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

Influences of Emotional Information on Response Inhibition in Gaming Disorder: Behavioral and ERP Evidence from Go/Nogo Task

BACKGROUND

Gaming disorder (GD) may impair executive functions such as response inhibition. According to the tripartite neurocognitive model, the interoceptive system generates a state of craving that exacerbates the dysfunction of GD. We speculate that emotional information may play an important role in the mechanism, which leads to impaired response inhibition in people with GD.

METHODS

A three-factor mixed experimental design was adopted in this go/nogo task. The between-subject factor was group (GD or control group), and the within-subject factors were two types of emotional information, task relevance (related or unrelated) and emotional valence (negative or positive).

RESULTS

The GD group had lower nogo accuracies than the control group in the task-unrelated condition and also in the negative condition. Parallelly, the GD group showed faster reactions and lower accuracy in the go trials than the control group under task-unrelated negative conditions. At the neural level, the GD group had smaller amplitudes of nogo-N2 and larger amplitudes of nogo-P3 than the control group in the task-unrelated condition.

CONCLUSIONS

The findings prove the hypothesis of this study that emotional information could be a factor leading to impaired response inhibition in GD individuals. The response inhibition abilities of GD are weakened when processing task-unrelated or negative information, which may be caused by failure of behavioral inhibition and weakened conflict control, resulting in more cognitive resources to complete response suppression under specific conditions. This study provides evidence for weaker response inhibition in GD individuals from the perspective of cognitive-emotional interaction and provides more detailed information for interventions for GD.

Analysis and Classification of Music-Induced States of Sadness

The enjoyment and pleasure derived from sad music has sparked fascination among researchers due to its seemingly paradoxical nature in producing positive affect. Research is yet to develop a comprehensive understanding of this “paradox.” Contradictory findings have resulted in a great variability within the literature, meaning results and interpretations can be difficult to derive. Consequently, this review collated the current literature, seeking to utilize the variability in the findings to propose a model of differential sad states, providing a means for past and future findings to be interpreted. The proposed model is based on theoretical understanding, as such it requires full empirical support. Comparisons to alternative models, theoretical, clinical, and cognitive implications, as well as future directions are discussed.

EEG emotion recognition based on enhanced SPD matrix and manifold dimensionality reduction

Recently, Riemannian geometry-based pattern recognition has been widely employed to brain computer interface (BCI) researches, providing new idea for emotion recognition based on electroencephalogram (EEG) signals. Although the symmetric positive definite (SPD) matrix manifold constructed from the traditional covariance matrix contains large amount of spatial information, these methods do not perform well to classify and recognize emotions, and the high dimensionality problem still unsolved. Therefore, this paper proposes a new strategy for EEG emotion recognition utilizing Riemannian geometry with the aim of achieving better classification performance. The emotional EEG signals of 32 healthy subjects were from an open-source dataset (DEAP). The wavelet packets were first applied to extract the time-frequency features of the EEG signals, and then the features were used to construct the enhanced SPD matrix. A supervised dimensionality reduction algorithm was then designed on the Riemannian manifold to reduce the high dimensionality of the SPD matrices, gather samples of the same labels together, and separate samples of different labels as much as possible. Finally, the samples were mapped to the tangent space, and the K-nearest neighbors (KNN), Random Forest (RF) and Support Vector Machine (SVM) method were employed for classification. The proposed method achieved an average accuracy of 91.86%, 91.84% on the valence and arousal recognition tasks. Furthermore, we also obtained the superior accuracy of 86.71% on the four-class recognition task, demonstrated the superiority over state-of-the-art emotion recognition methods.

Musical memories in newborns: A resting-state functional connectivity study

Music is known to induce emotions and activate associated memories, including musical memories. In adults, it is well known that music activates both working memory and limbic networks. We have recently discovered that as early as during the newborn period, familiar music is processed differently from unfamiliar music. The present study evaluates music listening effects at the brain level in newborns, by exploring the impact of familiar or first‐time music listening on the subsequent resting‐state functional connectivity in the brain. Using a connectome‐based framework, we describe resting‐state functional connectivity (RS‐FC) modulation after music listening in three groups of newborn infants, in preterm infants exposed to music during their neonatal‐intensive‐care‐unit (NICU) stay, in control preterm, and full‐term infants. We observed modulation of the RS‐FC between brain regions known to be implicated in music and emotions processing, immediately following music listening in all newborn infants. In the music exposed group, we found increased RS‐FC between brain regions known to be implicated in familiar and emotionally arousing music and multisensory processing, and therefore implying memory retrieval and associative memory. We demonstrate a positive correlation between the occurrence of the prior music exposure and increased RS‐FC in brain regions implicated in multisensory and emotional processing, indicating strong engagement of musical memories; and a negative correlation with the Default Mode Network, indicating disengagement due to the aforementioned cognitive processing. Our results describe the modulatory effect of music listening on brain RS‐FC that can be linked to brain correlates of musical memory engrams in preterm infants.

Neural Correlates of Music Listening: Does the Music Matter?

The last decades have seen a proliferation of music and brain studies, with a major focus on plastic changes as the outcome of continuous and prolonged engagement with music. Thanks to the advent of neuroaesthetics, research on music cognition has broadened its scope by considering the multifarious phenomenon of listening in all its forms, including incidental listening up to the skillful attentive listening of experts, and all its possible effects. These latter range from objective and sensorial effects directly linked to the acoustic features of the music to the subjectively affective and even transformational effects for the listener. Of special importance is the finding that neural activity in the reward circuit of the brain is a key component of a conscious listening experience. We propose that the connection between music and the reward system makes music listening a gate towards not only hedonia but also eudaimonia, namely a life well lived, full of meaning that aims at realizing one's own "daimon" or true nature. It is argued, further, that music listening, even when conceptualized in this aesthetic and eudaimonic framework, remains a learnable skill that changes the way brain structures respond to sounds and how they interact with each other.

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.

From Visual Perception to Aesthetic Appeal: Brain Responses to Aesthetically Appealing Natural Landscape Movies

During aesthetically appealing visual experiences, visual content provides a basis for computation of affectively tinged representations of aesthetic value. How this happens in the brain is largely unexplored. Using engaging video clips of natural landscapes, we tested whether cortical regions that respond to perceptual aspects of an environment (e.g., spatial layout, object content and motion) were directly modulated by rated aesthetic appeal. Twenty-four participants watched a series of videos of natural landscapes while being scanned using functional magnetic resonance imaging (fMRI) and reported both continuous ratings of enjoyment (during the videos) and overall aesthetic judgments (after each video). Although landscape videos engaged a greater expanse of high-level visual cortex compared to that observed for images of landscapes, independently localized category-selective visual regions (e.g., scene-selective parahippocampal place area and motion-selective hMT+) were not significantly modulated by aesthetic appeal. Rather, a whole-brain analysis revealed modulations by aesthetic appeal in ventral (collateral sulcus) and lateral (middle occipital sulcus, posterior middle temporal gyrus) clusters that were adjacent to scene and motion selective regions. These findings suggest that aesthetic appeal per se is not represented in well-characterized feature- and category-selective regions of visual cortex. Rather, we propose that the observed activations reflect a local transformation from a feature-based visual representation to a representation of "elemental affect," computed through information-processing mechanisms that detect deviations from an observer's expectations. Furthermore, we found modulation by aesthetic appeal in subcortical reward structures but not in regions of the default-mode network (DMN) nor orbitofrontal cortex, and only weak evidence for associated changes in functional connectivity. In contrast to other visual aesthetic domains, aesthetically appealing interactions with natural landscapes may rely more heavily on comparisons between ongoing stimulation and well-formed representations of the natural world, and less on top-down processes for resolving ambiguities or assessing self-relevance.

Postpartum Stress and Neural Regulation of Emotion among First-Time Mothers

Early parenting relies on emotion regulation capabilities, as mothers are responsible for regulating both their own emotional state and that of their infant during a time of new parenting-related neural plasticity and potentially increased stress. Previous research highlights the importance of frontal cortical regions in facilitating effective emotion regulation, but few studies have investigated the neural regulation of emotion among postpartum women. The current study employed a functional neuroimaging (fMRI) approach to explore the association between perceived stress, depressive symptoms, and the neural regulation of emotion in first-time mothers. Among 59 postpartum mothers, higher perceived stress during the postpartum period was associated with less self-reported use of cognitive reappraisal in everyday life, and greater use of emotion suppression. While viewing standardized aversive images during the Emotion Regulation Task (ERT), mothers were instructed to experience their natural emotional state (Maintain) or to decrease the intensity of their negative emotion by using cognitive reappraisal (Reappraise). Whole-brain analysis revealed a two-way interaction of perceived stress x condition in the right dorsolateral prefrontal cortex (DLPFC) at p < .05 cluster-wise corrected, controlling for postpartum months and scanner type. Higher levels of perceived stress were associated with heightened right DLPFC activity while engaging in cognitive reappraisal versus naturally responding to negative stimuli. Higher right DLPFC activity during Reappraise versus Maintain was further associated with elevated parenting stress. Findings suggest that stress and everyday reappraisal use is reflected in mothers' neural regulation of emotion and may have important implications for their adaptation to parenthood.

Decoding Music-Evoked Emotions in the Auditory and Motor Cortex

Music can induce strong subjective experience of emotions, but it is debated whether these responses engage the same neural circuits as emotions elicited by biologically significant events. We examined the functional neural basis of music-induced emotions in a large sample (n = 102) of subjects who listened to emotionally engaging (happy, sad, fearful, and tender) pieces of instrumental music while their hemodynamic brain activity was measured with functional magnetic resonance imaging (fMRI). Ratings of the four categorical emotions and liking were used to predict hemodynamic responses in general linear model (GLM) analysis of the fMRI data. Multivariate pattern analysis (MVPA) was used to reveal discrete neural signatures of the four categories of music-induced emotions. To map neural circuits governing non-musical emotions, the subjects were scanned while viewing short emotionally evocative film clips. The GLM revealed that most emotions were associated with activity in the auditory, somatosensory, and motor cortices, cingulate gyrus, insula, and precuneus. Fear and liking also engaged the amygdala. In contrast, the film clips strongly activated limbic and cortical regions implicated in emotional processing. MVPA revealed that activity in the auditory cortex and primary motor cortices reliably discriminated the emotion categories. Our results indicate that different music-induced basic emotions have distinct representations in regions supporting auditory processing, motor control, and interoception but do not strongly rely on limbic and medial prefrontal regions critical for emotions with survival value.

Neural Mechanism of Affective Perception: Evidence from Phase and Causality Analysis in the Cerebral Cortex

Emotion plays an important role in people's lives. However, the neural mechanism of affective perception is still unclear. In this study, steady-state visual evoked potentials (SSVEPs) were used to explore information processing speed and interactions among cortical structures involved in affective perception. Pleasant, unpleasant, and neutral pictures selected from the International Affective Picture System were presented either in intact or phase-scrambled form at a fixed frequency, where the induced SSVEPs could be used as a frequency marker of brain activity with high temporal resolution and signal-to-noise ratio. Source estimation methods were used to reconstruct the cortical signals. The information processing of affective images was studied by phase and causal connection analysis in the cortical space to investigate the information processing speed of the local brain region and the dynamic interactions across brain regions. Experimental results showed that affective and semantic perception was accompanied by the acceleration of information processing speed in the ventral pathway. Unpleasant emotions had the fastest information processing speed in the ventral stream compared with pleasant and neutral emotions, including the middle occipital gyrus and the middle temporal gyrus, with a right hemisphere bias. In addition, unpleasant emotions were stronger than pleasant emotions in long-term causal connections in the bilateral middle temporal gyrus, and the direction was from the right hemisphere to the left hemisphere. These results provide unique insights into the cortical activities for affective perception and support the view that unpleasant emotions have priority in information perception in the middle temporal gyrus compared with pleasant and neutral emotions, with a right hemisphere bias.

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.

A coordinate-based meta-analysis of music-evoked emotions

Since the publication of the first neuroscience study investigating emotion with music about two decades ago, the number of functional neuroimaging studies published on this topic has increased each year. This research interest is in part due to the ubiquity of music across cultures, and to music's power to evoke a diverse range of intensely felt emotions. To support a better understanding of the brain correlates of music-evoked emotions this article reports a coordinate-based meta-analysis of neuroimaging studies (n = 47 studies with n = 944 subjects). The studies employed a range of diverse experimental approaches (e.g., using music to evoke joy, sadness, fear, tension, frissons, surprise, unpleasantness, or feelings of beauty). The results of an activation likelihood estimation (ALE) indicate large clusters in a range of structures, including amygdala, anterior hippocampus, auditory cortex, and numerous structures of the reward network (ventral and dorsal striatum, anterior cingulate cortex, orbitofrontal cortex, secondary somatosensory cortex). The results underline the rewarding nature of music, the role of the auditory cortex as an emotional hub, and the role of the hippocampus in attachment-related emotions and social bonding.

Masking effects on subjective annoyance to aircraft flyover noise: An fMRI study

Sound masking, a new noise control technology, has been applied to improve subjective perception of noise in recent years. However, the neural mechanisms underlying this technology are still unclear. In this study, 18 healthy subjects were recurited to take subjective annoyance assessments and fMRI scanning with the aircraft noise and the masked aircraft noise. The results showed that the noise annoyance was associated with deficient functional connectivity between anterior cingulate cortex (ACC) and prefrontal cortex and exceeded brain activation in ACC, which might be explained as compensation. The sound masking led to significantly strong activation in the left medial frontal cortex and right medial orbital frontal cortex, which were associated with happy emotion induced by sound masking. This study offered new insights on the underlying neural mechanisms of sound masking effects.

Inter-subject Similarity of Brain Activity in Expert Musicians After Multimodal Learning: A Behavioral and Neuroimaging Study on Learning to Play a Piano Sonata

Human behavior is inherently multimodal and relies on sensorimotor integration. This is evident when pianists exhibit activity in motor and premotor cortices, as part of a dorsal pathway, while listening to a familiar piece of music, or when naïve participants learn to play simple patterns on the piano. Here we investigated the interaction between multimodal learning and dorsal-stream activity over the course of four weeks in ten skilled pianists by adopting a naturalistic data-driven analysis approach. We presented the pianists with audio-only, video-only and audiovisual recordings of a piano sonata during functional magnetic resonance imaging (fMRI) before and after they had learned to play the sonata by heart for a total of four weeks. We followed the learning process and its outcome with questionnaires administered to the pianists, one piano instructor following their training, and seven external expert judges. The similarity of the pianists' brain activity during stimulus presentations was examined before and after learning by means of inter-subject correlation (ISC) analysis. After learning, an increased ISC was found in the pianists while watching the audiovisual performance, particularly in motor and premotor regions of the dorsal stream. While these brain structures have previously been associated with learning simple audio-motor sequences, our findings are the first to suggest their involvement in learning a complex and demanding audiovisual-motor task. Moreover, the most motivated learners and the best performers of the sonata showed ISC in the dorsal stream and in the reward brain network.

Multimodal Recognition of Emotions in Music and Facial Expressions

The aim of the study was to investigate the neural processing of congruent vs. incongruent affective audiovisual information (facial expressions and music) by means of ERPs (Event Related Potentials) recordings. Stimuli were 200 infant faces displaying Happiness, Relaxation, Sadness, Distress and 32 piano musical pieces conveying the same emotional states (as specifically assessed). Music and faces were presented simultaneously, and paired so that in half cases they were emotionally congruent or incongruent. Twenty subjects were told to pay attention and respond to infrequent targets (adult neutral faces) while their EEG was recorded from 128 channels. The face-related N170 (160-180 ms) component was the earliest response affected by the emotional content of faces (particularly by distress), while visual P300 (250-450 ms) and auditory N400 (350-550 ms) responses were specifically modulated by the emotional content of both facial expressions and musical pieces. Face/music emotional incongruence elicited a wide N400 negativity indicating the detection of a mismatch in the expressed emotion. A swLORETA inverse solution applied to N400 (difference wave Incong. - Cong.), showed the crucial role of Inferior and Superior Temporal Gyri in the multimodal representation of emotional information extracted from faces and music. Furthermore, the prefrontal cortex (superior and medial, BA 10) was also strongly active, possibly supporting working memory. The data hints at a common system for representing emotional information derived by social cognition and music processing, including uncus and cuneus.

Music Reduces Pain Unpleasantness: Evidence from an EEG Study

BACKGROUND

Music is sometimes used as an adjunct to pain management. However, there is limited understanding of by what means music modulates pain perception and how the brain responds to nociceptive inputs while listening to music, because clinical practice typically involves the coexistence of multiple therapeutic interventions. To address this challenge, laboratory studies with experimental and control conditions are needed.

METHODS

In the present investigation, we delivered nociceptive laser stimuli on 30 participants under three conditions - participants were sitting in silence, listening to their preferred music, or listening to white noise. Differences among conditions were quantified by self-reports of pain intensity and unpleasantness, and brain activity sampled by electroencephalography (EEG).

RESULTS

Compared with the noise and silence conditions, participants in the music condition reported lower ratings on pain unpleasantness, as reflected by reduced brain oscillations immediately prior to the nociceptive laser stimulus at frequencies of 4-15 Hz in EEG. In addition, participants showed smaller P2 amplitudes in laser-evoked potentials (LEPs) when they were listening to music or white noise in comparison to sitting in silence. These findings suggest that a general modulation effect of sounds on pain, with a specific reduction of pain unpleasantness induced by the positive emotional impact.

CONCLUSION

Music may serve as a real-time regulator to modulate pain unpleasantness. Results are discussed in view of current understandings of music-induced analgesia.

Love is a physiological motivation (like hunger, thirst, sleep or sex)

The multitude of terms associated with love has given rise to a false perception of love. In this paper, only maternal and romantic love are considered. Love is usually regarded as a feeling, motivation, addiction, passion, and, above all, an emotion. This confusion has consequences in the lives of human beings, leading not only to divorces, suicides, femicides but possibly also to a number of mental illnesses and suffering. Therefore, it is crucial to first clarify what is meant by emotion, motivation and love. This work aims to finally place love within the category of physiological motivations, such as hunger, thirst, sleep, or sex, on the basis that love is also essential for human survival, especially in childhood. Love is presented from an evolutionary perspective. Some other similarities between love and other physiological motivations are pointed out, such as its importance for appropriate human development, both its ontogeny and its permanence, and the long-lasting consequences of abuse and neglect. There are summarized reasons that account for this, such as the fact that physiological motivations are essential for survival and that love is an essential motivation for the survival of human offspring. Other reasons are that minimum changes in the quantity and quality of love alters development, that there can be a variety of neurophysiological and behavioural states within a motivation, and that motivations (also love) appear and change throughout development. Also, motivations and love sometimes may lead to an addictive behaviour. Finally, it is recognized that once physiological motivations (and love) appear, they become permanent. In a third section, some potential social, cultural, clinical and scientific consequences of the proposed consideration of love as a motivation are discussed. Accordingly, love's recognition as a motivation in the clinical field would imply a better understanding of its disorders and its inclusion in classifications manuals such as The Diagnostic and Statistical Manual of Mental Disorders (DSM), or in the International Classification of Diseases (ICD). Considering love as a motivation rather than an emotion could also impact the results of scientific research (an example is included). A comprehensive understanding of these questions could potentially allow for a new therapeutic approach in the treatment of mental illness, while offering an all-inclusive evolutionary explanation of cultural phenomena such as the origin and diffusion of both language and art. Love should be understood as a physiological motivation, like hunger, sleep or sex, and not as an emotion as it is commonly considered.

Atonal Music: Can Uncertainty Lead to Pleasure?

In recent years, the field of neuroaesthetics has gained considerable attention with music being a favored object of study. The majority of studies concerning music have, however, focused on the experience of Western tonal music (TM), which is characterized by tonal hierarchical organization, a high degree of consonance, and a tendency to provide the listener with a tonic as a reference point during the listening experience. We argue that a narrow focus on Western TM may have led to a one-sided view regarding the qualities of the aesthetic experience of music since Western art music from the 20th and 21st century like atonal music (AM) – while lacking a tonal hierarchical structure, and while being highly dissonant and hard to predict – is nevertheless enjoyed by a group of avid listeners. We propose a research focus that investigates, in particular, the experience of AM as a novel and compelling way with which to enhance our understanding of both the aesthetic appreciation of music and the role of predictive models in the context of musical pleasure. We use music theoretical analysis and music information retrieval methods to demonstrate how AM presents the listener with a highly uncertain auditory environment. Specifically, an analysis of a corpus of 100 musical segments is used to illustrate how tonal classical music and AM differ quantitatively in terms of both key and pulse clarity values. We then examine person related, extrinsic and intrinsic factors, that point to potential mechanisms underlying the appreciation and pleasure derived from AM. We argue that personality traits like “openness to experience,” the framing of AM as art, and the mere exposure effect are key components of such mechanisms. We further argue that neural correlates of uncertainty estimation could represent a central mechanism for engaging with AM and that such contexts engender a comparatively weak predictive model in the listener. Finally we argue that in such uncertain contexts, correct predictions may be more subjectively rewarding than prediction errors since they signal to the individual that their predictive model is improving.

Effects of Musical Tempo on Musicians' and Non-musicians' Emotional Experience When Listening to Music

Tempo is an important musical element that affects human’s emotional processes when listening to music. However, it remains unclear how tempo and training affect individuals’ emotional experience of music. To explore the neural underpinnings of the effects of tempo on music-evoked emotion, music with fast, medium, and slow tempi were collected to compare differences in emotional responses using functional magnetic resonance imaging (fMRI) of neural activity between musicians and non-musicians. Behaviorally, musicians perceived higher valence in fast music than did non-musicians. The main effects of musicians and non-musicians and tempo were significant, and a near significant interaction between group and tempo was found. In the arousal dimension, the mean score of medium-tempo music was the highest among the three kinds; in the valence dimension, the mean scores decreased in order from fast music, medium music, to slow music. Functional analyses revealed that the neural activation of musicians was stronger than those of non-musicians in the left inferior parietal lobe (IPL). A comparison of tempi showed a stronger activation from fast music than slow music in the bilateral superior temporal gyrus (STG), which provided corresponding neural evidence for the highest valence reported by participants for fast music. Medium music showed stronger activation than slow music in the right Heschl’s gyrus (HG), right middle temporal gyrus (MTG), right posterior cingulate cortex (PCC), right precuneus, right IPL, and left STG. Importantly, this study confirmed and explained the connection between music tempo and emotional experiences, and their interaction with individuals’ musical training.

Decoding Musical Training from Dynamic Processing of Musical Features in the Brain

Pattern recognition on neural activations from naturalistic music listening has been successful at predicting neural responses of listeners from musical features, and vice versa. Inter-subject differences in the decoding accuracies have arisen partly from musical training that has widely recognized structural and functional effects on the brain. We propose and evaluate a decoding approach aimed at predicting the musicianship class of an individual listener from dynamic neural processing of musical features. Whole brain functional magnetic resonance imaging (fMRI) data was acquired from musicians and nonmusicians during listening of three musical pieces from different genres. Six musical features, representing low-level (timbre) and high-level (rhythm and tonality) aspects of music perception, were computed from the acoustic signals, and classification into musicians and nonmusicians was performed on the musical feature and parcellated fMRI time series. Cross-validated classification accuracy reached 77% with nine regions, comprising frontal and temporal cortical regions, caudate nucleus, and cingulate gyrus. The processing of high-level musical features at right superior temporal gyrus was most influenced by listeners’ musical training. The study demonstrates the feasibility to decode musicianship from how individual brains listen to music, attaining accuracy comparable to current results from automated clinical diagnosis of neurological and psychological disorders.

Effect of Explicit Evaluation on Neural Connectivity Related to Listening to Unfamiliar Music

People can experience different emotions when listening to music. A growing number of studies have investigated the brain structures and neural connectivities associated with perceived emotions. However, very little is known about the effect of an explicit act of judgment on the neural processing of emotionally-valenced music. In this study, we adopted the novel consensus clustering paradigm, called binarisation of consensus partition matrices (Bi-CoPaM), to study whether and how the conscious aesthetic evaluation of the music would modulate brain connectivity networks related to emotion and reward processing. Participants listened to music under three conditions - one involving a non-evaluative judgment, one involving an explicit evaluative aesthetic judgment, and one involving no judgment at all (passive listening only). During non-evaluative attentive listening we obtained auditory-limbic connectivity whereas when participants were asked to decide explicitly whether they liked or disliked the music excerpt, only two clusters of intercommunicating brain regions were found: one including areas related to auditory processing and action observation, and the other comprising higher-order structures involved with visual processing. Results indicate that explicit evaluative judgment has an impact on the neural auditory-limbic connectivity during affective processing of music.

Emotional Responses to Music: Shifts in Frontal Brain Asymmetry Mark Periods of Musical Change

Recent studies have demonstrated increased activity in brain regions associated with emotion and reward when listening to pleasurable music. Unexpected change in musical features intensity and tempo - and thereby enhanced tension and anticipation - is proposed to be one of the primary mechanisms by which music induces a strong emotional response in listeners. Whether such musical features coincide with central measures of emotional response has not, however, been extensively examined. In this study, subjective and physiological measures of experienced emotion were obtained continuously from 18 participants (12 females, 6 males; 18-38 years) who listened to four stimuli-pleasant music, unpleasant music (dissonant manipulations of their own music), neutral music, and no music, in a counter-balanced order. Each stimulus was presented twice: electroencephalograph (EEG) data were collected during the first, while participants continuously subjectively rated the stimuli during the second presentation. Frontal asymmetry (FA) indices from frontal and temporal sites were calculated, and peak periods of bias toward the left (indicating a shift toward positive affect) were identified across the sample. The music pieces were also examined to define the temporal onset of key musical features. Subjective reports of emotional experience averaged across the condition confirmed participants rated their music selection as very positive, the scrambled music as negative, and the neutral music and silence as neither positive nor negative. Significant effects in FA were observed in the frontal electrode pair FC3-FC4, and the greatest increase in left bias from baseline was observed in response to pleasurable music. These results are consistent with findings from previous research. Peak FA responses at this site were also found to co-occur with key musical events relating to change, for instance, the introduction of a new motif, or an instrument change, or a change in low level acoustic factors such as pitch, dynamics or texture. These findings provide empirical support for the proposal that change in basic musical features is a fundamental trigger of emotional responses in listeners.

Neurobiology of emotions: an update

The 'nature' of emotions is one of the archaic themes of Western thought, thematized in different cultural manifestations - such as art, science, philosophy, myths and religion -, since Ancient times. In the last decades, the advances in neurosciences have permitted the construction of hypotheses that explain emotions, especially through the studies involving the limbic system. To present an updated discussion about the neurobiology of processes relating to emotions - focusing (1) on the main neural structures that relate to emotions, (2) the paths and circuits of greater relevance, (3) the implicated neurotransmitters, (4) the connections that possess neurovegetative control and (5) the discussion about the main emotions - is the objective of this present article.

Global Sensory Qualities and Aesthetic Experience in Music

A well-known tradition in the study of visual aesthetics holds that the experience of visual beauty is grounded in global computational or statistical properties of the stimulus, for example, scale-invariant Fourier spectrum or self-similarity. Some approaches rely on neural mechanisms, such as efficient computation, processing fluency, or the responsiveness of the cells in the primary visual cortex. These proposals are united by the fact that the contributing factors are hypothesized to be global (i.e., they concern the percept as a whole), formal or non-conceptual (i.e., they concern form instead of content), computational and/or statistical, and based on relatively low-level sensory properties. Here we consider that the study of aesthetic responses to music could benefit from the same approach. Thus, along with local features such as pitch, tuning, consonance/dissonance, harmony, timbre, or beat, also global sonic properties could be viewed as contributing toward creating an aesthetic musical experience. Several such properties are discussed and their neural implementation is reviewed in the light of recent advances in neuroaesthetics.

Connectivity patterns during music listening: Evidence for action-based processing in musicians

Musical expertise is visible both in the morphology and functionality of the brain. Recent research indicates that functional integration between multi-sensory, somato-motor, default-mode (DMN), and salience (SN) networks of the brain differentiates musicians from non-musicians during resting state. Here, we aimed at determining whether brain networks differentially exchange information in musicians as opposed to non-musicians during naturalistic music listening. Whole-brain graph-theory analyses were performed on participants' fMRI responses. Group-level differences revealed that musicians' primary hubs comprised cerebral and cerebellar sensorimotor regions whereas non-musicians' dominant hubs encompassed DMN-related regions. Community structure analyses of the key hubs revealed greater integration of motor and somatosensory homunculi representing the upper limbs and torso in musicians. Furthermore, musicians who started training at an earlier age exhibited greater centrality in the auditory cortex, and areas related to top-down processes, attention, emotion, somatosensory processing, and non-verbal processing of speech. We here reveal how brain networks organize themselves in a naturalistic music listening situation wherein musicians automatically engage neural networks that are action-based while non-musicians use those that are perception-based to process an incoming auditory stream. Hum Brain Mapp 38:2955-2970, 2017. © 2017 Wiley Periodicals, Inc.