Mental Concerts: Musical Imagery and Auditory Cortex

Zatorre, Robert J.; Halpern, Andrea R.

doi:10.1016/j.neuron.2005.06.013

Cited by 312 publications

(248 citation statements)

References 19 publications

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“…Our results probably refer to processes distinct from those corresponding to an increased activity in the superior temporal gyrus after regular patterns of sound (Hughes et al, 2001;Mustovic et al, 2003), at the offset of long-duration sound (Jäncke et al, 1999;Harms and Melcher, 2002;Seifritz et al, 2002), or induced by a brief period of silence (Kraemer et al, 2005) interpreted as auditory imagery. Auditory imagery has been also shown to increase activity in the auditory areas (Bunzeck et al, 2005;Zatorre and Halpern, 2005) and in the right inferior frontal areas (Hoshiyama et al, 2001). However, two points argue against a role of mental imagery in the observed effect.…”

Section: Discussionmentioning

confidence: 97%

“…They found high-level areas (including dorsolateral prefrontal areas) partially overlapping the visual attention network (Kanwisher and Wojciulik, 2000;Corbetta and Shulman, 2002) as well as enhanced activity in the auditory areas (Heschl's gyrus and planum temporale) (Woldorff et al, 1993;Downar et al, 2000;Lipschutz et al, 2002). In addition, a recent report (Kraemer et al, 2005) showed that musical gaps can induce auditory activations, likely to be related to musical mental imagery (for review, see Zatorre at al., 2005). In all of these studies, however, the activity was always recorded in the presence of acoustic stimuli and/or scanner noise.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Listening in Silence Activates Auditory Areas: A Functional Magnetic Resonance Imaging Study

Voisin¹,

Bidet-Caulet²,

Bertrand³

et al. 2006

J. Neurosci.

137

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Directing attention to some acoustic features of a sound has been shown repeatedly to modulate the stimulus-induced neural responses. On the contrary, little is known about the neurophysiological impact of auditory attention when the auditory scene remains empty. We performed an experiment in which subjects had to detect a sound emerging from silence (the sound was detectable after different durations of silence). Two frontal activations (right dorsolateral prefrontal and inferior frontal) were found, regardless of the side where sound was searched for, consistent with the well established role of these regions in attentional control. The main result was that the superior temporal cortex showed activations contralateral to the side where sound was expected to be present. The area extended from the vicinity of Heschl's gyrus to the surrounding areas (planum temporale/anterior lateral areas). The effect consisted of both an increase in the response to a sound delivered after attention was directed to detect its emergence and a baseline shift during the silent period. Thus, in absence of any acoustic stimulus, the search for an auditory input was found to activate the auditory cortex.

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Section: Discussionmentioning

confidence: 97%

Section: Introductionmentioning

confidence: 99%

Listening in Silence Activates Auditory Areas: A Functional Magnetic Resonance Imaging Study

Voisin¹,

Bidet-Caulet²,

Bertrand³

et al. 2006

J. Neurosci.

137

View full text Add to dashboard Cite

show abstract

“…One theory is that regular activation of neural processes associated with voluntary singing (including subvocal) causes involuntary musical imagery experiences to be longer. Such neural areas are already known to overlap with the activity seen in purposeful musical imagery (Halpern & Zatorre, 1999;Hickok et al, 2003;Kleber et al, 2007;Kraemer et al, 2005;Zatorre & Halpern, 2005).…”

Section: Discussionmentioning

confidence: 99%

“…One potential explanation for these findings is that regular activation of neural processes associated with music listening, many of which overlap with activity seen in purposeful musical imagery (Halpern & Zatorre, 1999;Hickok, Buchsbaum, Humphries, & Muftuler, 2003;Kleber, Birbaumer, Veit, Trevorrow, & Lotze, 2007;Kraemer Macrae, Green, & Kelley, 2005;Zatorre & Halpern, 2005), may drive individual characteristics in INMI.…”

mentioning

confidence: 99%

Individual Differences Predict Patterns in Spontaneous Involuntary Musical Imagery

Müllensiefen

Fry²,

Jones

et al. 2012

Music Perception

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INVOLUNTARY MUSICAL IMAGERY (INMI) DESCRIBESthe everyday phenomenon of having a tune stuck in the head. Research has established the ubiquity of this form of spontaneous cognition but the predictive role of individual differences is still debated. This study examines the impact of everyday musical behaviors and subclinical obsessive compulsive attributes on INMI experiences. In total 1,536 participants completed three online questionnaires; a novel inventory of musical behavior and INMI, and a standardized obsessive compulsion (OC) inventory. Exploratory factor analysis (N ¼ 512) and structural equation modelling (N ¼ 1,024) were applied. Everyday singing and music listening positively predict length and frequency of reported INMI episodes, respectively. No relationships were found with musical training. High OC was positively related to INMI frequency and disturbance, but only indirectly to INMI episode length and unpleasantness. The identified contributory factors of INMI experiences are discussed in the context of musical memory and spontaneous mental activity.

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“…In a recent study, Zatorre and Halpern (2005) raised the question as to whether there is evidence that auditory and motor imagery are integrated in the brain. We feel that the current findings provide a preliminary answer.…”

Section: Discussionmentioning

confidence: 99%

The mental representation of music notation: Notational audiation.

Brodsky¹,

Kessler²,

Rubinstein³

et al. 2008

Journal of Experimental Psychology: Human Perception and Perfor

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This study investigated the mental representation of music notation. Notational audiation is the ability to internally "hear" the music one is reading before physically hearing it performed on an instrument. In earlier studies, the authors claimed that this process engages music imagery contingent on subvocal silent singing. This study refines the previously developed embedded melody task and further explores the phonatory nature of notational audiation with throat-audio and larynx-electromyography measurement. Experiment 1 corroborates previous findings and confirms that notational audiation is a process engaging kinesthetic-like covert excitation of the vocal folds linked to phonatory resources. Experiment 2 explores whether covert rehearsal with the mind's voice also involves actual motor processing systems and suggests that the mental representation of music notation cues manual motor imagery. Experiment 3 verifies findings of both Experiments 1 and 2 with a sample of professional drummers. The study points to the profound reliance on phonatory and manual motor processing-a dual-route stratagem-used during music reading. Further implications concern the integration of auditory and motor imagery in the brain and cross-modal encoding of a unisensory input.

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Mental Concerts: Musical Imagery and Auditory Cortex

Cited by 312 publications

References 19 publications

Listening in Silence Activates Auditory Areas: A Functional Magnetic Resonance Imaging Study

Listening in Silence Activates Auditory Areas: A Functional Magnetic Resonance Imaging Study

Individual Differences Predict Patterns in Spontaneous Involuntary Musical Imagery

The mental representation of music notation: Notational audiation.

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