Generation of novel motor sequences: The neural correlates of musical improvisation

Berkowitz, Aaron L.; Ansari, Daniel

doi:10.1016/j.neuroimage.2008.02.028

Cited by 157 publications

(149 citation statements)

References 50 publications

Supporting

Mentioning

133

Contrasting

Unclassified

Order By: Relevance

“…Previous studies of auditory rhythm reproduction (without pitch variation) have implicated both of these regions in the temporal organization of movement (Chen et al, 2006(Chen et al, , 2008a(Chen et al, , 2008bGrahn & Brett, 2007;Lewis et al, 2004;Sakai et al, 1999) as well as dPMC in both pitch and rhythm production (Berkowitz & Ansari, 2008). Thus, dPMC and pre-SMA may have a generalized role in integrating multiple sensory cues that are relevant to a single unified action (Hoshi & Tanji, 2007), as well as in selecting from multiple stimulus-cued actions or response options (Cisek & Kalaska, 2005;Grafton, Fagg, & Arbib, 1998).…”

Section: Bold Response To Pitch and Timingmentioning

confidence: 98%

“…Musicians also engage dPMC and vPMC when synchronizing or planning to synchronize with auditory rhythms without pitch variation (Chen et al, 2008a). In a task that required musicians to generate novel pitch or temporal structure in melodies, generating either type of structure engaged overlapping regions of both dPMC and vPMC (Berkowitz & Ansari, 2008), suggesting that pitch and timing may be at least partially integrated during motor planning. Pitch and timing dimensions may therefore engage similar frontal-parietal regions.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Repetition Suppression in Auditory–Motor Regions to Pitch and Temporal Structure in Music

Brown

Chen

Hollinger

et al. 2013

Journal of Cognitive Neuroscience

View full text Add to dashboard Cite

Abstract■ Music performance requires control of two sequential structures: the ordering of pitches and the temporal intervals between successive pitches. Whether pitch and temporal structures are processed as separate or integrated features remains unclear. A repetition suppression paradigm compared neural and behavioral correlates of mapping pitch sequences and temporal sequences to motor movements in music performance. Fourteen pianists listened to and performed novel melodies on an MR-compatible piano keyboard during fMRI scanning. The pitch or temporal patterns in the melodies either changed or repeated (remained the same) across consecutive trials. We expected decreased neural response to the patterns (pitch or temporal) that repeated across trials relative to patterns that changed. Pitch and temporal accuracy were high, and pitch accuracy improved when either pitch or temporal sequences repeated over trials.Repetition of either pitch or temporal sequences was associated with linear BOLD decrease in frontal-parietal brain regions including dorsal and ventral premotor cortex, pre-SMA, and superior parietal cortex. Pitch sequence repetition (in contrast to temporal sequence repetition) was associated with linear BOLD decrease in the intraparietal sulcus (IPS) while pianists listened to melodies they were about to perform. Decreased BOLD response in IPS also predicted increase in pitch accuracy only when pitch sequences repeated. Thus, behavioral performance and neural response in sensorimotor mapping networks were sensitive to both pitch and temporal structure, suggesting that pitch and temporal structure are largely integrated in auditorymotor transformations. IPS may be involved in transforming pitch sequences into spatial coordinates for accurate piano performance. ■

show abstract

Section: Bold Response To Pitch and Timingmentioning

confidence: 98%

Section: Introductionmentioning

confidence: 99%

Repetition Suppression in Auditory–Motor Regions to Pitch and Temporal Structure in Music

Brown

Chen

Hollinger

et al. 2013

Journal of Cognitive Neuroscience

View full text Add to dashboard Cite

show abstract

“…Activation of the medial prefrontal cortex (MPFC) is perhaps the most consistent finding across studies [Dietrich and Kanso, 2010]. The dorsolateral prefrontal cortex (DLPFC) has also been implicated, albeit in a variety of ways that will be discussed below [Bengtsson et al, 2007; Berkowitz and Ansari, 2008]. Notably, a dissociation between activity in these prefrontal regions has been reported in a series of studies: focal activation of the MPFC was coupled with deactivation of the DLPFC during both melodic and lyrical improvisation [Limb and Braun, 2008; Liu et al, 2012].…”

Section: Introductionmentioning

confidence: 99%

Brain activity and connectivity during poetry composition: Toward a multidimensional model of the creative process

Liu

Erkkinen

Healey

et al. 2015

Human Brain Mapping

147

102

View full text Add to dashboard Cite

Creativity, a multifaceted construct, can be studied in various ways, for example, investigating phases of the creative process, quality of the creative product, or the impact of expertise. Previous neuroimaging studies have assessed these individually. Believing that each of these interacting features must be examined simultaneously to develop a comprehensive understanding of creative behavior, we examined poetry composition, assessing process, product, and expertise in a single experiment. Distinct activation patterns were associated with generation and revision, two major phases of the creative process. Medial prefrontal cortex (MPFC) was active during both phases, yet responses in dorsolateral prefrontal and parietal executive systems (DLPFC/IPS) were phase‐dependent, indicating that while motivation remains unchanged, cognitive control is attenuated during generation and re‐engaged during revision. Experts showed significantly stronger deactivation of DLPFC/IPS during generation, suggesting that they may more effectively suspend cognitive control. Importantly however, similar overall patterns were observed in both groups, indicating the same cognitive resources are available to experts and novices alike. Quality of poetry, assessed by an independent panel, was associated with divergent connectivity patterns in experts and novices, centered upon MPFC (for technical facility) and DLPFC/IPS (for innovation), suggesting a mechanism by which experts produce higher quality poetry. Crucially, each of these three key features can be understood in the context of a single neurocognitive model characterized by dynamic interactions between medial prefrontal areas regulating motivation, dorsolateral prefrontal, and parietal areas regulating cognitive control and the association of these regions with language, sensorimotor, limbic, and subcortical areas distributed throughout the brain. Hum Brain Mapp 36:3351–3372, 2015. © 2015 The Authors. Human Brain Mapping Published by Wiley Periodicals, Inc..

show abstract

“…In Chapter 7 Berkowitz focuses on the neural correlates of phenomena described in previous chapters. Interestingly, he starts by discussing his own study (Berkowitz & Ansari, 2008) on the neural substrates of jazz improvisation. This chapter also consists of discussion of a complementary study by Limb & Braun (2008).…”

mentioning

confidence: 99%

“…Among numerous references to classical books, Berkowitz limits his discussion of current empirical research to two studies that he himself conducted. Interestingly, in his article on motor sequences (Berkowitz & Ansari, 2008) he acknowledges the literature on embodiment (including influential work on the human mirror neuron system (Molnar-Szakacs & Overy, 2006)), but it is unclear why he chooses to refer solely to brain-centered manipulations in his book. Jakub Matyja University of Huddersfield, UK…”

mentioning

confidence: 99%

Aaron L. Berkowitz, The Improvising Mind: Cognition and Creativity in the Musical Moment. New York: Oxford University Press, 2010.

Matyja¹

2013

EMR

View full text Add to dashboard Cite

show abstract

Generation of novel motor sequences: The neural correlates of musical improvisation

Cited by 157 publications

References 50 publications

Repetition Suppression in Auditory–Motor Regions to Pitch and Temporal Structure in Music

Repetition Suppression in Auditory–Motor Regions to Pitch and Temporal Structure in Music

Brain activity and connectivity during poetry composition: Toward a multidimensional model of the creative process

Aaron L. Berkowitz, The Improvising Mind: Cognition and Creativity in the Musical Moment. New York: Oxford University Press, 2010.

Contact Info

Product

Resources

About