How functional coupling between the auditory cortex and the amygdala induces musical emotion: A single case study

Liégeois‐Chauvel, Catherine; Bénar, Christian; Krieg, Julien; Delbé, Charles; Chauvel, Patrick; Giusiano, Bernard; Bigand, Emmanuel

doi:10.1016/j.cortex.2014.06.002

Cited by 16 publications

(12 citation statements)

References 69 publications

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“…Overall, the available literature suggests that the stimulation of feelings by music might solicit complex but shared associations based on partially overlapping neural mechanisms ( Peretz and Zatorre, 2003 ; Brattico and Pearce, 2013 ). On the other hand, joy, fear and sadness, among the emotions more commonly studied in research on music and emotion ( Zhao and Chen, 2009 ; Huron, 2013 ; Kawakami et al, 2013 ; Liégeois-Chauvel et al, 2014 ; Hopyan et al, 2015 ) are pretty distinctive in terms of their biological substrates.…”

Section: Introductionmentioning

confidence: 99%

Non-expert listeners show decreased heart rate and increased blood pressure (fear bradycardia) in response to atonal music

et al. 2015

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Previous studies suggested that listening to different types of music may modulate differently psychological mood and physiological responses associated with the induced emotions. In this study the effect of listening to instrumental classical vs. atonal contemporary music was examined in a group of 50 non-expert listeners. The subjects’ heart rate and diastolic and systolic blood pressure values were measured while they listened to music of different style and emotional typologies. Pieces were selected by asking a group of composers and conservatory professors to suggest a list of the most emotional music pieces (from Renaissance to present time). A total of 214 suggestions from 20 respondents were received. Then it was asked them to identify which pieces best induced in the listener feelings of agitation, joy or pathos and the number of suggested pieces per style was computed. Atonal pieces were more frequently indicated as agitating, and tonal pieces as joyful. The presence/absence of tonality in a musical piece did not affect the affective dimension of pathos (being touching). Among the most frequently cited six pieces were selected that were comparable for structure and style, to represent each emotion and style. They were equally evaluated as unfamiliar by an independent group of 10 students of the same cohort) and were then used as stimuli for the experimental session in which autonomic parameters were recorded. Overall, listening to atonal music (independent of the pieces’ emotional characteristics) was associated with a reduced heart rate (fear bradycardia) and increased blood pressure (both diastolic and systolic), possibly reflecting an increase in alertness and attention, psychological tension, and anxiety. This evidence fits with the results of the esthetical assessment showing how, overall, atonal music is perceived as more agitating and less joyful than tonal one.

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Section: Introductionmentioning

confidence: 99%

Non-expert listeners show decreased heart rate and increased blood pressure (fear bradycardia) in response to atonal music

et al. 2015

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“…(Lakatos et al, 2013)). Or it could scale with the strength of emotional engagement, reflecting the functional interaction between subcortical (striatum, amygdala) and auditory cortical areas (Salimpoor et al, 2013;Liégeois-Chauvel et al, 2014;Salimpoor et al, 2015). Yet, these two factors of perceptual complexity and emotional appraisal could also be functionally related as shown in one recent study of musical emotional processing, in which judgments of negative valence were found to be related to the perceptual ambiguity/complexity in the auditory scene (Bonin et al, 2016).…”

Section: Discussionmentioning

confidence: 99%

“…Yet, contrary to speech, perceptual analysis of musical pitch sequences occurs preferentially in the right auditory cortex (Zatorre et al, 1994;2002), which is known to operate at a slower oscillatory regime (Giraud et al, 2007;Morillon et al, 2012) and to have a better sensitivity to slow acoustic temporal modulations than its left counterpart (Abrams et al, 2008;Gross et al, 2013). Importantly, music has the capacity to carry strong expressive content, inducing feelings and thoughts (Juslin and Västfjäll, 2008), and music-induced emotions arise from the functional interaction between subcortical areas such as the striatum and amygdala and auditory cortical areas (Salimpoor et al, 2013;Liégeois-Chauvel et al, 2014;Salimpoor et al, 2015). Besides, previous research revealed that musical expressions can be accurately predicted using a limited set of lowlevel acoustic cues including average and variability values of temporal features (e.g.…”

Section: Introductionmentioning

confidence: 99%

Neural entrainment to music is sensitive to melodic spectral complexity

Wollman

Arias

Aucouturier

et al. 2020

Journal of Neurophysiology

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During auditory perception, neural oscillations are known to entrain to acoustic dynamics but their role in the processing of auditory information remains unclear. As a complex temporal structure that can be parameterized acoustically, music is particularly suited to address this issue. In a combined behavioral and EEG experiment in human participants, we investigated the relative contribution of temporal (acoustic dynamics) and nontemporal (melodic spectral complexity) dimensions of stimulation on neural entrainment, a stimulus-brain coupling phenomenon operationally defined here as the temporal coherence between acoustical and neural dynamics. We first highlight that low-frequency neural oscillations robustly entrain to complex acoustic temporal modulations, which underscores the fine-grained nature of this coupling mechanism. We also reveal that enhancing melodic spectral complexity, in terms of pitch, harmony, and pitch variation, increases neural entrainment. Importantly, this manipulation enhances activity in the theta (5 Hz) range, a frequency-selective effect independent of the note rate of the melodies, which may reflect internal temporal constraints of the neural processes involved. Moreover, while both emotional arousal ratings and neural entrainment were positively modulated by spectral complexity, no direct relationship between arousal and neural entrainment was observed. Overall, these results indicate that neural entrainment to music is sensitive to the spectral content of auditory information and indexes an auditory level of processing that should be distinguished from higher-order emotional processing stages. NEW & NOTEWORTHY Low-frequency (<10 Hz) cortical neural oscillations are known to entrain to acoustic dynamics, the so-called neural entrainment phenomenon, but their functional implication in the processing of auditory information remains unclear. In a behavioral and EEG experiment capitalizing on parameterized musical textures, we disentangle the contribution of stimulus dynamics, melodic spectral complexity, and emotional judgments on neural entrainment and highlight their respective spatial and spectral neural signature.

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“…Forty musical excerpts were selected from the Western classical repertoire ( Table S3). All excerpts were orchestrated instrumental stimuli, without voice, lasted 20 seconds, and were aimed to be representative of four emotions in real recordings (see Bigand, Filipic, & Lalitte, 2005;Filipic, Tillmann, & Bigand, 2010;Lévêque et al, 2018;Liégeois-Chauvel et al, 2014).…”

Section: Stimulimentioning

confidence: 99%

Recognition of musical emotions and their perceived intensity after unilateral brain damage

Pralus

Belfi

Hirel

et al. 2020

Cortex

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How functional coupling between the auditory cortex and the amygdala induces musical emotion: A single case study

Cited by 16 publications

References 69 publications

Non-expert listeners show decreased heart rate and increased blood pressure (fear bradycardia) in response to atonal music

Non-expert listeners show decreased heart rate and increased blood pressure (fear bradycardia) in response to atonal music

Neural entrainment to music is sensitive to melodic spectral complexity

Recognition of musical emotions and their perceived intensity after unilateral brain damage

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