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Auditory prediction error responses elicited by surprising sounds can be reliably recorded with musical stimuli that are more complex and realistic than those typically employed in EEG or MEG oddball paradigms. However, these responses are reduced as the predictive uncertainty of the stimuli increases. In this study, we investigate whether this effect is modulated by musical expertise. Magnetic mismatch negativity (MMNm) responses were recorded from 26 musicians and 24 non-musicians while they listened to low-and high-uncertainty melodic sequences in a musical multi-feature paradigm that included pitch, slide, intensity, and timbre deviants. When compared to non-musicians, musically trained participants had significantly larger pitch and slide MMNm responses. However, both groups showed comparable reductions of pitch and slide MMNm amplitudes in the high-uncertainty condition compared to the low-uncertainty condition. In a separate, behavioral deviance detection experiment, musicians were more accurate and confident about their responses than non-musicians, but deviance detection in both groups was similarly affected by the uncertainty of the melodies. In both experiments, the interaction between uncertainty and expertise was not significant, suggesting that the effect is comparable in both groups. Consequently, our results replicate the modulatory effect of predictive uncertainty on prediction error; show that it is present across different types of listeners; and suggest that expertise-related and stimulus-driven modulations of predictive precision are dissociable and independent.

The human brain's ability to extract and encode temporal regularities and to predict the timing of upcoming events is critical for music and speech perception. This work addresses how these mechanisms deal with different levels of temporal complexity, here the number of distinct durations in rhythmic patterns. We use electroencephalography (EEG) to relate the mismatch negativity (MMN), a proxy of neural prediction error, to a measure of information content of rhythmic sequences, the Shannon entropy. Within each of three conditions, participants listened to repeatedly presented standard rhythms of five tones (four inter-onset intervals) and of a given level of entropy: zero (isochronous), medium entropy (two distinct interval durations), or high entropy (four distinct interval durations). Occasionally, the fourth tone was moved forward in time that is it occurred 100 ms (small deviation) or 300 ms early (large deviation). According to the predictive coding framework, high-entropy stimuli are more difficult to model for the brain, resulting in less confident predictions and yielding smaller prediction errors for deviant sounds. Our results support this hypothesis, showing a gradual decrease in MMN amplitude as a function of entropy, but only for small timing deviants. For large timing deviants, in contrast, a modulation of activity in the opposite direction was observed for the earlier N1 component, known to also be sensitive to sudden changes in directed attention. Our results suggest the existence of a fine-grained neural mechanism that weights neural prediction error to the complexity of rhythms and that mostly manifests in the absence of directed attention.

Musical expertise is visible both in the morphology and functionality of the brain. Recent research indicates that functional integration between multi-sensory, somato-motor, default-mode (DMN), and salience (SN) networks of the brain differentiates musicians from non-musicians during resting state. Here, we aimed at determining whether brain networks differentially exchange information in musicians as opposed to non-musicians during naturalistic music listening. Whole-brain graph-theory analyses were performed on participants' fMRI responses. Group-level differences revealed that musicians' primary hubs comprised cerebral and cerebellar sensorimotor regions whereas non-musicians' dominant hubs encompassed DMN-related regions. Community structure analyses of the key hubs revealed greater integration of motor and somatosensory homunculi representing the upper limbs and torso in musicians. Furthermore, musicians who started training at an earlier age exhibited greater centrality in the auditory cortex, and areas related to top-down processes, attention, emotion, somatosensory processing, and non-verbal processing of speech. We here reveal how brain networks organize themselves in a naturalistic music listening situation wherein musicians automatically engage neural networks that are action-based while non-musicians use those that are perception-based to process an incoming auditory stream. Hum Brain Mapp 38:2955-2970, 2017. © 2017 Wiley Periodicals, Inc.

A chord deviating from the conventions of Western tonal music elicits an early right anterior negativity (ERAN) in inferofrontal brain regions. Here, we tested whether the ERAN is modulated by expertise in more than one music culture, as typical of folk musicians. Finnish folk musicians and nonmusicians participated in electroencephalography recordings. The cadences consisted of seven chords. In incongruous cadences, the third, fifth, or seventh chord was a Neapolitan. The ERAN to the Neapolitans was enhanced in folk musicians compared to nonmusicians. Folk musicians showed an enhanced P3a for the ending Neapolitan. The Neapolitan at the fifth position was perceived differently and elicited a late enhanced ERAN in folk musicians. Hence, expertise in more than one music culture seems to modify chord processing by enhancing the ERAN to ambivalent chords and the P3a to incongruous chords, and by altering their perceptual attributes.

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.

Musicians' processing of sounds depends highly on instrument, performance practice, and level of expertise. Here, we measured the mismatch negativity (MMN), a preattentive brain response, to six types of musical feature change in musicians playing three distinct styles of music (classical, jazz, and rock/pop) and in nonmusicians using a novel, fast, and musical sounding multifeature MMN paradigm. We found MMN to all six deviants, showing that MMN paradigms can be adapted to resemble a musical context. Furthermore, we found that jazz musicians had larger MMN amplitude than all other experimental groups across all sound features, indicating greater overall sensitivity to auditory outliers. Furthermore, we observed a tendency toward shorter latency of the MMN to all feature changes in jazz musicians compared to band musicians. These findings indicate that the characteristics of the style of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in music.

We analyzed the processes of making aesthetic judgments of music, focusing on the differences between music experts and laypersons. Sixteen students of musicology and 16 control subjects (also students) judged the aesthetic value as well as the harmonic correctness of chord sequences. Event-related potential (ERP) data indicate differences between experts and laypersons in making aesthetic judgments at three different processing stages. Additionally, effects of expertise on ERP components that have previously been proven to be sensitive to musical training were replicated. The study thus provides insights into the effects of musical expertise on neural correlates of aesthetic music processing.

Patient I.R., who had bilateral lesions in the auditory cortex but intact hearing, did not distinguish dissonant from consonant musical excerpts in behavioral testing. We additionally found that the electrical brain responses did not differentiate musical intervals in terms of their dissonance/consonance, consistent with the idea that this phenomenon depends on the integrity of cortical functions.

The present study was aimed at finding neural correlates of aesthetic versus descriptive listening of the same musical cadences. Results showed that aesthetic listening generated greater right frontocentral negativities than did descriptive listening, indicating distinct cortical mechanisms for aesthetic versus descriptive processing of music.