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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]

The spatial abilities of a large sample of 10 and 11 year olds were tested after they listened to contemporary pop music, music composed by Mozart, or a discussion about the present experiment. After being assigned at random to one of the three listening experiences, each child completed two tests of spatial abilities. Performance on one of the tests (square completion) did not differ as a function of the listening experience, but performance on the other test (paper folding) was superior for children who listened to popular music compared to the other two groups. These findings are consistent with the view that positive benefits of music listening on cognitive abilities are most likely to be evident when the music is enjoyed by the listener. [ABSTRACT FROM AUTHOR]

The article discusses several papers which adopts different approaches regarding the issue of music in evolution and its relationship to behaviors of species other than humans. In one of the paper researchers explored continuities in musical perception between humans and nonhuman species by investigating whether tamarins are sensitive to a distinction between dissonant and consonant sounds. Another researcher said that while language possesses semanticity, music does not.

Empirical data have recently begun to inform debates on the evolutionary origins of music. In this paper we discuss some of our recent findings and related theoretical issues. We claim that theories of the origins of music will be usefully constrained if we can determine which aspects of music perception are innate, and, of those, which are uniquely human and specific to music. Comparative research in nonhuman animals, particularly nonhuman primates, is thus critical to the debate. In this paper we focus on the preferences that characterize most humans' experience of music, testing whether similar preferences exist in nonhuman primates. Our research suggests that many rudimentary acoustic preferences, such as those for consonant over dissonant intervals, may be unique to humans. If these preferences prove to be innate in humans, they may be candidates for music-specific adaptations. To establish whether such preferences are innate in humans, one important avenue for future research will be the collection of data from different cultures. This may be facilitated by studies conducted over the internet. [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]

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.

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]

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]

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]

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]

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 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]

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]

Studies conducted in rodents indicate a crucial role of the opioid circuit in mediating objective hedonic reactions to primary rewards. However, it remains unclear whether opioid transmission is also essential to experience pleasure with more abstract rewards, such as music. We addressed this question using a double‐blind within‐subject pharmacological design in which opioid levels were up‐ and downregulated by administering an opioid agonist (oxycodone) and antagonist (naltrexone), respectively, before healthy participants (n = 21) listened to music. Participants also performed a monetary incentive delay (MID) task to control for the effectiveness of the treatment and the specificity of the effects. Our results revealed that the pharmacological intervention did not modulate subjective reports of pleasure, nor the occurrence of chills. On the contrary, psychophysiological (objective) measures of emotional arousal, such as skin conductance responses (SCRs), were bidirectionally modulated in both the music and MID tasks. This modulation specifically occurred during reward consumption, with greater pleasure‐related SCR following oxycodone than naltrexone. These findings indicate that opioid transmission does not modulate subjective evaluations but rather affects objective reward‐related psychophysiological responses. These findings raise new caveats about the role of the opioidergic system in the modulation of pleasure for more abstract or cognitive forms of rewarding experiences, such as music. [ABSTRACT FROM AUTHOR]

The COVID‐19 pandemic has deeply affected the mental health of millions of people. We assessed which of many leisure activities correlated with positive mental health outputs, with particular attention to music, which has been reported to be important for coping with the psychological burden of the pandemic. Questionnaire data from about 1000 individuals primarily from Italy, Spain, and the United States during May–June 2020 show that people picked music activities (listening to, playing, singing, etc.) most often as the leisure experiences that helped them the most to cope with psychological distress related with the pandemic. During the pandemic, hours of engagement in music and food‐related activities were associated with lower depressive symptoms. The negative correlation between music and depression was mediated by individual differences in sensitivity to reward, whereas the correlation between food‐related activities and improved mental health outputs was explained by differences in emotion suppression strategies. Our results, while correlational, suggest that engaging in music activities could be related to improved well‐being with the underlying mechanism being related to reward, consistent with neuroscience findings. Our data have practical significance in pointing to effective strategies to cope with mental health issues beyond those related to the COVID‐19 pandemic. [ABSTRACT FROM AUTHOR]

Empirical research of community‐based music interventions has advanced to investigate the individual, social, and educational implications of arts‐for‐wellbeing practices. Here, we present the motivations, aims, hypotheses, and implications of this complex field of inquiry. We describe examples of recent large‐scale investigations to reflect on the major methodological challenges. Community‐based music interventions strike a balance between the empirical rigor of clinical trials and the demands of ecological validity. We argue that this balance should be viewed as an asset rather than a mere pragmatic compromise. We also offer some perspectives on best‐practice models for effectively engaging in this type of work. [ABSTRACT FROM AUTHOR]

Music training programs have shown mixed results on children's executive functions. The purpose of the present study was to evaluate the impact of a 10‐week multimodal music program with vocal development, bimanual coordination, and musical improvisation, on children's executive functions. We hypothesized that a 10‐week music program would enhance executive functions in working memory in 4‐ to 6‐year‐old children. Eighty‐four children were randomly assigned to a multimodal music program, an active control Lego program, or no treatment control condition (i.e., randomized controlled design). All children completed measures of music aptitude, music achievement, and executive functions (i.e., EF Touch) pre‐ and post‐training. Results revealed enhanced pitch accuracy and working memory for children in the music training group as compared to the other conditions. Children in the Lego condition demonstrated significant enhancements of spatial working memory. Tonal music aptitude significantly predicted performance on measures of working memory. Contributions to the literature include the randomized controlled design, group multimodal music program appropriate for 4‐ to 6‐year‐old children, and the use of executive function measures sensitive to individual differences. [ABSTRACT FROM AUTHOR]

Hearing abilities decline with age, and one of the most commonly reported hearing issues in older adults is a difficulty understanding speech when there is loud background noise. Understanding speech in noise relies on numerous cognitive processes, including working memory, and is supported by numerous brain regions, including the motor and motor planning systems. Indeed, many working memory processes are supported by motor and premotor cortical regions. Interestingly, lifelong musicians and nonmusicians given music training over the course of weeks or months show an improved ability to understand speech when there is loud background noise. These benefits are associated with enhanced working memory abilities, and enhanced activity in motor and premotor cortical regions. Accordingly, it is likely that music training improves the coupling between the auditory and motor systems and promotes plasticity in these regions and regions that feed into auditory/motor areas. This leads to an enhanced ability to dynamically process incoming acoustic information, and is likely the reason that musicians and those who receive laboratory‐based music training are better able to understand speech when there is background noise. Critically, these findings suggest that music‐based forms of auditory rehabilitation are possible and should focus on tasks that promote auditory–motor interactions. [ABSTRACT FROM AUTHOR]

Interindividual differences in music‐related reward have been characterized as involving five main facets: musical seeking, emotion evocation, mood regulation, social reward, and sensory‐motor. An interesting concept related to how humans decode music as a rewarding experience is music transcendence or absorption (i.e., music‐driven states of complete immersion, including momentary loss of self‐consciousness or even time‐space disorientation). Here, we investigated the relation between previously characterized facets of music reward and individual differences in music absorption. A first sample of participants (N = 370) completed both the Barcelona Music Reward Questionnaire (BMRQ) and the Absorption in Music Scale (AIMS). Results showed that both constructs were highly interrelated (r = 0.78, p < 0.001), indicating that higher music reward sensitivity is associated with a greater tendency to music‐related absorption states. In addition, four items from the AIMS were identified as suitable to be added to an extended version of the BMRQ (eBMRQ). A second sample (N = 550) completed the eBMRQ for a validation study. Exploratory and confirmatory factor analyses on the whole sample (N = 920) showed the reliable psychometric properties of the eBMRQ and suggested that taking into account an absorption facet could contribute to a better characterization of individual differences in the sensitivity to experience music‐related reward and pleasure. [ABSTRACT FROM AUTHOR]

The conference entitled ``The Neurosciences and Music-IV: Learning and Memory'' was held at the University of Edinburgh from June 9-12, 2011, jointly hosted by the Mariani Foundation and the Institute for Music in Human and Social Development, and involving nearly 500 international delegates. Two opening workshops, three large and vibrant poster sessions, and nine invited symposia introduced a diverse range of recent research findings and discussed current research directions. Here, the proceedings are introduced by the workshop and symposia leaders on topics including working with children, rhythm perception, language processing, cultural learning, memory, musical imagery, neural plasticity, stroke rehabilitation, autism, and amusia. The rich diversity of the interdisciplinary research presented suggests that the future of music neuroscience looks both exciting and promising, and that important implications for music rehabilitation and therapy are being discovered. [ABSTRACT FROM AUTHOR]

Music listening provides one of the most significant abstract rewards for humans because hearing music activates the dopaminergic mesolimbic system. Given the strong link between reward, dopamine, and memory, we aimed here to investigate the hypothesis that dopamine‐dependent musical reward can drive memory improvements. Twenty‐nine healthy participants of both sexes provided reward ratings of unfamiliar musical excerpts that had to be remembered following a consolidation period under three separate conditions: after the ingestion of a dopaminergic antagonist, a dopaminergic precursor, or a placebo. Linear mixed modeling of the intervention data showed that the effect of reward on memory—i.e., the greater the reward experienced while listening to the musical excerpts, the better the memory recollection performance—was modulated by both dopaminergic signaling and individual differences in reward processing. Greater pleasure was consistently associated with better memory outcomes in participants with high sensitivity to musical reward, but this effect was lost when dopaminergic signaling was disrupted in participants with average or low musical hedonia. Our work highlights the flexibility of the human dopaminergic system, which can enhance memory formation not only through explicit and/or primary reinforcers but also via abstract and aesthetic rewards such as music. [ABSTRACT FROM AUTHOR]

The majority of research in the field of music perception has been conducted with Western participants, and it has remained unclear which aspects of music perception are culture dependent, and which are universal. The current study compared how participants unfamiliar with Western music (people from the Khowar and Kalash tribes native to Northwest Pakistan with minimal exposure to Western music) perceive affect (positive versus negative) in musical chords compared with United Kingdom (UK) listeners, as well as the overall preference for these chords. The stimuli consisted of four distinct chord types (major, minor, augmented, and chromatic) and were played as both vertical blocks (pitches presented concurrently) and arpeggios (pitches presented successively). The results suggest that the Western listener major‐positive minor‐negative affective distinction is opposite for Northwest Pakistani listeners, arguably because of the reversed prevalence of these chords in the two music cultures. The aversion to the harsh dissonance of the chromatic cluster is present cross‐culturally, but the preference for the consonance of the major triad varies between UK and Northwest Pakistani listeners, depending on cultural familiarity. Our findings imply not only notable cultural variation but also commonalities in chord perception across Western and non‐Western listeners. [ABSTRACT FROM AUTHOR]

Awe and wonder appear to be powerful emotions that can inform and shape our attitudes toward ourselves and others, especially in relation to the larger meaning and purpose of our lives. What are the psychological underpinnings of these universal emotions? How does awe, for example, relate to self‐knowledge, and more generally to understanding the enigmatic contradictions of human nature? Is it possible to cultivate and develop this emotion as an ethical incentive in our relationships with others? Are awe and wonder capable of awakening and engendering moral transformation? Does the emotion of awe lie at the root of the religious impulse in humans? and Is there any room left for a sense of the miraculous in today's increasingly scientific and secular world? Professor of religious studies Lisa Sideris joins psychologists Jennifer Stellar and Piercarlo Valdesolo to explore how awe shapes our perspectives and views on everything from science to morality. [ABSTRACT FROM AUTHOR]

Music frequently elicits intense emotional responses, a phenomenon that has been scrutinized from multiple disciplines that span the sciences and arts. While most people enjoy music and find it rewarding, there is substantial individual variability in the experience and degree of music‐induced reward. Here, we review current work on the neural substrates of hedonic responses to music. In particular, we focus the present review on specific musical anhedonia, a selective lack of pleasure from music. Based on evidence from neuroimaging, neuropsychology, and brain stimulation studies, we derive a neuroanatomical model of the experience of pleasure during music listening. Our model posits that hedonic responses to music are the result of connectivity between structures involved in auditory perception as a predictive process, and those involved in the brain's dopaminergic reward system. We conclude with open questions and implications of this model for future research on why humans appreciate music. [ABSTRACT FROM AUTHOR]

Speech timing deficits have been proposed as a causal factor in the disorder of stuttering. The question of whether individuals who stutter have deficits in nonspeech timing is one that has been revisited often, with conflicting results. Here, we uncover subtle differences in a manual metronome synchronization task that included tempo changes with adults who stutter and fluent speakers. We used sensitive circular statistics to examine both asynchrony and consistency in motor production. While both groups displayed a classic negative mean asynchrony (tapping before the beat), individuals who stutter anticipated the beat even more than their fluent peers, and their consistency was particularly affected at slow tempi. Surprisingly, individuals who stutter did not have problems with interval correction at tempo changes. We also examined the influence of music experience on synchronization behavior in both groups. While music perception and training were related to synchronization behavior in fluent participants, these correlations were not present for the stuttering group; however, one measure of stuttering severity (self‐rated severity) was negatively correlated with music training. Overall, we found subtle differences in paced auditory−motor synchronization in individuals who stutter, consistent with a timing problem extending to nonspeech. [ABSTRACT FROM AUTHOR]

Evidence for using auditory–motor coupling in neurological rehabilitation to facilitate walking is increasing. However, the distinction between spontaneous and intended coupling and its underlying mechanisms is yet to be investigated. In this study, we include 30 persons with multiple sclerosis and 30 healthy controls (HCs) in an experiment with two sessions in which participants were asked to walk to music with various tempi, matching their preferred walking cadence (PWC) up to 10% above in incremental steps of 2%. In the first session, no instructions were given to synchronize. In the second, participants were instructed to synchronize steps to the beats. Spontaneous synchronization was possible at 0% and +2% of the PWC, and fewer persons with multiple sclerosis were able to do so compared with HCs. Instruction was needed to synchronize at above +2% tempo in all participants. In the instructed session, the +6% condition marked a cutoff for cognitively impaired persons, as they were no longer able to synchronize. Based on our findings, we constructed a model illustrating that spontaneous entrainment is limited, operating during spontaneous coupling at only 0% and +2% of the PWC, and that at a higher tempo, entrainment requires intentional synchronization, with an active cognitive control mechanism. [ABSTRACT FROM AUTHOR]

Abstract: Rhythmic incongruity in the form of syncopation is a prominent feature of many contemporary musical styles. Syncopations afford incongruity between rhythmic patterns and the meter, giving rise to mental models of differently accented isochronous beats. Syncopations occur either in isolation or as part of rhythmic patterns, so‐called grooves. On the basis of the predictive coding framework, we discuss how brain processing of rhythm can be seen as a special case of predictive coding. We present a simple, yet powerful model for how the brain processes rhythmic incongruity: the model for predictive coding of rhythmic incongruity. Our model proposes that a given rhythm's syncopation and its metrical uncertainty (precision) is at the heart of how the brain models rhythm and meter based on priors, predictions, and prediction error. Our minimal model can explain prominent features of brain processing of syncopation: why isolated syncopations lead to stronger prediction error in the brains of musicians, as evidenced by larger event‐related potentials to rhythmic incongruity, and why we all experience a stronger urge to move to grooves with a medium level of syncopation compared with low and high levels of syncopation. [ABSTRACT FROM AUTHOR]

Abstract: We investigated whether dancing influences the emotional response to music, compared to when music is listened to in the absence of movement. Forty participants without previous dance training listened to “groovy” and “nongroovy” music excerpts while either dancing or refraining from movement. Participants were also tested while imitating their own dance movements, but in the absence of music as a control condition. Emotion ratings and ratings of flow were collected following each condition. Dance movements were recorded using motion capture. We found that the state of flow was increased specifically during spontaneous dance to groovy excerpts, compared with both still listening and motor imitation. Emotions in the realms of vitality (such as joy and power) and sublimity (such as wonder and nostalgia) were evoked by music in general, whether participants moved or not. Significant correlations were found between the emotional and flow responses to music and whole‐body acceleration profiles. Thus, the results highlight a distinct state of flow when dancing, which may be of use to promote well‐being and to address certain clinical conditions. [ABSTRACT FROM AUTHOR]

Abstract: As the volume of studies testing the benefits of active music‐making interventions increases exponentially, it is important to document what exactly is happening during music treatment sessions in order to provide evidence for the mechanisms through which music training affects other domains. Thus, to complement systematic and rigorous attention to outcomes of the treatment, we outline four vital components of treatment fidelity and discuss their implementation in nonmusic‐ and music‐based interventions. We then describe the design of Music Impacting Language Expertise (MILEStone), a new intervention that aims to improve grammar skills in children with specific language impairment by increasing sensitivity to rhythmic structure, which may enhance general temporal processing and sensitivity to syntactic structure. We describe the approach to addressing treatment fidelity in MILEStone adapted from intervention research from other fields, including a behavioral coding system to track instructional episodes and child participation, a treatment manual, activity checklists, provider training and monitoring, a home practice log, and teacher ratings of participant engagement. This approach takes an important first step in modeling a formalized procedure for assessing treatment fidelity in active music‐making intervention research, as a means of increasing methodological rigor in support of evidence‐based practice in clinical and educational settings. [ABSTRACT FROM AUTHOR]

Abstract: In recent years, music and musicality have been the focus of an increasing amount of research effort. This has led to a growing role and visibility of the contribution of (bio)musicology to the field of neuroscience and cognitive sciences at large. While it has been widely acknowledged that there are commonalities between speech, language, and musicality, several researchers explain this by considering musicality as an epiphenomenon of language. However, an alternative hypothesis is that musicality is an innate and widely shared capacity for music that can be seen as a natural, spontaneously developing set of traits based on and constrained by our cognitive abilities and their underlying biology. A comparative study of musicality in humans and well‐known animal models (monkeys, birds, pinnipeds) will further our insights on which features of musicality are exclusive to humans and which are shared between humans and nonhuman animals, contribute to an understanding of the musical phenotype, and further constrain existing evolutionary theories of music and musicality. [ABSTRACT FROM AUTHOR]

Abstract: The debate over the origins of individual differences in expertise has raged for over a century in psychology. The “nature” view holds that expertise reflects “innate talent”—that is, genetically determined abilities. The “nurture” view counters that, if talent even exists, its effects on ultimate performance are negligible. While no scientist takes seriously a strict nature‐only view of expertise, the nurture view has gained tremendous popularity over the past several decades. This environmentalist view holds that individual differences in expertise reflect training history, with no important contribution to ultimate performance by innate ability (“talent”). Here, we argue that, despite its popularity, this view is inadequate to account for the evidence concerning the origins of expertise that has accumulated since the view was first proposed. More generally, we argue that the nature versus nurture debate in research on expertise is over—or certainly should be, as it has been in other areas of psychological research for decades. We describe a multifactorial model for research on the nature and nurture of expertise, which we believe will provide a progressive direction for future research on expertise. [ABSTRACT FROM AUTHOR]

Abstract: Infants typically experience music through social interactions with others. One such experience involves caregivers singing to infants while holding and bouncing them rhythmically. These highly social interactions shape infant music perception and may also influence social cognition and behavior. Moving in time with others—interpersonal synchrony—can direct infants’ social preferences and prosocial behavior. Infants also show social preferences and selective prosociality toward singers of familiar, socially learned melodies. Here, we discuss recent studies of the influence of musical engagement on infant social cognition and behavior, highlighting the importance of rhythmic movement and socially relevant melodies. [ABSTRACT FROM AUTHOR]

The article introduces a series of articles on music and emotions. M.C. Saccuman and P. Scifo's article focuses on auditory cognition in infants. With the help of electric brain potential recordings, E. Brattico and T. Jacobsen appraise music and its brain basis. P. Heaton and R. Allen's article focuses on music cognition among people with autistic disorders.

Adolescents and adults commonly use music for various forms of affect regulation, including relaxation, revitalization, distraction, and elicitation of pleasant memories. Mothers throughout the world also sing to their infants, with affect regulation as the principal goal. To date, the study of maternal singing has focused largely on its acoustic features and its consequences for infant attention. We describe recent laboratory research that explores the consequences of singing for infant affect regulation. Such work reveals that listening to recordings of play songs can maintain 6- to 9-month-old infants in a relatively contented or neutral state considerably longer than recordings of infant-directed or adult-directed speech. When 10-month-old infants fuss or cry and are highly aroused, mothers' multimodal singing is more effective than maternal speech at inducing recovery from such distress. Moreover, play songs are more effective than lullabies at reducing arousal in Western infants. We explore the implications of these findings along with possible practical applications. [ABSTRACT FROM AUTHOR]

The management of patients with Alzheimer's disease is a significant public health problem given the limited effectiveness of pharmacological therapies combined with iatrogenic effects of drug treatments in dementia. Consequently, the development of nondrug care, such as musical interventions, has become a necessity. The experimental rigor of studies in this area, however, is often lacking. It is therefore difficult to determine the impact of musical interventions on patients with dementia. As part of a series of studies, we carried out randomized controlled trials to compare the effectiveness of musical activities to other pleasant activities on various functions in patients with severe Alzheimer's disease. The data obtained in these trials are discussed in light of the methodological constraints and requirements specific to these clinical studies. Although the results demonstrate the power of music on the emotional and behavioral status of patients, they also suggest that other pleasant activities (e.g., cooking) are also effective, leaving open the question about the specific benefits of music in patients with dementia. All these findings highlight the promising potential for nonpharmacological treatments to improve the well-being of patients living in residential care and to reduce caregiver burden. [ABSTRACT FROM AUTHOR]

Theories of entrainment assume that spontaneous entrainment emerges from dynamic laws that operate via mediators on interactions, whereby entrainment is facilitated if certain conditions are fulfilled. In this study, we show that mediators can be built that affect the entrainment of human locomotion to music. More specifically, we built D-Jogger, a music player that functions as a mediator between music and locomotion rhythms. The D-Jogger makes it possible to manipulate the timing differences between salient moments of the rhythms (beats and footfalls) through the manipulation of the musical period and phase, which affect the condition in which entrainment functions. We conducted several experiments to explore different strategies for manipulating the entrainment of locomotion and music. The results of these experiments showed that spontaneous entrainment can be manipulated, thereby suggesting different strategies on how to embark. The findings furthermore suggest a distinction among different modalities of entrainment: finding the beat (the most difficult part of entrainment), keeping the beat (easier, as a temporal scheme has been established), and being in phase (no entrainment is needed because the music is always adapted to the human rhythm). This study points to a new avenue of research on entrainment and opens new perspectives for the neuroscience of music. [ABSTRACT FROM AUTHOR]

Sixty years ago, Karl Lashley suggested that complex action sequences, from simple motor acts to language and music, are a fundamental but neglected aspect of neural function. Lashley demonstrated the inadequacy of then-standard models of associative chaining, positing a more flexible and generalized 'syntax of action' necessary to encompass key aspects of language and music. He suggested that hierarchy in language and music builds upon a more basic sequential action system, and provided several concrete hypotheses about the nature of this system. Here, we review a diverse set of modern data concerning musical, linguistic, and other action processing, finding them largely consistent with an updated neuroanatomical version of Lashley's hypotheses. In particular, the lateral premotor cortex, including Broca's area, plays important roles in hierarchical processing in language, music, and at least some action sequences. Although the precise computational function of the lateral prefrontal regions in action syntax remains debated, Lashley's notion-that this cortical region implements a working-memory buffer or stack scannable by posterior and subcortical brain regions-is consistent with considerable experimental data. [ABSTRACT FROM AUTHOR]

Music has been a wonderful tool to investigate the interconnection between brain science, psychology, and human experience. Moderated by Steve Paulson, executive producer and host of To the Best of Our Knowledge, cognitive neuroscientist and musician Jamshed Bharucha, music therapy pioneer Concetta Tomaino, jazz pianist Vijay Iyer, and physician musician Charles Limb discuss the neurological basis of creativity and aesthetic judgment and the capacity of music to elicit specific emotions and to heal the body. The following is an edited transcript of the discussion that occurred December 12, 2012, 7:00-8:15 PM, at the New York Academy of Sciences in New York City. [ABSTRACT FROM AUTHOR]

Recent developments in music neuroscience are considered a source for reflection on, and evaluation and development of, musical therapeutic practice in the field, in particular, in relation to traumatized children and postconflict societies. Music neuroscience research is related to practice within a broad biopsychosocial framework. Here, examples are detailed of work from North Uganda, Palestine, and South Thailand. [ABSTRACT FROM AUTHOR]

Playing a musical instrument requires a complex skill set that depends on the brain's ability to quickly integrate information from multiple senses. It has been well documented that intensive musical training alters brain structure and function within and across multisensory brain regions, supporting the experience-dependent plasticity model. Here, we argue that this experience-dependent plasticity occurs because of the multisensory nature of the brain and may be an important contributing factor to musical learning. This review highlights key multisensory regions within the brain and discusses their role in the context of music learning and rehabilitation. [ABSTRACT FROM AUTHOR]

The acquisition of both speech and music uses general principles: learners extract statistical regularities present in the environment. Yet, individuals who suffer from congenital amusia (commonly called tone-deafness) have experienced lifelong difficulties in acquiring basic musical skills, while their language abilities appear essentially intact. One possible account for this dissociation between music and speech is that amusics lack normal experience with music. If given appropriate exposure, amusics might be able to acquire basic musical abilities. To test this possibility, a group of 11 adults with congenital amusia, and their matched controls, were exposed to a continuous stream of syllables or tones for 21-minute. Their task was to try to identify three-syllable nonsense words or three-tone motifs having an identical statistical structure. The results of five experiments show that amusics can learn novel words as easily as controls, whereas they systematically fail on musical materials. Thus, inappropriate musical exposure cannot fully account for the musical disorder. Implications of the results for the domain specificity of statistical learning are discussed. [ABSTRACT FROM AUTHOR]

To consider the full impact of musical learning on the brain, it is important to study the nature of everyday, non-expert forms of musical behavior alongside expert instrumental training. Such informal forms of music making tend to include social interaction, synchronization, body movements, and positive shared experiences. Here, I propose that when designing music intervention programs for scientific purposes, such features may have advantages over instrumental training, depending on the specific research aims, contexts, and measures. With reference to a selection of classroom approaches to music education and to the shared affective motion experience (SAME) model of emotional responses to music, I conclude that group learning may be particularly valuable in music pedagogy. [ABSTRACT FROM AUTHOR]

Singing in one's mind or forming expectations about upcoming notes both require that mental images of one or more pitches will be generated. As with other musical abilities, the acuity with which such images are formed might be expected to vary across individuals and may depend on musical training. Results from several behavioral tasks involving intonation judgments indicate that multiple memory systems contribute to the formation of accurate mental images for pitch, and that the functionality of each is affected by musical training. Electrophysiological measures indicate that the ability to form accurate mental images is associated with greater engagement of auditory areas and associated error-detection circuitry when listeners imagine ascending scales and make intonation judgments about target notes. A view of auditory mental images is espoused in which unified mental image representations are distributed across multiple brain areas. Each brain area helps shape the acuity of the unified representation based on current behavioral demands and past experience. [ABSTRACT FROM AUTHOR]

Four elderly persons with neurologic impairments of differing etiology and differing cognitive profiles presented unexpected patterns of memory for tunes and song lyrics. Impairments included profound deafness, right-hemisphere stroke, and dementia of the Alzheimer's type. Patterns for the impaired individuals differed according to the disorder, but each person had some scores within the range for 90 healthy seniors. We suggest implications for models of brain organization for musical memory. [ABSTRACT FROM AUTHOR]