The nature of music from a biological perspective

Temporal Structure of Music Improves the Cortical Encoding of Speech

Long- and short-term musical training has been proposed to improve the efficiency of cortical tracking of speech, which refers to the synchronization of brain oscillations and the acoustic temporal structure of external stimuli. Here, we study how musical sequences with different rhythm structures can guide the temporal dynamics of auditory oscillations synchronized with the speech envelope. For this purpose, we investigated the effects of prior exposure to rhythmically structured musical sequences on cortical tracking of speech in Basque-Spanish bilingual adults (Experiment 1; N = 33, 22 female, Mean age = 25 years). We presented participants with sentences in Basque and Spanish preceded by musical sequences that differed in their rhythmical structure. The rhythmical structure of the musical sequences was created to (1) reflect and match the syllabic structure of the sentences, (2) reflect a regular rhythm but not match the syllabic structure of the sentences, and (3) follow an irregular rhythm. Participants' brain responses were recorded using electroencephalography, and speech-brain coherence in the delta and theta bands was calculated. Results showed stronger speech-brain coherence in the delta band in the first condition, but only for Spanish stimuli. A follow-up experiment including a subset of the initial sample (Experiment 2; N = 20) was conducted to investigate whether language-specific stimuli properties influenced the Basque results. Similar to Experiment 1, we found stronger speech-brain coherence in the delta and theta bands when the sentences were preceded by musical sequences that matched their syllabic structure. These results suggest that not only the regularity in music is crucial for influencing cortical tracking of speech, but so is adjusting this regularity to optimally reflect the rhythmic characteristics of listeners' native language(s). Despite finding some language-specific differences across frequencies, we showed that rhythm, inherent in musical signals, guides the adaptation of brain oscillations, by adapting the temporal dynamics of the oscillatory activity to the rhythmic scaffolding of the musical signal.

The role of musical aspects of language in human cognition

This paper reviews musicology, linguistics, cognitive psychology, and neuroscience research on the importance of music in developing human speech and cognition. It cites research from several scientific fields on how the brain processes and reacts to melody, rhythm, harmony, loudness, dynamics and types of articulation and timbre. It also discusses musical concepts and prosodic features such as intonation, rhythm and stress related to linguistic terminology and summarises results of earlier research on how the two systems interact to strengthen or weaken an individual's ability to function without nurturing stimulation. Music is an important preventive and therapeutic factor for human life. The author describes the interplay between music and language in the nervous system, improving or hindering communication and how it affects us personally and impacts societal mental health.

A professional musician with progressive visuospatial concerns: a case study and review of musical alexia

This case report presents the story of Mr. S, a professional orchestral musician with declining musical sight-reading ability, followed by progressive visuospatial and language deficits. Our novel musical assessment battery revealed deficits in music-reading (musical alexia) and music-writing (musical agraphia), with spared auditory perception and expression. Taken with neuropsychological testing, clinical history, and imaging, we conclude that his symptoms evolved from musical alexia to a multidomain, neurodegenerative process centered in the dominant inferior parietal lobe and temporoparietal junction. We suspect a primary TDP-opathy with comorbid preclinical Alzheimer's disease. Mr. S's case highlights musical symptoms as meaningful, early indicators of neurodegeneration.

Frontoparietal network topology as a neural marker of musical perceptual abilities

Why are some individuals more musical than others? Neither cognitive testing nor classical localizationist neuroscience alone can provide a complete answer. Here, we test how the interplay of brain network organization and cognitive function delivers graded perceptual abilities in a distinctively human capacity. We analyze multimodal magnetic resonance imaging, cognitive, and behavioral data from 200+ participants, focusing on a canonical working memory network encompassing prefrontal and posterior parietal regions. Using graph theory, we examine structural and functional frontoparietal network organization in relation to assessments of musical aptitude and experience. Results reveal a positive correlation between perceptual abilities and the integration efficiency of key frontoparietal regions. The linkage between functional networks and musical abilities is mediated by working memory processes, whereas structural networks influence these abilities through sensory integration. Our work lays the foundation for future investigations into the neurobiological roots of individual differences in musicality.

Do early musical impairments predict later reading difficulties? A longitudinal study of pre-readers with and without familial risk for dyslexia

The present longitudinal study investigated the hypothesis that early musical skills (as measured by melodic and rhythmic perception and memory) predict later literacy development via a mediating effect of phonology. We examined 130 French-speaking children, 31 of whom with a familial risk for developmental dyslexia (DD). Their abilities in the three domains were assessed longitudinally with a comprehensive battery of behavioral tests in kindergarten, first grade, and second grade. Using a structural equation modeling approach, we examined potential longitudinal effects from music to literacy via phonology. We then investigated how familial risk for DD may influence these relationships by testing whether atypical music processing is a risk factor for DD. Results showed that children with a familial risk for DD consistently underperformed children without familial risk in music, phonology, and literacy. A small effect of musical ability on literacy via phonology was observed, but may have been induced by differences in stability across domains over time. Furthermore, early musical skills did not add significant predictive power to later literacy difficulties beyond phonological skills and family risk status. These findings are consistent with the idea that certain key auditory skills are shared between music and speech processing, and between DD and congenital amusia. However, they do not support the notion that music perception and memory skills can serve as a reliable early marker of DD, nor as a valuable target for reading remediation. RESEARCH HIGHLIGHTS: Music, phonology, and literacy skills of 130 children, 31 of whom with a familial risk for dyslexia, were examined longitudinally. Children with a familial risk for dyslexia consistently underperformed children without familial risk in musical, phonological, and literacy skills. Structural equation models showed a small effect of musical ability in kindergarten on literacy in second grade, via phonology in first grade. However, early musical skills did not add significant predictive power to later literacy difficulties beyond phonological skills and family risk status.

Effects of a veterinary functional music-based enrichment program on the psychophysiological responses of farm pigs

Intensification of swine production can predispose pigs to chronic stress, with adverse effects on the neuroendocrine and immune systems that can lead to health problems, poor welfare, and reduced production performance. Consequently, there is an interest in developing tools to prevent or eliminate chronic stress. Music is widely used as a therapeutic strategy for stress management in humans and may have similar benefits in non-human animals. This study evaluated the effects of a music-based auditory enrichment program in pigs from a multidimensional perspective by assessing psychophysiological responses. Two experimental groups of 20 pigs each were selected for the study: one enriched, exposed to a program of functional veterinary music designed for pigs, and a control group without auditory stimulation. Qualitative behavior assessment (QBA) and skin lesions indicative of agonistic behavior were used to evaluate the psychological determinants underlying the observed behaviors. Physiological assessment included hemograms, with the determination of the neutrophil:lymphocyte ratio and daily measurements of cortisol and salivary alpha-amylase levels. The results demonstrated a positive effect of a music-based auditory program on psychophysiological responses. Therefore, this strategy developed for environmental enrichment may be beneficial in reducing stress and contributing to the welfare and health of pigs under production conditions.

Second-Line Parades: A Trauma-Informed Response to Grief

New Orleans is no stranger to trauma. The Crescent City has a vast history of environmental calamities and oppression. Yet, New Orleans is renowned for its "joie de vivre"-or "love of life." Specifically, this community is known for its unique practice of second-line parades. Researchers have noted the healing power of second-line processions, but none have analyzed the practice and psychology of this ritual through a trauma-informed lens. The aim of this conceptual paper is to begin the conversation, rather than deliver hard fast conclusions, on the potential therapeutic function of second-line parades in response to grief. Relevant literature is presented to illustrate second-line parades, trauma theory, and to provide evidence that the therapeutic effects of second-lining may, in part, be explained by trauma theory. This paper concludes with remarks on conceptualizing the second-line funeral as a sophisticated trauma-informed approach to grief and a note for future research.

Musical protein: Mapping the time sequence of music onto the spatial architecture of proteins

BACKGROUND AND OBJECTIVE

Music, the ubiquitous language across human cultures, is traditionally considered as a form of art but has been linked to biomolecules in recent years. However, previous efforts have only been addressed on sonification of nucleic acids and proteins to produce so-called life music, the soundscape from the basic building blocks of life. In this study, we attempted to, for the first time, conduct a reverse operation of this process, i.e. conversion of music to protein (CoMtP).

METHODS

A novel notion termed musical protein (MP) -- the protein defined by music -- was proposed and, on this basis, we described a computational strategy to map the time sequence of music onto the spatial architecture of proteins, which considered that each note in the stave of a music (target) can be simply characterized by two acoustical quantities and that each residue in the primary sequence of a protein (hit) was represented by amino acid descriptors.

RESULTS

A simulated annealing (SA) algorithm was applied to iteratively generate the best matched MP hit for a music target and structural bioinformatics was then used to model spatial advanced structure for the resulting MP. We also demonstrated that some small MPs derived from music segments may have potential biological functions, which, for example, can serve as antimicrobial peptides (AMPs) to inhibit clinical bacterial strains with moderate or high antibacterial potency.

CONCLUSIONS

This work may benefit many aspects; for example, it would open a door for the hearing-impaired persons to 'listen' music in a biological vision and could be a mean of exposing students to the concepts of biomolecules at an earlier age through the use of auditory characteristics. The CoMtP would also facilitate the rational design of proteins with biological and medicinal significance.

Music and Emotions in Non-Human Animals from Biological and Comparative Perspectives

The effects of sound stimulation as a sensorial environmental enrichment for captive animals have been studied. When appropriately implemented for farm animals, it can improve welfare, health, and productivity. Furthermore, there are indications that music can induce positive emotions in non-human animals, similar to humans. Emotion is a functional state of the organism involving both physiological processes, mediated by neuroendocrine regulation, and changes in behavior, affecting various aspects, including contextual perception and welfare. As there is very limited information on non-human animals, the objective of this review is to highlight what is known about these processes from human biological and comparative perspectives and stimulate future research on using music to improve animal welfare.

Love songs and serenades: a theoretical review of music and romantic relationships

In this theoretical review, we examine how the roles of music in mate choice and social bonding are expressed in romantic relationships. Darwin's Descent of Man originally proposed the idea that musicality might have evolved as a sexually selected trait. This proposition, coupled with the portrayal of popular musicians as sex symbols and the prevalence of love-themed lyrics in music, suggests a possible link between music and attraction. However, recent scientific exploration of the evolutionary functions of music has predominantly focused on theories of social bonding and group signaling, with limited research addressing the sexual selection hypothesis. We identify two distinct types of music-making for these different functions: music for attraction, which would be virtuosic in nature to display physical and cognitive fitness to potential mates; and music for connection, which would facilitate synchrony between partners and likely engage the same reward mechanisms seen in the general synchrony-bonding effect, enhancing perceived interpersonal intimacy as a facet of love. Linking these two musical functions to social psychological theories of relationship development and the components of love, we present a model that outlines the potential roles of music in romantic relationships, from initial attraction to ongoing relationship maintenance. In addition to synthesizing the existing literature, our model serves as a roadmap for empirical research aimed at rigorously investigating the possible functions of music for romantic relationships.

Nocturnal selective pressures on the evolution of human musicality as a missing piece of the adaptationist puzzle

Human musicality exhibits the necessary hallmarks for biological adaptations. Evolutionary explanations focus on recurrent adaptive problems that human musicality possibly solved in ancestral environments, such as mate selection and competition, social bonding/cohesion and social grooming, perceptual and motor skill development, conflict reduction, safe time-passing, transgenerational communication, mood regulation and synchronization, and credible signaling of coalition and territorial/predator defense. Although not mutually exclusive, these different hypotheses are still not conceptually integrated nor clearly derived from independent principles. I propose The Nocturnal Evolution of Human Musicality and Performativity Theory in which the night-time is the missing piece of the adaptationist puzzle of human musicality and performing arts. The expansion of nocturnal activities throughout human evolution, which is tied to tree-to-ground sleep transition and habitual use of fire, might help (i) explain the evolution of musicality from independent principles, (ii) explain various seemingly unrelated music features and functions, and (iii) integrate many ancestral adaptive values proposed. The expansion into the nocturnal niche posed recurrent ancestral adaptive challenges/opportunities: lack of luminosity, regrouping to cook before sleep, imminent dangerousness, low temperatures, peak tiredness, and concealment of identity. These crucial night-time features might have selected evening-oriented individuals who were prone to acoustic communication, more alert and imaginative, gregarious, risk-taking and novelty-seeking, prone to anxiety modulation, hedonistic, promiscuous, and disinhibited. Those night-time selected dispositions may have converged and enhanced protomusicality into human musicality by facilitating it to assume many survival- and reproduction-enhancing roles (social cohesion and coordination, signaling of coalitions, territorial defense, antipredatorial defense, knowledge transference, safe passage of time, children lullabies, and sexual selection) that are correspondent to the co-occurring night-time adaptive challenges/opportunities. The nocturnal dynamic may help explain musical features (sound, loudness, repetitiveness, call and response, song, elaboration/virtuosity, and duetting/chorusing). Across vertebrates, acoustic communication mostly occurs in nocturnal species. The eveningness chronotype is common among musicians and composers. Adolescents, who are the most evening-oriented humans, enjoy more music. Contemporary tribal nocturnal activities around the campfire involve eating, singing/dancing, storytelling, and rituals. I discuss the nocturnal integration of musicality's many roles and conclude that musicality is probably a multifunctional mental adaptation that evolved along with the night-time adaptive landscape.

Music can be reconstructed from human auditory cortex activity using nonlinear decoding models

Music is core to human experience, yet the precise neural dynamics underlying music perception remain unknown. We analyzed a unique intracranial electroencephalography (iEEG) dataset of 29 patients who listened to a Pink Floyd song and applied a stimulus reconstruction approach previously used in the speech domain. We successfully reconstructed a recognizable song from direct neural recordings and quantified the impact of different factors on decoding accuracy. Combining encoding and decoding analyses, we found a right-hemisphere dominance for music perception with a primary role of the superior temporal gyrus (STG), evidenced a new STG subregion tuned to musical rhythm, and defined an anterior-posterior STG organization exhibiting sustained and onset responses to musical elements. Our findings show the feasibility of applying predictive modeling on short datasets acquired in single patients, paving the way for adding musical elements to brain-computer interface (BCI) applications.

Intraoperative cortical localization of music and language reveals signatures of structural complexity in posterior temporal cortex

Language and music involve the productive combination of basic units into structures. It remains unclear whether brain regions sensitive to linguistic and musical structure are co-localized. We report an intraoperative awake craniotomy in which a left-hemispheric language-dominant professional musician underwent cortical stimulation mapping (CSM) and electrocorticography of music and language perception and production during repetition tasks. Musical sequences were melodic or amelodic, and differed in algorithmic compressibility (Lempel-Ziv complexity). Auditory recordings of sentences differed in syntactic complexity (single vs. multiple phrasal embeddings). CSM of posterior superior temporal gyrus (pSTG) disrupted music perception and production, along with speech production. pSTG and posterior middle temporal gyrus (pMTG) activated for language and music (broadband gamma; 70-150 Hz). pMTG activity was modulated by musical complexity, while pSTG activity was modulated by syntactic complexity. This points to shared resources for music and language comprehension, but distinct neural signatures for the processing of domain-specific structural features.

Music cognition: Can you carry over that tune?

Almost universally, music uses scales consisting of a small number of notes. Could this increase the fitness of melodies for oral transmission? By reproducing the process online, a new study reveals how cognition, sound and culture may interact to shape music.

Spectro-temporal acoustic elements of music interact in an integrated way to modulate emotional responses in pigs

Music is a complex stimulus, with various spectro-temporal acoustic elements determining one of the most important attributes of music, the ability to elicit emotions. Effects of various musical acoustic elements on emotions in non-human animals have not been studied with an integrated approach. However, this knowledge is important to design music to provide environmental enrichment for non-human species. Thirty-nine instrumental musical pieces were composed and used to determine effects of various acoustic parameters on emotional responses in farm pigs. Video recordings (n = 50) of pigs in the nursery phase (7-9 week old) were gathered and emotional responses induced by stimuli were evaluated with Qualitative Behavioral Assessment (QBA). Non-parametric statistical models (Generalized Additive Models, Decision Trees, Random Forests, and XGBoost) were applied and compared to evaluate relationships between acoustic parameters and pigs' observed emotional responses. We concluded that musical structure affected emotional responses of pigs. The valence of modulated emotions depended on integrated and simultaneous interactions of various spectral and temporal structural components of music that can be readily modified. This new knowledge supports design of musical stimuli to be used as environmental enrichment for non-human animals.

Effects of familiar music exposure on deliberate retrieval of remote episodic and semantic memories in healthy aging adults

Familiar music facilitates memory retrieval in adults with dementia. However, mechanisms behind this effect, and its generality, are unclear because of a lack of parallel work in healthy aging. Exposure to familiar music enhances spontaneous recall of memories directly cued by the music, but it is unknown whether such effects extend to deliberate recall more generally - e.g., to memories not directly linked to the music being played. It is also unclear whether familiar music boosts recall of specific episodes versus more generalised semantic memories, or whether effects are driven by domain-general mechanisms (e.g., improved mood). In a registered report study, we examined effects of familiar music on deliberate recall in healthy adults ages 65-80 years (N = 75) by presenting familiar music from earlier in life, unfamiliar music, and non-musical audio clips across three sessions. After each clip, we assessed free recall of remote memories for pre-selected events. Contrary to our hypotheses, we found no effects of music exposure on recall of prompted events, though familiar music evoked spontaneous memories most often. These results suggest that effects of familiar music on recall may be limited to memories specifically evoked in response to the music (Preprint and registered report protocol at https://osf.io/kjnwd/).

Improvisation is a novel tool to study musicality

Humans spontaneously invent songs from an early age. Here, we exploit this natural inclination to probe implicit musical knowledge in 33 untrained and poor singers (amusia). Each sang 28 long improvisations as a response to a verbal prompt or a continuation of a melodic stem. To assess the extent to which each improvisation reflects tonality, which has been proposed to be a core organizational principle of musicality and which is present within most music traditions, we developed a new algorithm that compares a sung excerpt to a probability density function representing the tonal hierarchy of Western music. The results show signatures of tonality in both nonmusicians and individuals with congenital amusia, who have notorious difficulty performing musical tasks that require explicit responses and memory. The findings are a proof of concept that improvisation can serve as a novel, even enjoyable method for systematically measuring hidden aspects of musicality across the spectrum of musical ability.

Individual differences in processing non-speech acoustic signals influence cue weighting strategies for L2 speech contrasts

How could individual differences in processing non-speech acoustic signals influence their cue weighting strategies for L2 speech contrasts? The present study investigated this question by testing forty L1 Chinese-L2 English listeners with two tasks: one for testing the listeners' sensitivity to pitch and temporal information of non-speech acoustic signals; the other for testing their cue weighting (VOT, F0) strategies for distinguishing voicing contrasts in English stop consonants. The results showed that the more sensitive the listeners were to temporal differences of non-speech acoustic signals, the more they relied on VOT to differentiate between the voicing contrasts in English stop consonants. No such association was found between listeners' differences in sensitivity to pitch changes of non-speech acoustic signals and their reliance on F0 to cue the voicing contrasts. The results could shed light on the different processing mechanisms for pitch and temporal information of acoustic signals.

Expanding Aesthetics

This paper seeks to expand traditional aesthetic dimensions of design beyond the limits of human capability in order to encompass other species' sensory modalities. To accomplish this, the idea of inclusivity is extended beyond human cultural and personal identities and needs, to embrace multi-species experiences of places, events and interactions in the world. This involves drawing together academic perspectives from ecology, neuroscience, anthropology, philosophy and interaction design, as well as exploring artistic perspectives and demonstrating how these different frames of reference can inspire and complement each other. This begins with a rationale for the existence of non-human aesthetics, followed by an overview of existing research into non-human aesthetic dimensions. Novel aesthetic categories are proposed and the challenge of how to include non-human aesthetic sensibility in design is discussed.

The efficacy of live music for adolescent and young adult patients during hematopoietic stem cell transplantation

BACKGROUND

Music therapy can improve mood in patients undergoing hematopoietic stem cell transplantation (HSCT). However, live music (LM) delivered by professional music therapists is not common in developing countries owing to the shortage of professional music therapists. Thus, in this study, we explored the effects of a multidisciplinary collaborative intervention based on LM on physical and psychological well-being of adolescent and young adult (AYA) patients undergoing HSCT with a quasi-experimental design.

METHODS

A total of 62 AYA patients agreed to participate and were randomly assigned to the intervention group receiving 4-week LM therapy (n = 31) or control group receiving usual care (n = 31). Depression, salivary cortisol, fatigue, and quality of life were the main outcome indicators measured at baseline, immediately after the intervention, 1 month, and 3 months follow-up. The intervention effects were analyzed by generalized estimating equations.

RESULTS

Significant decrease in HADS-D scores occurred in the intervention group compared with wait-list controls at immediately after intervention (p < 0.05). Participants in the LM group had greater improvement in quality of life and lower salivary cortisol level than those in the wait-list control group at immediately, 1 month, and 3 months after intervention (p < 0.05). However, the interaction effects of the BFI scores were not significant.

CONCLUSIONS

LM therapy significantly alleviated depression and salivary cortisol levels as well as improved quality of life of AYA patients undergoing HSCT.

Individuals With Congenital Amusia Show Degraded Speech Perception but Preserved Statistical Learning for Tone Languages

PURPOSE

Individuals with congenital amusia exhibit degraded speech perception. This study examined whether adult Chinese Mandarin listeners with amusia were still able to extract the statistical regularities of Mandarin speech sounds, despite their degraded speech perception.

METHOD

Using the gating paradigm with monosyllabic syllable-tone words, we tested 19 Mandarin-speaking amusics and 19 musically intact controls. Listeners heard increasingly longer fragments of the acoustic signal across eight duration-blocked gates. The stimuli varied in syllable token frequency and syllable-tone co-occurrence probability. The correct syllable-tone word, correct syllable-only, correct tone-only, and correct syllable-incorrect tone responses were compared respectively between the two groups using mixed-effects models.

RESULTS

Amusics were less accurate than controls in terms of the correct word, correct syllable-only, and correct tone-only responses. Amusics, however, showed consistent patterns of top-down processing, as indicated by more accurate responses to high-frequency syllables, high-probability tones, and tone errors all in manners similar to those of the control listeners.

CONCLUSIONS

Amusics are able to learn syllable and tone statistical regularities from the language input. This extends previous work by showing that amusics can track phonological segment and pitch cues despite their degraded speech perception. The observed speech deficits in amusics are therefore not due to an abnormal statistical learning mechanism. These results support rehabilitation programs aimed at improving amusics' sensitivity to pitch.

Musicality in human vocal communication: an evolutionary perspective

Studies show that specific vocal modulations, akin to those of infant-directed speech (IDS) and perhaps music, play a role in communicating intentions and mental states during human social interaction. Based on this, we propose a model for the evolution of musicality-the capacity to process musical information-in relation to human vocal communication. We suggest that a complex social environment, with strong social bonds, promoted the appearance of musicality-related abilities. These social bonds were not limited to those between offspring and mothers or other carers, although these may have been especially influential in view of altriciality of human infants. The model can be further tested in other species by comparing levels of sociality and complexity of vocal communication. By integrating several theories, our model presents a radically different view of musicality, not limited to specifically musical scenarios, but one in which this capacity originally evolved to aid parent-infant communication and bonding, and even today plays a role not only in music but also in IDS, as well as in some adult-directed speech contexts. This article is part of the theme issue 'Voice modulation: from origin and mechanism to social impact (Part II)'.

On reappearance and complexity in musical calling

Music is especially valued in human societies, but music-like behavior in the form of song also occurs in a variety of other animal groups including primates. The calling of our primate ancestors may well have evolved into the music of modern humans via multiple selective scenarios. But efforts to uncover these influences have been hindered by the challenge of precisely defining musical behavior in a way that could be more generally applied across species. We propose an acoustic focused reconsideration of "musicality" that could help enable independent inquiry into potential ecological pressures on the evolutionary emergence of such behavior. Using published spectrographic images (n = 832 vocalizations) from the primate vocalization literature, we developed a quantitative formulation that could be used to help recognize signatures of human-like musicality in the acoustic displays of other species. We visually scored each spectrogram along six structural features from human music-tone, interval, transposition, repetition, rhythm, and syllabic variation-and reduced this multivariate assessment into a concise measure of musical patterning, as informed by principal components analysis. The resulting acoustic reappearance diversity index (ARDI) estimates the number of different reappearing syllables within a call type. ARDI is in concordance with traditional measures of bird song complexity yet more readily identifies shorter, more subtly melodic primate vocalizations. We demonstrate the potential utility of this index by using it to corroborate several origins scenarios. When comparing ARDI scores with ecological features, our data suggest that vocalizations with diversely reappearing elements have a pronounced association with both social and environmental factors. Musical calls were moderately associated with wooded habitats and arboreal foraging, providing partial support for the acoustic adaptation hypothesis. But musical calling was most strongly associated with social monogamy, suggestive of selection for constituents of small family-sized groups by neighboring conspecifics. In sum, ARDI helps construe musical behavior along a continuum, accommodates non-human musicality, and enables gradualistic co-evolutionary paths between primate taxa-ranging from the more inhibited locational calls of archaic primates to the more exhibitional displays of modern apes.

Prominence and Expectation in Speech and Music Through the Lens of Pitch Processing

Speech and music reflect extraordinary aspects of human cognitive abilities. Pitch, as an important parameter in the auditory domain, has been the focus of previous research on the relations between speech and music. The present study continues this line of research by focusing on two aspects of pitch processing: pitch prominence and melodic expectation. Specifically, we examined the perceived boundary of prominence for focus/accent in speech and music, plus the comparison between the pitch expectation patterns of music and speech. Speech (Mandarin Chinese) and music stimuli were created with different interval steps that increased from 1 semitone to 12 semitones from the third to the fourth word/note of a sentence/melody. The results showed that ratings of both accent/focus and expectation/surprise increased with increasing semitone distance from the baseline (though this pattern was mixed with tonal stability profiles for the melodies). Nevertheless, the perceived boundary of prominence was different for music and speech, with the boundary for detecting prominence in speech higher than that in music. Expectation also showed different patterns for speech and music. The results thus favor the suggestion that speech prosody and music melody tend to require specialized pitch patterns unique to their own respective communication purposes.

Evolutionary origins of music. Classical and recent hypotheses

The aim of this paper is to review recent hypotheses on the evolutionary origins of music in Homo sapiens, taking into account the most influential traditional hypotheses. To date, theories derived from evolution have focused primarily on the importance that music carries in solving detailed adaptive problems. The three most influential theoretical concepts have described the evolution of human music in terms of 1) sexual selection, 2) the formation of social bonds, or treated it 3) as a byproduct. According to recent proposals, traditional hypotheses are flawed or insufficient in fully explaining the complexity of music in Homo sapiens. This paper will critically discuss three traditional hypotheses of music evolution (music as an effect of sexual selection, a mechanism of social bonding, and a byproduct), as well as and two recent concepts of music evolution - music as a credible signal and Music and Social Bonding (MSB) hypothesis.

The Role of Canalization and Plasticity in the Evolution of Musical Creativity

Creativity is defined as the ability to generate something new and valuable. From a biological point of view this can be seen as an adaptation in response to environmental challenges. Although music is such a diverse phenomenon, all people possess a set of abilities that are claimed to be the products of biological evolution, which allow us to produce and listen to music according to both universal and culture-specific rules. On the one hand, musical creativity is restricted by the tacit rules that reflect the developmental interplay between genetic, epigenetic and cultural information. On the other hand, musical innovations seem to be desirable elements present in every musical culture which suggests some biological importance. If our musical activity is driven by biological needs, then it is important for us to understand the function of musical creativity in satisfying those needs, and also how human beings have become so creative in the domain of music. The aim of this paper is to propose that musical creativity has become an indispensable part of the gene-culture coevolution of our musicality. It is suggested that the two main forces of canalization and plasticity have been crucial in this process. Canalization is an evolutionary process in which phenotypes take relatively constant forms regardless of environmental and genetic perturbations. Plasticity is defined as the ability of a phenotype to generate an adaptive response to environmental challenges. It is proposed that human musicality is composed of evolutionary innovations generated by the gradual canalization of developmental pathways leading to musical behavior. Within this process, the unstable cultural environment serves as the selective pressure for musical creativity. It is hypothesized that the connections between cortical and subcortical areas, which constitute cortico-subcortical circuits involved in music processing, are the products of canalization, whereas plasticity is achieved by the means of neurological variability. This variability is present both at the level of an individual structure's enlargement in response to practicing (e.g., the planum temporale) and within the involvement of neurological structures that are not music-specific (e.g., the default mode network) in music processing.

Evidence for Teaching in an Australian Songbird

Song in oscine birds (as in human speech and song) relies upon the rare capacity of vocal learning. Transmission can be vertical, horizontal, or oblique. As a rule, memorization and production by a naïve bird are not simultaneous: the long-term storage of song phrases precedes their first vocal rehearsal by months. While a wealth of detail regarding songbird enculturation has been uncovered by focusing on the apprentice, whether observational learning can fully account for the ontogeny of birdsong, or whether there could also be an element of active teaching involved, has remained an open question. Given the paucity of knowledge on animal cultures, I argue for the utility of an inclusive definition of teaching that encourages data be collected across a wide range of taxa. Borrowing insights from musicology, I introduce the Australian pied butcherbird (Cracticus nigrogularis) into the debate surrounding mechanisms of cultural transmission. I probe the relevance and utility of mentalistic, culture-based, and functionalist approaches to teaching in this species. Sonographic analysis of birdsong recordings and observational data (including photographs) of pied butcherbird behavior at one field site provide evidence that I assess based on criteria laid down by Caro and Hauser, along with later refinements to their functionalist definition. The candidate case of teaching reviewed here adds to a limited but growing body of reports supporting the notion that teaching may be more widespread than is currently realized. Nonetheless, I describe the challenges of confirming that learning has occurred in songbird pupils, given the delay between vocal instruction and production, as well as the low status accorded to anecdote and other observational evidence commonly mustered in instances of purported teaching. As a corrective, I press for an emphasis on biodiversity that will guide the study of teaching beyond human accounts and intractable discipline-specific burdens of proof.

Impact of music-based intervention on verbal memory: an experimental behavioral study with older adults

Normal age-related declines have been reported in different cognitive functions, such as episodic memory. Some environmental factors have the potential to reduce cognitive decline and promote healthy aging. In this research, we employed musical improvisation as a focal music-based intervention to explore its effects as a modulator of verbal memory. We evaluated two types of verbal memory: a neutral one, employing the Rey Auditory Verbal Learning Test (Study 1), and an emotional one, implementing the Spanish version of Affective Norms for English Words (Study 2) in a volunteer group of older adults. After the acquisition of neutral (Study 1) or emotional (Study 2) verbal information, the participants were exposed to musical improvisation (experimental condition) or two control conditions (rhythmic reproduction as a musically active control condition or a rest condition as a passive control condition) for 3 min. Then, memory was evaluated through two memory tasks (immediate and deferred free-recall and recognition tests). In both studies, we compared memory performance among musicians (with five or more years of music training) and non-musicians. We found a significant improvement in neutral verbal memory among participants involved in musical improvisation, who remembered more words than those in the control conditions. Differences were also found according to the musical experience of the sample, with musicians outperforming non-musicians. The current research supports the late-life cognitive benefits of music-based intervention and music training.

Origins of music in credible signaling

Music comprises a diverse category of cognitive phenomena that likely represent both the effects of psychological adaptations that are specific to music (e.g., rhythmic entrainment) and the effects of adaptations for non-musical functions (e.g., auditory scene analysis). How did music evolve? Here, we show that prevailing views on the evolution of music - that music is a byproduct of other evolved faculties, evolved for social bonding, or evolved to signal mate quality - are incomplete or wrong. We argue instead that music evolved as a credible signal in at least two contexts: coalitional interactions and infant care. Specifically, we propose that (1) the production and reception of coordinated, entrained rhythmic displays is a co-evolved system for credibly signaling coalition strength, size, and coordination ability; and (2) the production and reception of infant-directed song is a co-evolved system for credibly signaling parental attention to secondarily altricial infants. These proposals, supported by interdisciplinary evidence, suggest that basic features of music, such as melody and rhythm, result from adaptations in the proper domain of human music. The adaptations provide a foundation for the cultural evolution of music in its actual domain, yielding the diversity of musical forms and musical behaviors found worldwide.

The coverage of environmental issues in FM radios in Nepal: the current status and challenges

Radio stations particularly those of local FM have an influential role in disseminating environmental concerns among the wide populace. This study provides the first nationwide assessment of FM radio coverage of environmental issues in Nepal by using data collected from a web-based questionnaire survey from 102 radio stations. We found that environmental programs were covered in 57% of radio stations, but they were among the least popular ones. Among various categories of environmental programs, the general category was the most common and popular, followed by forest and wildlife conservation and water resource management. Surprisingly, environmental pollution and disaster risk management were ranked as being less popular in comparison to their coverage. Environmental programs were mostly broadcasted weekly (73%) during prime time (morning and evening). Although there were agreements among respondents on the importance of environment program for radio stations (agreement = 0.74), nearly 22% of all radio stations terminated such programs in the past and only a few of them were interested to relaunch them in the foreseeable future. Limited funding was the most reported challenge followed by difficulty in finding environmental experts and radio journalists. We recommend the Government of Nepal to formulate a media engagement strategy to strengthen environmental campaigns in the face of rapid environmental change in Nepal.

Neuroscience of the auditory-motor system: How does sound interact with movement?

Human musicality is a complex problem because it involves the coupling of multiple exogenous and endogenous signals with different physical properties. The synchronization of these signals translates into specific behaviors. The study of this synchronization, based on the physical properties of two oscillatory bodies, is the first step in understanding the behaviors associated with rhythmic auditory stimuli. In recent years, different neurorehabilitation therapies have emerged for motor pathologies involving music. However, the neurophysiological bases that describe the coupling phenomenon are not yet fully understood. In this article, two theories are addressed that attempt to explain the convergence of the auditory system and the motor system according to new neuroanatomical, neurophysiological and artificial neural network findings. It also reflects on the different approaches to a complex problem in cognitive neuroscience and the need for a study model for the different motor behaviors evoked by auditory stimuli.

Born to Speak and Sing: Musical Predictors of Language Development in Pre-schoolers

The relationship between musical and linguistic skills has received particular attention in infants and school-aged children. However, very little is known about pre-schoolers. This leaves a gap in our understanding of the concurrent development of these skills during development. Moreover, attention has been focused on the effects of formal musical training, while neglecting the influence of informal musical activities at home. To address these gaps, in Study 1, 3- and 4-year-old children (n = 40) performed novel musical tasks (perception and production) adapted for young children in order to examine the link between musical skills and the development of key language capacities, namely grammar and phonological awareness. In Study 2, we investigated the influence of informal musical experience at home on musical and linguistic skills of young pre-schoolers, using the same evaluation tools. We found systematic associations between distinct musical and linguistic skills. Rhythm perception and production were the best predictors of phonological awareness, while melody perception was the best predictor of grammar acquisition, a novel association not previously observed in developmental research. These associations could not be explained by variability in general cognitive functioning, such as verbal memory and non-verbal abilities. Thus, selective music-related auditory and motor skills are likely to underpin different aspects of language development and can be dissociated in pre-schoolers. We also found that informal musical experience at home contributes to the development of grammar. An effect of musical skills on both phonological awareness and language grammar is mediated by home musical experience. These findings pave the way for the development of dedicated musical activities for pre-schoolers to support specific areas of language development.

Tone language experience modulates the effect of long-term musical training on musical pitch perception

Long-term musical training is widely reported to enhance music pitch perception. However, it remains unclear whether tone language experience influences the effect of long-term musical training on musical pitch perception. The present study addressed this question by testing 30 Cantonese and 30 non-tonal language speakers, each divided equally into musician and non-musician groups, on pitch height and pitch interval discrimination. Musicians outperformed non-musicians among non-tonal language speakers, but not among Cantonese speakers on the pitch height discrimination task. However, musicians outperformed non-musicians among Cantonese speakers, but not among non-tonal language speakers on the pitch interval discrimination task. These results suggest that the effect of long-term musical training on musical pitch perception is shaped by tone language experience and varies across different pitch perception tasks.

Musical training, bilingualism, and executive function: working memory and inhibitory control

The current study investigated whether long-term experience in music or a second language is associated with enhanced cognitive functioning. Early studies suggested the possibility of a cognitive advantage from musical training and bilingualism but have failed to be replicated by recent findings. Further, each form of expertise has been independently investigated leaving it unclear whether any benefits are specifically caused by each skill or are a result of skill learning in general.

To assess whether cognitive benefits from training exist, and how unique they are to each training domain, the current study compared musicians and bilinguals to each other, plus to individuals who had expertise in both skills, or neither. Young adults (n = 153) were categorized into one of four groups: monolingual musician; bilingual musician; bilingual non-musician; and monolingual non-musician. Multiple tasks per cognitive ability were used to examine the coherency of any training effects. Results revealed that musically trained individuals, but not bilinguals, had enhanced working memory. Neither skill had enhanced inhibitory control.

The findings confirm previous associations between musicians and improved cognition and extend existing evidence to show that benefits are narrower than expected but can be uniquely attributed to music compared to another specialized auditory skill domain. The null bilingual effect despite a music effect in the same group of individuals challenges the proposition that young adults are at a performance ceiling and adds to increasing evidence on the lack of a bilingual advantage on cognition.

Evolutionary Musicology Meets Embodied Cognition: Biocultural Coevolution and the Enactive Origins of Human Musicality

Despite evolutionary musicology's interdisciplinary nature, and the diverse methods it employs, the field has nevertheless tended to divide into two main positions. Some argue that music should be understood as a naturally selected adaptation, while others claim that music is a product of culture with little or no relevance for the survival of the species. We review these arguments, suggesting that while interesting and well-reasoned positions have been offered on both sides of the debate, the nature-or-culture (or adaptation vs. non-adaptation) assumptions that have traditionally driven the discussion have resulted in a problematic either/or dichotomy. We then consider an alternative "biocultural" proposal that appears to offer a way forward. As we discuss, this approach draws on a range of research in theoretical biology, archeology, neuroscience, embodied and ecological cognition, and dynamical systems theory (DST), positing a more integrated model that sees biological and cultural dimensions as aspects of the same evolving system. Following this, we outline the enactive approach to cognition, discussing the ways it aligns with the biocultural perspective. Put simply, the enactive approach posits a deep continuity between mind and life, where cognitive processes are explored in terms of how self-organizing living systems enact relationships with the environment that are relevant to their survival and well-being. It highlights the embodied and ecologically situated nature of living agents, as well as the active role they play in their own developmental processes. Importantly, the enactive approach sees cognitive and evolutionary processes as driven by a range of interacting factors, including the socio-cultural forms of activity that characterize the lives of more complex creatures such as ourselves. We offer some suggestions for how this approach might enhance and extend the biocultural model. To conclude we briefly consider the implications of this approach for practical areas such as music education.

Music and Its Inductive Power: A Psychobiological and Evolutionary Approach to Musical Emotions

The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background is provided in order to bring together the findings of music and emotion studies and the evolutionary approach to musical meaning. The theoretical grounding elaborates on the transition from referential to affective semantics, the distinction between expression and induction of emotions, and the tension between discrete-digital and analog-continuous processing of the sounds. The empirical background provides evidence from several findings such as infant-directed speech, referential emotive vocalizations and separation calls in lower mammals, the distinction between the acoustic and vehicle mode of sound perception, and the bodily and physiological reactions to the sounds. It is argued, finally, that early affective processing reflects the way emotions make our bodies feel, which in turn reflects on the emotions expressed and decoded. As such there is a dynamic tension between nature and nurture, which is reflected in the nature-nurture-nature cycle of musical sense-making.

Processing of emotional faces in congenital amusia: An emotional music priming event-related potential study

Congenital amusia is characterized by lifelong impairments in music perception and processing. It is unclear whether pitch detection deficits impact amusic individuals' perception of musical emotion. In the current work, 19 amusics and 21 healthy controls were subjected to electroencephalography (EEG) while being exposed to music excerpts and emotional faces. We assessed each individual's ability to discriminate positive- and negative-valenced emotional faces and analyzed electrophysiological indices, in the form of event-related potentials (ERPs) recorded at 32 sites, following exposure to emotionally positive or negative music excerpts. We observed smaller N2 amplitudes in response to facial expressions in the amusia group than in the control group, suggesting that amusics were less affected by the musical stimuli. The late-positive component (LPC) in amusics was similar to that in controls. Our results suggest that the neurocognitive deficit characteristic of congenital amusia is fundamentally an impairment in musical information processing rather than an impairment in emotional processing.

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Emotional recognition in individuals with amusia was examined by electroencephalography.

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N2 amplitudes generated in response to facial expressions were less affected by musical stimuli in the amusia group than in the control group.

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The late-positive component in amusic participants was similar to that in controls.

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Neurocognitively, amusia appears to be a musical information processing impairment rather than an impairment in emotional processing.

Enhanced music sensitivity in 9-month-old bilingual infants

This study explores the influence of bilingualism on the cognitive processing of language and music. Specifically, we investigate how infants learning a non-tone language perceive linguistic and musical pitch and how bilingualism affects cross-domain pitch perception. Dutch monolingual and bilingual infants of 8-9 months participated in the study. All infants had Dutch as one of the first languages. The other first languages, varying among bilingual families, were not tone or pitch accent languages. In two experiments, infants were tested on the discrimination of a lexical (N = 42) or a violin (N = 48) pitch contrast via a visual habituation paradigm. The two contrasts shared identical pitch contours but differed in timbre. Non-tone language learning infants did not discriminate the lexical contrast regardless of their ambient language environment. When perceiving the violin contrast, bilingual but not monolingual infants demonstrated robust discrimination. We attribute bilingual infants' heightened sensitivity in the musical domain to the enhanced acoustic sensitivity stemming from a bilingual environment. The distinct perceptual patterns between language and music and the influence of acoustic salience on perception suggest processing diversion and association in the first year of life. Results indicate that the perception of music may entail both shared neural network with language processing, and unique neural network that is distinct from other cognitive functions.

Preserved processing of musical structure in a person with agrammatic aphasia

Evidence for shared processing of structure (or syntax) in language and in music conflicts with neuropsychological dissociations between the two. However, while harmonic structural processing can be impaired in patients with spared linguistic syntactic abilities (Peretz, I. (1993). Auditory atonalia for melodies. Cognitive Neuropsychology, 10, 21-56. doi:10.1080/02643299308253455), evidence for the opposite dissociation-preserved harmonic processing despite agrammatism-is largely lacking. Here, we report one such case: HV, a former musician with Broca's aphasia and agrammatic speech, was impaired in making linguistic, but not musical, acceptability judgments. Similarly, she showed no sensitivity to linguistic structure, but normal sensitivity to musical structure, in implicit priming tasks. To our knowledge, this is the first non-anecdotal report of a patient with agrammatic aphasia demonstrating preserved harmonic processing abilities, supporting claims that aspects of musical and linguistic structure rely on distinct neural mechanisms.

Absolute Memory for Tempo in Musicians and Non-Musicians

The ability to remember tempo (the perceived frequency of musical pulse) without external references may be defined, by analogy with the notion of absolute pitch, as absolute tempo (AT). Anecdotal reports and sparse empirical evidence suggest that at least some individuals possess AT. However, to our knowledge, no systematic assessments of AT have been performed using laboratory tasks comparable to those assessing absolute pitch. In the present study, we operationalize AT as the ability to identify and reproduce tempo in the absence of rhythmic or melodic frames of reference and assess these abilities in musically trained and untrained participants. We asked 15 musicians and 15 non-musicians to listen to a seven-step `tempo scale' of metronome beats, each associated to a numerical label, and then to perform two memory tasks. In the first task, participants heard one of the tempi and attempted to report the correct label (identification task), in the second, they saw one label and attempted to tap the correct tempo (production task). A musical and visual excerpt was presented between successive trials as a distractor to prevent participants from using previous tempi as anchors. Thus, participants needed to encode tempo information with the corresponding label, store the information, and recall it to give the response. We found that more than half were able to perform above chance in at least one of the tasks, and that musical training differentiated between participants in identification, but not in production. These results suggest that AT is relatively wide-spread, relatively independent of musical training in tempo production, but further refined by training in tempo identification. We propose that at least in production, the underlying motor representations are related to tactus, a basic internal rhythmic period that may provide a body-based reference for encoding tempo.

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

Music is often used to regulate emotions and mood. Typically, music conveys and induces emotions even when one does not attend to them. Studies on the neural substrates of musical emotions have, however, only examined brain activity when subjects have focused on the emotional content of the music. Here we address with functional magnetic resonance imaging (fMRI) the neural processing of happy, sad, and fearful music with a paradigm in which 56 subjects were instructed to either classify the emotions (explicit condition) or pay attention to the number of instruments playing (implicit condition) in 4-s music clips. In the implicit vs. explicit condition, stimuli activated bilaterally the inferior parietal lobule, premotor cortex, caudate, and ventromedial frontal areas. The cortical dorsomedial prefrontal and occipital areas activated during explicit processing were those previously shown to be associated with the cognitive processing of music and emotion recognition and regulation. Moreover, happiness in music was associated with activity in the bilateral auditory cortex, left parahippocampal gyrus, and supplementary motor area, whereas the negative emotions of sadness and fear corresponded with activation of the left anterior cingulate and middle frontal gyrus and down-regulation of the orbitofrontal cortex. Our study demonstrates for the first time in healthy subjects the neural underpinnings of the implicit processing of brief musical emotions, particularly in frontoparietal, dorsolateral prefrontal, and striatal areas of the brain.

Both Isochronous and Non-Isochronous Metrical Subdivision Afford Precise and Stable Ensemble Entrainment: A Corpus Study of Malian Jembe Drumming

Most approaches to musical rhythm, whether in music theory, music psychology, or musical neuroscience, presume that musical rhythms are based on isochronous (temporally equidistant) beats and/or beat subdivisions. However, rhythms that are based on non-isochronous, or unequal patterns of time are prominent in the music of Southeast Europe, the Near East and Southern Asia, and in the music of Africa and the African diaspora. The present study examines one such style found in contemporary Malian jembe percussion music. A corpus of 15 representative performances of three different pieces ("Manjanin," "Maraka," and "Woloso") containing ~43,000 data points was analyzed. Manjanin and Woloso are characterized by non-isochronous beat subdivisions (a short IOI followed by two longer IOIs), while Maraka subdivisions are quasi-isochronous. Analyses of onsets and asynchronies show no significant differences in timing precision and coordination between the isochronously timed Maraka vs. the non-isochronously timed Woloso performances, though both pieces were slightly less variable than non-isochronous Manjanin. Thus, the precision and stability of rhythm and entrainment in human music does not necessarily depend on metric isochrony, consistent with the hypothesis that isochrony is not a biologically-based constraint on human rhythmic behavior. Rather, it may represent a historically popular option within a variety of culturally contingent options for metric organization.

Processing structure in language and music: a case for shared reliance on cognitive control

The relationship between structural processing in music and language has received increasing interest in the past several years, spurred by the influential Shared Syntactic Integration Resource Hypothesis (SSIRH; Patel, Nature Neuroscience, 6, 674-681, 2003). According to this resource-sharing framework, music and language rely on separable syntactic representations but recruit shared cognitive resources to integrate these representations into evolving structures. The SSIRH is supported by findings of interactions between structural manipulations in music and language. However, other recent evidence suggests that such interactions also can arise with nonstructural manipulations, and some recent neuroimaging studies report largely nonoverlapping neural regions involved in processing musical and linguistic structure. These conflicting results raise the question of exactly what shared (and distinct) resources underlie musical and linguistic structural processing. This paper suggests that one shared resource is prefrontal cortical mechanisms of cognitive control, which are recruited to detect and resolve conflict that occurs when expectations are violated and interpretations must be revised. By this account, musical processing involves not just the incremental processing and integration of musical elements as they occur, but also the incremental generation of musical predictions and expectations, which must sometimes be overridden and revised in light of evolving musical input.

Examining pitch and numerical magnitude processing in congenital amusia: A quasi-experimental pilot study

INTRODUCTION

Congenital amusia is a developmental disorder associated with deficits in pitch height discrimination or in integrating pitch sequences into melodies. This quasi-experimental pilot study investigated whether there is an association between pitch and numerical processing deficits in congenital amusia. Since pitch height discrimination is considered a form of magnitude processing, we investigated whether individuals with amusia present an impairment in numerical magnitude processing, which would reflect damage to a generalized magnitude system. Alternatively, we investigated whether the numerical processing deficit would reflect a disconnection between nonsymbolic and symbolic number representations.

METHOD

This study was conducted with 11 adult individuals with congenital amusia and a control comparison group of 6 typically developing individuals. Participants performed nonsymbolic and symbolic magnitude comparisons and number line tasks. Results were available from previous testing using the Montreal Battery of Evaluation of Amusia (MBEA) and a pitch change detection task (PCD).

RESULTS

Compared to the controls, individuals with amusia exhibited no significant differences in their performance on both the number line and the nonsymbolic magnitude tasks. Nevertheless, they showed significantly worse performance on the symbolic magnitude task. Moreover, individuals with congenital amusia, who presented worse performance in the Meter subtest, also presented less precise nonsymbolic numerical representation.

CONCLUSIONS

The relationship between meter and nonsymbolic numerical discrimination could indicate a general ratio processing deficit. The finding of preserved nonsymbolic numerical magnitude discrimination and mental number line representations, with impaired symbolic number processing, in individuals with congenital amusia indicates that (a) pitch height and numerical magnitude processing may not share common neural representations, and (b) in addition to pitch processing, individuals with amusia may present a deficit in accessing nonsymbolic numerical representations from symbolic representations. The symbolic access deficit could reflect a widespread impairment in the establishment of cortico-cortical connections between association areas.

Nonverbal auditory working memory: Can music indicate the capacity?

Different working memory (WM) mechanisms that underlie words, tones, and timbres have been proposed in previous studies. In this regard, the present study developed a WM test with nonverbal sounds and compared it to the conventional verbal WM test. A total of twenty-five, non-music major, right-handed college students were presented with four different types of sounds (words, syllables, pitches, timbres) that varied from two to eight digits in length. Both accuracy and oxygenated hemoglobin (oxyHb) were measured. The results showed significant effects of number of targets on accuracy and sound type on oxyHb. A further analysis showed prefrontal asymmetry with pitch being processed by the right hemisphere (RH) and timbre by the left hemisphere (LH). These findings suggest a potential for employing musical sounds (i.e., pitch and timbre) as a complementary stimuli for conventional nonverbal WM tests, which can additionally examine its asymmetrical roles in the prefrontal regions.