Subjective time perception in musical imagery: An fMRI study on musicians

The cognitive preparation of an operation without overt motor execution is referred to as imagery (of any kind). Over the last two decades of progress in brain timing studies, the timing of imagery has received little focus. This study compared the time perception of ten professional violinists' actual and imagery performances to see if such an analysis could offer a different model of timing in musicians' imagery skills. When comparing the timing profiles of the musicians between the two situations (actual and imagery), we found a significant correlation in overestimation of time in the imagery. In our fMRI analysis, we found high activation in the left cerebellum. This finding seems consistent with dedicated models of timing such as the cerebellar timing hypothesis, which assigns a "specialized clock" for tasks. In addition, the present findings might provide empirical data concerning imagery, creativity, and time. Maintaining imagery over time is one of the foundations of creativity, and understanding the underlying temporal neuronal mechanism might help us to apprehend the machinery of creativity per se.

The Music of Silence: Part I: Responses to Musical Imagery Encode Melodic Expectations and Acoustics

Musical imagery is the voluntary internal hearing of music in the mind without the need for physical action or external stimulation. Numerous studies have already revealed brain areas activated during imagery. However, it remains unclear to what extent imagined music responses preserve the detailed temporal dynamics of the acoustic stimulus envelope and, crucially, whether melodic expectations play any role in modulating responses to imagined music, as they prominently do during listening. These modulations are important as they reflect aspects of the human musical experience, such as its acquisition, engagement, and enjoyment. This study explored the nature of these modulations in imagined music based on EEG recordings from 21 professional musicians (6 females and 15 males). Regression analyses were conducted to demonstrate that imagined neural signals can be predicted accurately, similarly to the listening task, and were sufficiently robust to allow for accurate identification of the imagined musical piece from the EEG. In doing so, our results indicate that imagery and listening tasks elicited an overlapping but distinctive topography of neural responses to sound acoustics, which is in line with previous fMRI literature. Melodic expectation, however, evoked very similar frontal spatial activation in both conditions, suggesting that they are supported by the same underlying mechanisms. Finally, neural responses induced by imagery exhibited a specific transformation from the listening condition, which primarily included a relative delay and a polarity inversion of the response. This transformation demonstrates the top-down predictive nature of the expectation mechanisms arising during both listening and imagery.SIGNIFICANCE STATEMENT It is well known that the human brain is activated during musical imagery: the act of voluntarily hearing music in our mind without external stimulation. It is unclear, however, what the temporal dynamics of this activation are, as well as what musical features are precisely encoded in the neural signals. This study uses an experimental paradigm with high temporal precision to record and analyze the cortical activity during musical imagery. This study reveals that neural signals encode music acoustics and melodic expectations during both listening and imagery. Crucially, it is also found that a simple mapping based on a time-shift and a polarity inversion could robustly describe the relationship between listening and imagery signals.

Mental Control in Musical Imagery: A Dual Component Model

Hearing music in your head is a ubiquitous experience, but the role mental control plays in these experiences has not been deeply addressed. In this conceptual analysis, a dual-component model of mental control in musical imagery experiences is developed and discussed. The first component, initiation, refers to whether the musical imagery experience began voluntarily or involuntarily. The second component, management, refers to instances of control that occur after the experience has begun (e.g., changing the song, stopping the experience). Given the complex nature of this inner experience, we propose a new model combining and integrating four literatures: lab-based auditory imagery research using musical stimuli; involuntary musical imagery; mental rehearsal and composition in musicians; and in vivo studies of musical imagery in everyday environments. These literatures support the contention that mental control of musical imagery is multi-faceted. Future research should investigate these two components of mental control and better integrate the diverse literatures on musical imagery.