Music in minor activates limbic structures: a relationship with dissonance?

Green, Anders C.; Bærentsen, Klaus B.; Stødkilde-Jørgensen, Hans; Wallentin, Mikkel; Roepstorff, Andreas; Vuust, Peter

doi:10.1097/wnr.0b013e3282fd0dd8

Cited by 71 publications

(78 citation statements)

References 23 publications

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“…Activity in the medial frontal gyrus has been observed previously in association with sad music, mainly played in minor mode Khalfa et al, 2005;Vytal & Hamann, 2010). The anterior cingulate finding replicates what has been obtained in previous studies on negative music emotions, particularly sadness, both in music (Green et al, 2008) and also in other domains, as showed in a meta-analysis of 83 studies on discrete emotions (Vytal & Hamann, 2010).…”

Section: Neural Correlates Of Musical Emotionssupporting

confidence: 88%

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

et al. 2016

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Music is often used to regulate emotions and mood. Typically, music conveys and induces emotions even when one does not attend to them. Studies on the neural substrates of musical emotions have, however, only examined brain activity when subjects have focused on the emotional content of the music. Here we address with functional magnetic resonance imaging (fMRI) the neural processing of happy, sad, and fearful music with a paradigm in which 56 subjects were instructed to either classify the emotions (explicit condition) or pay attention to the number of instruments playing (implicit condition) in 4-sec music clips. In the implicit vs.2 explicit condition, stimuli activated bilaterally the inferior parietal lobule, premotor cortex, caudate, and ventromedial frontal areas. The cortical dorsomedial prefrontal and occipital areas activated during explicit processing were those previously shown to be associated with the cognitive processing of music and emotion recognition and regulation. Moreover, happiness in music was associated with activity in the bilateral auditory cortex, left parahippocampal gyrus, and supplementary motor area, whereas the negative emotions of sadness and fear corresponded with activation of the left anterior cingulate and middle frontal gyrus and down-regulation of the orbitofrontal cortex. Our study demonstrates for the first time in healthy subjects the neural underpinnings of the implicit processing of brief musical emotions, particularly in frontoparietal, dorsolateral prefrontal, and striatal areas of the brain.

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Section: Neural Correlates Of Musical Emotionssupporting

confidence: 88%

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

et al. 2016

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“…provided as to the participants' musical background in the studies by Baumgartner et al, 2006;Eldar et al, 2007;Green et al, 2008;and Khalfa et al, 2005. And yet training does play a significant role in how listeners perceive music.…”

Section: Discussionmentioning

confidence: 98%

Music, feelings, and the human brain.

Habibi

Damásio

2014

Psychomusicology: Music, Mind, and Brain

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Music of varied kinds consistently triggers a large range of drives and emotions, which, in turn, induce a particular class of mental experiences known as feelings. The feelings are often pleasurable, though not necessarily. Neuroimaging and electrophysiological studies, in normal individuals as well as in patients with focal neurological lesions, reveal that music can change the state of large-scale neural systems of the human brain. The changes are not confined to brain sectors related to auditory and motor processing; they also occur in regions related to the regulation of life processes (homeostasis), including those related to emotions and feelings, most prominently in the insula and cingulate cortices, in the ventral striatum, in the amygdala, and in certain upper brainstem nuclei. The ease with which music leads to feelings, the predictability with which it does so, the fact that human beings of many cultures actively seek and consume music, and the evidence that early humans engaged in music practices lead us to hypothesize that music has long had a consistent relation to the neural devices of human life regulation. It is conceivable that, as a result, music-induced feelings can be informative and nourishing at the individual level and can also operate as significant promoters of sociocultural organization. We venture that the close relationship between music and feelings along with music's effectiveness in certain personal and social contexts, that is, its roles in homeostasis, explain, at least in part, the considerable degree of selection and replication of music-related phenomena, both biologically and culturally. As the invention of music forms continued and as intellectual analysis of compositions and reflection on music expanded, the practices and uses of music became less closely aligned with its affective and homeostatic aspects and, to a certain degree, gained autonomy relative to those aspects. This may account for the varied panorama of music invention, practice, and consumption that can be found today.

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“…Bangert et al, 2006;Blood & Zatorre, 2001;Chan, Ho, & Cheung, 1998;Gaser & Schlaug, 2003;Green et al, 2008;Helmbold, Rammsayer, & Altenmuller, 2005;Ho, Cheung, & Chan, 2003;Hutchinson et al, 2003;Pantev et al, 2001;Schellenberg, 2004;Schlaug, Jäncke, Huang, Staiger et al, 1995; to name but a few). The reason for this may be that an easily available, well-documented, objective, short, up-to-date test that reliably distinguishes musical expertise is lacking.…”

Section: Introductionmentioning

confidence: 98%

The Musical Ear Test, a new reliable test for measuring musical competence

Wallentin

Højlund

Friis-Olivarius

et al. 2010

Learning and Individual Differences

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215

315

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This paper reports results from three experiments using the Musical Ear Test (MET), a new test designed for measuring musical abilities in both musicians and non-musicians in an objective way with a relatively short duration (b 20 min.). In the first experiment we show how the MET is capable of clearly distinguishing between a group of professional musicians and a group of non-musicians. In the second experiment we demonstrate that results from the MET are strongly correlated with measures of musical expertise obtained using an imitation test. In the third experiment we show that the MET also clearly distinguishes groups of non-musicians, amateurs and professional musicians. The test is found to have a large internal consistency (Cronbach alpha: 0.87). We further show a correlation with amount of practice within the group of professionals as well as a correlation with a forward digit span test.

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Music in minor activates limbic structures: a relationship with dissonance?

Cited by 71 publications

References 23 publications

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

Music, feelings, and the human brain.

The Musical Ear Test, a new reliable test for measuring musical competence

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