The left dorsal stream causally mediates the tone labeling in absolute pitch

Rogenmoser, Lars; Arnicane, Andra; Jäncke, Lutz; Elmer, Stefan

doi:10.1111/nyas.14616

Cited by 4 publications

(2 citation statements)

References 104 publications

(274 reference statements)

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“…Early differences in the right-sided perisylvian brain regions reflect auditory tone categorization [ 8 ]. In addition, there were several crucial findings of hemispheric dominance in the left dorsolateral prefrontal cortex [ 18 , 56 ]. Musicians with absolute pitch have left-hemisphere activation, which is associated with enhanced vocal pitch error detection [ 2 ].…”

Section: Introductionmentioning

confidence: 99%

Cortical representation of musical pitch in event-related potentials

et al. 2023

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Neural coding of auditory stimulus frequency is well-documented; however, the cortical signals and perceptual correlates of pitch have not yet been comprehensively investigated. This study examined the temporal patterns of event-related potentials (ERP) in response to single tones of pitch chroma, with an assumption that these patterns would be more prominent in musically-trained individuals than in non-musically-trained individuals. Participants with and without musical training (N = 20) were presented with seven notes on the C major scale (C4, D4, E4, F4, G4, A4, and B4), and whole-brain activities were recorded. A linear regression analysis between the ERP amplitude and the seven notes showed that the ERP amplitude increased or decreased as the frequency of the pitch increased. Remarkably, these linear correlations were anti-symmetric between the hemispheres. Specifically, we found that ERP amplitudes of the left and right frontotemporal areas decreased and increased, respectively, as the pitch frequency increased. Although linear slopes were significant in both groups, the musically-trained group exhibited marginally steeper slope, and their ERP amplitudes were most discriminant for frequency of tone of pitch at earlier latency than in the non-musically-trained group (~ 460 ms vs ~ 630 ms after stimulus onset). Thus, the ERP amplitudes in frontotemporal areas varied according to the pitch frequency, with the musically-trained participants demonstrating a wider range of amplitudes and inter-hemispheric anti-symmetric patterns. Our findings may provide new insights on cortical processing of musical pitch, revealing anti-symmetric processing of musical pitch between hemispheres, which appears to be more pronounced in musically-trained people.

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Section: Introductionmentioning

confidence: 99%

Cortical representation of musical pitch in event-related potentials

et al. 2023

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“…El oído absoluto (OA) se define como la habilidad para identificar o producir el sonido de las notas musicales sin una referencia previa (Baharloo et al, 1998;Bermudez & Zatorre, 2009;Dooley & Deutsch, 2010;Grühn et al, 2018;Laucirica, 2005;Loui et al, 2012;Miyazaki, 2004;Rogenmoser et al, 2021;Takeuchi & Hulse, 1993;Wong et al, 2020).…”

Section: Introductionunclassified

Oído absoluto y sus efectos en actividades musicales: evaluación y autopercepción de estudiantes de Conservatorio

Laucirica,

Quetgles-Roca,

Ponsatí

2023

Rev. Investig. Psicol.

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Los sistemas de evaluación del oído absoluto (OA) presentan gran variabilidad en su configuración, lo que podría atribuirse a la compleja definición del concepto. También son escasos, y a menudo con resultados contradictorios, los estudios que profundizan en los efectos que produce en la actividad musical. El presente estudio persigue indagar en los sistemas de evaluación del OA y en la autopercepción de un grupo de 23 estudiantes de música de grado profesional con este perfil. Se busca conocer lo siguiente: (a) la intensidad en el ejercicio de diferentes actividades musicales (memorización, improvisación, lectura a primera vista, transporte, afinación, identificación de intervalos y dictado), (b) el comportamiento de su oído al realizarlas y (c) la influencia que el OA ejerce en el desarrollo de estas actividades. En un estudio previo, los estudiantes efectuaron una prueba de OA en la que fueron clasificados con algún tipo (parcial, desplazado y parcial, o Quasi-OA). Posteriormente, se llevaron a cabo entrevistas individuales y semi-estructuradas. Los resultados muestran (a) la coexistencia del oído absoluto y el oído relativo, (b) la autopercepción de los estudiantes de que es el desarrollo del oído relativo, así como la propia experiencia y práctica cotidiana, lo que determina la mayor o menor competencia en la realización de las actividades musicales y (c) que la práctica del instrumento principal también modifica esta competencia en determinadas actividades musicales. En conclusión, estos resultados sugieren elaborar programas de educación auditiva específicos y de mayor calado en los centros de educación musical.

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Should absolute pitch be considered as a unique kind of absolute sensory judgment in humans? A systematic and theoretical review of the literature

Di Stefano,

Spence

2024

Cognition

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The left dorsal stream causally mediates the tone labeling in absolute pitch

Cited by 4 publications

References 104 publications

Cortical representation of musical pitch in event-related potentials

Cortical representation of musical pitch in event-related potentials

Oído absoluto y sus efectos en actividades musicales: evaluación y autopercepción de estudiantes de Conservatorio

Should absolute pitch be considered as a unique kind of absolute sensory judgment in humans? A systematic and theoretical review of the literature

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