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cognitive neuroscience > music and the brain > Flashcards

music and the brain Flashcards

1
Q

properties of music

A

universal
unique
- not just humans sing but bird sing for specific contexts

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2
Q

function of music

A
  • attract mate
  • bring people together
  • precursor of language
  • auditory cheesecake - by-product of human language -love it but not needed
  • sparked imagination - evolutionary advantage
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3
Q

outer ear

A

pinna - important for detecting where sounds come from

ear canal - amplifies certain frequencies

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4
Q

tympanic membrane

A

airbourne frequencies cause it to vibrate

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5
Q

middle ear

A

vibration of 3 little bones (ossicles) convert airbourne vibrations to liquid-bourne vibrations

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6
Q

inner ear

A

cochlea - filled with liquid + liquid vibrates and picked up by auditory nerve and sent to CNS

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7
Q

4/5 synapses signal from ear makes

A
  • hindbrain
  • medulla
  • central cochlea nucleus
  • superior olivary complex
  • inferior colliculus
  • thalamus
  • medial geniculate nucleus
  • primary auditory cortex
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8
Q

organisation of auditory cortex and auditory nerve

A

tonotopic map

certain areas for certain frequencies

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9
Q

primary and secondary auditory cortex locations

A 
primary = Heschl's gyrus 
secondary = planum polare and planum temporale
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10
Q

regions sensitive to spatial properties of sound

A

right primary auditory cortex

  • speech also activates
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11
Q

association cortex

A

memory and associations

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12
Q

prefrontal regions

A

emotional responses

BA47 and BA44 - expectations

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13
Q

cerebellum

A

fine movement - playing instrument

emotional responses

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14
Q

amygdala

A

emotional response

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15
Q

nucleus accumbens

A

reward system - pleasure from music

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16
Q

hippocampus

A

memorising music

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17
Q

visual cortex

A

reading music

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18
Q

timbre

A

how different instruments sound

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19
Q

contour

A

going up or down

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20
Q

brain organises:

pitch, tempo, loudness, rhythm, spatial location, timbre and contour to:

A

higher level concepts

- meter, harmony, melody

21
Q

evidence for being born musical

A

infants:

  • preference for consonance music
  • easily notice contours
  • understand phrase structure in mozart
  • can distinguish rhythms at 3 days old
  • hemisphere specialisation
22
Q

hemisphere specialisation in infant music

A

traditional music - activates primary auditory cortex

altered music - activates left inferior frontal gyrus - important for expectations

23
Q

music development - new borns

A 
percieve and remember
- pitch sequences 
- tonality
- consonant dissonant music 
preference for consonant
24
Q

music development - 4-6YO

A

respond more to tonal than atonal

best age to start musical training

25
Q

music development - 7 YO

A

sensitive to rules of harmony

26
Q

music development - 10 YO

A

understand finer aspects of key structure

27
Q

music development - 12 YO

A

development tastes and recognition of styles

28
Q

mozart effect

A
  • claims people perform better on tests of spatial abilities after listening to music composed by Mozart
    (many pregnant women listen to make babies smarter)
  • Thomson Forde et al (2001)
    – paper cutting and folding task to mozart or adagio (sad music)
    – better when listen to music
    – when controlled for arousal and mood - found was an artefact of this
29
Q

music and language share what attributes

A
  • both auditory forms of communication

- sensory input evolved over time and in a coherent manner

30
Q

shared syntactic integration resource hypothesis (SSIRH)

A

Patel (2003)

syntax in music and language share common set of circuits in frontal brain region

31
Q

syntactic overlap

A

by comparing violations in language and music

  • syntax violation = P600
  • semantic violation = P400

overlap between them at 600ms for frontal and parietal electrodes
- suggest share resources for processing grammar

32
Q

music to study emotional prosody

A

Forde et al (2012)
amusic Ps tested their sensitivity to emotion in speech prosody
neutral sentence presented in different emotions
amusics = significantly impaired for all emotions except fear (uses different cues - evolution)

shows music and language share mechanisms that trigger emotional response

33
Q

congenital amusia

A 
lifelong condition
difficulty perceiving or making sense of music
difficulty in pitch perception
tone deaf
affects 4% population
below 22 score in amusic range
normal range for rhythm
unaware when music/including self = off key
difficulty discriminating music without lyrics
dislike music + avoid it
unlikely to experience reactions to it
no spatial difficulties
34
Q

why is amusia interesting

A
  • sheds light on normal musical processing
  • can determine how much musical processing is associated with other skills
  • possible origins of other development disorders e.g., dyslexia, prosopagnosia, dyscalculia (numbers)
35
Q

amusic pitch perception problems

A

Peretz et al (2001)

  • Monica
  • amusic
  • small pitch difference = 0% accurate
  • bigger pitch difference = 70% accurate
  • better when going up
  • not WM problem as recognise notes going up
36
Q

amusic speech problems

A 
only with subtle changes
65% languages = tonal
Liu et al (2010)
- statement-Q discrimination task
- impaired in natural, gliding and nonsense speech
37
Q

brain difference in amusia

A

amusics =

  • thinner white matter between right frontal and temporal lobes and in right inferior frontal lobe (gets thinner the more severe)
  • increased gray matter in auditory cortex (may compromise normal development of right frontotemporal pathway)
  • impaired arculate fasciculus (tracts connecting superior and inferior temporal gyrus - info can’t be transmitted normal way)
38
Q

amusic ERPs

A

no P600 - prominent in controls when semitone violation

N200 - controls and amusics - important in quater tones yet amusics impaired - so maybe can track but not report?

39
Q

music and emotion

A

music can elicit psychological (mood) and physiological (chills) changes

40
Q

reward-motivational circuits in music induced emotion

A

^ in basal forebrain, midbrain, orbitofrontal regions
deactivations in amygdala

PET study

  • deactivations in ventral prefrontal area and amygdala
  • amygdala = usually processing negative - this was positive, before chill - anticipation (seen in addicts before rush)

fMRI study

  • reward system active - chills - dopamine production
  • instrumental activated survival regions
41
Q

rhythm = uniquely human

A
  • anticipatory (tap before beat)
  • flexible (can double/half clap)
  • robust
  • cross modal
  • when asked to tap to flash - awful
42
Q

beat can be a useful therapy for…

A

parkinsons disease

helps them walk

43
Q

brain regions in tapping

A

Grahn and Brett (2007)
- regular, jazz and irregular
regular = easiest

as listening =

  • bilateral superior temporal gyrus
  • primary auditory cortex

as tapping =

  • motor areas
  • dorsal motor area
  • SMA
  • pre-SMA
  • basal ganglia (time perception/movement)
44
Q

can parrots keep the beat

A

yes

both humans and parrots have vocal learning - important for sequence mapping

45
Q

why we move to the beat

A

basal ganglia - involved in timing beats

evolutionary modification for beat perception as chimps can’t move to beat

46
Q

auditory perception

A

dynamic processing
bottom up and top-down
feedforward and feedback loops - when playing instrument

47
Q

effects of musical training

A

Bausmann et al (2005)

  • trained or not trained on melody
  • trained = activated auditory and motor cortex and SMA
  • untrained = only activated auditory cortex
  • played tune in scanner
  • trained = premotor and motor cortex AND auditory cortex - even though couldn’t hear it
48
Q

musical training long-term brain effects

A

Ohinishi et al (2001)

  • in musicians - more active
  • dorsolateral prefrontal cortex
  • planum temporale gyrus
  • especially on left - treat music as a language
49
Q

music vocalisation is more ___ hemisphere

A

right

cognitive neuroscience (9 decks)

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