions. Moreover, we investigated whether and how individual traits of anxiety and emotional control interact with this process. 32 healthy subjects performed an implicit emotion processing task (presented to subjects as a gender discrimination task) while the sound environment was defined either by a) a therapeutic music sequence (MusiCure), b) a noise sequence or c) silence. Individual changes in mood were sampled before and after the task by a computerized questionnaire. Additionally, emotional control and trait anxiety were assessed in a separate session by paper and pencil questionnaires. Results showed a better mood after the MusiCure condition compared with the other experimental conditions and faster responses to happy faces during MusiCure compared with angry faces during Noise. Moreover, individuals with higher trait anxiety were faster in performing the implicit emotion processing task during MusiCure compared with Silence. These findings suggest that sound-induced affective states are associated with differential responses to angry and happy emotional faces at an implicit stage of processing, and that a relaxing sound environment facilitates the implicit emotional processing in anxious individuals.

In the past decades, neuroimaging of humans has gained a position of status within neuroscience, and data-driven approaches and functional connectivity analyses of functional magnetic resonance imaging (fMRI) data are increasingly favored to depict the complex architecture of human brains. However, the reliability of these findings is jeopardized by too many analysis methods and sometimes too few samples used, which leads to discord among researchers. We propose a tunable consensus clustering paradigm that aims at overcoming the clustering methods selection problem as well as reliability issues in neuroimaging by means of first applying several analysis methods (three in this study) on multiple datasets and then integrating the clustering results. To validate the method, we applied it to a complex fMRI experiment involving affective processing of hundreds of music clips. We found that brain structures related to visual, reward, and auditory processing have intrinsic spatial patterns of coherent neuroactivity during affective processing. The comparisons between the results obtained from our method and those from each individual clustering algorithm demonstrate that our paradigm has notable advantages over traditional single clustering algorithms in being able to evidence robust connectivity patterns even with complex neuroimaging data involving a variety of stimuli and affective evaluations of them. The consensus clustering method is implemented in the R package "UNCLES" available on http://cran.r-project.org/web/packages/UNCLES/index.html .

We here compared results achieved by applying popular methods for reducing artifacts in magnetoencephalography (MEG) and electroencephalography (EEG) recordings of the auditory evoked Mismatch Negativity (MMN) responses in healthy adult subjects. We compared the Signal Space Separation (SSS) and temporal SSS (tSSS) methods for reducing noise from external and nearby sources. Our results showed that tSSS reduces the interference level more reliably than plain SSS, particularly for MEG gradiometers, also for healthy subjects not wearing strongly interfering magnetic material. Therefore, tSSS is recommended over SSS. Furthermore, we found that better artifact correction is achieved by applying Independent Component Analysis (ICA) in comparison to Signal Space Projection (SSP). Although SSP reduces the baseline noise level more than ICA, SSP also significantly reduces the signal—slightly more than it reduces the artifacts interfering with the signal. However, ICA also adds noise, or correction errors, to the waveform when the signal-to-noise ratio (SNR) in the original data is relatively low—in particular to EEG and to MEG magnetometer data. In conclusion, ICA is recommended over SSP, but one should be careful when applying ICA to reduce artifacts on neurophysiological data with relatively low SNR. We here compared results achieved by applying popular methods for reducing artifacts in magnetoencephalography (MEG) and electroencephalography (EEG) recordings of the auditory evoked Mismatch Negativity (MMN) responses in healthy adult subjects. We compared the Signal Space Separation (SSS) and temporal SSS (tSSS) methods for reducing noise from external and nearby sources. Our results showed that tSSS reduces the interference level more reliably than plain SSS, particularly for MEG gradiometers, also for healthy subjects not wearing strongly interfering magnetic material. Therefore, tSSS is recommended over SSS. Furthermore, we found that better artifact correction is achieved by applying Independent Component Analysis (ICA) in comparison to Signal Space Projection (SSP). Although SSP reduces the baseline noise level more than ICA, SSP also significantly reduces the signal—slightly more than it reduces the artifacts interfering with the signal. However, ICA also adds noise, or correction errors, to the waveform when the signal-to-noise ratio (SNR) in the original data is relatively low—in particular to EEG and to MEG magnetometer data. In conclusion, ICA is recommended over SSP, but one should be careful when applying ICA to reduce artifacts on neurophysiological data with relatively low SNR.

Music is a common means for regulating affective states in everyday life, but little is known about the individual differences in this behaviour. We investigated affective reactions to musical stimuli as an explanatory factor. Forty-four young adults rated self-selected music regarding perceived and felt emotions, preference, pleasantness and beauty. The ratings were reduced into five factors representing affective response tendencies. The participants also filled in the Music in Mood Regulation (MMR) questionnaire assessing seven music-related mood regulation strategies in everyday life. High beauty and pleasantness ratings for liked music correlated with the use of music for inducing strong emotional experiences, while ratings reflecting high agreement with the emotional content of preferred musical stimuli correlated with using music as a means for dealing with personal negative emotions. Regarding musical background, informal engagement through listening, but not formal musical training, correlated with increased use of music for mood regulation. The results clarify the link between the affective reactivity to music and the individual ways of using music as a tool for emotional self-regulation in everyday life.

From an early age, children are attracted to the aesthetics of music. Employing a cross-sectional design including school-aged children, the present exploratory study aimed to investigate the effects of age, gender, and music education on three important aspects of the aesthetic experience of music: musical preference, musical emotion recognition, and the use of the aesthetic categories for music. To this aim, we developed an experimental procedure suitable to quantify children’s musical preferences and their judgment of musical emotions and aesthetics. The musical material consisted of three short piano pieces: a piece in major mode, a piece in minor mode, and a free tonal piece. The responses of 78 children were analyzed, whereby the children were assigned to two age groups: 6–7-year-olds (n = 38) and 8–9-year-olds (n = 40). Children preferred the piece in major mode to the one in minor. Except for 6–7-year-olds without music education, children gave the highest happiness ratings for the major piece. Only 8–9-year-olds found the minor piece sadder than the major piece, and the major piece more beautiful than the piece in minor. The ratings of the free tonal piece were mostly indifferent and probably reflect children’s difficulty in judging music that does not yet belong to their short musical history. Taken together, the current data imply that school-aged children are able to make emotional and aesthetic judgments about unfamiliar musical pieces.

In various paradigms of modern neurosciences of music, experts of Western classical music have displayed superior brain architecture when compared with individuals without explicit training in music. In this paper, we show that chord violations embedded in musical cadences were neurally processed in a facilitated manner also by musicians trained in Finnish folk music. This result, obtained by using early right anterior negativity (ERAN) as an index of harmony processing, suggests that tonal processing is advanced in folk musicians by their long-term exposure to both Western and non-Western music.

Musicians' processing of sounds depends highly on instrument, performance practice, and level of expertise. Here, we measured the mismatch negativity (MMN), a preattentive brain response, to six types of musical feature change in musicians playing three distinct styles of music (classical, jazz, and rock/pop) and in nonmusicians using a novel, fast, and musical sounding multifeature MMN paradigm. We found MMN to all six deviants, showing that MMN paradigms can be adapted to resemble a musical context. Furthermore, we found that jazz musicians had larger MMN amplitude than all other experimental groups across all sound features, indicating greater overall sensitivity to auditory outliers. Furthermore, we observed a tendency toward shorter latency of the MMN to all feature changes in jazz musicians compared to band musicians. These findings indicate that the characteristics of the style of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in music.

We investigated the neural underpinnings of timbral, tonal, and rhythmic features of a naturalistic musical stimulus. Participants were scanned with functional Magnetic Resonance Imaging (fMRI) while listening to a stimulus with a rich musical structure, a modern tango. We correlated temporal evolutions of timbral, tonal, and rhythmic features of the stimulus, extracted using acoustic feature extraction procedures, with the fMRI time series. Results corroborate those obtained with controlled stimuli in previous studies and highlight additional areas recruited during musical feature processing. While timbral feature processing was associated with activations in cognitive areas of the cerebellum, and sensory and default mode network cerebrocortical areas, musical pulse and tonality processing recruited cortical and subcortical cognitive, motor and emotion-related circuits. In sum, by combining neuroimaging, acoustic feature extraction and behavioral methods, we revealed the large-scale cognitive, motor and limbic brain circuitry dedicated to acoustic feature processing during listening to a naturalistic stimulus. In addition to these novel findings, our study has practical relevance as it provides a powerful means to localize neural processing of individual acoustical features, be it those of music, speech, or soundscapes, in ecological settings. (C) 2011 Elsevier Inc. All rights reserved.

We applied fMRI and diffusion-weighted MRI to study the segregation of cognitive and motor functions in the human cerebro-cerebellar system. Our fMRI results show that a load increase in a nonverbal auditory working memory task is associated with enhanced brain activity in the parietal, dorsal premotor, and lateral prefrontal cortices and in lobules VII–VIII of the posterior cerebellum, whereas a sensory-motor control task activated the motor/somatosensory, medial prefrontal, and posterior cingulate cortices and lobules V/VI of the anterior cerebellum. The load-dependent activity in the crus I/II had a specific relationship with cognitive performance: This activity correlated negatively with load-dependent increase in RTs. This correlation between brain activity and RTs was not observed in the sensory-motor task in the activated cerebellar regions. Furthermore, probabilistic tractography analysis of the diffusion-weighted MRI data suggests that the tracts between the cerebral and the cerebellar areas exhibiting cognitive load-dependent and sensory-motor activity are mainly projected via separated pontine (feed-forward tracts) and thalamic (feedback tracts) nuclei. The tractography results also indicate that the crus I/II in the posterior cerebellum is linked with the lateral prefrontal areas activated by cognitive load increase, whereas the anterior cerebellar lobe is not. The current results support the view that cognitive and motor functions are segregated in the cerebellum. On the basis of these results and theories of the function of the cerebellum, we suggest that the posterior cerebellar activity during a demanding cognitive task is involved with optimization of the response speed.

© 2018 by the authors. Licensee MDPI, Basel, Switzerland. Listening to music is above all a human experience, which becomes an aesthetic experience when an individual immerses himself/herself in the music, dedicating attention to perceptual-cognitive-affective interpretation and evaluation. The study of these processes where the individual perceives, understands, enjoys and evaluates a set of auditory stimuli has mainly been focused on the effect of music on specific brain structures, as measured with neurophysiology and neuroimaging techniques. The very recent application of network science algorithms to brain research allows an insight into the functional connectivity between brain regions. These studies in network neuroscience have identified distinct circuits that function during goal-directed tasks and resting states. We review recent neuroimaging findings which indicate that music listening is traceable in terms of network connectivity and activations of target regions in the brain, in particular between the auditory cortex, the reward brain system and brain regions active during mind wandering. ispartof: Brain Sciences vol:8 issue:6 pages:1-14 ispartof: location:Switzerland status: published

We explored the content and structure of the cognitive, knowledge-based concept underlying aesthetic responses to music. To this aim, we asked 290 Finnish students to verbally associate the aesthetic value of music and to write down a list of appropriate adjectives within a given time limit. No music was presented during the task. In addition, information about participants’ musical background was collected. A variety of analysis techniques was used to determine the key results of our study. The adjective “beautiful” proved to be the core item of the concept under question. Interestingly, the adjective “touching” was often listed together with “beautiful”. In addition, we found music-specific vocabulary as well as adjectives related to emotions and mood states indicating that affective processes are an essential part of aethetic responses to music. Differences between music experts and laymen as well as between female and male participants were found for a number of adjectives. These findings suggest the existence of a common conceptual space underlying aesthetic responses to music, which partly can be modified by the level of musical expertise and gender.

We analyzed the processes of making aesthetic judgments of music, focusing on the differences between music experts and laypersons. Sixteen students of musicology and 16 control subjects (also students) judged the aesthetic value as well as the harmonic correctness of chord sequences. Event-related potential (ERP) data indicate differences between experts and laypersons in making aesthetic judgments at three different processing stages. Additionally, effects of expertise on ERP components that have previously been proven to be sensitive to musical training were replicated. The study thus provides insights into the effects of musical expertise on neural correlates of aesthetic music processing.

In Western tonal music, the rules of harmony determine the order and music-structural importance of events in a musical piece: for instance, the tonic chord, built on the first note of the diatonic scale, is usually placed at the end of chord sequences. A brain response termed the early right anterior negativity (ERAN) is elicited when a harmonically incongruous chord is inserted within or at the end of a musical sequence. The present study was conducted to test whether the ERAN reflects the processing of harmony rather than the building of a tonal context and whether the ERAN is also elicited by violations of the tuning of the sounds upon which harmony is based. To this aim, ten subjects listened to musical sequences containing either expected chords only, a harmonically incongruous chord in one of three positions within the cadence, or a harmonically congruous but mistuned chord in one of the three positions. Simultaneously, the electroencephalograph (EEG) was recorded. Incongruous chords violating the rules of harmony elicited a bilateral early anterior negativity, the amplitude of which depended on the degree of the harmony violation. On the contrary, mistuned chords, violating the rule of relations between all the sounds in the sequences, elicited a bilateral fronto-central negativity (the mismatch negativity, or MMN). The MMN was not modulated by the position of the violation within the musical sequence and had a longer peak latency than the anterior negativity elicited by the harmony rule violations. In conclusion, violations of the harmony and tuning rules of Western tonal music were found to generate specific and distinct electric responses in the human brain.

THE GOAL OF OUR STUDY WAS to reveal neural correlates of the hierarchical scale pitch structure of Western music. Electroencephalography (EEG) was recorded from 11 musicians and 12 nonmusicians in passive and active conditions. All pitches of the E major scale were presented, with the first-scale pitch having a higher frequency of occurrence than the others. Among the six infrequently presented scale pitches, results showed largest NI for the fifth-scale pitch highest in the scale pitch structure. This suggested enhanced neural representations for a pitch high in hierarchy. Moreover, in musicians the amplitude of P3 was modulated by the status of the pitch. Taken together, the hierarchical tonal relations may be probed by ERPs to sparsely presented tones of the scale.

Previous studies suggest that pre-attentive auditory processing of musicians differs depending on the strategies used in music practicing and performance. This study aimed at systematically revealing whether there are differences in auditory processing between musicians preferring, and not-preferring aural strategies such as improvising, playing by ear, and rehearsing by listening to records. Participants were assigned to aural and non-aural groups according to how much they employ aural strategies, as determined by a questionnaire. The change-related mismatch negativity (MMN) component of event-related brain potentials (ERPs) was used to probe pre-attentive neural discrimination of simple sound features and melody-like patterns. Further, the musicians' behavioral accuracy in sound perception was tested with a discrimination task and the AMMA musicality test. The data indicate that practice strategies do not affect musicians' preattentive neural discrimination of changes in simple sound features but do modulate the speed of neural discrimination of interval and contour changes within melody-like patterns. Moreover, while the aural and non-aural groups did not differ in their initial neural accuracy for discriminating melody-like patterns, they differed after a focused training session. A correlation between behavioral and neural measures was also obtained. Taken together, these results suggest that auditory processing of musicians who prefer aural practice strategies differs in melodic contour and interval processing and perceptual learning, rather than in simple sound processing, in comparison to musicians preferring other practice strategies. (c) 2006 Elsevier Inc. All rights reserved.

In this paper, we propose a scalable clustering paradigm to address the problems of excessive computational load and limited clustering performance in large-scale data. The proposed method employs the enhanced splitting merging awareness tactics (E-SMART) algorithm. The large-scale dataset is divided into many sub-datasets sampled randomly from original data. These sub-datasets are clustered using E-SMART with the number of clusters K detected automatically and the resulting partitions are combined and re-clustered. We evaluate our method using synthetic fMRI datasets with different noise levels and one real fMRI dataset. Results show that the accuracy and execution time outperforms the traditional clustering algorithms in large-scale datasets.

Musical training leads to sensory and motor neuroplastic changes in the human brain. Motivated by findings on enlarged corpus callosum in musicians and asymmetric somatomotor representation in string players, we investigated the relationship between musical training, callosal anatomy, and interhemispheric functional symmetry during music listening. Functional symmetry was increased in musicians compared to nonmusicians, and in keyboardists compared to string players. This increased functional symmetry was prominent in visual and motor brain networks. Callosal size did not significantly differ between groups except for the posterior callosum in musicians compared to nonmusicians. We conclude that the distinctive postural and kinematic symmetry in instrument playing cross-modally shapes information processing in sensory-motor cortical areas during music listening. This cross-modal plasticity suggests that motor training affects music perception.

Clustering techniques have been applied to neuroscience data analysis for decades. New algorithms keep being developed and applied to address different problems. However, when it comes to the applications of clustering, it is often hard to select the appropriate algorithm and evaluate the quality of clustering results due to the unknown ground truth. It is also the case that conclusions might be biased based on only one specific algorithm because each algorithm has its own assumption of the structure of the data, which might not be the same as the real data. In this paper, we explore the benefits of integrating the clustering results from multiple clustering algorithms by a tunable consensus clustering strategy and demonstrate the importance and necessity of consistency in neuroimaging data analysis.

Capitalizing from neuroscience knowledge on how individuals are affected by the sound environment, we propose to adopt a cybernetic and ecological point of view on the musical aesthetic experience, which includes subprocesses, such as feature extraction and integration, early affective reactions and motor actions, style mastering and conceptualization, emotion and proprioception, evaluation and preference. In this perspective, the role of the listener/composer/performer is seen as that of an active “agent” coping in highly individual ways with the sounds. The findings concerning the neural adaptations in musicians, following long-term exposure to music, are then reviewed by keeping in mind the distinct subprocesses of a musical aesthetic experience. We conclude that these neural adaptations can be conceived of as the immediate and lifelong interactions with multisensorial stimuli (having a predominant auditory component), which result in lasting changes of the internal state of the “agent”. In a continuous loop, these changes affect, in turn, the subprocesses involved in a musical aesthetic experience, towards the final goal of achieving better perceptual, motor and proprioceptive responses to the immediate demands of the sounding environment. The resulting neural adaptations in musicians closely depend on the duration of the interactions, the starting age, the involvement of attention, the amount of motor practice and the musical genre played. ispartof: Brain Sciences vol:5 issue:5 pages:69-91 ispartof: location:Switzerland status: published

Alzheimer’s disease (AD), the most common form of dementia, is a neurodegenerative disorder that leads to memory loss. The prevalence of AD varies among many different factors, including age, comorbidities, genetics, and education level. There is no way to definitively diagnose AD before performing an autopsy. There is no cure for AD, although large economical efforts are currently capitalized in promising research and development of new strategies. The purpose of this commentary is to review what we already know about the effects of music treatment on AD. Beside not curative of AD, the use of music seems to exert beneficial effects on Alzheimer’s symptoms. In turn, we briefly summarize the accumulated evidence on the effects of music on brain plasticity, discussing the necessity to further investigate the molecular mechanisms governing this plasticity, with a particular focus on the brain derived neurotrophic factor (BDNF). We believe that a further comprehension of how music influences the molecular processes in the human neuronal network might open new perspectives to enhance quality of life for both the patient and his or her caregivers.

Listening to music has been found to reduce acute and chronic pain. The underlying mechanisms are poorly understood; however, emotion and cognitive mechanisms have been suggested to influence the analgesic effect of music. In this study we investigated the influence of familiarity, emotional and cognitive features, and cognitive style on music-induced analgesia. Forty-eight healthy participants were divided into three groups (empathizers, systemizers and balanced) and received acute pain induced by heat while listening to different sounds. Participants listened to unfamiliar Mozart music rated with high valence and low arousal, unfamiliar environmental sounds with similar valence and arousal as the music, an active distraction task (mental arithmetic) and a control, and rated the pain. Data showed that the active distraction led to significantly less pain than did the music or sounds. Both unfamiliar music and sounds reduced pain significantly when compared to the control condition; however, music was no more effective than sound to reduce pain. Furthermore, we found correlations between pain and emotion ratings. Finally, systemizers reported less pain during the mental arithmetic compared with the other two groups. These findings suggest that familiarity may be key in the influence of the cognitive and emotional mechanisms of music-induced analgesia, and that cognitive styles may influence pain perception.

We investigated the brain mechanisms enabling one automatically discriminate phoneme category irrespective of the large inter-speaker variability in the acoustic features of the voices. For this purpose, subjects were presented with 450 different speech stimuli, each uttered by a different speaker, belonging to three vowel categories, while a 306-channel magnetoencephalogram (MEG) was obtained to record the magnetic counterpart of the mismatch negativity (MMNm), elicited only when sensory memory traces for repetitive sounds are formed in the auditory cortex. Despite this wide acoustic variation, category changes elicited prominent MMNm responses, which were considerably stronger in the left than in the right hemisphere in the right-handed subjects. These results implicate the presence of long-term memory traces for vowels, which can recognize the vowel-specific invariant code enabling correct vowel percept even in the presence of realistic acoustic variation.

In contrast to block and event-related designs for fMRI experiments, it becomes much more difficult to extract events of interest in the complex continuous stimulus for finding corresponding blood-oxygen-level dependent (BOLD) responses. Recently, in a free music listening fMRI experiment, acoustic features of the naturalistic music stimulus were first extracted, and then principal component analysis (PCA) was applied to select the features of interest acting as the stimulus sequences. For feature generation, kernel PCA has shown its superiority over PCA in various applications, since it can implicitly exploit nonlinear relationship among features and such relationship seems to exist generally. Here, we applied kernel PCA to select the musical features and obtained an interesting new musical feature in contrast to PCA features. With the new feature, we found similar fMRI results compared with those by PCA features, indicating that kernel PCA assists to capture more properties of the naturalistic music stimulus.

Behavioral evidence indicates that musical context facilitates pitch discrimination. In the present study, we sought to determine whether pitch context and its familiarity might affect brain responses to pitch change even at the preattentive level. Ten musicians and 10 nonmusicians, while concentrating on reading a book, were presented with sound stimuli that had an infrequent (p = 15%) pitch shift of 144 Hz. In the familiar condition, the infrequent third-position deviant changed the mode (major vs. minor) of the five-tone pattern. In the unfamiliar condition, patterns were formed from five arithmetically determined tone frequencies, the deviant not causing any change of mode. The no-context condition included only third-position tones. All deviants elicited the change-specific mismatch negativity component of the event-related potentials in both groups of subjects. In both musicians and nonmusicians, pitch change in the familiar condition evoked larger mismatch negativity amplitude than the change in the unfamiliar condition and, correspondingly, larger mismatch negativity in the unfamiliar condition than in the no-context condition. This suggests that preattentive pitch-change processing is generally enhanced in a familiar context. Moreover, the latency of the mismatch negativity was shorter for musicians than for nonmusicians in both the familiar and unfamiliar conditions, whereas no difference between groups was observed in the no-context condition. This finding indicates that, in response to sequential structured sound events, the auditory system reacts faster in musicians than in nonmusicians.

This paper has its origin from the analysis of the works of Trevor Wishart, one of the most representative composers of the English electroacoustic tradition, who has been orienting his research to study the possibilities of electroacoustics applied to human voice.Quoting Schaeffer, ill his book On Sonic Art (1996), Wishart defines electro-acoustic music as acousmatic, since sound sources are ignored. Acousmatic music could be uninteresting for a listener who is not able to recognize sounds and to give a meaning to them. Restricting his discussion to concrete sound materials, and above ail to human language differently manipulated,Wishart gives his personal interpretation of the problem. His solution and how it is coherent with the last theories and findings of cognitive sciences are here examined.

We investigated neural correlates of musical feature processing with a decoding approach. To this end, we used a method that combines computational extraction of musical features with regularized multiple regression (LASSO). Optimal model parameters were determined by maximizing the decoding accuracy using a leave-one-out cross-validation scheme. The method was applied to functional magnetic resonance imaging (fMRI) data that were collected using a naturalistic paradigm, in which participants' brain responses were recorded while they were continuously listening to pieces of real music. The dependent variables comprised musical feature time series that were computationally extracted from the stimulus. We expected timbral features to obtain a higher prediction accuracy than rhythmic and tonal ones. Moreover, we expected the areas significantly contributing to the decoding models to be consistent with areas of significant activation observed in previous research using a naturalistic paradigm with fMRI. Of the six musical features considered, five could be significantly predicted for the majority of participants. The areas significantly contributing to the optimal decoding models agreed to a great extent with results obtained in previous studies. In particular, areas in the superior temporal gyrus, Heschl's gyrus, Rolandic operculum, and cerebellum contributed to the decoding of timbral features. For the decoding of the rhythmic feature, we found the bilateral superior temporal gyrus, right Heschl's gyrus, and hippocampus to contribute most. The tonal feature, however, could not be significantly predicted, suggesting a higher inter-participant variability in its neural processing. A subsequent classification experiment revealed that segments of the stimulus could be classified from the fMRI data with significant accuracy. The present findings provide compelling evidence for the involvement of the auditory cortex, the cerebellum and the hippocampus in the processing of musical features during continuous listening to music.

Infant vocalizations are among the most biologically salient sounds in the environment and can draw the listener to the infant rapidly in both times of distress and joy. A region of the midbrain, the periaqueductal gray (PAG), has long been implicated in the control of urgent, survival-related behaviours. To test for PAG involvement in the processing of infant vocalizations, we recorded local field potentials from macroelectrodes implanted in this region in four adults who had undergone deep brain stimulation. We found a significant difference occurring as early as 49 ms after hearing a sound in activity recorded from the PAG in response to infant vocalizations compared with constructed control sounds and adult and animal affective vocalizations. This difference was not present in recordings from thalamic electrodes implanted in three of the patients. Time frequency analyses revealed distinct patterns of activity in the PAG for infant vocalisations, constructed control sounds and adult and animal vocalisations. These results suggest that human infant vocalizations can be discriminated from other emotional or acoustically similar sounds early in the auditory pathway. We propose that this specific, rapid activity in response to infant vocalizations may reflect the initiation of a state of heightened alertness necessary to instigate protective caregiving.

Mounting evidence links the enjoyment of music to brain areas implicated in emotion and the dopaminergic reward system. In particular, dopamine release in the ventral striatum seems to play a major role in the rewarding aspect of music listening. Striatal dopamine also influences reinforcement learning, such that subjects with greater dopamine efficacy learn better to approach rewards while those with lesser dopamine efficacy learn better to avoid punishments. In this study, we explored the practical implications of musical pleasure through its ability to facilitate reinforcement learning via non-pharmacological dopamine elicitation. Subjects from a wide variety of musical backgrounds chose a pleasurable and a neutral piece of music from an experimenter-compiled database, and then listened to one or both of these pieces (according to pseudo-random group assignment) as they performed a reinforcement learning task dependent on dopamine transmission. We assessed musical backgrounds as well as typical listening patterns with the new Helsinki Inventory of Music and Affective Behaviors (HIMAB), and separately investigated behavior for the training and test phases of the learning task. Subjects with more musical experience trained better with neutral music and tested better with pleasurable music, while those with less musical experience exhibited the opposite effect. HIMABresults regarding listening behaviors and subjective music ratings indicate that these effects arose from different listening styles: namely, more affective listening in non-musicians and more analytical listening in musicians. In conclusion, musical pleasure was able to influence task performance, and the shape of this effectdepended on group and individual factors. These findings have implications in affective neuroscience, neuroaesthetics, learning, and music therapy.

This study presents a method to analyze blood-oxygen-level-dependent (BOLD) functional magnetic resonance imaging (tMRI) signals associated with listening to continuous music. Semi-blind independent component analysis (ICA) was applied to decompose the tMRI data to source level activation maps and their respective temporal courses. The unmixing matrix in the source separation process of ICA was constrained by a variety of acoustic features derived from the piece of music used as the stimulus in the experiment. This allowed more stable estimation and extraction of more activation maps of interest compared to conventional ICA methods.

Sono qui presentate le più moderne conoscenze relative alla mente umana, ottenute dall'EEG e dai potenziali elettromagnetici del cervello. Utilizzati come una misura oggettiva dei processi mentali sia consci che inconsci, tali segnali risultano preziosi strumenti per la costruzione di una teoria euristica della mente che ne integri le funzioni cognitive ed affettive in una prospettiva evolutiva, piuttosto che per indicarne generici correlati nervosi. In combinazione con altri tipi di bioimmagini, tali segnali affinano la comprensione delle funzioni cerebrali, indicandone i tempi e le modalità. Per questo hanno fornito e continuano a fornire rilevanti contributi sia alle scienze della mente che del cervello nelle neuroscienze cognitive.

Music is often studied as a cognitive domain alongside language. The emotional aspects of music have also been shown to be important, but views on their nature diverge. For instance, the specific emotions that music induces and how they relate to emotional expression are still under debate. Here we propose a mental and neural chronometry of the aesthetic experience of music initiated and mediated by external and internal contexts such as intentionality, background mood, attention, and expertise. The initial stages necessary for an aesthetic experience of music are feature analysis, integration across modalities, and cognitive processing on the basis of long-term knowledge. These stages are common to individuals belonging to the same musical culture. The initial emotional reactions to music include the startle reflex, core "liking," and arousal. Subsequently, discrete emotions are perceived and induced. Presumably somatomotor processes synchronizing the body with the music also come into play here. The subsequent stages, in which cognitive, affective, and decisional processes intermingle, require controlled cross-modal neural processes to result in aesthetic emotions, aesthetic judgments, and conscious liking. These latter aesthetic stages often require attention, intentionality, and expertise for their full actualization.

Functional magnetic resonance imaging (fMRI) produces data about activity inside the brain, from which spatial maps can be extracted by independent component analysis (ICA). In datasets, there are n spatial maps that contain p voxels. The number of voxels is very high compared to the number of analyzed spatial maps. Clustering of the spatial maps is usually based on correlation matrices. This usually works well, although such a similarity matrix inherently can explain only a certain amount of the total variance contained in the high-dimensional data where n is relatively small but p is large. For high-dimensional space, it is reasonable to perform dimensionality reduction before clustering. In this research, we used the recently developed diffusion map for dimensionality reduction in conjunction with spectral clustering. This research revealed that the diffusion map based clustering worked as well as the more traditional methods, and produced more compact clusters when needed., Comment: 6 pages. 8 figures. Copyright (c) 2013 IEEE. Published at 2013 IEEE International Workshop on Machine Learning for Signal Processing

Low-level (timbral) and high-level (tonal and rhythmical) musical features during continuous listening to music, studied by functional magnetic resonance imaging (fMRI), have been shown to elicit large-scale responses in cognitive, motor, and limbic brain networks. Using a similar methodological approach and a similar group of participants, we aimed to study the replicability of previous findings. Participants' fMRI responses during continuous listening of a tango Nuevo piece were correlated voxelwise against the time series of a set of perceptually validated musical features computationally extracted from the music. The replicability of previous results and the present study was assessed by two approaches: (a) correlating the respective activation maps, and (b) computing the overlap of active voxels between datasets at variable levels of ranked significance. Activity elicited by timbral features was better replicable than activity elicited by tonal and rhythmical ones. These results indicate more reliable processing mechanisms for low-level musical features as compared to more high-level features. The processing of such high-level features is probably more sensitive to the state and traits of the listeners, as well as of their background in music.

Patient I.R., who had bilateral lesions in the auditory cortex but intact hearing, did not distinguish dissonant from consonant musical excerpts in behavioral testing. We additionally found that the electrical brain responses did not differentiate musical intervals in terms of their dissonance/consonance, consistent with the idea that this phenomenon depends on the integrity of cortical functions.

The present study was aimed at finding neural correlates of aesthetic versus descriptive listening of the same musical cadences. Results showed that aesthetic listening generated greater right frontocentral negativities than did descriptive listening, indicating distinct cortical mechanisms for aesthetic versus descriptive processing of music.

We aimed at predicting the temporal evolution of brain activity in naturalistic music listening conditions using a combination of neuroimaging and acoustic feature extraction. Participants were scanned using functional Magnetic Resonance Imaging (fMRI) while listening to two musical medleys, including pieces from various genres with and without lyrics. Regression models were built to predict voxel-wise brain activations which were then tested in a cross-validation setting in order to evaluate the robustness of the hence created models across stimuli. To further assess the generalizability of the models we extended the cross-validation procedure by including another dataset, which comprised continuous fMRI responses of musically trained participants to an Argentinean tango. Individual models for the two musical medleys revealed that activations in several areas in the brain belonging to the auditory, limbic, and motor regions could be predicted. Notably, activations in the medial orbitofrontal region and the anterior cingulate cortex, relevant for self-referential appraisal and aesthetic judgments, could be predicted successfully. Cross-validation across musical stimuli and participant pools helped identify a region of the right superior temporal gyrus, encompassing the planum polare and the Heschl's gyrus, as the core structure that processed complex acoustic features of musical pieces from various genres, with or without lyrics. Models based on purely instrumental music were able to predict activation in the bilateral auditory cortices, parietal, somatosensory, and left hemispheric primary and supplementary motor areas. The presence of lyrics on the other hand weakened the prediction of activations in the left superior temporal gyrus. Our results suggest spontaneous emotion-related processing during naturalistic listening to music and provide supportive evidence for the hemispheric specialization for categorical sounds with realistic stimuli. We herewith introduce a powerful means to predict brain responses to music, speech, or soundscapes across a large variety of contexts.