Auditory evoked potentials to abrupt pitch and timbre change of complex tones: electrophysiological evidence of `streaming'?

Jones, Stephen J.; Longe, O; Pato, Maria Vaz

doi:10.1016/s0168-5597(97)00077-4

Cited by 77 publications

(63 citation statements)

References 45 publications

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“…This finding is in accordance with a substantial amount of literature which reports a right hemisphere dominance for the processing of timbre information (Milner, 1962;Mazzucchi et al, 1982;Samson and Zatorre, 1993;Auzou et al, 1995;Jones et al, 1998). The right predominance for the deviant instruments compared to the clusters is also reflected in the EEG data of a previous experiment (Koelsch et al, 2000a) in which both clusters and deviant instruments elicited an early ERP-wave which was lateralized to the right, but in which a later ERP-wave was rightlateralized only when elicited by deviant instruments.…”

Section: Discussionsupporting

confidence: 92%

“…Hence, the present activations cannot just be due to the processing of auditory oddballs or to the mere processing of complex sounds. With this respect, it is highly probable that the embeddedness of a deviant acoustic event in a complex, rule-based linguistic or musical context is a prerequisite for the present activations (for studies investigating the neural mechanisms of timbre processing see also Samson and Zatorre, 1993;Auzou et al, 1995;Jones et al, 1998;Toivianinen et al, 1998;Tervaniemi et al, 1997;Platel et al, 1997;Crummer et al, 1994).…”

Section: Discussionmentioning

confidence: 99%

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Bach Speaks: A Cortical “Language-Network” Serves the Processing of Music

2002

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The aim of the present study was the investigation of neural correlates of music processing with fMRI. Chord sequences were presented to the participants, infrequently containing unexpected musical events. These events activated the areas of Broca and Wernicke, the superior temporal sulcus, Heschl's gyrus, both planum polare and planum temporale, as well as the anterior superior insular cortices. Some of these brain structures have previously been shown to be involved in music processing, but the cortical network comprising all these structures has up to now been thought to be domain-specific for language processing. To what extent this network might also be activated by the processing of non-linguistic information has remained unknown. The present fMRI-data reveal that the human brain employs this neuronal network also for the processing of musical information, suggesting that the cortical network known to support language processing is less domain-specific than previously believed. © 2002 Elsevier Science (USA)

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Section: Discussionsupporting

confidence: 92%

Section: Discussionmentioning

confidence: 99%

Bach Speaks: A Cortical “Language-Network” Serves the Processing of Music

2002

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“…The most likely contributors to the N 100 -P 200 potentials of this study are the vertex-maximal C-potentials which were found to be associated with both sequential and spectral streaming (e.g., Jones et al, 1998;Jones andPerez, 2001, 2002;Jones, 2003), as well as transition from a periodic to an aperiodic sound (Ostroff et al, 1998;Martin and Boothroyd, 1999). The C-potentials appear to reflect a mismatch of temporal and spectral attributes, or their combination (periodicity) between the incoming acoustic change and the preceding stream.…”

Section: Processes Associated With Potentials To Frequency Changementioning

confidence: 73%

“…In these studies the N 100 /P 200 components were evoked in response to changes of pitch and their amplitude could be related to both the magnitude of change and the expertise of the listener in discriminating these stimuli (Tervaniemi et al, 2005). Other studies examined N 100 and P 200 to changes in continuous stimuli such as music (Jones et al, 1998;Jones andPerez, 2001, 2002) or speech (Laufer and Pratt, 2003a) that varied in one or more parameters (i.e., pitch or timbre) and designated them the ''C(hange)-Complex", which in continuous stimuli is not confounded by onset responses to the appearance of the stimulus.…”

Section: Auditory Change Detectionmentioning

confidence: 99%

Auditory-evoked potentials to frequency increase and decrease of high- and low-frequency tones

Pratt

Starr

Michalewski

et al. 2009

Clinical Neurophysiology

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a b s t r a c tObjective: To define cortical brain responses to large and small frequency changes (increase and decrease) of high-and low-frequency tones. Methods: Event-Related Potentials (ERPs) were recorded in response to a 10% or a 50% frequency increase from 250 or 4000 Hz tones that were approximately 3 s in duration and presented at 500-ms intervals. Frequency increase was followed after 1 s by a decrease back to base frequency. Frequency changes occurred at least 1 s before or after tone onset or offset, respectively. Subjects were not attending to the stimuli. Latency, amplitude and source current density estimates of ERPs were compared across frequency changes. Results: All frequency changes evoked components P 50 , N 100 , and P 200 . N 100 and P 200 had double peaks at bilateral and right temporal sites, respectively. These components were followed by a slow negativity (SN). The constituents of N 100 were predominantly localized to temporo-parietal auditory areas. The potentials and their intracranial distributions were affected by both base frequency (larger potentials to low frequency) and direction of change (larger potentials to increase than decrease), as well as by change magnitude (larger potentials to larger change). The differences between frequency increase and decrease depended on base frequency (smaller difference to high frequency) and were localized to frontal areas. Conclusions: Brain activity varies according to frequency change direction and magnitude as well as base frequency. Significance: The effects of base frequency and direction of change may reflect brain networks involved in more complex processing such as speech that are differentially sensitive to frequency modulations of high (consonant discrimination) and low (vowels and prosody) frequencies.

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“…Due to size and scope limitations, some electroencephalographic studies, the findings of which have been interpreted as related to sequential streaming, are not reviewed in the present article. These include in particular studies using the mismatch negativity (MMN) (e.g., Sussman et al, 1999;Alain et al, 1994Alain et al, ,1998 or the T-complex (e.g., Jones et al, 1998;Hung et al, 2001) as indices of streaming. Fortunately, the main findings of these studies have been, or will soon be, summarized elsewhere (e.g., Näätänen, 2001;Carlyon and Cusack, 2005;Snyder and Alain, in preparation).…”

Section: Introductionmentioning

confidence: 99%

The role of auditory cortex in the formation of auditory streams

et al. 2007

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Auditory streaming refers to the perceptual parsing of acoustic sequences into "streams", which makes it possible for a listener to follow the sounds from a given source amidst other sounds. Streaming is currently regarded as an important function of the auditory system in both humans and animals, crucial for survival in environments that typically contain multiple sound sources. This article reviews recent findings concerning the possible neural mechanisms behind this perceptual phenomenon at the level of the auditory cortex. The first part is devoted to intra-cortical recordings, which provide insight into the neural "micromechanisms" of auditory streaming in the primary auditory cortex (A1). In the second part, recent results obtained using functional magnetic resonance imaging (fMRI) and magnetoencephalography (MEG) in humans, which suggest a contribution from cortical areas other than A1, are presented. Overall, the findings concur to demonstrate that many important features of sequential streaming can be explained relatively simply based on neural responses in the auditory cortex.

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Auditory evoked potentials to abrupt pitch and timbre change of complex tones: electrophysiological evidence of `streaming'?

Cited by 77 publications

References 45 publications

Bach Speaks: A Cortical “Language-Network” Serves the Processing of Music

Bach Speaks: A Cortical “Language-Network” Serves the Processing of Music

Auditory-evoked potentials to frequency increase and decrease of high- and low-frequency tones

The role of auditory cortex in the formation of auditory streams

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