Brain Organization for Music Processing

Peretz, Isabelle; Zatorre, Robert J.

doi:10.1146/annurev.psych.56.091103.070225

Cited by 648 publications

(519 citation statements)

References 191 publications

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“…A long history of dissociation between aphasia and amusia from the clinical neurology suggested that there are differences in the ways music and language are implemented by the brain, and modern brain imaging work has partially confirmed this finding. To the extent that music really requires a different suite of mechanisms from language, this is prima facie evidence against its being a spandrel of language (Peretz & Hyde, 2003;Peretz & Zatorre, 2005) but the considerable overlap between brain regions involved in musical and lingustic tasks currently offers no clear verdict on this question at present (Koelsch et al, 2002(Koelsch et al, , 2004Patel, 2003;Peretz & Zatorre, 2003). Another approach is to seek evidence that musical and linguistic skills are dissociated among individuals in a population, and that these differences have a genetic basis.…”

Section: Music As a Spandrelmentioning

confidence: 99%

The biology and evolution of music: A comparative perspective

2006

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Studies of the biology of music (as of language) are highly interdisciplinary and demand the integration of diverse strands of evidence. In this paper, I present a comparative perspective on the biology and evolution of music, stressing the value of comparisons both with human language, and with those animal communication systems traditionally termed ''song''. A comparison of the ''design features'' of music with those of language reveals substantial overlap, along with some important differences. Most of these differences appear to stem from semantic, rather than structural, factors, suggesting a shared formal core of music and language. I next review various animal communication systems that appear related to human music, either by analogy (bird and whale ''song'') or potential homology (great ape bimanual drumming). A crucial comparative distinction is between learned, complex signals (like language, music and birdsong) and unlearned signals (like laughter, ape calls, or bird calls). While human vocalizations clearly build upon an acoustic and emotional foundation shared with other primates and mammals, vocal learning has evolved independently in our species since our divergence with chimpanzees. The convergent evolution of vocal learning in other species offers a powerful window into psychological and neural constraints influencing the evolution of complex signaling systems (including both song and speech), while ape drumming presents a fascinating potential homology with human instrumental music. I next discuss the archeological data relevant to music evolution, concluding on the basis of prehistoric bone flutes that instrumental music is at least 40,000 years old, and perhaps much older. I end with a brief review of adaptive functions proposed for music, concluding that no one selective force (e.g., sexual selection) is adequate to explaining all aspects of human music. I suggest that questions about ARTICLE IN PRESSthe past function of music are unlikely to be answered definitively and are thus a poor choice as a research focus for biomusicology. In contrast, a comparative approach to music promises rich dividends for our future understanding of the biology and evolution of music.

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Section: Music As a Spandrelmentioning

confidence: 99%

The biology and evolution of music: A comparative perspective

2006

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“…Advances in neuroimaging technology and methods have underpinned extensive study of musicians over the past decade (Peretz and Zatorre, 2005). On the one hand, coarse anatomical plastic changes have been observed using in-vivo magnetic resonance morphometry and voxel-based morphometry (VBM) (e.g.…”

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confidence: 99%

White matter plasticity in the corticospinal tract of musicians: A diffusion tensor imaging study

et al. 2009

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With the advent of diffusion tensor imaging (DTI), the study of plastic changes in white matter architecture due to long-term practice has attracted increasing interest. Professional musicians provide an ideal model for investigating white matter plasticity because of their early onset of extensive auditory and sensorimotor training. We performed fiber tractography and subsequent voxelwise analysis, region of interest (ROI) analysis, and detailed slicewise analysis of diffusion parameters in the corticospinal tract (CST) on 26 professional musicians and a control group of 13 participants. All analyses resulted in significantly lower fractional anisotropy (FA) values in both the left and the right CST in the musician group. Furthermore, a right-greater-than-left asymmetry of FA was observed regardless of group. In the musician group, diffusivity was negatively correlated with the onset of musical training in childhood. A subsequent median split into an early and a late onset musician group (median=7 years) revealed increased diffusivity in the CST of the early onset group as compared to both the late onset group and the controls. In conclusion, these DTI-based findings might indicate plastic changes in white matter architecture of the CST in professional musicians. Our results imply that training-induced changes in diffusion characteristics of the axonal membrane may lead to increased radial diffusivity as reflected in decreased FA values. AbstractWith the advent of diffusion tensor imaging (DTI), the study of plastic changes in white matter architecture due to long-term practice has attracted increasing interest. Professional musicians provide an ideal model for investigating white matter plasticity because of their early onset of extensive auditory and sensorimotor training. We performed fiber tractography and subsequent voxelwise analysis, region of interest (ROI) analysis, and detailed slicewise analysis of diffusion parameters in the CST on 26 professional musicians and a control group of 13 participants. All analyses resulted in significantly lower FA values in both the left and the right CST in the musician group. Furthermore, a right-greater-than-left asymmetry of FA was observed regardless of group.In the musician group, diffusivity was negatively correlated with the onset of musical training in childhood. A subsequent median split into an early and a late onset musician group (median = 7 years) revealed increased diffusivity in the CST of the early onset group as compared with both the late onset group and the controls. In conclusion, these DTI-based findings might indicate plastic changes in white matter architecture of the CST in professional musicians. Our results imply that training-induced changes in diffusion characteristics of the axonal membrane may lead to increased radial diffusivity as reflected in decreased FA values.2

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“…Os sons musicais e todos os outros sons compartilham a maioria das etapas de transformação ao longo do eixo neural auditivo (Peretz & Zatorre, 2005). Por esta razão é necessário que o sistema auditivo integre os sons sequencialmente.…”

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“…O processo de desempenho musical se realiza visual e auditivamente e possui feedback de integração somatossensorial (Lotze, Scheler, Tan, Braun, & Birbaumer, 2003). Além desses processos, os músicos devem diferenciar sequências organizadas acusticamente como números de signos limitados, com regras especiais e suas infinitas possibilidades de combinação, por isso a contribuição da memó-ria operacional para o processamento musical é crucial (Peretz & Zatorre, 2005;Rauscher & Zupan, 2000;Sallat & Stachowiak, 2005).…”

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Treino musical e capacidade da memória operacional em crianças iniciantes, veteranas e sem conhecimentos musicais

Ribeiro¹,

Santos²

2012

Psicol. Reflex. Crit.

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ResumoA memória operacional e a atividade musical ativam áreas encefálicas recíprocas e homólogas, contudo não há evidências se o treino musical pode ampliar a capacidade da memória operacional. Objetivo: Avaliar o desempenho do treino musical sob a memória operacional em crianças de 9 e 10 anos de idade, praticantes de treino musical e sem experiência musical. Participantes: Crianças Iniciantes (n=20), Veteranas (n=20) e Grupo Controle (n=20). Materiais: Instrumentos computadorizados para avaliação da memória operacional. Resultados: Crianças veteranas apresentaram melhores pontuações no BCPR (Teste de Repetição de Pseudopalavras para crianças brasileiras) e em subtestes da AWMA (Avaliação Automatizada da Memória Operacional). Conclusão: O treino musical parece ter contribuído para o desenvolvimento da memória operacional em crianças veteranas no programa de treino musical. Palavras-chave: AWMA, memória operacional, treino musical, ensino da música. AbstractWorking memory and musical activity activate reciprocal and homologues brain areas. However, there is a lack of evidence if musical training can amplify the working memory span. Objective: To assess the performance of musical training on working memory in children aged 9 and 10 years old who regularly have musical training or with no musical training at all. Participants: Beginners (n=20), Veterans (n=20) and a Control Group (n=20 A memória operacional pode ser definida como um sistema complexo, que possui a capacidade de reter e manipular informações por curtos períodos de tempo (Baddeley & Hitch, 1974). Esse sistema possui atualmente quatro componentes. Um deles é a alça fonológica que possui a função de armazenar e manipular informações baseadas na fala, e recebe informação tanto por via direta (apresentação auditiva) quanto por via indireta (apresentação visual). Outro componente é o esboço visuoespacial que armazena informações visuais e espaciais, como lembrar formas e cores, locais e velocidade de objetos no espaço. Este também está envolvido em tarefas que necessitam planejamento de movimento no espaço (Baddeley, 2000).Um terceiro componente, o executivo central, é o sistema controlador da atenção que não exibe especificidade modal, possui capacidade atencional limitada e é supostamente responsável pelo processamento de tarefas cognitivas (Baddeley, 1992). Está relacionado à organização de aprendizagem e planejamento das informações (Repovš & Baddeley, 2006). E finalmente o retentor episódico, que integra e armazena informações fonológica, visual, espacial e memória de longo prazo, temporariamente em uma representação episódica coerente e única, porém com códigos multidimensionais (Baddeley, 2000). A capacidade de cada componente da memória operacional aumenta linearmente da infância até o início da adolescência

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Brain Organization for Music Processing

Cited by 648 publications

References 191 publications

The biology and evolution of music: A comparative perspective

The biology and evolution of music: A comparative perspective

White matter plasticity in the corticospinal tract of musicians: A diffusion tensor imaging study

Treino musical e capacidade da memória operacional em crianças iniciantes, veteranas e sem conhecimentos musicais

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