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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.

Adults who engage in synchronous movement to music later report liking each other better, remembering more about each other, trusting each other more, and are more likely to cooperate with each other compared to adults who engage in asynchronous movements. Although poor motor coordination limits infants' ability to entrain to a musical beat, they perceive metrical structure in auditory rhythm patterns, their movements are affected by the tempo of music they hear, and if they are bounced by an adult to a rhythm pattern, the manner of this bouncing can affect their auditory interpretation of the meter of that pattern. In this paper, we review studies showing that by 14 months of age, infants who are bounced in synchrony with an adult subsequently show more altruistic behavior toward that adult in the form of handing back objects "accidentally" dropped by the adult compared to infants who are bounced asynchronously with the adult. Furthermore, increased helpfulness is directed at the synchronized bounce partner, but not at a neutral stranger. Interestingly, however, helpfulness does generalize to a "friend" of the synchronized bounce partner. In sum, synchronous movement between infants and adults has a powerful effect on infants' expression of directed prosocial behavior.

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.

Schizophrenia is a major mental disorder associated with core neurocognitive impairments. The ability to recreate these deficits in animal models is limited, hampering ongoing translational drug development efforts. This paper reviews the use of electroencephalography (EEG)-based neurophysiological measures, such as event-related potentials (ERP) or event-related spectral perturbations (ERSP), as novel translational biomarkers for both etiological and treatment development research in neuropsychiatry. In schizophrenia, cognitive impairments manifest as deficits not only in high-level processes, such as working memory or executive processing, but also as deficits in neurophysiological responses to simple auditory and visual stimuli. Moreover, neurophysiological responses can be assessed even in untrained animals and are therefore particularly amenable to translational, cross-species investigation. To date, several sensory-level ERP measures, including auditory mismatch negativity (MMN) and N1, and visual P1 and steady-state responses, have been validated in both human clinical investigations and animal models. Deficits have been tied to impaired neurotransmission at N-methyl-D-aspartate–type glutamate receptors (NMDARs). Time-frequency analysis of ERSP permits further extension of these findings from physiological to circuit/cellular levels of analysis.

Recent research suggests that musical training enhances the neural encoding of speech. Why would musical training have this effect? The OPERA hypothesis proposes an answer on the basis of the idea that musical training demands greater precision in certain aspects of auditory processing than does ordinary speech perception. This paper presents two assumptions underlying this idea, as well as two clarifications, and suggests directions for future research.

Many people reach adulthood without acquiring significant music performance skills (singing or instrumental playing). A substantial proportion of these adults consider that this has come about because they are "not musical." Some of these people may be "true" congenital amusics, characterized by specific and substantial anomalies in the processing of musical pitch and rhythm sequences, while at the same time displaying normal processing of speech and language. It is likely, however, that many adults who believe that they are unmusical are neurologically normal. We could call these adults "false" amusics. Acquisition of musical competence has multiple personal, social, and environmental precursors. Deficiencies in these areas may lead to lack of musical achievement, despite the fact that an individual possesses the necessary underlying capacities. Adults may therefore self-define as "unmusical" or "tone-deaf" for reasons unconnected to any underlying anomaly. This paper reports on two linked research studies. The first is an interview study with adults defining themselves as tone-deaf or unmusical. The interview schedule was designed to discover what criteria are being used in their self-definitions. Preliminary results suggest that performance criteria (e.g., judging oneself as unable to sing) play a major role, even for people who claim and demonstrate no perceptual deficits. The second study reports progress on the development of new subtests for a revised version of the Montreal Battery for the Evaluation of Amusia (MBEA, Peretz et al., 2003). This currently contains six tests that allow for the assessment of melodic perception: contour, intervals, scale, rhythm, meter, and recognition memory. The MBEA does not assess two capacities that are generally accepted as central to normal music cognition: harmony and emotion. The development and norming of the emotion subtest will be described. When completed, the MBEA(R) will form a robust screening device for use with the general population, whose purpose is to discriminate "true" from "false" amusics. Such discrimination is essential to achieve a better understanding of the variety of causes of low musical achievement.

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.

As the functional neuroimaging literature grows, it becomes increasingly apparent that music and musical activities engage diverse regions of the brain. In this paper I discuss two studies to illustrate that exactly which brain areas are observed to be responsive to musical stimuli and tasks depends on the tasks and the methods used to describe the tasks and the stimuli. In one study, subjects listened to polyphonic music and were asked to either orient their attention selectively to individual instruments or in a divided or holistic manner across multiple instruments. The network of brain areas that was recruited changed subtly with changes in the task instructions. The focus of the second study was to identify brain regions that follow the pattern of movement of a continuous melody through the tonal space defined by the major and minor keys of Western tonal music. Such an area was identified in the rostral medial prefrontal cortex. This observation is discussed in the context of other neuroimaging studies that implicate this region in inwardly directed mental states involving decisions about the self, autobiographical memory, the cognitive regulation of emotion, affective responses to musical stimuli, and familiarity judgments about musical stimuli. Together with observations that these regions are among the last to atrophy in Alzheimer disease, and that these patients appear to remain responsive to autobiographically salient musical stimuli, very early evidence is emerging from the literature for the hypothesis that the rostral medial prefrontal cortex is a node that is important for binding music with memories within a broader music-responsive network.