Neural networks for harmonic structure in music perception and action

Music reward sensitivity is associated with greater information transfer capacity within dorsal and motor white matter networks in musicians

There are pronounced differences in the degree to which individuals experience music-induced pleasure which are linked to variations in structural connectivity between auditory and reward areas. However, previous studies exploring the link between white matter structure and music reward sensitivity (MRS) have relied on standard diffusion tensor imaging methods, which present challenges in terms of anatomical accuracy and interpretability. Further, the link between MRS and connectivity in regions outside of auditory-reward networks, as well as the role of musical training, have yet to be investigated. Therefore, we investigated the relation between MRS and structural connectivity in a large number of directly segmented and anatomically verified white matter tracts in musicians (n = 24) and non-musicians (n = 23) using state-of-the-art tract reconstruction and fixel-based analysis. Using a manual tract-of-interest approach, we additionally tested MRS-white matter associations in auditory-reward networks seen in previous studies. Within the musician group, there was a significant positive relation between MRS and fiber density and cross section in the right middle longitudinal fascicle connecting auditory and inferior parietal cortices. There were also positive relations between MRS and fiber-bundle cross-section in tracts connecting the left thalamus to the ventral precentral gyrus and connecting the right thalamus to the right supplementary motor area, however, these did not survive FDR correction. These results suggest that, within musicians, dorsal auditory and motor networks are crucial to MRS, possibly via their roles in top-down predictive processing and auditory-motor transformations.

Neural encoding of melodic expectations in music across EEG frequency bands

The human brain tracks regularities in the environment and extrapolates these to predict future events. Prior work on music cognition suggests that low-frequency (1-8 Hz) brain activity encodes melodic predictions beyond the stimulus acoustics. Building on this work, we aimed to disentangle the frequency-specific neural dynamics linked to melodic prediction uncertainty (modelled as entropy) and prediction error (modelled as surprisal) for temporal (note onset) and content (note pitch) information. By using multivariate temporal response function (TRF) models, we re-analysed the electroencephalogram (EEG) from 20 subjects (10 musicians) who listened to Western tonal music. Our results show that melodic expectation metrics improve the EEG reconstruction accuracy in all frequency bands below the gamma range (< 30 Hz). Crucially, we found that entropy contributed more strongly to the reconstruction accuracy enhancement compared to surprisal in all frequency bands. Additionally, we found that the encoding of temporal, but not content, information metrics was not limited to low frequencies, rather it extended to higher frequencies (> 8 Hz). An analysis of the TRF weights revealed that the temporal predictability of a note (entropy of note onset) may be encoded in the delta- (1-4 Hz) and beta-band (12-30 Hz) brain activity prior to the stimulus, suggesting that these frequency bands associate with temporal predictions. Strikingly, we also revealed that melodic expectations selectively enhanced EEG reconstruction accuracy in the beta band for musicians, and in the alpha band (8-12 Hz) for non-musicians, suggesting that musical expertise influences the neural dynamics underlying predictive processing in music cognition.

Musical Sophistication and Multilingualism: Effects on Arcuate Fasciculus Characteristics

The processing of auditory stimuli which are structured in time is thought to involve the arcuate fasciculus, the white matter tract which connects the temporal cortex and the inferior frontal gyrus. Research has indicated effects of both musical and language experience on the structural characteristics of the arcuate fasciculus. Here, we investigated in a sample of n = 84 young adults whether continuous conceptualizations of musical and multilingual experience related to structural characteristics of the arcuate fasciculus, measured using diffusion tensor imaging. Probabilistic tractography was used to identify the dorsal and ventral parts of the white matter tract. Linear regressions indicated that different aspects of musical sophistication related to the arcuate fasciculus' volume (emotional engagement with music), volumetric asymmetry (musical training and music perceptual abilities), and fractional anisotropy (music perceptual abilities). Our conceptualization of multilingual experience, accounting for participants' proficiency in reading, writing, understanding, and speaking different languages, was not related to the structural characteristics of the arcuate fasciculus. We discuss our results in the context of other research on hemispheric specializations and a dual-stream model of auditory processing.

Spectrotemporal cues and attention jointly modulate fMRI network topology for sentence and melody perception

Speech and music are two fundamental modes of human communication. Lateralisation of key processes underlying their perception has been related both to the distinct sensitivity to low-level spectrotemporal acoustic features and to top-down attention. However, the interplay between bottom-up and top-down processes needs to be clarified. In the present study, we investigated the contribution of acoustics and attention to melodies or sentences to lateralisation in fMRI functional network topology. We used sung speech stimuli selectively filtered in temporal or spectral modulation domains with crossed and balanced verbal and melodic content. Perception of speech decreased with degradation of temporal information, whereas perception of melodies decreased with spectral degradation. Applying graph theoretical metrics on fMRI connectivity matrices, we found that local clustering, reflecting functional specialisation, linearly increased when spectral or temporal cues crucial for the task goal were incrementally degraded. These effects occurred in a bilateral fronto-temporo-parietal network for processing temporally degraded sentences and in right auditory regions for processing spectrally degraded melodies. In contrast, global topology remained stable across conditions. These findings suggest that lateralisation for speech and music partially depends on an interplay of acoustic cues and task goals under increased attentional demands.

Exploring the neural underpinnings of chord prediction uncertainty: an electroencephalography (EEG) study

Predictive processing in the brain, involving interaction between interoceptive (bodily signal) and exteroceptive (sensory) processing, is essential for understanding music as it encompasses musical temporality dynamics and affective responses. This study explores the relationship between neural correlates and subjective certainty of chord prediction, focusing on the alignment between predicted and actual chord progressions in both musically appropriate chord sequences and random chord sequences. Participants were asked to predict the final chord in sequences while their brain activity was measured using electroencephalography (EEG). We found that the stimulus preceding negativity (SPN), an EEG component associated with predictive processing of sensory stimuli, was larger for non-harmonic chord sequences than for harmonic chord progressions. Additionally, the heartbeat evoked potential (HEP), an EEG component related to interoceptive processing, was larger for random chord sequences and correlated with prediction certainty ratings. HEP also correlated with the N5 component, found while listening to the final chord. Our findings suggest that HEP more directly reflects the subjective prediction certainty than SPN. These findings offer new insights into the neural mechanisms underlying music perception and prediction, emphasizing the importance of considering auditory prediction certainty when examining the neural basis of music cognition.

Cognitive and Neural Representations of Fractals in Vision, Music, and Action

The concept of fractal was popularized by Mandelbrot as a tool to tame the geometrical structure of objects with infinite hierarchical depth. The key aspect of fractals is the use of simple parsimonious rules and initial conditions, which when applied recursively can generate unbounded complexity. Fractals are structures ubiquitous in nature, being present in coast lines, bacteria colonies, trees, and physiological time series. However, within the field of cognitive science, the core question is not which phenomena can generate fractal structures, but whether human or animal minds can represent recursive processes, and if so in which domains. In this chapter, we will explore the cognitive and neural mechanisms underlying the representation of recursive hierarchical embedding. Language is the domain in which this capacity is best studied. Humans can generate an infinite array of hierarchically structured sentences, and this capacity distinguishes us from other species. However, recent research suggests that humans can represent similar structures in the domains of music, vision, and action and has provided additional cues as to how these capacities are cognitively implemented. Using a comparative approach, we will map the commonalities and differences across domains and offer a roadmap to understand the neurobiological implementation of fractal cognition.

Semantic-specific and domain-general mechanisms for integration and update of contextual information

Recent research has highlighted the importance of domain-general processes and brain regions for language and semantic cognition. Yet, this has been mainly observed in executively demanding tasks, leaving open the question of the contribution of domain-general processes to natural language and semantic cognition. Using fMRI, we investigated whether neural processes reflecting context integration and context update-two key aspects of naturalistic language and semantic processing-are domain-specific versus domain-general. Thus, we compared neural responses during the integration of contextual information across semantic and non-semantic tasks. Whole-brain results revealed both shared (left posterior-dorsal inferior frontal gyrus, left posterior inferior temporal gyrus, and left dorsal angular gyrus/intraparietal sulcus) and distinct (left anterior-ventral inferior frontal gyrus, left anterior ventral angular gyrus, left posterior middle temporal gyrus for semantic control only) regions involved in context integration and update. Furthermore, data-driven functional connectivity analysis clustered domain-specific versus domain-general brain regions into distinct but interacting functional neural networks. These results provide a first characterisation of the neural processes required for context-dependent integration during language processing along the domain-specificity dimension, and at the same time, they bring new insights into the role of left posterior lateral temporal cortex and left angular gyrus for semantic cognition.

Context changes judgments of liking and predictability for melodies

Predictability plays an important role in the experience of musical pleasure. By leveraging expectations, music induces pleasure through tension and surprise. However, musical predictions draw on both prior knowledge and immediate context. Similarly, musical pleasure, which has been shown to depend on predictability, may also vary relative to the individual and context. Although research has demonstrated the influence of both long-term knowledge and stimulus features in influencing expectations, it is unclear how perceptions of a melody are influenced by comparisons to other music pieces heard in the same context. To examine the effects of context we compared how listeners' judgments of two distinct sets of stimuli differed when they were presented alone or in combination. Stimuli were excerpts from a repertoire of Western music and a set of experimenter created melodies. Separate groups of participants rated liking and predictability for each set of stimuli alone and in combination. We found that when heard together, the Repertoire stimuli were more liked and rated as less predictable than if they were heard alone, with the opposite pattern being observed for the Experimental stimuli. This effect was driven by a change in ratings between the Alone and Combined conditions for each stimulus set. These findings demonstrate a context-based shift of predictability ratings and derived pleasure, suggesting that judgments stem not only from the physical properties of the stimulus, but also vary relative to other options available in the immediate context.

The neural bases of familiar music listening in healthy individuals: An activation likelihood estimation meta-analysis

Accumulating evidence suggests that the neural activations during music listening differs as a function of familiarity with the excerpts. However, the implicated brain areas are unclear. After an extensive literature search, we conducted an Activation Likelihood Estimation analysis on 23 neuroimaging studies (232 foci, 364 participants) to identify consistently activated brain regions when healthy adults listen to familiar music, compared to unfamiliar music or an equivalent condition. The results revealed a left cortical-subcortical co-activation pattern comprising three significant clusters localized to the supplementary motor areas (BA 6), inferior frontal gyrus (IFG, BA 44), and the claustrum/insula. Our results are discussed in a predictive coding framework, whereby temporal expectancies and familiarity may drive motor activations, despite any overt movement. Though conventionally associated with syntactic violation, our observed activation in the IFG may support a recent proposal of its involvement in a network that subserves both violation and prediction. Finally, the claustrum/insula plays an integral role in auditory processing, functioning as a hub that integrates sensory and limbic information to (sub)cortical structures.

Functional Organization of Auditory and Reward Systems in Aging

The intrinsic organization of functional brain networks is known to change with age, and is affected by perceptual input and task conditions. Here, we compare functional activity and connectivity during music listening and rest between younger (n = 24) and older (n = 24) adults, using whole-brain regression, seed-based connectivity, and ROI-ROI connectivity analyses. As expected, activity and connectivity of auditory and reward networks scaled with liking during music listening in both groups. Younger adults show higher within-network connectivity of auditory and reward regions as compared with older adults, both at rest and during music listening, but this age-related difference at rest was reduced during music listening, especially in individuals who self-report high musical reward. Furthermore, younger adults showed higher functional connectivity between auditory network and medial prefrontal cortex that was specific to music listening, whereas older adults showed a more globally diffuse pattern of connectivity, including higher connectivity between auditory regions and bilateral lingual and inferior frontal gyri. Finally, connectivity between auditory and reward regions was higher when listening to music selected by the participant. These results highlight the roles of aging and reward sensitivity on auditory and reward networks. Results may inform the design of music-based interventions for older adults and improve our understanding of functional network dynamics of the brain at rest and during a cognitively engaging task.

Unlocking the musical brain: A proof-of-concept study on playing the piano in MRI scanner with naturalistic stimuli

Music is a universal human phenomenon, and can be studied for itself or as a window into the understanding of the brain. Few neuroimaging studies investigate actual playing in the MRI scanner, likely because of the lack of available experimental hardware and analysis tools. Here, we offer an innovative paradigm that addresses this issue in neuromusicology using naturalistic, polyphonic musical stimuli, presents a commercially available MRI-compatible piano, and a flexible approach to quantify participant's performance. We show how making errors while playing can be investigated using an altered auditory feedback paradigm. In the spirit of open science, we make our experimental paradigms and analysis tools available to other researchers studying pianists in MRI. Altogether, we present a proof-of-concept study which shows the feasibility of playing the novel piano in MRI, and a step towards using more naturalistic stimuli.

Functional Organization of Auditory and Reward Systems in Aging

The intrinsic organization of functional brain networks is known to change with age, and is affected by perceptual input and task conditions. Here, we compare functional activity and connectivity during music listening and rest between younger (N=24) and older (N=24) adults, using whole brain regression, seed-based connectivity, and ROI-ROI connectivity analyses. As expected, activity and connectivity of auditory and reward networks scaled with liking during music listening in both groups. Younger adults show higher within-network connectivity of auditory and reward regions as compared to older adults, both at rest and during music listening, but this age-related difference at rest was reduced during music listening, especially in individuals who self-report high musical reward. Furthermore, younger adults showed higher functional connectivity between auditory network and medial prefrontal cortex (mPFC) that was specific to music listening, whereas older adults showed a more globally diffuse pattern of connectivity, including higher connectivity between auditory regions and bilateral lingual and inferior frontal gyri. Finally, connectivity between auditory and reward regions was higher when listening to music selected by the participant. These results highlight the roles of aging and reward sensitivity on auditory and reward networks. Results may inform the design of music- based interventions for older adults, and improve our understanding of functional network dynamics of the brain at rest and during a cognitively engaging task.

Neural mechanisms of musical structure and tonality, and the effect of musicianship

Introduction

The neural basis for the processing of musical syntax has previously been examined almost exclusively in classical tonal music, which is characterized by a strictly organized hierarchical structure. Musical syntax may differ in different music genres caused by tonality varieties.

Methods

The present study investigated the neural mechanisms for processing musical syntax across genres varying in tonality - classical, impressionist, and atonal music - and, in addition, examined how musicianship modulates such processing.

Results

Results showed that, first, the dorsal stream, including the bilateral inferior frontal gyrus and superior temporal gyrus, plays a key role in the perception of tonality. Second, right frontotemporal regions were crucial in allowing musicians to outperform non-musicians in musical syntactic processing; musicians also benefit from a cortical-subcortical network including pallidum and cerebellum, suggesting more auditory-motor interaction in musicians than in non-musicians. Third, left pars triangularis carries out online computations independently of tonality and musicianship, whereas right pars triangularis is sensitive to tonality and partly dependent on musicianship. Finally, unlike tonal music, the processing of atonal music could not be differentiated from that of scrambled notes, both behaviorally and neurally, even among musicians.

Discussion

The present study highlights the importance of studying varying music genres and experience levels and provides a better understanding of musical syntax and tonality processing and how such processing is modulated by music experience.

Neural processing of poems and songs is based on melodic properties

The neural processing of speech and music is still a matter of debate. A long tradition that assumes shared processing capacities for the two domains contrasts with views that assume domain-specific processing. We here contribute to this topic by investigating, in a functional magnetic imaging (fMRI) study, ecologically valid stimuli that are identical in wording and differ only in that one group is typically spoken (or silently read), whereas the other is sung: poems and their respective musical settings. We focus on the melodic properties of spoken poems and their sung musical counterparts by looking at proportions of significant autocorrelations (PSA) based on pitch values extracted from their recordings. Following earlier studies, we assumed a bias of poem-processing towards the left and a bias for song-processing on the right hemisphere. Furthermore, PSA values of poems and songs were expected to explain variance in left- vs. right-temporal brain areas, while continuous liking ratings obtained in the scanner should modulate activity in the reward network. Overall, poem processing compared to song processing relied on left temporal regions, including the superior temporal gyrus, whereas song processing compared to poem processing recruited more right temporal areas, including Heschl's gyrus and the superior temporal gyrus. PSA values co-varied with activation in bilateral temporal regions for poems, and in right-dominant fronto-temporal regions for songs. Continuous liking ratings were correlated with activity in the default mode network for both poems and songs. The pattern of results suggests that the neural processing of poems and their musical settings is based on their melodic properties, supported by bilateral temporal auditory areas and an additional right fronto-temporal network known to be implicated in the processing of melodies in songs. These findings take a middle ground in providing evidence for specific processing circuits for speech and music in the left and right hemisphere, but simultaneously for shared processing of melodic aspects of both poems and their musical settings in the right temporal cortex. Thus, we demonstrate the neurobiological plausibility of assuming the importance of melodic properties in spoken and sung aesthetic language alike, along with the involvement of the default mode network in the aesthetic appreciation of these properties.

Music in the brain

Music is ubiquitous across human cultures - as a source of affective and pleasurable experience, moving us both physically and emotionally - and learning to play music shapes both brain structure and brain function. Music processing in the brain - namely, the perception of melody, harmony and rhythm - has traditionally been studied as an auditory phenomenon using passive listening paradigms. However, when listening to music, we actively generate predictions about what is likely to happen next. This enactive aspect has led to a more comprehensive understanding of music processing involving brain structures implicated in action, emotion and learning. Here we review the cognitive neuroscience literature of music perception. We show that music perception, action, emotion and learning all rest on the human brain's fundamental capacity for prediction - as formulated by the predictive coding of music model. This Review elucidates how this formulation of music perception and expertise in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music making. This in turn has important implications for human creativity as evinced by music improvisation. These recent advances shed new light on what makes music meaningful from a neuroscientific perspective.

Music processing and amusia

Music is a universal and important human trait, which is orchestrated by complex brain network centered in the temporal lobe but connecting broadly to multiple cortical and subcortical regions. In the human brain, music engages a widespread bilateral network of regions that govern auditory perception, syntactic and semantic processing, attention and memory, emotion and reward, and motor skills. The ability to perceive or produce music can be severely impaired either due to abnormal brain development or brain damage, leading to a condition called amusia. Modern neuroimaging studies of amusia have provided valuable knowledge about the structure and function of specific brain regions and white matter pathways that are crucial for music perception, highlighting the role of the right frontotemporal network in this process. In this chapter, we provide an overview on the neural basis of music processing in a healthy brain and review evidence obtained from the studies of congenital and acquired amusia.

Lateral Prefrontal Cortex Is a Hub for Music Production from Structural Rules to Movements

Complex sequential behaviors, such as speaking or playing music, entail flexible rule-based chaining of single acts. However, it remains unclear how the brain translates abstract structural rules into movements. We combined music production with multimodal neuroimaging to dissociate high-level structural and low-level motor planning. Pianists played novel musical chord sequences on a muted MR-compatible piano by imitating a model hand on screen. Chord sequences were manipulated in terms of musical harmony and context length to assess structural planning, and in terms of fingers used for playing to assess motor planning. A model of probabilistic sequence processing confirmed temporally extended dependencies between chords, as opposed to local dependencies between movements. Violations of structural plans activated the left inferior frontal and middle temporal gyrus, and the fractional anisotropy of the ventral pathway connecting these two regions positively predicted behavioral measures of structural planning. A bilateral frontoparietal network was instead activated by violations of motor plans. Both structural and motor networks converged in lateral prefrontal cortex, with anterior regions contributing to musical structure building, and posterior areas to movement planning. These results establish a promising approach to study sequence production at different levels of action representation.

Soundtrack of life: An fMRI study

Most people have a soundtrack of life, a set of special musical pieces closely linked to certain biographical experiences. Autobiographical memories (AM) and music listening (ML) involve complex mental processes ruled by differentiate brain networks. The aim of the paper was to determine the way both networks interact in linked occurrences. We performed an fMRI experiment on 31 healthy participants (age: 32.4 ± 7.6, 11 men, 4 left-handers). Participants had to recall AMs prompted by music they reported to be associated with personal biographical events (LMM: linked AM-ML events). In the main control task, participants were prompted to recall emotional AMs while listening known tracks from a pool of popular music (UMM: unlinked AM-ML events). We wanted to investigate to what extent LMM network exceeded the overlap of AM and ML networks by contrasting the activation obtained in LMM versus UMM. The contrast LMM>UMM showed the areas (at P < 0.05 FWE corrected at voxel level and cluster size>20): right frontal inferior operculum, frontal middle gyrus, pars triangularis of inferior frontal gyrus, occipital superior gyrus and bilateral basal ganglia (caudate, putamen and pallidum), occipital (middle and inferior), parietal (inferior and superior), precentral and cerebellum (6, 7 L, 8 and vermis 6 and 7). Complementary results were obtained from additional control tasks. Provided part of tLMM>UMM areas might not be related to ML-AM linkage, we assessed LMM brain network by an independent component analysis (ICA) on contrast images. Results from ICA suggest the existence of a cortico-ponto-cerebellar network including left precuneus, bilateral anterior cingulum, parahippocampal gyri, frontal inferior operculum, ventral anterior part of the insula, frontal medial orbital gyri, caudate nuclei, cerebellum 6 and vermis, which might rule the ML-induced retrieval of AM in closely linked AM-ML events. This topography may suggest that the pathway by which ML is linked to AM is attentional and directly related to perceptual processing, involving salience network, instead of the natural way of remembering typically associated with default mode network.

Decoding expectation and surprise in dementia: the paradigm of music

Making predictions about the world and responding appropriately to unexpected events are essential functions of the healthy brain. In neurodegenerative disorders, such as frontotemporal dementia and Alzheimer's disease, impaired processing of 'surprise' may underpin a diverse array of symptoms, particularly abnormalities of social and emotional behaviour, but is challenging to characterize. Here, we addressed this issue using a novel paradigm: music. We studied 62 patients (24 female; aged 53-88) representing major syndromes of frontotemporal dementia (behavioural variant, semantic variant primary progressive aphasia, non-fluent-agrammatic variant primary progressive aphasia) and typical amnestic Alzheimer's disease, in relation to 33 healthy controls (18 female; aged 54-78). Participants heard famous melodies containing no deviants or one of three types of deviant note-acoustic (white-noise burst), syntactic (key-violating pitch change) or semantic (key-preserving pitch change). Using a regression model that took elementary perceptual, executive and musical competence into account, we assessed accuracy detecting melodic deviants and simultaneously recorded pupillary responses and related these to deviant surprise value (information-content) and carrier melody predictability (entropy), calculated using an unsupervised machine learning model of music. Neuroanatomical associations of deviant detection accuracy and coupling of detection to deviant surprise value were assessed using voxel-based morphometry of patients' brain MRI. Whereas Alzheimer's disease was associated with normal deviant detection accuracy, behavioural and semantic variant frontotemporal dementia syndromes were associated with strikingly similar profiles of impaired syntactic and semantic deviant detection accuracy and impaired behavioural and autonomic sensitivity to deviant information-content (all P < 0.05). On the other hand, non-fluent-agrammatic primary progressive aphasia was associated with generalized impairment of deviant discriminability (P < 0.05) due to excessive false-alarms, despite retained behavioural and autonomic sensitivity to deviant information-content and melody predictability. Across the patient cohort, grey matter correlates of acoustic deviant detection accuracy were identified in precuneus, mid and mesial temporal regions; correlates of syntactic deviant detection accuracy and information-content processing, in inferior frontal and anterior temporal cortices, putamen and nucleus accumbens; and a common correlate of musical salience coding in supplementary motor area (all P < 0.05, corrected for multiple comparisons in pre-specified regions of interest). Our findings suggest that major dementias have distinct profiles of sensory 'surprise' processing, as instantiated in music. Music may be a useful and informative paradigm for probing the predictive decoding of complex sensory environments in neurodegenerative proteinopathies, with implications for understanding and measuring the core pathophysiology of these diseases.

Hierarchical control as a shared neurocognitive mechanism for language and music

Although comparative research has made substantial progress in clarifying the relationship between language and music as neurocognitive systems from both a theoretical and empirical perspective, there is still no consensus about which mechanisms, if any, are shared and how they bring about different neurocognitive systems. In this paper, we tackle these two questions by focusing on hierarchical control as a neurocognitive mechanism underlying syntax in language and music. We put forward the Coordinated Hierarchical Control (CHC) hypothesis: linguistic and musical syntax rely on hierarchical control, but engage this shared mechanism differently depending on the current control demand. While linguistic syntax preferably engages the abstract rule-based control circuit, musical syntax rather employs the coordination of the abstract rule-based and the more concrete motor-based control circuits. We provide evidence for our hypothesis by reviewing neuroimaging as well as neuropsychological studies on linguistic and musical syntax. The CHC hypothesis makes a set of novel testable predictions to guide future work on the relationship between language and music.

Predictive processing, cognitive control, and tonality stability of music: An fMRI study of chromatic harmony

The present study aimed at identifying the brain regions which preferentially responded to music with medium degrees of key stability. There were three types of auditory stimuli. Diatonic music based strictly on major and minor scales has the highest key stability, whereas atonal music has the lowest key stability. Between these two extremes, chromatic music is characterized by sophisticated uses of out-of-key notes, which challenge the internal model of musical pitch and lead to higher precision-weighted prediction error compared to diatonic and atonal music. The brain activity of 29 adults with excellent relative pitch was measured with functional magnetic resonance imaging while they listened to diatonic music, chromatic music, and atonal random note sequences. Several frontoparietal regions showed significantly greater response to chromatic music than to diatonic music and atonal sequences, including the pre-supplementary motor area (extending into the dorsal anterior cingulate cortex), dorsolateral prefrontal cortex, rostrolateral prefrontal cortex, intraparietal sulcus, and precuneus. We suggest that these frontoparietal regions may support working memory processes, hierarchical sequencing, and conflict resolution of remotely related harmonic elements during the predictive processing of chromatic music. This finding suggested a possible correlation between precision-weighted prediction error and the frontoparietal regions implicated in cognitive control.

Resting-State Network Plasticity Induced by Music Therapy after Traumatic Brain Injury

Traumatic brain injury (TBI) is characterized by a complex pattern of abnormalities in resting-state functional connectivity (rsFC) and network dysfunction, which can potentially be ameliorated by rehabilitation. In our previous randomized controlled trial, we found that a 3-month neurological music therapy intervention enhanced executive function (EF) and increased grey matter volume in the right inferior frontal gyrus (IFG) in patients with moderate-to-severe TBI (N = 40). Extending this study, we performed longitudinal rsFC analyses of resting-state fMRI data using a ROI-to-ROI approach assessing within-network and between-network rsFC in the frontoparietal (FPN), dorsal attention (DAN), default mode (DMN), and salience (SAL) networks, which all have been associated with cognitive impairment after TBI. We also performed a seed-based connectivity analysis between the right IFG and whole-brain rsFC. The results showed that neurological music therapy increased the coupling between the FPN and DAN as well as between these networks and primary sensory networks. By contrast, the DMN was less connected with sensory networks after the intervention. Similarly, there was a shift towards a less connected state within the FPN and SAL networks, which are typically hyperconnected following TBI. Improvements in EF were correlated with rsFC within the FPN and between the DMN and sensorimotor networks. Finally, in the seed-based connectivity analysis, the right IFG showed increased rsFC with the right inferior parietal and left frontoparietal (Rolandic operculum) regions. Together, these results indicate that the rehabilitative effects of neurological music therapy after TBI are underpinned by a pattern of within- and between-network connectivity changes in cognitive networks as well as increased connectivity between frontal and parietal regions associated with music processing.

Mozart effect in epilepsy: Why is Mozart better than Haydn? Acoustic qualities-based analysis of stereoelectroencephalography

BACKGROUND AND PURPOSE

We aimed to confirm the Mozart effect in epileptic patients using intracerebral electroencephalography recordings and the hypothesis that the reduction of epileptiform discharges (EDs) can be explained by the music's acoustic properties.

METHODS

Eighteen epilepsy surgery candidates were implanted with depth electrodes in the temporal medial and lateral cortex. Patients listened to the first movement of Mozart's Sonata for Two Pianos K. 448 and to the first movement of Haydn's Symphony No. 94. Musical features from each composition with respect to rhythm, melody, and harmony were analyzed.

RESULTS

Epileptiform discharges in intracerebral electroencephalography were reduced by Mozart's music. Listening to Haydn's music led to reduced EDs only in women; in men, the EDs increased. The acoustic analysis revealed that nondissonant music with a harmonic spectrum and decreasing tempo with significant high-frequency parts has a reducing effect on EDs in men. To reduce EDs in women, the music should additionally be gradually less dynamic in terms of loudness. Finally, we were able to demonstrate that these acoustic characteristics are more dominant in Mozart's music than in Haydn's music.

CONCLUSIONS

We confirmed the reduction of intracerebral EDs while listening to classical music. An analysis of the musical features revealed that the acoustic characteristics of music are responsible for suppressing brain epileptic activity. Based on our study, we suggest studying the use of musical pieces with well-defined acoustic properties as an alternative noninvasive method to reduce epileptic activity in patients with epilepsy.

Frontotemporal dementia, music perception and social cognition share neurobiological circuits: A meta-analysis

Frontotemporal dementia (FTD) is a neurodegenerative disease that presents with profound changes in social cognition. Music might be a sensitive probe for social cognition abilities, but underlying neurobiological substrates are unclear. We performed a meta-analysis of voxel-based morphometry studies in FTD patients and functional MRI studies for music perception and social cognition tasks in cognitively normal controls to identify robust patterns of atrophy (FTD) or activation (music perception or social cognition). Conjunction analyses were performed to identify overlapping brain regions. In total 303 articles were included: 53 for FTD (n = 1153 patients, 42.5% female; 1337 controls, 53.8% female), 28 for music perception (n = 540, 51.8% female) and 222 for social cognition in controls (n = 5664, 50.2% female). We observed considerable overlap in atrophy patterns associated with FTD, and functional activation associated with music perception and social cognition, mostly encompassing the ventral language network. We further observed overlap across all three modalities in mesolimbic, basal forebrain and striatal regions. The results of our meta-analysis suggest that music perception and social cognition share neurobiological circuits that are affected in FTD. This supports the idea that music might be a sensitive probe for social cognition abilities with implications for diagnosis and monitoring.

Intonation processing increases task-specific fronto-temporal connectivity in tonal language speakers

Language comprehension depends on tight functional interactions between distributed brain regions. While these interactions are established for semantic and syntactic processes, the functional network of speech intonation – the linguistic variation of pitch – has been scarcely defined. Particularly little is known about intonation in tonal languages, in which pitch not only serves intonation but also expresses meaning via lexical tones. The present study used psychophysiological interaction analyses of functional magnetic resonance imaging data to characterise the neural networks underlying intonation and tone processing in native Mandarin Chinese speakers. Participants categorised either intonation or tone of monosyllabic Mandarin words that gradually varied between statement and question and between Tone 2 and Tone 4. Intonation processing induced bilateral fronto‐temporal activity and increased functional connectivity between left inferior frontal gyrus and bilateral temporal regions, likely linking auditory perception and labelling of intonation categories in a phonological network. Tone processing induced bilateral temporal activity, associated with the auditory representation of tonal (phonemic) categories. Together, the present data demonstrate the breadth of the functional intonation network in a tonal language including higher‐level phonological processes in addition to auditory representations common to both intonation and tone.

Recursive music elucidates neural mechanisms supporting the generation and detection of melodic hierarchies

The ability to generate complex hierarchical structures is a crucial component of human cognition which can be expressed in the musical domain in the form of hierarchical melodic relations. The neural underpinnings of this ability have been investigated by comparing the perception of well-formed melodies with unexpected sequences of tones. However, these contrasts do not target specifically the representation of rules generating hierarchical structure. Here, we present a novel paradigm in which identical melodic sequences are generated in four steps, according to three different rules: The Recursive rule, generating new hierarchical levels at each step; The Iterative rule, adding tones within a fixed hierarchical level without generating new levels; and a control rule that simply repeats the third step. Using fMRI, we compared brain activity across these rules when participants are imagining the fourth step after listening to the third (generation phase), and when participants listened to a fourth step (test sound phase), either well-formed or a violation. We found that, in comparison with Repetition and Iteration, imagining the fourth step using the Recursive rule activated the superior temporal gyrus (STG). During the test sound phase, we found fronto-temporo-parietal activity and hippocampal de-activation when processing violations, but no differences between rules. STG activation during the generation phase suggests that generating new hierarchical levels from previous steps might rely on retrieving appropriate melodic hierarchy schemas. Previous findings highlighting the role of hippocampus and inferior frontal gyrus may reflect processing of unexpected melodic sequences, rather than hierarchy generation per se.

Cortical encoding of melodic expectations in human temporal cortex

Humans engagement in music rests on underlying elements such as the listeners' cultural background and interest in music. These factors modulate how listeners anticipate musical events, a process inducing instantaneous neural responses as the music confronts these expectations. Measuring such neural correlates would represent a direct window into high-level brain processing. Here we recorded cortical signals as participants listened to Bach melodies. We assessed the relative contributions of acoustic versus melodic components of the music to the neural signal. Melodic features included information on pitch progressions and their tempo, which were extracted from a predictive model of musical structure based on Markov chains. We related the music to brain activity with temporal response functions demonstrating, for the first time, distinct cortical encoding of pitch and note-onset expectations during naturalistic music listening. This encoding was most pronounced at response latencies up to 350 ms, and in both planum temporale and Heschl's gyrus.

Music predictability and liking enhance pupil dilation and promote motor learning in non-musicians

Humans can anticipate music and derive pleasure from it. Expectations facilitate the learning of movements associated with anticipated events, and they are also linked with reward, which may further facilitate learning of the anticipated rewarding events. The present study investigates the synergistic effects of predictability and hedonic responses to music on arousal and motor-learning in a naïve population. Novel melodies were manipulated in their overall predictability (predictable/unpredictable) as objectively defined by a model of music expectation, and ranked as high/medium/low liked based on participants' self-reports collected during an initial listening session. During this session, we also recorded ocular pupil size as an implicit measure of listeners' arousal. During the following motor task, participants learned to play target notes of the melodies on a keyboard (notes were of similar motor and musical complexity across melodies). Pupil dilation was greater for liked melodies, particularly when predictable. Motor performance was facilitated in predictable rather than unpredictable melodies, but liked melodies were learned even in the unpredictable condition. Low-liked melodies also showed learning but mostly in participants with higher scores of task perceived competence. Taken together, these results highlight  the effects of stimuli predictability on learning, which can be however overshadowed by the effects of stimulus liking or task-related intrinsic motivation.

Attention Modulates Electrophysiological Responses to Simultaneous Music and Language Syntax Processing

Music and language are hypothesized to engage the same neural resources, particularly at the level of syntax processing. Recent reports suggest that attention modulates the shared processing of music and language, but the time-course of the effects of attention on music and language syntax processing are yet unclear. In this EEG study we vary top-down attention to language and music, while manipulating the syntactic structure of simultaneously presented musical chord progressions and garden-path sentences in a modified rapid serial visual presentation paradigm. The Early Right Anterior Negativity (ERAN) was observed in response to both attended and unattended musical syntax violations. In contrast, an N400 was only observed in response to attended linguistic syntax violations, and a P3/P600 only in response to attended musical syntax violations. Results suggest that early processing of musical syntax, as indexed by the ERAN, is relatively automatic; however, top-down allocation of attention changes the processing of syntax in both music and language at later stages of cognitive processing.

Is there a prediction network? Meta-analytic evidence for a cortical-subcortical network likely subserving prediction

Predictive coding is an increasingly influential and ambitious concept in neuroscience viewing the brain as a 'hypothesis testing machine' that constantly strives to minimize prediction error, the gap between its predictions and the actual sensory input. Despite the invaluable contribution of this framework to the formulation of brain function, its neuroanatomical foundations have not been fully defined. To address this gap, we conducted activation likelihood estimation (ALE) meta-analysis of 39 neuroimaging studies of three functional domains (action perception, language and music) inherently involving prediction. The ALE analysis revealed a widely distributed brain network encompassing regions within the inferior and middle frontal gyri, anterior insula, premotor cortex, pre-supplementary motor area, temporoparietal junction, striatum, thalamus/subthalamus and the cerebellum. This network is proposed to subserve domain-general prediction and its relevance to motor control, attention, implicit learning and social cognition is discussed in light of the predictive coding scheme. Better understanding of the presented network may help advance treatments of neuropsychiatric conditions related to aberrant prediction processing and promote cognitive enhancement in healthy individuals.

Intracranial Recordings and Computational Modeling of Music Reveal the Time Course of Prediction Error Signaling in Frontal and Temporal Cortices

Prediction is held to be a fundamental process underpinning perception, action, and cognition. To examine the time course of prediction error signaling, we recorded intracranial EEG activity from nine presurgical epileptic patients while they listened to melodies whose information theoretical predictability had been characterized using a computational model. We examined oscillatory activity in the superior temporal gyrus (STG), the middle temporal gyrus (MTG), and the pars orbitalis of the inferior frontal gyrus, lateral cortical areas previously implicated in auditory predictive processing. We also examined activity in anterior cingulate gyrus (ACG), insula, and amygdala to determine whether signatures of prediction error signaling may also be observable in these subcortical areas. Our results demonstrate that the information content (a measure of unexpectedness) of musical notes modulates the amplitude of low-frequency oscillatory activity (theta to beta power) in bilateral STG and right MTG from within 100 and 200 msec of note onset, respectively. Our results also show this cortical activity to be accompanied by low-frequency oscillatory modulation in ACG and insula-areas previously associated with mediating physiological arousal. Finally, we showed that modulation of low-frequency activity is followed by that of high-frequency (gamma) power from approximately 200 msec in the STG, between 300 and 400 msec in the left insula, and between 400 and 500 msec in the ACG. We discuss these results with respect to models of neural processing that emphasize gamma activity as an index of prediction error signaling and highlight the usefulness of musical stimuli in revealing the wide-reaching neural consequences of predictive processing.

Recursion in action: An fMRI study on the generation of new hierarchical levels in motor sequences

Generation of hierarchical structures, such as the embedding of subordinate elements into larger structures, is a core feature of human cognition. Processing of hierarchies is thought to rely on lateral prefrontal cortex (PFC). However, the neural underpinnings supporting active generation of new hierarchical levels remain poorly understood. Here, we created a new motor paradigm to isolate this active generative process by means of fMRI. Participants planned and executed identical movement sequences by using different rules: a Recursive hierarchical embedding rule, generating new hierarchical levels; an Iterative rule linearly adding items to existing hierarchical levels, without generating new levels; and a Repetition condition tapping into short term memory, without a transformation rule. We found that planning involving generation of new hierarchical levels (Recursive condition vs. both Iterative and Repetition) activated a bilateral motor imagery network, including cortical and subcortical structures. No evidence was found for lateral PFC involvement in the generation of new hierarchical levels. Activity in basal ganglia persisted through execution of the motor sequences in the contrast Recursive versus Iteration, but also Repetition versus Iteration, suggesting a role of these structures in motor short term memory. These results showed that the motor network is involved in the generation of new hierarchical levels during motor sequence planning, while lateral PFC activity was neither robust nor specific. We hypothesize that lateral PFC might be important to parse hierarchical sequences in a multi‐domain fashion but not to generate new hierarchical levels.

A Review on the Relationship Between Sound and Movement in Sports and Rehabilitation

The role of auditory information on perceptual-motor processes has gained increased interest in sports and psychology research in recent years. Numerous neurobiological and behavioral studies have demonstrated the close interaction between auditory and motor areas of the brain, and the importance of auditory information for movement execution, control, and learning. In applied research, artificially produced acoustic information and real-time auditory information have been implemented in sports and rehabilitation to improve motor performance in athletes, healthy individuals, and patients affected by neurological or movement disorders. However, this research is scattered both across time and scientific disciplines. The aim of this paper is to provide an overview about the interaction between movement and sound and review the current literature regarding the effect of natural movement sounds, movement sonification, and rhythmic auditory information in sports and motor rehabilitation. The focus here is threefold: firstly, we provide an overview of empirical studies using natural movement sounds and movement sonification in sports. Secondly, we review recent clinical and applied studies using rhythmic auditory information and sonification in rehabilitation, addressing in particular studies on Parkinson's disease and stroke. Thirdly, we summarize current evidence regarding the cognitive mechanisms and neural correlates underlying the processing of auditory information during movement execution and its mental representation. The current state of knowledge here reviewed provides evidence of the feasibility and effectiveness of the application of auditory information to improve movement execution, control, and (re)learning in sports and motor rehabilitation. Findings also corroborate the critical role of auditory information in auditory-motor coupling during motor (re)learning and performance, suggesting that this area of clinical and applied research has a large potential that is yet to be fully explored.

Effects of Visual Predictive Information and Sequential Context on Neural Processing of Musical Syntax

The early right anterior negativity (ERAN) in event-related potentials (ERPs) is typically elicited by syntactically unexpected events in Western tonal music. We examined how visual predictive information influences syntactic processing, how musical or non-musical cues have different effects, and how they interact with sequential effects between trials, which could modulate with the strength of the sense of established tonality. The EEG was recorded from musicians who listened to chord sequences paired with one of four types of visual stimuli; two provided predictive information about the syntactic validity of the last chord through either musical notation of the whole sequence, or the word "regular" or "irregular," while the other two, empty musical staves or a blank screen, provided no information. Half of the sequences ended with the syntactically invalid Neapolitan sixth chord, while the other half ended with the Tonic chord. Clear ERAN was observed in frontocentral electrodes in all conditions. A principal component analysis (PCA) was performed on the grand average response in the audio-only condition, to separate spatio-temporal dynamics of different scalp areas as principal components (PCs) and use them to extract auditory-related neural activities in the other visual-cue conditions. The first principal component (PC1) showed a symmetrical frontocentral topography, while the second (PC2) showed a right-lateralized frontal concentration. A source analysis confirmed the relative contribution of temporal sources to the former and a right frontal source to the latter. Cue predictability affected only the ERAN projected onto PC1, especially when the previous trial ended with the Tonic chord. The ERAN in PC2 was reduced in the trials following Neapolitan endings in general. However, the extent of this reduction differed between cue-styles, whereby it was nearly absent when musical notation was used, regardless of whether the staves were filled with notes or empty. The results suggest that the right frontal areas carry out the primary role in musical syntactic analysis and integration of the ongoing context, which produce schematic expectations that, together with the veridical expectation incorporated by the temporal areas, inform musical syntactic processing in musicians.

Disruption of Boundary Encoding During Sensorimotor Sequence Learning: An MEG Study

Music performance relies on the ability to learn and execute actions and their associated sounds. The process of learning these auditory-motor contingencies depends on the proper encoding of the serial order of the actions and sounds. Among the different serial positions of a behavioral sequence, the first and last (boundary) elements are particularly relevant. Animal and patient studies have demonstrated a specific neural representation for boundary elements in prefrontal cortical regions and in the basal ganglia, highlighting the relevance of their proper encoding. The neural mechanisms underlying the encoding of sequence boundaries in the general human population remain, however, largely unknown. In this study, we examined how alterations of auditory feedback, introduced at different ordinal positions (boundary or within-sequence element), affect the neural and behavioral responses during sensorimotor sequence learning. Analysing the neuromagnetic signals from 20 participants while they performed short piano sequences under the occasional effect of altered feedback (AF), we found that at around 150-200 ms post-keystroke, the neural activities in the dorsolateral prefrontal cortex (DLPFC) and supplementary motor area (SMA) were dissociated for boundary and within-sequence elements. Furthermore, the behavioral data demonstrated that feedback alterations on boundaries led to greater performance costs, such as more errors in the subsequent keystrokes. These findings jointly support the idea that the proper encoding of boundaries is critical in acquiring sensorimotor sequences. They also provide evidence for the involvement of a distinct neural circuitry in humans including prefrontal and higher-order motor areas during the encoding of the different classes of serial order.

Syntactic processing in music and language: Parallel abnormalities observed in congenital amusia

Evidence is accumulating that similar cognitive resources are engaged to process syntactic structure in music and language. Congenital amusia – a neurodevelopmental disorder that primarily affects music perception, including musical syntax – provides a special opportunity to understand the nature of this overlap. Using electroencephalography (EEG), we investigated whether individuals with congenital amusia have parallel deficits in processing language syntax in comparison to control participants. Twelve amusic participants (eight females) and 12 control participants (eight females) were presented melodies in one session, and spoken sentences in another session, both of which had syntactic-congruent and -incongruent stimuli. They were asked to complete a music-related and a language-related task that were irrelevant to the syntactic incongruities. Our results show that amusic participants exhibit impairments in the early stages of both music- and language-syntactic processing. Specifically, we found that two event-related potential (ERP) components – namely Early Right Anterior Negativity (ERAN) and Left Anterior Negativity (LAN), associated with music- and language-syntactic processing respectively, were absent in the amusia group. However, at later processing stages, amusics showed similar brain responses as controls to syntactic incongruities in both music and language. This was reflected in a normal N5 in response to melodies and a normal P600 to spoken sentences. Notably, amusics' parallel music- and language-syntactic impairments were not accompanied by deficits in semantic processing (indexed by normal N400 in response to semantic incongruities). Together, our findings provide further evidence for shared music and language syntactic processing, particularly at early stages of processing.

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Amusics displayed abnormal brain responses to music-syntactic irregularities.

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They also exhibited abnormal brain responses to language-syntactic irregularities.

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These impairments affect an early stage of syntactic processing not a later stage.

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Music and language involve similar cognitive mechanisms for processing syntax.

Decoding the dynamic representation of musical pitch from human brain activity

In music, the perception of pitch is governed largely by its tonal function given the preceding harmonic structure of the music. While behavioral research has advanced our understanding of the perceptual representation of musical pitch, relatively little is known about its representational structure in the brain. Using Magnetoencephalography (MEG), we recorded evoked neural responses to different tones presented within a tonal context. Multivariate Pattern Analysis (MVPA) was applied to “decode” the stimulus that listeners heard based on the underlying neural activity. We then characterized the structure of the brain’s representation using decoding accuracy as a proxy for representational distance, and compared this structure to several well established perceptual and acoustic models. The observed neural representation was best accounted for by a model based on the Standard Tonal Hierarchy, whereby differences in the neural encoding of musical pitches correspond to their differences in perceived stability. By confirming that perceptual differences honor those in the underlying neuronal population coding, our results provide a crucial link in understanding the cognitive foundations of musical pitch across psychological and neural domains.

Electrical Neuroimaging of Music Processing Reveals Mid-Latency Changes with Level of Musical Expertise

This original research focused on the effect of musical training intensity on cerebral and behavioral processing of complex music using high-density event-related potential (ERP) approaches. Recently we have been able to show progressive changes with training in gray and white matter, and higher order brain functioning using (f)MRI [(functional) Magnetic Resonance Imaging], as well as changes in musical and general cognitive functioning. The current study investigated the same population of non-musicians, amateur pianists and expert pianists using spatio-temporal ERP analysis, by means of microstate analysis, and ERP source imaging. The stimuli consisted of complex musical compositions containing three levels of transgression of musical syntax at closure that participants appraised. ERP waveforms, microstates and underlying brain sources revealed gradual differences according to musical expertise in a 300–500 ms window after the onset of the terminal chords of the pieces. Within this time-window, processing seemed to concern context-based memory updating, indicated by a P3b-like component or microstate for which underlying sources were localized in the right middle temporal gyrus, anterior cingulate and right parahippocampal areas. Given that the 3 expertise groups were carefully matched for demographic factors, these results provide evidence of the progressive impact of training on brain and behavior.

Functional neural changes associated with acquired amusia across different stages of recovery after stroke

Brain damage causing acquired amusia disrupts the functional music processing system, creating a unique opportunity to investigate the critical neural architectures of musical processing in the brain. In this longitudinal fMRI study of stroke patients (N = 41) with a 6-month follow-up, we used natural vocal music (sung with lyrics) and instrumental music stimuli to uncover brain activation and functional network connectivity changes associated with acquired amusia and its recovery. In the acute stage, amusic patients exhibited decreased activation in right superior temporal areas compared to non-amusic patients during instrumental music listening. During the follow-up, the activation deficits expanded to comprise a wide-spread bilateral frontal, temporal, and parietal network. The amusics showed less activation deficits to vocal music, suggesting preserved processing of singing in the amusic brain. Compared to non-recovered amusics, recovered amusics showed increased activation to instrumental music in bilateral frontoparietal areas at 3 months and in right middle and inferior frontal areas at 6 months. Amusia recovery was also associated with increased functional connectivity in right and left frontoparietal attention networks to instrumental music. Overall, our findings reveal the dynamic nature of deficient activation and connectivity patterns in acquired amusia and highlight the role of dorsal networks in amusia recovery.

Revisiting the Neural Basis of Acquired Amusia: Lesion Patterns and Structural Changes Underlying Amusia Recovery

Although, acquired amusia is a common deficit following stroke, relatively little is still known about its precise neural basis, let alone to its recovery. Recently, we performed a voxel-based lesion-symptom mapping (VLSM) and morphometry (VBM) study which revealed a right lateralized lesion pattern, and longitudinal gray matter volume (GMV) and white matter volume (WMV) changes that were specifically associated with acquired amusia after stroke. In the present study, using a larger sample of stroke patients (N = 90), we aimed to replicate and extend the previous structural findings as well as to determine the lesion patterns and volumetric changes associated with amusia recovery. Structural MRIs were acquired at acute and 6-month post-stroke stages. Music perception was behaviorally assessed at acute and 3-month post-stroke stages using the Scale and Rhythm subtests of the Montreal Battery of Evaluation of Amusia (MBEA). Using these scores, the patients were classified as non-amusic, recovered amusic, and non-recovered amusic. The results of the acute stage VLSM analyses and the longitudinal VBM analyses converged to show that more severe and persistent (non-recovered) amusia was associated with an extensive pattern of lesions and GMV/WMV decrease in right temporal, frontal, parietal, striatal, and limbic areas. In contrast, less severe and transient (recovered) amusia was linked to lesions specifically in left inferior frontal gyrus as well as to a GMV decrease in right parietal areas. Separate continuous analyses of MBEA Scale and Rhythm scores showed extensively overlapping lesion pattern in right temporal, frontal, and subcortical structures as well as in the right insula. Interestingly, the recovered pitch amusia was related to smaller GMV decreases in the temporoparietal junction whereas the recovered rhythm amusia was associated to smaller GMV decreases in the inferior temporal pole. Overall, the results provide a more comprehensive picture of the lesions and longitudinal structural changes associated with different recovery trajectories of acquired amusia.