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key brain areas involved in cognitive neuroscience of music - Coggle…
key brain areas involved in cognitive neuroscience of music
pitch
Norman Haignere et al (2015)
unique components contribute to speech and music perception in the human auditory cortex
component 6 - preference for music, not just for sounds with pitch, and for intact over scrambled music
some amount of spatial overlap between speech and music components
Norman-Haignere et al (2019)
tonotopic frequency coding in superior temporal gyrus in humans and macaques
only humans had brain areas that responded preferentially to stimuli that elicited a pitch/tone
Pando-Naude et al (2021)
music perception and production rely on auditory cortices and sensorimotor cortices
music imagery relies more on parietal regions
involvement of primary (Heschl's gyrus) and non-primary (Wernicke's area) auditory areas
overlap between music and language processing
Peretz (2016)
congenital amusia - reduced connectivity between auditory cortex and inferior frontal gyrus in right hemisphere
rhythm
Cannon and Patel (2021)
action simulation for auditory prediction hypothesis
SMA and basal ganglia have a role in beat maintenance
Grahn and Rowe (2013)
higher basal ganglia activity for stimuli that elicited a beat percept
higher activity when beat remains same, in beat continuation condition - role in beat prediction rather than beat finding
Kotz et al (2018)
basal ganglia, dorsolateral prefrontal cortex, SMA, inferior parietal cortex and cerebellum active for rhythm processing
Doelling and Poeppel (2015)
Tierney et al (2013)
greater integration of motor and auditory processing to perceive rhythm
no difference in primary auditory activation for music and speech
Kung et al (2013)
basal ganglia activity associated with having a stronger beat percept
beat finding and beat tapping both recruit STG, premotor cortex and VLPRC
music performance
Kleber et al (2010)
effect of expertise - increased activity in primary sensory cortex related to facial movements, basal ganglia and other motor areas
overlap - auditory cortex, somatosensory cortex, motor cortex, cerebellum
Segado et al (2021)
SMA, dPMC, SMG and IPS activity are correlated with better performance and better ability for audiomotor compensation
Haslinger et al (2004)
greater representation in motor cortex of fingers of the left hand in violinists
effects of musical expertise/training
Criscuolo et al (2022)
somatosensory area (postcentral gyrus) enlarged in musicians
non-primary auditory cortex (superior temporal gyrus) enlarged in musicians
motor area (precentral gyrus) decreased in musicians
Hyde et al (2009)
higher voxel size in right precentral gyrus and corpus callosum
Habibi et al (2018)
more white matter in corpus callosum corresponding to sensory, motor and superior frontal gyrus areas
Zuk et al (2023)
enhanced grey matter volume and cortical thickness in primary auditory cortex, more white matter in corpus callosum in those with music training
pre-disposed differences found in infancy
also accounted for differences in language abilities
Zatorre et al (2007)
importance of interactions between auditory and motor regions, enhanced in those with musical training
certain brain regions e.g. vPMC, Broca's area and M1 are more active when listening to a piece you have been trained to play than a piece you haven't
music + reward
Salimpoor et al (2011, 2013)
caudate involved in emotional responses to music
endogenous dopamine release at peak emotional arousal during music listening
Martinez-Molina et al (2016)
decreased functional connectivity between right auditory cortex in ventral striatum in those with musical anhedonia
Belfi and Loui (2019)
activity in NAc associated with peak pleasure in music
activity in caudate associated with anticipation of 'chills'
Individual differences in musical reward are related to connectivity between auditory and reward regions - structural and functional
Mas-Hererro et al (2018), Ferreri et al (2019)
manipulating dopamine activity in frontostriatal pathways modulates music reward sensitivity
modulating levels of dopamine using L-DOPA modulates music reward sensitivity
music + language
Pando-Naude et al (2021)
overlap between auditory areas activated for language and music
involvement of primary (Heschl's gyrus) and non-primary (Wernicke's area) auditory areas
Bidelman et al (2011)
brainstem representations of pitch are enhanced in musicians and tone language speakers
tone language processing is more bottom-up, music processing is more top-down
Parbery-Clark et al (2009)
musicians can more faithfully represent original stimulus in a speech in noise
Intartaglia et al (2017)
native speakers and non-native speaker musicians have more accurate FFR for F1 vowel sounds
Strait et al (2009)
musicians perceive emotion in speech better than non-musicians
enhanced brainstem potentials in musicians - enhanced phase-locking and time-domain response magnitude
role of subcortical auditory processing in processing emotional cues
Tierney et al (2013)
no difference in primary auditory activation for music and speech
greater integration of motor and auditory processing to perceive rhythm
brain regions suggested to be specific to language processing are also active for music e.g. Broca's area more active listening to music you have been trained to perform, Wernicke's area active during music performance