Electrophysiological correlates of accurate mental image formation in auditory perception and imagery tasks

Navarro-Cebrian, Ana; Janata, Petr

doi:10.1016/j.brainres.2010.04.026

Cited by 28 publications

(23 citation statements)

References 67 publications

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“…Here, we show that the periodic activity resulting from this neuronal entrainment can be captured directly in the human EEG, as a steady-state EP. Nevertheless, whether or not the beatand meter-induced steady-state responses reported in the present study reflected the entrainment of the neuronal populations contributing to transient auditory-evoked potentials remains, at present, an open question (Navarro Cebrian and Janata, 2010).…”

Section: Neuronal Entrainment To the Beatmentioning

confidence: 88%

Tagging the Neuronal Entrainment to Beat and Meter

Nozaradan¹,

Peretz²,

Missal³

et al. 2011

Journal of Neuroscience

462

484

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Feeling the beat and meter is fundamental to the experience of music. However, how these periodicities are represented in the brain remains largely unknown. Here, we test whether this function emerges from the entrainment of neurons resonating to the beat and meter. We recorded the electroencephalogram while participants listened to a musical beat and imagined a binary or a ternary meter on this beat (i.e., a march or a waltz). We found that the beat elicits a sustained periodic EEG response tuned to the beat frequency. Most importantly, we found that meter imagery elicits an additional frequency tuned to the corresponding metric interpretation of this beat. These results provide compelling evidence that neural entrainment to beat and meter can be captured directly in the electroencephalogram. More generally, our results suggest that music constitutes a unique context to explore entrainment phenomena in dynamic cognitive processing at the level of neural networks.

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Section: Neuronal Entrainment To the Beatmentioning

confidence: 88%

Tagging the Neuronal Entrainment to Beat and Meter

Nozaradan¹,

Peretz²,

Missal³

et al. 2011

Journal of Neuroscience

462

484

View full text Add to dashboard Cite

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“…Indeed, these regions arguably predominate over sensory cortex in such auditory imagery tasks: studies directly contrasting music listening and music imagery showed that SMA and pre-SMA, unlike motor and lateral premotor cortices, are recruited more strongly for imagery than for listening, while the superior temporal gyrus is recruited more strongly for listening than for imagery 13, 72, 73.

Auditory Imagery

Auditory imagery refers to the process by which individuals generate auditory information in the absence of sound perception, such as when we imagine the voice of a friend or the sound of a familiar song. Auditory imagery can be reported to be so vivid that it resembles the experience of hearing, and to be as accurate as auditory representations arising from sensory input [115]. Auditory mental images cannot be directly observed or measured, but their properties have been inferred using strategies such as self-report 13, 80, 114, and performance-based tasks in which participants provide judgments that require engaging in imagery (e.g., judging the pitch of words taken from familiar tunes in the absence of auditory input [73]; or judging whether a final note of a scale is mistuned when the initial notes were played but the remaining ones had to be imagined [115]).

…”

Section: Auditory Information In Sma and Pre-smamentioning

confidence: 99%

“…Auditory imagery can be reported to be so vivid that it resembles the experience of hearing, and to be as accurate as auditory representations arising from sensory input [115]. Auditory mental images cannot be directly observed or measured, but their properties have been inferred using strategies such as self-report 13, 80, 114, and performance-based tasks in which participants provide judgments that require engaging in imagery (e.g., judging the pitch of words taken from familiar tunes in the absence of auditory input [73]; or judging whether a final note of a scale is mistuned when the initial notes were played but the remaining ones had to be imagined [115]). An approach often used in functional neuroimaging and electrophysiological research consists of comparing conditions where participants generate auditory imagery with conditions where they are presented with auditory stimuli, or engage in tasks not involving imagery 13, 69, 72, 73, 81, 115.…”

Section: Auditory Information In Sma and Pre-smamentioning

confidence: 99%

“…Auditory mental images cannot be directly observed or measured, but their properties have been inferred using strategies such as self-report 13, 80, 114, and performance-based tasks in which participants provide judgments that require engaging in imagery (e.g., judging the pitch of words taken from familiar tunes in the absence of auditory input [73]; or judging whether a final note of a scale is mistuned when the initial notes were played but the remaining ones had to be imagined [115]). An approach often used in functional neuroimaging and electrophysiological research consists of comparing conditions where participants generate auditory imagery with conditions where they are presented with auditory stimuli, or engage in tasks not involving imagery 13, 69, 72, 73, 81, 115.Studies focusing on voluntary imagery of music and speech reveal the recruitment of a network of brain regions including the superior temporal gyri, parietal, motor, and lateral premotor cortices, the inferior frontal gyrus, and SMA and pre-SMA (13, 68, 69, 70, 72, 73, 80, 81; for a meta-analysis [71]). This network substantially overlaps with the network recruited during auditory perception, including auditory areas.…”

Section: Auditory Information In Sma and Pre-smamentioning

confidence: 99%

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Roles of Supplementary Motor Areas in Auditory Processing and Auditory Imagery

Lima

Krishnan

Scott

2016

Trends in Neurosciences

210

159

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Although the supplementary and pre-supplementary motor areas have been intensely investigated in relation to their motor functions, they are also consistently reported in studies of auditory processing and auditory imagery. This involvement is commonly overlooked, in contrast to lateral premotor and inferior prefrontal areas. We argue here for the engagement of supplementary motor areas across a variety of sound categories, including speech, vocalizations, and music, and we discuss how our understanding of auditory processes in these regions relate to findings and hypotheses from the motor literature. We suggest that supplementary and pre-supplementary motor areas play a role in facilitating spontaneous motor responses to sound, and in supporting a flexible engagement of sensorimotor processes to enable imagery and to guide auditory perception.

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“…Oosterhof et al, 2012;Pfurtscheller et al, 2006), phenomena such as spontaneously imagined music (also termed "earworms") (Bailes, 2007;Williamson et al, 2011), comparisons of perception with a representation held in working memory (cf. Navarro Cebrian & Janata, 2010a& Janata, , 2010b, manipulating elements of a musical image in working memory (Zatorre, Halpern, & Bouffard, 2009), judging the orientation of an object or body part (cf. Parsons, 1987, and many others, but see also Viswanathan, Fritz, & Grafton, 2012), implicit action outcome (cf.…”

Section: Imagery and Perceptionmentioning

confidence: 99%

Mental Representations in Musical Processing and their Role in Action-Perception Loops

Schaefer

2015

EMR

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I address the diverging usage of the term "imagery" by delineating different types of imagery, each of which is supported by multimodal mental representations that are informed and modulated by the body and its in-and outputs, and that in turn modulate and inform perception and action through predictive processing. These multimodal representations, viewed here as mental models, underlie our individual perceptual experience of music, which is constructed in the listener as it is perceived and interpreted. While tracking incoming auditory information, mental representations of music unfold on multiple levels as we listen, from regularities detected across notes to the structure of entire pieces of music, generating predictions for different musical aspects. These predictions lead to specific percepts and behavioral outputs, illustrating a tight coupling of cognition, perception and action. This coupling and the prominence of predictive mechanisms in music processing are described in the context of the broader role of predictive processing in cognitive function, which is well suited to account for the role of mental models in musical perception and action. As a proxy for mental representations, investigating the cerebral correlates of constructive imagination may offer an experimentally tractable approach to clarifying how mental models of music are implemented in the brain. KEYWORDS: music imagination, predictive processing, embodied music cognitionIF one thing has become abundantly clear from decades of research in music cognition, it is that musical experiences are highly personal. Although it is clear that a range of common (or predictable) responses to music can be identified, there is no assurance that two people will feel the same way about a piece of music, or even necessarily have the same experience at repeated listening. The internalized, automatic processes that drive these experiences are the focus of the current paper. When perceiving music, we can generally say that a waveform of sound -with no inherent meaning -is transformed into music once it is perceived and interpreted through processes driven by the unique listening biography of the listener. This may in turn trigger various memory associations, or lead to differences in directing attention to specific musical aspects that are most salient to that person. The way we make sense of music thus depends on how we relate what we hear to previous experience -models built up from exposure to a lifetime of music, created by the unique auditory environment in which an individual has existed. This previously encountered environment provides the statistical basis for what we expect from auditory signals around us, by tracking incoming information and placing it into our own unique context of what we have previously experienced, based on the incidence of occurrences of those experiences. In this way, the unique implicit representations we have of what is common (and thus expected) drive our unique response to music. It also follows that having a ...

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Electrophysiological correlates of accurate mental image formation in auditory perception and imagery tasks

Cited by 28 publications

References 67 publications

Tagging the Neuronal Entrainment to Beat and Meter

Tagging the Neuronal Entrainment to Beat and Meter

Roles of Supplementary Motor Areas in Auditory Processing and Auditory Imagery

Mental Representations in Musical Processing and their Role in Action-Perception Loops

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