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A list of poster papers presented at a conference of the New York Academy of Sciences is presented, which includes one on metrical accenting in physically identical tones, one on the dynamic modulation of cortical beta and gama-band activity in response to musical pulse and one on synchronization of sound and motion in piano duet performances.

Music, thanks to its strong evocative power, is considered a powerful mnemonic tool for both normal and clinical populations. However, the mechanisms underpinning the music‐driven benefits on memory remain unclear. In memory research, reward dopaminergic signals have been highlighted as a major modulator of memory traces consolidation. Over the last years, via behavioral and pharmacological approaches, we have investigated the hypothesis that dopaminergic‐dependent musical pleasure is a crucial mechanism underpinning music‐driven memory benefits. Our results show that the pleasure felt during music listening, modulated by both the dopaminergic transmission and participants' sensitivity to music reward, can increase episodic memory performance for the music itself as well as for nonmusical‐associated information. In this commentary paper, we aim to review the main findings obtained from three different studies, in order to discuss current advances and future directions in this research area. [ABSTRACT FROM AUTHOR]

This paper describes principles underlying the evocation of emotion with music: evaluation, resonance, memory, expectancy/tension, imagination, understanding, and social functions. Each of these principles includes several subprinciples, and the framework on music-evoked emotions emerging from these principles and subprinciples is supposed to provide a starting point for a systematic, coherent, and comprehensive theory on music-evoked emotions that considers both reception and production of music, as well as the relevance of emotion-evoking principles for music therapy. [ABSTRACT FROM AUTHOR]

This paper reviews the mounting evidence for shared cognitive mechanisms and neural resources for rhythm and grammar. Evidence for a role of rhythm skills in language development and language comprehension is reviewed here in three lines of research: (1) behavioral and brain data from adults and children, showing that prosody and other aspects of timing of sentences influence online morpho-syntactic processing; (2) comorbidity of impaired rhythm with grammatical deficits in children with language impairment; and (3) our recent work showing a strong positive association between rhythm perception skills and expressive grammatical skills in young school-age children with typical development. Our preliminary follow-up study presented here revealed that musical rhythm perception predicted variance in 6-year-old children's production of complex syntax, as well as online reorganization of grammatical information (transformation); these data provide an additional perspective on the hierarchical relations potentially shared by rhythm and grammar. A theoretical framework for shared cognitive resources for the role of rhythm in perceiving and learning grammatical structure is elaborated on in light of potential implications for using rhythm-emphasized musical training to improve language skills in children. [ABSTRACT FROM AUTHOR]

In humans and other animals, the locomotor and respiratory systems are coupled together through mechanical, neurophysiological, and informational interactions. At a macroscopic observer-environment level, these three types of interactions produce locomotor-respiratory coupling (LRC), whose dynamics are evaluated in this paper. A formal analysis of LRC is presented, exploiting tools from synchronization theories and nonlinear dynamics. The results of two recent studies, in which participants were instructed to cycle or exhale at a natural frequency or in synchrony with an external rhythmic sound, are discussed. The metronome was either absent or present (study 1) and close to or far from the natural frequency of the cycling and breathing systems (study 2). The results evidenced a stabilization of cycling, breathing, and LRC when sound was present compared to when it was absent. A decrease in oxygen consumption was also observed, accompanying the increase in sound-induced LRC stabilization. These results obtained with a simple rhythmic metronome beat have consequences for exercising while listening to music; the consequences are further explored here. [ABSTRACT FROM AUTHOR]

This paper brings together different perspectives on the investigation and understanding of temporal processing and temporal expectations. We aim to bridge different temporal deficit hypotheses in dyslexia, dysphasia, or deafness in a larger framework, taking into account multiple nested temporal scales. We present data testing the hypothesis that temporal attention can be influenced by external rhythmic auditory stimulation (i.e., musical rhythm) and benefits subsequent language processing, including syntax processing and speech production. We also present data testing the hypothesis that phonological awareness can be influenced by several months of musical training and, more particularly, rhythmic training, which in turn improves reading skills. Together, our data support the hypothesis of a causal role of rhythm-based processing for language processing and acquisition. These results open new avenues for music-based remediation of language and hearing impairment. [ABSTRACT FROM AUTHOR]

Precise control of movement timing plays a key role in musical performance. This motor skill requires coordination across multiple joints and muscles, which is acquired through extensive musical training from childhood. However, extensive training has a potential risk of causing neurological disorders that impair fine motor control, such as task-specific tremor and focal dystonia. Recent technological advances in measurement and analysis of biological data, as well as noninvasive manipulation of neuronal activities, have promoted the understanding of computational and neurophysiological mechanisms underlying acquisition, loss, and reacquisition of dexterous movements through musical practice and rehabilitation. This paper aims to provide an overview of the behavioral and neurophysiological basis of motor virtuosity and disorder in musicians, representative extremes of human motor skill. We also report novel evidence of effects of noninvasive neurorehabilitation that combined transcranial direct-current stimulation and motor rehabilitation over multiple days on musician's dystonia, which offers a promising therapeutic means. [ABSTRACT FROM AUTHOR]

This paper outlines the principal behavioral methods used to study music processing in infancy. The advantages of conditioning procedures are offset by high attrition rates and restrictions on the stimuli that can be used. The head-turn preference procedure is more user-friendly but poses greater interpretive challenges. In view of the multidimensional nature of infant attention, no single response measure, whether behavioral, physiological, or neural, can provide unambiguous information about music processing in infancy. Greater use of ecologically valid stimuli is likely to generate increased cooperation from infants and greater generality of the findings. [ABSTRACT FROM AUTHOR]

Auditory imagery can represent many aspects of music, such as the starting pitches of a tune or the instrument that typically plays it. In this paper, I concentrate on more dynamic, or time-sensitive aspects of musical imagery, as demonstrated in two recently published studies. The first was a behavioral study that examined the ability to make emotional judgments about both heard and imagined music in real time. The second was a neuroimaging study on the neural correlates of anticipating an upcoming tune, after hearing a cue tune. That study found activation of several sequence-learning brain areas, some of which varied with the vividness of the anticipated musical memory. Both studies speak to the ways in which musical imagery allows us to judge temporally changing aspects of the represented musical experience. These judgments can be quite precise, despite the complexity of generating the rich internal representations of imagery. [ABSTRACT FROM AUTHOR]

This paper reports a preliminary study based on the theoretical assumption that continuous closed-loop audio-motor control could be disadvantageous for pianists. It is argued that the functional relationship between the intracerebral electrical activations in the auditory and premotor cortex should be rhythmically decreased and increased. To test this hypothesis, intracerebral electrical activations for the auditory and premotor cortex were estimated using scalp EEG and standardized low-resolution electrical tomography (sLORETA). The extracted times series were subjected to a Granger causality analysis, revealing a causal relationship from the auditory cortex to the premotor cortex that was considerably stronger during piano playing and weaker during rest. Importantly, this relationship varied rhythmically during the course of piano playing, with lags (obtained with cross-correlations) between 666 ms and 820 milliseconds. This study thus delivers evidence that the functional coupling between the auditory and premotor cortex varies during piano playing. [ABSTRACT FROM AUTHOR]

In various paradigms of modern neurosciences of music, experts of Western classical music have displayed superior brain architecture when compared with individuals without explicit training in music. In this paper, we show that chord violations embedded in musical cadences were neurally processed in a facilitated manner also by musicians trained in Finnish folk music. This result, obtained by using early right anterior negativity (ERAN) as an index of harmony processing, suggests that tonal processing is advanced in folk musicians by their long-term exposure to both Western and non-Western music. [ABSTRACT FROM AUTHOR]

Although psychologists since Hermann Ebbinghaus have studied memory, research in this area has focused on visual and verbal stimuli with little attention paid to music. This bias is surprising because of the ubiquity of music in human cultures across history as well as current cultural beliefs that memory for music is “special.” This paper examines the question of whether memory for music is special by addressing two related questions: First, do cultural beliefs about the mnemonic power of music stand up to empirical test? Second, can theories designed to explain memory for non-musical stimuli be applied to musical stimuli? A review of the literature suggests that music is special in some circumstances but not others and that some theories designed to explain cognitive processing of linguistic stimuli apply reasonably well to musical stimuli. Thus, although the question of whether memory for music is special remains open, the unique structure of musical stimuli strongly suggests that memory for music is indeed special. [ABSTRACT FROM AUTHOR]

The contributions of local and global features to object identification depend upon the context. For example, while local features play an essential role in identification of words and objects, the global features are more influential in face recognition. In order to evaluate the respective strengths of local and global features for face recognition, researchers usually ask participants to recognize human faces (famous or learned) in normal and scrambled pictures. In this paper, we address a similar issue in music. We present the results of an experiment in which musically untrained participants were asked to differentiate famous from unknown musical excerpts that were presented in normal or scrambled ways. Manipulating the size of the temporal window on which the scrambling procedure was applied allowed us to evaluate the minimal length of time necessary for participants to make a familiarity judgment. Quite surprisingly, the minimum duration for differentiation of famous from unknown pieces is extremely short. This finding highlights the contribution of very local features to music memory. [ABSTRACT FROM AUTHOR]

Research and outcomes with cochlear implants (CIs) have revealed a dichotomy in the cues necessary for speech and music recognition. CI devices typically transmit 16–22 spectral channels, each modulated slowly in time. This coarse representation provides enough information to support speech understanding in quiet and rhythmic perception in music, but not enough to support speech understanding in noise or melody recognition. Melody recognition requires some capacity for complex pitch perception, which in turn depends strongly on access to spectral fine structure cues. Thus, temporal envelope cues are adequate for speech perception under optimal listening conditions, while spectral fine structure cues are needed for music perception. In this paper, we present recent experiments that directly measure CI users’ melodic pitch perception using a melodic contour identification (MCI) task. While normal-hearing (NH) listeners’ performance was consistently high across experiments, MCI performance was highly variable across CI users. CI users’ MCI performance was significantly affected by instrument timbre, as well as by the presence of a competing instrument. In general, CI users had great difficulty extracting melodic pitch from complex stimuli. However, musically experienced CI users often performed as well as NH listeners, and MCI training in less-experienced subjects greatly improved performance. With fixed constraints on spectral resolution, such as occurs with hearing loss or an auditory prosthesis, training and experience can provide considerable improvements in music perception and appreciation. [ABSTRACT FROM AUTHOR]

The recent discovery of spontaneous synchronization to music in a nonhuman animal (the sulphur-crested cockatoo Cacatua galerita eleonora) raises several questions. How does this behavior differ from nonmusical synchronization abilities in other species, such as synchronized frog calls or firefly flashes? What significance does the behavior have for debates over the evolution of human music? What kinds of animals can synchronize to musical rhythms, and what are the key methodological issues for research in this area? This paper addresses these questions and proposes some refinements to the “vocal learning and rhythmic synchronization hypothesis.” [ABSTRACT FROM AUTHOR]

The article presents an introduction to the Part VII of the journal. The theme in this section is the possible neural organization in music, language and motor programming. In humans communication of information, ideas and emotional states involves complex arrangements of motor movements and this is what papers in this section cater to. Amongst many, one paper reviews the role of the Broca's region of the brain in music, language and action.