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Cognitive Neuroscience > L4 - Music and the brain > Flashcards

L4 - Music and the brain Flashcards

1
Q

role of outer ear

A

Pinnae and ear canal

amplifies certain frequencies, important for locating sounds

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2
Q

role of middle ear

A

malleus, incus and stapes

converts airborne vibrations to liquid borne vibrations

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3
Q

role of inner ear

A

cochlea and semicircular canals (SCC)

important for senses of both hearing (cochlear) and balance (SCC)
converts liquid-borne vibrations to neural impulses.

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4
Q

pure tones

A

sounds with a sinusoid waveform (when pressure change is plotted against time)

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5
Q

pitch

A

the perceived property of sounds that enables them to be ordered from low to high

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6
Q

loudness

A

the perceived intensity of the sound

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7
Q

fundamental frequency

A

the lowest frequency component of a complex sound that determines the perceived pitch

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8
Q

from ear to brain

A

outer - middle - inner

4-5 synapses from ear to cortex

  • medial geniculate nucleus projects to the primary auditory cortex (also called core)
  • core area is surrounded by secondary auditory cortex (including belt and parabelt)
  • info ascends nd descends in the pathway
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9
Q

organisation of the auditory nerve and auditory cortex

A

tonotopic

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10
Q

primary and secondary auditory cortex

A
  • primary located in Heschl’s gyrus in the temporal lobes and is surrounded by adjacent secondary auditory cortex area
  • secondary made up of planum polare and planum temporal (belt and parabelt?)
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11
Q

the membrane in the cochlear…

A

basilar membrane

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12
Q

mechanical properties of the basilar membrane:

A

the end nearest the oval window is narrow and stiffer - so maximal deflection to high-frequency sounds

the end nearest the spiral shape is wider and more elastic and shows maximal deflection to low-frequency sounds.

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13
Q

neuroanatomy of music

A

prefrontal cortex: activated when the note is unexpected

motor cortex: important for playing and dancing music

cerebellum: important for balance and dancing and emotional reaction to music

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14
Q

belt and parabelt regions

A

make up the secondary audiotyr cortical areas

belt region: has many projects from primary auditory cortex
parabelt region: received projections from adjacent belt region

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15
Q

auditory versus visual system (thalamocortical route)

A

auditory : medial geniculate nucleus projects to primary audtory cortex

visual : lateral geniculate nucleus projects to primary visual cortex

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16
Q

auditory versus visual system: temporal and spatial sensitivity

A

auditory: temporal > spatial
visual: spatial > temporal

17
Q

neurons in the core/belt regions

A

in the core - neurons respond to narrowly defined frequencies

in the belt regions - neurons to a broader range

18
Q

what do neurons in the auditory cortex respond to:

A

Respond to:

  • frequnecy
  • loudness
  • spatial locations
19
Q

the basilar membrane contains:

A

hair cells linked to receptors

  • sound induces mechanical movement of the basilar membrane and hair cells on it
  • these movements induce a flow of ions through STRECTH-SENSITIVE ION CHANNELS
20
Q

musical development

A

newborn: percieve and remember pitch sequences, percieve a beat, sensitivity to contour, preference for consonance

4-6 years - respond to TONAL more then atonal music

7 years - sensitive to rules of harmony

10 years - understand finer aspects of key structure

12 years - develop tastes and recognition fo sytles

21
Q

mozart effect

A
  • claims that people perfom better on tests of spatial abilities after listening to music composed by Mozart
  • evidence been found for the effect being an artifact of arousal and mood
22
Q

congenital amusia

A
  • this is a lifelong disease where you cannot tell the difference between two tones (no pitch perception)
  • difficulty in eprceiving, making sens of music
  • ‘tone-deafness
  • associated with R Hemispher abnormalities in white and gray matter desntiy in R auditory cortex and IFG

e.g. Hyde et al 2006 found: reduced white matter in right IFG

Peretz et al 2005: increased grary mater in auditory cortex

23
Q

amusia

A
  • unaware when music off key
  • difficulty dscriminating melodies without lyrics
  • disliking of musical sounds and avoidance
  • no spatial difficulties
24
Q

pitch perception problems in amusia (Foxton et al 2004)

A
  • many amuics have problems telling whether melody goes up or down - affects small changes which are often used in music (semitones)
  • problems with pitch direction
25
Q

speech problem (Liu et al 2010)

A
  • most have difficutlies with speech but only with subtle changes
  • have problems with contour

pitch is important
- most languages are tonal
intonation (questions?)
speaker identity

26
Q

pitch memory problems in amusia (Williamson and Stewart, 2010)

A 
tone span (how many tones can you remember)
digit span (similar test)
  • amusics have issues
27
Q

anatomical measures supported functionally

A

Peretz et al 2009:

  • ERPs measured in amusic Ps whilst they monitored sequences for pitch changes
  • difference seen in P600 component
  • amusics can track quarter tone pitch differences, showing an early right-laterized neg brain response N200 (but UNAWARE)
28
Q

shared syntactic integration resource hypothesis

A

Patel 2003

  • does the brain use the same circuits to process grammar of music and language?
29
Q

syntactic overlap between music and language

A

Patel, 1998

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

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

  • violation in syntax = took not take
  • violation in semantic = why is zebra in bakery

found: responses are hgihlighy similar in vicinity of 600ms following incongruity
- overlap at p600 = music and language share same resources for processing grammar

30
Q

What did Thompson Forde et al 2012 find

A
  • music and language share mechanisms that trigger emotional responses
  • common evolutionary link of language and music
31
Q

the chills effect

A

musicc can elicit physchological (MOOD) and physiological changes (SHIVERS, GOOSE BUMPS, TINGLING)

music induced emotion - euphoria or the chills effects has been shown to recruit reward motivational circuit: basal forebrain, midbrain, OFC regions and DEACTIVATE amygdala

32
Q

brain areas associated wtih chills

A

nucleus accumbens, orbitofrontal cortex and ventral tegmental area

33
Q

why do we move to the beat?

A

basal gangia - has an evolutionary modifcation for beat perception

34
Q

musical expertise

A
  • auditory perception consequence of dynamic processes involving cortical and subcortcial regions
  • reflecting bottom-up and top-down processing
35
Q

effect of musical training

A
  • motor cortex activvated
  • auditory cortex activated (even if cannot hear)
  • therefore must be an overlap - interacting closely (Baumann et al 2005)
36
Q

how do musicians differ from non-musicians

A
  • differnces observed in PLANUM TEMPORAL and DORSOLATERAL PREFRONTAL CORTEX (specifically on left)
  • left laterisation fo musicians
  • left posterior temporal gyrus (near Wernickes)
  • left lateral frontal cortex (in or near Brocas)
37
Q

inter-aural time differnce

A

differnce in timign between a soudn arriving in each ear (used to localise sounds)

38
Q

inter-aural itnensity difference

A

the differnce in loiduness between a sound arriving in each ear (used to localise sound)

39
Q

head-related transfer function

A

an internal model of sounds get distorted by the unique shape of one’s own head and ears

Cognitive Neuroscience (10 decks)

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