Search

Frontotemporal dementia (FTD) is a rare neurodegenerative disease, characterized by behavioral and language impairments. Primary progressive aphasia (PPA) is the linguistic variant of this heterogeneous disorder. To date, there is a lack of consensus about which interventions are effective in these patients. However, several studies show that music-based interventions are beneficial in neurological diseases. This study aims, primarily, to establish the state of the art of music-based interventions designed for PPA due to FTD and, secondarily, to inform the planning of PPA-dedicated future interventions for Italian neurological institutions. The first aim is fulfilled by a review which critically screens the neurological studies examining the effects of music- and/or rhythm-based interventions, especially, on language rehabilitation in aphasic FTD. We found that only two papers fulfilled our criteria and concerned specifically aphasic patients due to FTD. Of those, one paper reported a study conducted in an Italian institution. Most of the reviewed studies focused, instead, on aphasia in post-stroke patients. The results of our review invite further studies to investigate the role of music as a valuable support in the therapy for neurodegenerative patients with language problems and in particular to PPA due to FTD. Moreover, based on this initial work, we can delineate new music-based interventions dedicated to PPA for Italian institutions.

The last decades have seen a proliferation of music and brain studies, with a major focus on plastic changes as the outcome of continuous and prolonged engagement with music. Thanks to the advent of neuroaesthetics, research on music cognition has broadened its scope by considering the multifarious phenomenon of listening in all its forms, including incidental listening up to the skillful attentive listening of experts, and all its possible effects. These latter range from objective and sensorial effects directly linked to the acoustic features of the music to the subjectively affective and even transformational effects for the listener. Of special importance is the finding that neural activity in the reward circuit of the brain is a key component of a conscious listening experience. We propose that the connection between music and the reward system makes music listening a gate towards not only hedonia but also eudaimonia, namely a life well lived, full of meaning that aims at realizing one’s own “daimon” or true nature. It is argued, further, that music listening, even when conceptualized in this aesthetic and eudaimonic framework, remains a learnable skill that changes the way brain structures respond to sounds and how they interact with each other.

Brain responses are often studied under strictly experimental conditions in which electroencephalograms (EEGs) are recorded to reflect reactions to short and repetitive stimuli. However, in real life, aural stimuli are continuously mixed and cannot be found isolated, such as when listening to music. In this audio context, the acoustic features in music related to brightness, loudness, noise, and spectral flux, among others, change continuously; thus, significant values of these features can occur nearly simultaneously. Such situations are expected to give rise to increased brain reaction with respect to a case in which they would appear in isolation. In order to assert this, EEG signals recorded while listening to a tango piece were considered. The focus was on the amplitude and time of the negative deflation (N100) and positive deflation (P200) after the stimuli, which was defined on the basis of the selected music feature saliences, in order to perform a statistical analysis intended to test the initial hypothesis. Differences in brain reactions can be identified depending on the concurrence (or not) of such significant values of different features, proving that coterminous increments in several qualities of music influence and modulate the strength of brain responses.

Motor exercise, such as sport or musical activities, helps with a plethora of diseases by modulating brain functions in neocortical and subcortical regions, resulting in behavioural changes related to mood regulation, well-being, memory, and even cognitive preservation in aging and neurodegenerative diseases. Although evidence is accumulating on the systemic neural mechanisms mediating these brain effects, the specific mechanisms by which exercise acts upon the cellular level are still under investigation. This is particularly the case for music training, a much less studied instance of motor exercise than sport. With regards to sport, consistent neurobiological research has focused on the brain-derived neurotrophic factor (BDNF), an essential player in the central nervous system. BDNF stimulates the growth and differentiation of neurons and synapses. It thrives in the hippocampus, the cortex, and the basal forebrain, which are the areas vital for memory, learning, and higher cognitive functions. Animal models and neurocognitive experiments on human athletes converge in demonstrating that physical exercise reliably boosts BDNF levels. In this review, we highlight comparable early findings obtained with animal models and elderly humans exposed to musical stimulation, showing how perceptual exposure to music might affect BDNF release, similar to what has been observed for sport. We subsequently propose a novel hypothesis that relates the neuroplastic changes in the human brains after musical training to genetically- and exercise-driven BDNF levels.

Capitalizing from neuroscience knowledge on how individuals are affected by the sound environment, we propose to adopt a cybernetic and ecological point of view on the musical aesthetic experience, which includes subprocesses, such as feature extraction and integration, early affective reactions and motor actions, style mastering and conceptualization, emotion and proprioception, evaluation and preference. In this perspective, the role of the listener/composer/performer is seen as that of an active “agent” coping in highly individual ways with the sounds. The findings concerning the neural adaptations in musicians, following long-term exposure to music, are then reviewed by keeping in mind the distinct subprocesses of a musical aesthetic experience. We conclude that these neural adaptations can be conceived of as the immediate and lifelong interactions with multisensorial stimuli (having a predominant auditory component), which result in lasting changes of the internal state of the “agent”. In a continuous loop, these changes affect, in turn, the subprocesses involved in a musical aesthetic experience, towards the final goal of achieving better perceptual, motor and proprioceptive responses to the immediate demands of the sounding environment. The resulting neural adaptations in musicians closely depend on the duration of the interactions, the starting age, the involvement of attention, the amount of motor practice and the musical genre played.

We dealt with the problem of artifacts in EEG signals in relation to the usage of lengthy trials. Specifically, we considered eye artifacts found in EEG signals, their influence in the analysis of the data and alternatives to diminish their impact on later studies of brain activity on lengthy tasks. We proposed a scheme of partial rejection of independent signal components, provided a method to extract EEG signal components with diminished influence of eye artifacts, and assess the importance of using artifact free signal excerpts to extract signal components in order to analyze brain activity in a musical context.

Listening to music is above all a human experience, which becomes an aesthetic experience when an individual immerses himself/herself in the music, dedicating attention to perceptual-cognitive-affective interpretation and evaluation. The study of these processes where the individual perceives, understands, enjoys and evaluates a set of auditory stimuli has mainly been focused on the effect of music on specific brain structures, as measured with neurophysiology and neuroimaging techniques. The very recent application of network science algorithms to brain research allows an insight into the functional connectivity between brain regions. These studies in network neuroscience have identified distinct circuits that function during goal-directed tasks and resting states. We review recent neuroimaging findings which indicate that music listening is traceable in terms of network connectivity and activations of target regions in the brain, in particular between the auditory cortex, the reward brain system and brain regions active during mind wandering.

Music information retrieval (MIR) methods offer interesting possibilities for automatically identifying time points in music recordings that relate to specific brain responses. However, how the acoustical features and the novelty of the music structure affect the brain response is not yet clear. In the present study, we tested a new method for automatically identifying time points of brain responses based on MIR analysis. We utilized an existing database including brain recordings of 48 healthy listeners measured with electroencephalography (EEG) and magnetoencephalography (MEG). While we succeeded in capturing brain responses related to acoustical changes in the modern tango piece Adios Nonino, we obtained less reliable brain responses with a metal rock piece and a modern symphony orchestra musical composition. However, brain responses might also relate to the novelty of the music structure. Hence, we added a manual musicological analysis of novelty in the musical structure to the computational acoustic analysis, obtaining strong brain responses even to the rock and modern pieces. Although no standardized method yet exists, these preliminary results suggest that analysis of novelty in music is an important aid to MIR analysis for investigating brain responses to realistic music.