Perception of Tonal and Temporal Structures in Chord Sequences by Patients With Cerebellar Damage

Lebrun-Guillaud, Gééraldine; Tillmann, Barbara; Justus, Timothy

doi:10.1525/mp.2008.25.4.271

Cited by 9 publications

(4 citation statements)

References 49 publications

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“…It has been proposed that distinct parts of the basal ganglia may process different aspects of music, with dorsal sectors in the caudate recruited by rhythm and more ventral sectors in the putamen preferentially involved in processing melody ( Bengtsson and Ullen 2006 ). Likewise, the cerebellum is crucial for motor coordination and timing ( Ivry et al 2002 ) but also activates musical auditory patterns ( Grahn and Brett 2007 ; Lebrun-Guillaud et al 2008 ). Here, we found a greater activation of motor-related circuits for highly pleasant and highly arousing emotions (A+V+) that typically convey a strong impulse to move or dance, such as Joy or Power.…”

Section: Discussionmentioning

confidence: 99%

Mapping Aesthetic Musical Emotions in the Brain

et al. 2011

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Music evokes complex emotions beyond pleasant/unpleasant or happy/sad dichotomies usually investigated in neuroscience. Here, we used functional neuroimaging with parametric analyses based on the intensity of felt emotions to explore a wider spectrum of affective responses reported during music listening. Positive emotions correlated with activation of left striatum and insula when high-arousing (Wonder, Joy) but right striatum and orbitofrontal cortex when low-arousing (Nostalgia, Tenderness). Irrespective of their positive/negative valence, high-arousal emotions (Tension, Power, and Joy) also correlated with activations in sensory and motor areas, whereas low-arousal categories (Peacefulness, Nostalgia, and Sadness) selectively engaged ventromedial prefrontal cortex and hippocampus. The right parahippocampal cortex activated in all but positive high-arousal conditions. Results also suggested some blends between activation patterns associated with different classes of emotions, particularly for feelings of Wonder or Transcendence. These data reveal a differentiated recruitment across emotions of networks involved in reward, memory, self-reflective, and sensorimotor processes, which may account for the unique richness of musical emotions.

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Section: Discussionmentioning

confidence: 99%

Mapping Aesthetic Musical Emotions in the Brain

et al. 2011

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“…There is a growing literature concerning the roles of the cerebellum in music perception, with many studies indicating a role in temporal properties of music (Lebrun-Guillaud, Tillmann, & Justus, 2008), including rhythm processing (Chen et al, 2008) and auditorymotor synchronization (Thaut et al, 2009). It is less clear whether the cerebellum plays a role in tonal properties of music, though studies have found a potential role in pitch perception (Parsons, Petacchi, Schmahmann, & Bower, 2009).…”

Section: Gcmmentioning

confidence: 99%

Corticostriatal Contributions to Musical Expectancy Perception

Seger¹,

Spiering²,

Sares³

et al. 2013

Journal of Cognitive Neuroscience

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This study investigates the functional neuroanatomy of harmonic music perception with fMRI. We presented short pieces of Western classical music to nonmusicians. The ending of each piece was systematically manipulated in the following four ways: Standard Cadence (expected resolution), Deceptive Cadence (moderate deviation from expectation), Modulated Cadence (strong deviation from expectation but remaining within the harmonic structure of Western tonal music), and Atonal Cadence (strongest deviation from expectation by leaving the harmonic structure of Western tonal music). Music compared with baseline broadly recruited regions of the bilateral superior temporal gyrus (STG) and the right inferior frontal gyrus (IFG). Parametric regressors scaled to the degree of deviation from harmonic expectancy identified regions sensitive to expectancy violation. Areas within the BG were significantly modulated by expectancy violation, indicating a previously unappreciated role in harmonic processing. Expectancy violation also recruited bilateral cortical regions in the IFG and anterior STG, previously associated with syntactic processing in other domains. The posterior STG was not significantly modulated by expectancy. Granger causality mapping found functional connectivity between IFG, anterior STG, posterior STG, and the BG during music perception. Our results imply the IFG, anterior STG, and the BG are recruited for higher-order harmonic processing, whereas the posterior STG is recruited for basic pitch and melodic processing.

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“…Adult patients with cerebellar degeneration have difficulty processing temporal regularities (although not tones) in music [132] and performing rhythmic movements [133]. …”

Section: Motor Function In Sbmmentioning

confidence: 99%

Cerebellar Motor Function in Spina Bifida Meningomyelocele

et al. 2010

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Spina bifida meningomyelocele (SBM), a congenital neurodevelopmental disorder, involves dysmorphology of the cerebellum, and its most obvious manifestations are motor deficits. This paper reviews cerebellar neuropathology and motor function across several motor systems well studied in SBM in relation to current models of cerebellar motor and timing function. Children and adults with SBM have widespread motor deficits in trunk, upper limbs, eyes, and speech articulators that are broadly congruent with those observed in adults with cerebellar lesions. The structure and function of the cerebellum are correlated with a range of motor functions. While motor learning is generally preserved in SBM, those motor functions requiring predictive signals and precise calibration of the temporal features of movement are impaired, resulting in deficits in smooth movement coordination as well as in the classical cerebellar triad of dysmetria, ataxia, and dysarthria. That motor function in individuals with SBM is disordered in a manner phenotypically similar to that in adult cerebellar lesions, and appears to involve similar deficits in predictive cerebellar motor control, suggests that age-based cerebellar motor plasticity is limited in individuals with this neurodevelopmental disorder.

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Perception of Tonal and Temporal Structures in Chord Sequences by Patients With Cerebellar Damage

Cited by 9 publications

References 49 publications

Mapping Aesthetic Musical Emotions in the Brain

Mapping Aesthetic Musical Emotions in the Brain

Corticostriatal Contributions to Musical Expectancy Perception

Cerebellar Motor Function in Spina Bifida Meningomyelocele

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