4 The Hearing Brain and Music Flashcards

1
Q

why study music and the brain

A

Musical behaviours are universal across human populations and, at the same time are highly diverse in their structures, roles and cultural interpretations. The study of music perception and cognition is one of the oldest topics in experimental psychology. The last 30 years of research have seen a special interest in understanding the neuroanatomy of music processing in humans (and some animals!) using different imaging techniques and lesion studies.

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2
Q

what did plato say about music and the mind

A

Plato (428 BC): music can elevate or degrade the mind
“rhythm and harmony find their way into the inward places of the soul “
was worried about the youth of athens and thought the music they listened to was corrupting their mind

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3
Q

what did aristoxenus say about music and the mind

A

Aristoxenus (4 th century BC) - effects on listeners as opposed to examining their mathematical ratios

Aristoxenus - belonged to Pythagorean’s school of philosophy - interested in describing the world in terms of mathematic equation and rations
Described music in terms of mathematical ratios but wrong way to go about it what we should really study is the effect music had on listeners as opposed to just describing it as mathematical ratios - psychological effect music has on people not just describing what music sounds like or just objective description of what we hear

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4
Q

what is music according the edgar varese

A

music is organised sound

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5
Q

what is music according to leonard mayer

A

a form of emotional communication

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6
Q

what is music according to wittgenstein

A

a new exemplar can be considered music if it bears a “family resemblance” to other examples that are generally agreed to be “music” - Wittgenstein

if we agree something is music then it probably is music

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7
Q

what are the properties of music

A

universl
unique
context specific for birds
function

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8
Q

music as universal

A

Universal– all cultures ever described have some form of music (if no instruments, still sing)

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9
Q

music as unique

A

Unique - you don’t need to be human to sing - Birds

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10
Q

music as context specific for birds

A

Context specific for birds: neural and hormonal changes vs. many contexts for humans

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11
Q

music as a function

A

Function: only male birds sing: attract mate, defend territory

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12
Q

what are the functions of music

A
  • Human musical tendencies derived from a system for attracting mates (Darwin, 1871)
  • music exists because it brings people together - social cohesion which lead to survival benefits (Huron, 2001)
  • Precursor for language (Mithen, 2005)
  • “Music is auditory cheesecake” – evolutionary byproduct of the adaptation for human language (Pinker, 1997)
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13
Q

what does music is auditory cheesecake mean

A

• “Music is auditory cheesecake” – evolutionary byproduct of the adaptation for human language (Pinker, 1997)

Evolutionary adaptation is language sp what gives us an advantage in survival is language - humans develop language in order to survive - music is using language pathways and in a way is more pleasurable and nicer than language - auditory cheesecake
We need to eat to survive - crave foods that aren’t great for survival but we still like and eat - same as music we like music although it might not be necessary for survival

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14
Q

why do people disagree with pinker

A

Other cognitive scientists and philosophers disagree with pinker bc they proposed that music is one of the most abstract art forms - classical music - abstract - everybody has their own impression of certain musical piece - so abstract it gave us an evolutionary advantage in one sense bc we can engage in imagination and this gives us evolutionary advantage in terms of hypothetical situations - so then plan and explore hypothetical situations - evolutionary advantage

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15
Q

hearing is more than detection of sounds it involves…

A

Hearing is more than detection of sounds
It involves constructing a model of the world:
• What objects do the sounds correspond to?
• Where are they?
• What do they mean?

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16
Q

what does the outer ear do

A

• Outer ear (pinnae and ear canal): amplifies certain frequencies, important for locating sounds

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17
Q

what does the middle ear do

A

• Middle ear (includes malleus, incus, stapes): converts airborne vibrations to liquid-borne vibrations

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18
Q

what does the inner ear do

A

• Inner ear (includes cochlea): converts liquid-borne vibrations to neural impulses

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19
Q

what happens when music goes from ear to brain

A

Hear a sound first comes to outer ear - important for detecting where the sound comes from, then the ear canal is also part of the outer ear and is really important in amplifying certain frequencies of sound that we hear, when we hear these airborne frequencies get to the tympanic membrane and it starts to vibrate and then these air borne vibrations are then transferred to the liquid borne vibrations in the middle of the ear by the vibration of three little bones called the ossicles - the malleus, incus and stapes and they convert air borne vibrations to liquid borne vibrations found in the inner ear and part of that is called the cochlea and this cochlea is filled with liquid and these ossicles convert the vibration and then the liquid starts to vibrate as well, the liquid vibrations can be picked up by the auditory nerve and that auditory nerve carries the information to the CNS.

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20
Q

what 3 bones cause air borne vibrations into liquid vibrations

A

air borne vibrations are then transferred to the liquid borne vibrations in the middle of the ear by the vibration of three little bones called the ossicles - the malleus, incus and stapes

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21
Q

how many synapses from ear to cortex

A

4-5 synapses

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22
Q

music in the brain

A
  • Medial geniculate nucleus projects to primary auditory cortex (also called “core”)
  • Core area is surrounded by secondary auditory cortex (including belt and parabelt regions)
  • Information ascends and descends in the pathway
  • The auditory nerve and auditory cortex have a tonotopic organization
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23
Q

what is the organisation of the auditory nerve and cortex

A

tonotopic organisation

maps certain frequencies to certain parts of the cortex

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24
Q

what are belt and parabelt regions

A

Primary auditory cortex is surrounded by secondary auditory cortex - sometimes called belt and parabelt regions - where belt is referring to primary auditory region and parabelt regions are referred to secondary auditory cortex

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25
Q

where is primary auditory cortex located

A

heschl’s gyrus

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26
Q

what is the secondary auditory cortex made up of

A

Secondary auditory cortex are made up of planum polare which is to the front and the planum temporale which his at the back of the heschl’s gyrus

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27
Q

what is the right primary auditory cortex is more sensitive to

A

Right primary auditory cortex is more sensitive to spatial location of the sound
Speech also activates this regions
Acoustic properties of speech sound are important in coding speech
Tonotopic organisation - with high and low frequencies located at different areas of the primary auditory cortex

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28
Q

the right hemisphere or primary auditory cortex

A
  • One region is sensitive to the spatial properties of sound (R>L)
  • Speech also activates these regions, but neurons are probably responding to the complex acoustic properties in the sound.
  • Perceptual attributes may be important
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29
Q

what brain functions does music engage

A
  • Emotion
  • Memory
  • Learning & plasticity
  • Attention
  • Motor control
  • Pattern perception
  • Imagery
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30
Q

what brain area is important for auditory perception and analysis

A

Primary auditory cortex - important for auditory perception and analysis

Association cortices such as the cortices in parietal areas and parabelt regions as well

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31
Q

what brain area is important for expectancy generation

violation and satisfaction

A

Prefrontal cortex - engaged especially when we hear a sour note or when we know something was played differently bc prefrontal cortex is important for expectations and as we know in music we are always expecting something to come at a later point

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32
Q

what brain area is important for sensory feedback from playing an instrument or dancing

A

Motor cortex - important when playing an instrument or just moving to the beat - tapping, dancing

Cerebellum - important for fine motor movement especially for playing an instrument

Sensory cortex’s - sensory feedback from playing an instrument or dancing - whether we are playing it properly - e.g. playing a sour note and whether we have to adjust our playing or whether we are dancing to rhythm

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33
Q

what brain areas important for emotional reactions to music

A

Emotion - emotional reactions to music are located in the prefrontal cortex and in the cerebellum

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34
Q

subcortical regions important in music perception

A

amygdala - emotional responses to music

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35
Q

what does nucleus accumbens do in response to music

A

Nucleus accumbens. - part of the reward system as we know some types of music are highly pleasurable and rewarding therefore we know this area is very much involved when we experience pleasure from music

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36
Q

what does hippocampus do in response to music

A

important for memorising music, reactivating lyrics or melodies that you already know

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37
Q

what are the perceptual attributes of music

A

Music is characterized by perceptual attributes, or dimensions, each of which can be varied independently: pitch, rhythm, timbre, tempo, contour, loudness, and spatial location

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38
Q

what is rhythm

A

the beat

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39
Q

what is timbre

A

Timbre - attribute that depicts how different instruments sounds - so certain notes sound different on the piano or violin

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40
Q

what is tempo

A

how fast a certain beat is

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41
Q

what is contour

A

if the music is going up or down

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42
Q

whats spatial location

A

where its coming from

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43
Q

Musical and linguistic grammar allow for the generation of infinite number of songs or sentences through combinations and rearrangements of elements

A

true

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44
Q

what is pitch

A

perception of sound frequency

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45
Q

what is pitch in music scales

A

Perception of music
Pitch (perception of sound frequency) - organized in every culture
Pitch organization into musical scales: divides each octave (double-ing of pitch between C&C) into 12 distinct notes (7 white piano keys)

Pentatonic scale

46
Q

what is difference between white and black piano key

A

semi-tone

47
Q

what is an octave

A

in western culture - pitch is organised into octaves

12 notes

48
Q

pentatonic scale

A

organisation of pitch in every culture

pentatonic scale

49
Q

are we born musical

A
  • Hearing working at 4-6 months
  • Infants, unlike monkeys, have natural preference for consonance (McDermott & Hauser, 2004).
  • Easily notice changes to contour (ups and downs) (Trehub et al, 1997)
  • Understand phrase structure in Mozart (Krumhansl & Jusczyk, 1990)
  • At 3 days old infants can distinguish different rhythms (Winkler et al. 2009)
50
Q

developmental evidence for being born musical

A

fMRI to measure brain activity in 1- to 3-day-old newborns while they heard excerpts of Western tonal music and altered versions of the same excerpts.

Western music: right-hemispheric activations in primary and higher order auditory cortex

Atonal music: activations emerged in the left inferior frontal cortex and limbic structures

51
Q

what does developmental evidence show

A
  • infant brain shows a hemispheric specialization in processing music as early as the first postnatal hours
  • neural architecture underlying music processing in newborns is sensitive to changes in tonal key

bilateral activation of primary auditory cortices
left inferior frontal areas - expectation in music

52
Q

music development in newborns

A

• Newborn – perceive and remember pitch sequences, perceive a beat, sensitivity to contour, preference for consonance

53
Q

music development in 4-6yrs

A

4-6yrs – Respond to tonal more than atonal music

54
Q

music development in 7 yrs

A

7yrs – Sensitive to the rules of harmony

55
Q

music development in 10 yrs

A

10yrs – Understand finer aspects of key structure

56
Q

music development in 12 yrs

A

• 12yrs – Develop tastes and recognition of styles

57
Q

what is the mozart effect

A

The “Mozart effect” refers to claims that people perform better on tests of spatial abilities after listening to music composed by Mozart
Paper cutting and folding test

58
Q

what does the mozart effect show

A

These findings provide evidence that the Mozart effect is an artifact of arousal and mood.

Sad music makes people worse
Mozart is most effective artifact of arousal and mood and isnt necessary related to Mozart but any music that is arousing

59
Q

what is congential amusia

A

a lifelong disorder characterized by a difficulty in perceiving, or making sense of, music

Pitch perception (difference between tones) - amusics often require the change to be much greater, for example, close to the distance between the first two notes of Somewhere over the Rainbow (Peretz et al., 2002; Foxton et al., 2004)

‘tone- deafness’ – only 4% of population affected

60
Q

does congenital amusia score in the normal range or rhythm

A

People with amusia often score in the normal range for rhythm perception, although this aspect of the disorder seems variable

61
Q

amusia

A
  • Amusics report having the condition for as long as you can remember
  • Unaware when music, including your own singing, is off-key
  • Difficulty discriminating or recognizing melodies without lyrics
  • Disliking of musical sounds and avoidance of public places and situations where music occurs.

• Unlikely to “use” music in everyday life or experience reactions such as chills,
relaxation or mood enhancement

62
Q

why is amusia interesting

A

• Sheds light on cognitive, neural and maybe even genetic basis of normal
musical processing

• How much are musical capacities associated with other skills (language,
spatial awareness)

• Possible origins of other developmental disorders such as dyslexia, prosopagnosia (faces) and dyscalculia (numbers)

63
Q

what problems do amusics have

A

pitch perception problems

whether a melody goes up or down

64
Q

what is a pitch perception problem

A

Many amusics have problems telling whether a melody goes up or down

Affects the small changes which are often used in music (semitones)

Problems with pitch direction are likely to impact on real world music listening

65
Q

monica

A

Case study - Monica
the first documented case of congenital amusia. This disorder refers to a musical disability that cannot be explained by prior brain lesion, hearing loss, cognitive deficits, socio-affective disturbance, or lack of environmental stimulation.

No structural brain changes

66
Q

what was monicas pitch discrimination like

A

monica can detect a pitch change of 11 semitones and only if the pitch chane is rising not when falling
shows not a working memory problem

67
Q

pich perception problem

A

Pitch Perception problems (Foxton et al., 2004; Williamson et al., 2012)

Many amusics have problems telling whether a melody goes up or down
Affects the small changes which are often used in music (semitones)
Problems with pitch direction are likely to impact on real world music listening

68
Q

Pitch memory problems (Williamson & Stewart, 2010)

A

tone span - how many tones can you remember
digit span - similar test
performed worse

69
Q

speech problems (Liu et al., 2010)

A

Speech problems (Liu et al., 2010) Most amusics have difficulties with speech but only with these SUBTLE changes!

70
Q

speech problems in relation to pitch

A

Pitch is important to speech

1) Tonal languages (65%) - mandarin, cantonese,thai
2) Intonation: question to statement, convey attitude
3) Speaker Identity

71
Q

findings of liu

A
Experiment (Liu et al., 2010)
Statement-question discrimination with SUBTLE pitch changes:
1. Natural speech
2. Gliding tones
3. Nonsense speech

Most amusics have difficulties with all 3 tasks – but only with these SUBTLE changes!

72
Q

amusia behavioural studies findings

A

• Amusia is associated with wider pattern of difficulties than just tone
pitch perception…but…

• All difficulties have a direct pitch basis

73
Q

whats going on in the brain?

A

• Hyde et al. (2006) measured white matter density between
the right frontal and temporal lobes.

  • Amusics white matter was thinner = a weaker connection.
  • Severity of Amusia = Thinner white matter.
74
Q

what does amusia show in white matter density and grey matter density

A

Reduction in white matter in right inferior frontal cortex (Hyde et al., 2006) and increases in gray matter in auditory cortex (Peretz et al., 2005)

75
Q

Congenital amusia : increase in cortical thickness

A

• increases in gray matter in auditory cortex (Peretz et al., 2005)

Differences in cortical thickness may have compromised the normal development of right fronto-temporal pathway

76
Q

what do differences in right inferior frontal gyrus link to

A

Right superior temporal gyrus differences and right inferior frontal gyrus differences

Right homolog of brocas and wernickes ares

77
Q

what is the Arcuate fasciculus (AF).Loui et al. (2009)

A

Tract that connects superior temporal gyrus with inferior frontal gyrus

Amusics - this tract is impaired

78
Q

what happens to the Arcuate fasciculus in amusics

A

in 9/10 amusics the right superior arcuate fasciclus was unidentifiable

Amusics thinner - structural changes - information carried through the AF cannot be transmitted the way normal participants transmit this auditory information

79
Q

Anatomical measures supported functionally

A

Measured ERPs in amusic participants while they monitored sequences for
the presence of pitch change

all overall impaired in semitones and quartertones
much more impaired then controls

80
Q

can amusics track quartertones

A

Amusics can track quarter tone pitch differences, showing an early right- lateralized negative brain response N200 – but they are UNAWARE

track but unaware - unable to report them

81
Q

what represents quarter tones

A

N200

82
Q

what represents semitones

A

p600

83
Q

• Lack of responsiveness to semitone changes that violate musical keys,

A

difference seen in P600 component

84
Q

amusics do not have

A

P600 component

85
Q

what is congenital amusia

A

• Congenital Amusia is a neurodevelopment disorder that impacts on music
listening (and production)

  • Pitch perception problems, especially in rising direction
  • Pitch memory weaknesses
  • Carry over into subtle speech difficulties
  • No spatial difficulties

• Most likely brain origin is a breakdown in pathways that carry pitch based
information from auditory to higher brain processing centres

86
Q

are there spatial difficulties in congenital amusia

A

no

87
Q

music and language share many attributes

A

Music and language share many attributes: auditory based forms of communication, sensory input evolved over time and in coherent manner

88
Q

Does the brain use the same circuits to process the grammar of music and language?

A

SSIRH – shared syntactic integration resource hypothesis (Patel, 2003)

Syntax in language and music share a common set of circuits instantiated in frontal brain regions

Listening to music and speech

Areas in frontal brain regions - important for syntax or the grammar in language and music
Both in left inferior frontal regions
Adjacent regions

89
Q

is there syntactic overlap between music and language

A

yes

90
Q

what happened in syntactic violation (syntax)

A

The woman paid the baker and take the bread home – P 600

prominent P600 component

91
Q

what happened in semantic violation

A

Semantic violation - N400

The woman paid the baker and took the zebra home – N 400

92
Q

in the music and language task was there syntactic overlap between music and language

A

The responses are highly similar in the vicinity of 600 ms after the onset of the incongruity

music and language share same resources for processing grammar

93
Q

do music and language have a common orgigin

A

Music and language have a common origin – overlapping functions and shared circuitry

Sensitivity to emotion in speech prosody derives from our capacity to process music

94
Q

forde et al 2012

A

12 amusics made judgments about emotional expressions of spoken phrases

Music and language share mechanisms that trigger emotional responses

Common evolutionary link between language and music

Emotion is conveyed through the sounds and prosody of language as the statement is neutral

Amusics were significantly impaired on all emotions
Fear - not significant - so old - different cues

95
Q

music and emotion - eliciting psychological and physiological changes

A

Music can elicit both psychological (mood) and physiological changes
- the chills effect (shivers, goose bumps, tingling)

96
Q

music induced emotion

A

Music induced emotion - euphoria or the chills effects has been shown to recruit reward- motivational circuit: basal forebrain, midbrain, orbitofrontal regions and deactivation in amygdala

Chills to instrumental music
Decrease in amygdala activation – anticipation of the chill, rather than the chill itself

Deactivation in ventral prefrontal cortex and activations in amygdala
Amygdala - negative emotion processing

97
Q

chills -

A

Deep & ancient areas: N Acc, Orbitofrontal cortex and ventral tegmental area
Reward system in the brain - dopamine

Instrumental music – abstract, at the same time accessing the same brain areas important for survival

98
Q

rhythm in culture

A

In every culture beat has important link to movement: dance, almost involuntarily

99
Q

what is uniquely human behaviour in relation to music

A

Uniquely human behavior:
anticipatory (tapping to a metronome – people tap a bit ahead – anticipation)

flexible (tap, clap, double the rate) robust (syncopation)

cross modal (something you hear – movement) auditory (patterns – complex tap – visual pattern – flashes of light – temporal info through eyes – hopeless)- temporal information through ears making us tap not from sight

Beat - Parkinson’s disease – having a regular beat helps them walk

100
Q

what are the brain structures keeping the beat

A

Brain structures keeping the beat are motor structures

101
Q

what does the basal ganglia control

A

basal ganglia (part of the motor circuit) - time intervals, control sequences of move.

102
Q

how can only humans keep the beat

A

Vocal learning: learning to produce and imitate complex sound patterns based on what you hear - arbitrary sound sequence mapping
Grahn & Brett, 2007

103
Q

how can we move to the beat

A

A key structure involving timing beats (basal ganglia) is involved in motor control

In vocal learning the same structure creates a strong connection auditory
input and motor output

Chimps can’t move to the beat

Basal ganglia – evolutionary modification for beat perception

104
Q

how does musical experience affect practice and performance and skill transfer

A

Auditory perception consequence of dynamic processes involving cortical and subcortical regions, reflecting both bottom-up and top-down processing

Motor cortex - hands
Feedback loop - sound to auditory cortex
Somatosensory cortex - adjust playing
Motor cortex - playing

105
Q

what are the effects of musical training

baumann et al 2005

A

Overlap: auditory and motor systems interact closely during both perception and production

when listening and playing - active in auditory Cortex and supplementary motor area

106
Q

how does musical training effect the brain

A

Skilled musicians are unique in that they
• Start at a young age
• Spend lots of time on practice

107
Q

Does musical training lead to a difference in brain functional anatomy?
Ohinishi et al. 2001 compared musicians to non-musicians in a passive (music) listening task

A

to see differences subtract one image from another
• Differences are in Planum Temporale and Dorsolateral Prefronatal Cortex –
especially on the left side
Differences are in or near speech production and comprehension regions

108
Q

musicians differ from non-musicians broadly

A

in broad terms musical training seems to push music processes onto language structures
left lateralisation for musicians
left posterior temporal gyrus - in or near wernickes
left lateral frontal cortex - in or near brocas

109
Q

is music left lateralised in musicians

A

More active in musicians
Left lateralised
Even though music vocalisation is more of a right lateralised function

Left lateralisation
Musicians treat music as language
Recognise chords and melodic structures they can name - recruit language comprehension and production

110
Q

what do musical operations involve in the brain

A
  • Musical operations involve disparate regions of the brain: all lobes and both cortical and subcortical structure
  • In particular roles of cerebellum (movement) and amygdala (emotion) are becoming appreciated
111
Q

what are the components of music

A

• The components of music (pitch, rhythm, timbre, contour) subserved by distinct neural processing units

112
Q

does music share some circuitry with spoken language

A

• Music shares some circuitry with spoken language, yet also involves distinct neural circuits