Music Perception and Cognition

Justus, Timothy; Bharucha, Jamshed J.

doi:10.1002/0471214426.pas0111

Cited by 26 publications

(15 citation statements)

References 254 publications

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“…If the specialization of the left auditory cortex discussed above reflects the nervous system's adaptation to this selective pressure, then all we need to assume is that the complementary structural and functional changes of the two hemispheres arose as a consequence of this specialization (see also Ref. 49 for further discussion).…”

Section: Concluding Commentsmentioning

confidence: 99%

Neural Specializations for Tonal Processing

Zatorre

2001

Annals of the New York Academy of Sciences

173

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The processing of pitch, a central aspect of music perception, is neurally dissociable from other perceptual functions. Studies using behavioral‐lesion techniques as well as brain imaging methods demonstrate that tonal processing recruits mechanisms in areas of the right auditory cortex. Specifically, the right primary auditory area appears to be crucial for fine‐grained representation of pitch information. Processing of pitch patterns, such as occurs in melodies, requires higher‐order cortical areas, and interactions with the frontal cortex. The latter are likely related to tonal working memory functions that are necessary for the on‐line maintenance and encoding of tonal patterns. One hypothesis that may explain why right‐hemisphere auditory cortices seem to be so important to tonal processing is that left auditory regions are better suited for rapidly changing broad‐band stimuli, such as speech, whereas the right auditory cortex may be specialized for slower narrow‐band stimuli, such as tonal patterns. Evidence favoring this hypothesis was obtained in a functional imaging study in which spectral and temporal parameters were varied independently. The hypothesis also receives support from structural studies of the auditory cortex, which indicate that spectral and temporal processing may depend on interhemispheric differences in grey/white matter distribution and other anatomical features.

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Section: Concluding Commentsmentioning

confidence: 99%

Neural Specializations for Tonal Processing

Zatorre

2001

Annals of the New York Academy of Sciences

173

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“…We investigated whether the cortical response to the natural rhythm of music analogously signals attention to and comprehension of music. Because the beat and meter of music typically lie in the frequency range of 1-7 Hz ( Krumhansl, 2000 ; Justus and Bharucha, 2002 ; Large, 2008 ), we focused on the cortical response to rhythmic structure in the delta and theta frequency bands. Recent studies have shown that delta- and theta-band cortical oscillations synchronize to the beat and meter of simplified rhythmic stimuli ( Nozaradan et al, 2011 , 2012 ; Cong et al, 2013 ).…”

Section: Introductionmentioning

confidence: 99%

The steady-state response of the cerebral cortex to the beat of music reflects both the comprehension of music and attention

Meltzer

Reichenbach

Braiman

et al. 2015

Front. Hum. Neurosci.

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The brain’s analyses of speech and music share a range of neural resources and mechanisms. Music displays a temporal structure of complexity similar to that of speech, unfolds over comparable timescales, and elicits cognitive demands in tasks involving comprehension and attention. During speech processing, synchronized neural activity of the cerebral cortex in the delta and theta frequency bands tracks the envelope of a speech signal, and this neural activity is modulated by high-level cortical functions such as speech comprehension and attention. It remains unclear, however, whether the cortex also responds to the natural rhythmic structure of music and how the response, if present, is influenced by higher cognitive processes. Here we employ electroencephalography to show that the cortex responds to the beat of music and that this steady-state response reflects musical comprehension and attention. We show that the cortical response to the beat is weaker when subjects listen to a familiar tune than when they listen to an unfamiliar, non-sensical musical piece. Furthermore, we show that in a task of intermodal attention there is a larger neural response at the beat frequency when subjects attend to a musical stimulus than when they ignore the auditory signal and instead focus on a visual one. Our findings may be applied in clinical assessments of auditory processing and music cognition as well as in the construction of auditory brain-machine interfaces.

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“…Music perception restricts to basic perceptual aspects of music, like pitch, rhythm, tempo, etc., and predominantly, the cognitive processes associated with it ( Koelsch, 2011 ). These physical attributes are well studied and elucidated to show how they invoke a higher-order experience ( Justus and Bharucha, 2002 ; Deutsch, 2007 ). Levitin et al (2018) have discussed temporal factors in music as a preliminary step in understanding how and why music literally moves us.…”

Section: Introductionmentioning

confidence: 99%

Development and Psychometric Validation of the Music Receptivity Scale

George

Ilavarasu

2021

Front. Psychol.

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A new construct, termed music receptivity, is introduced and discussed in this work. Music receptivity can be defined as a measure of the extent of internalization that an individual has, to a given piece of music, as measured at the point of listening. Through three studies, we demonstrate the psychometric properties of the construct—the Music Receptivity Scale (MRS). Exploratory factor analysis on a sample of 313 revealed good psychometric validity, with a four-factor solution (emotional experience, interest, attention, and hurdles), with a Cronbach’s alpha of 0.89, and a two-factor solution (emotion experience and attention), with a Cronbach’s alpha of 0.87. The tool also had a good test–retest reliability (r = 0.87 for a 15 day interval and r = 0.91 for 1 month interval). Overall, the tool had 20 items in the long form and 12 items in the short version. The MRS could distinguish musicians and non-musicians supporting its discriminant validity. We have also discussed the implication of the MRS in the field of music psychology.

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Music Perception and Cognition

Cited by 26 publications

References 254 publications

Neural Specializations for Tonal Processing

Neural Specializations for Tonal Processing

The steady-state response of the cerebral cortex to the beat of music reflects both the comprehension of music and attention

Development and Psychometric Validation of the Music Receptivity Scale

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