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Individual differences in brain network modularity at baseline can predict improvements in cognitive performance after cognitive and physical interventions. The present study is the first to explore whether brain network modularity predicts changes in cortical brain structure in 8- to 9-year-old children involved in an after-school physical activity intervention (N=62), relative to children randomized to a wait-list control group (N=53). For children involved in the physical activity intervention, brain network modularity at baseline predicted greater decreases in cortical thickness in the anterior frontal cortex and parahippocampus. Further, for children involved in the physical activity intervention, greater decrease in cortical thickness was associated with improvements in cognitive efficiency. The relationships among baseline modularity, changes in cortical thickness, and changes in cognitive performance were not present in the wait-list control group. Our exploratory study has promising implications for the understanding of brain network modularity as a biomarker of intervention-related improvements with physical activity.

Musical practice, including musical training and musical performance, has been found to benefit cognitive function in older adults. Less is known about the role of musical experiences on brain structure in older adults. The present study examined the role of different types of musical behaviors on brain structure in older adults. We administered the Goldsmiths Musical Sophistication Index, a questionnaire that includes questions about a variety of musical behaviors, including performance on an instrument, musical practice, allocation of time to music, musical listening expertise, and emotional responses to music. We demonstrated that musical training, defined as the extent of musical training, musical practice, and musicianship, was positively and significantly associated with the volume of the inferior frontal cortex and parahippocampus. In addition, musical training was positively associated with volume of the posterior cingulate cortex, insula, and medial orbitofrontal cortex. Together, the present study suggests that musical behaviors relate to a circuit of brain regions involved in executive function, memory, language, and emotion. As gray matter often declines with age, our study has promising implications for the positive role of musical practice on aging brain health.

Parkinson’s disease (PD) is associated with a loss of internal cueing systems, affecting rhythmic motor tasks such as walking and speech production. Music and dance encourage spontaneous rhythmic coupling between sensory and motor systems; this has inspired the development of dance programs for PD. Here we assessed the therapeutic outcome and some underlying cognitive mechanisms of dance classes for PD, as measured by neuropsychological assessments of disease severity as well as quantitative assessments of rhythmic ability and sensorimotor experience. We assessed prior music and dance experience, beat perception (Beat Alignment Test), sensorimotor coupling (tapping to high- and low-groove songs), and disease severity (Unified Parkinson’s Disease Rating Scale in PD individuals) before and after four months of weekly dance classes. PD individuals performed better on UPDRS after four months of weekly dance classes, suggesting efficacy of dance intervention. Greater post-intervention improvements in UPDRS were associated with the presence of prior dance experience and with more accurate sensorimotor coupling. Prior dance experience was additionally associated with enhanced sensorimotor coupling during tapping to both high-groove and low-groove songs. These results show that dance classes for PD improve both qualitative and quantitative assessments of disease symptoms. The association between these improvements and dance experience suggests that rhythmic motor training, a mechanism underlying dance training, impacts improvements in parkinsonian symptoms following a dance intervention.

Parkinson’s disease (PD) is associated with a loss of internal cueing systems, affecting rhythmic motor tasks such as walking and speech production. Music and dance encourage spontaneous rhythmic coupling between sensory and motor systems; this has inspired the development of dance programs for PD. Here we assessed the therapeutic outcome and some underlying cognitive mechanisms of dance classes for PD, as measured by neuropsychological assessments of disease severity as well as quantitative assessments of rhythmic ability and sensorimotor experience. We assessed prior music and dance experience, beat perception (Beat Alignment Test), sensorimotor coupling (tapping to high- and low-groove songs), and disease severity (Unified Parkinson’s Disease Rating Scale in PD individuals) before and after four months of weekly dance classes. PD individuals performed better on UPDRS after four months of weekly dance classes, suggesting efficacy of dance intervention. Greater post-intervention improvements in UPDRS were associated with the presence of prior dance experience and with more accurate sensorimotor coupling. Prior dance experience was additionally associated with enhanced sensorimotor coupling during tapping to both high-groove and low-groove songs. These results show that dance classes for PD improve both qualitative and quantitative assessments of disease symptoms. The association between these improvements and dance experience suggests that rhythmic motor training, a mechanism underlying dance training, impacts improvements in parkinsonian symptoms following a dance intervention.

Creativity has been defined as the ability to produce work that is novel, high in quality, and appropriate to an audience. While the nature of the creative process is under debate, many believe that creativity relies on real-time combinations of known neural and cognitive processes. One useful model of creativity comes from musical improvisation, such as in jazz, in which musicians spontaneously create novel sound sequences. Here we use jazz musicians to test the hypothesis that individuals with training in musical improvisation, which entails creative generation of musical ideas, might process expectancy differently. We compare jazz improvisers, non-improvising musicians, and non-musicians in the domain-general task of divergent thinking, as well as the musical task of preference ratings for chord progressions that vary in expectation while EEGs were recorded. Behavioral results showed for the first time that jazz musicians preferred unexpected chord progressions. ERP results showed that unexpected stimuli elicited larger early and mid-latency ERP responses (ERAN and P3b), followed by smaller long-latency responses (Late Positivity Potential) in jazz musicians. The amplitudes of these ERP components were significantly correlated with behavioral measures of fluency and originality on the divergent thinking task. Together, results highlight the role of expectancy in creativity.

Music and language are hypothesized to engage the same neural resources, particularly at the level of syntax processing. Recent reports suggest that attention modulates the shared processing of music and language, but the time-course of the effects of attention on music and language syntax processing are yet unclear. In this EEG study we vary top-down attention to language and music, while manipulating the syntactic structure of simultaneously presented musical chord progressions and garden-path sentences in a modified rapid serial visual presentation paradigm. The Early Right Anterior Negativity (ERAN) was observed in response to both attended and unattended musical syntax violations. In contrast, an N400 was only observed in response to attended linguistic syntax violations, and a P3/P600 only in response to attended musical syntax violations. Results suggest that early processing of musical syntax, as indexed by the ERAN, is relatively automatic, however, top-down allocation of attention changes the processing of syntax in both music and language at later stages of cognitive processing.

Jazz improvisation offers a model for creative cognition, as it involves the real-time creation of a novel, information-rich product. Previous research has shown that when musicians improvise, they recruit regions in the Default Mode Network (DMN) and Executive Control Network (ECN). Here, we ask whether these findings from task-fMRI studies might extend to intrinsic differences in resting state functional connectivity. We compared Improvising musicians, Classical musicians, and Minimally Musically Trained (MMT) controls in seed-based functional connectivity and network analyses in resting state functional MRI. We also examined the functional correlates of behavioral performance in musical improvisation and divergent thinking. Seed-based analysis consistently showed higher connectivity in ventral DMN (vDMN) and bilateral ECN in both groups of musically trained individuals as compared to MMT controls, with additional group differences in primary visual network, precuneus network, and posterior salience network. In particular, primary visual network connectivity to DMN and ECN was highest in Improvisational musicians, whereas within-network connectivity of vDMN and precuneus network was higher in both Improvisational and Classical musicians than in MMT controls; in contrast, connectivity between posterior salience network and superior parietal lobule was highest in Classical musicians. Furthermore, graph-theoretical analysis indicated heightened betweenness centrality, clustering, and local efficiency in Classical musicians. Taken together, results suggest that heightened functional connectivity among musicians can be explained by higher within-network connectivity (more tight-knit cortical networks) in Classical musicians, as opposed to more disperse, globally-connected cortical networks in Improvisational musicians.HighlightsMusic training is associated with higher resting state connectivityHigher connectivity in Improvisational musicians from visual network to ECN and DMNClassical musicians show higher vDMN and Precuneus within-network connectivityImprovisation and divergent thinking performance correlate with similar connectivity patterns

Musical training has been associated with advantages in cognitive measures of IQ and verbal ability, as well as neural measures including white matter microstructural properties in the corpus callosum (CC) and the superior longitudinal fasciculus (SLF). We hypothesized that children who have musical training will have different microstructural properties in the SLF and CC. One hundred children aged 7.9 to 9.9 years (mean age 8.7) were surveyed for their musical activities, completed neuropsychological testing for general cognitive abilities, and underwent diffusion tensor imaging (DTI) as part of a larger study. Children who play a musical instrument for more than 0.5 hours per week (n = 34) had higher scores on verbal ability and intellectual ability (standardized scores from the Woodcock Johnson Tests of Cognitive Abilities), as well as higher axial diffusivity (AD) in the left SLF than those who did not play a musical instrument (n = 66). Furthermore, the intensity of musical practice, quantified as the number of hours of music practice per week, was correlated with axial diffusivity (AD) in the left SLF. Results are not explained by age, sex, socio-economic status, or physical fitness of the participants. Results suggest that the relationship between musical practice and intellectual ability is related to the maturation of white matter pathways in the auditory-motor system. The findings suggest that musical training may be a means of improving cognitive and brain health during development.

Whereas much of research in music and neuroscience is aimed at understanding the mechanisms by which the human brain facilitates music, emerging interest in the neuromusic community aims to translate basic music research into clinical and educational applications. In the present paper, we explore the problems of poor pitch perception and production from both neurological and developmental/educational perspectives. We begin by reviewing previous and novel findings on the neural regulation of pitch perception and production. We then discuss issues in measuring singing accuracy consistently between the laboratory and educational settings. We review the Seattle Singing Accuracy Protocol--a new assessment tool that we hope can be adopted by cognitive psychologists as well as music educators-and we conclude with some suggestions that the present interdisciplinary approach might offer for future research.

Creativity has been defined as the ability to produce output that is novel, useful, beneficial, and desired by an audience. But what is musical creativity, and relatedly, to what extent does creativity depend on domain-general or domain-specific neural and cognitive processes? To what extent can musical creativity be taught? To answer these questions from a reductionist scientific approach, we must attempt to isolate the creative process as it pertains to music. Recent work in the neuroscience of creativity has turned to musical improvisation as a window into real-time musical creative process in the brain. Here, I provide an overview of recent research in the neuroscience of musical improvisation, especially focusing on multimodal neuroimaging studies. This research informs a model of creativity as a combination of generative and reactive processes that coordinate their functions to give rise to perpetually novel and aesthetically rewarding improvised musical output.

Much of what we know and love about music is based on implicitly acquired mental representations of musical pitches and the relationships between them. While previous studies have shown that these mental representations of music can be acquired rapidly and can influence preference, it is still unclear which aspects of music influence learning and preference formation. This article reports two experiments that use an artificial musical system to examine two questions: (1) which aspects of music matter most for learning, and (2) which aspects of music matter most for preference formation. Two aspects of music are tested: melody and harmony. In Experiment 1 we tested the learning and liking of a new musical system that is manipulated melodically so that only some of the possible conditional probabilities between successive notes are presented. In Experiment 2 we administered the same tests for learning and liking, but we used a musical system that is manipulated harmonically to eliminate the property of harmonic whole-integer ratios between pitches. Results show that disrupting melody (Experiment 1) disabled the learning of music without disrupting preference formation, whereas disrupting harmony (Experiment 2) does not affect learning and memory but disrupts preference formation. Results point to a possible dissociation between learning and preference in musical knowledge.

Music and language are human cognitive and neural functions that share many structural similarities. Past theories posit a sharing of neural resources between syntax processing in music and language (Patel, 2003), and a dynamic attention network that governs general temporal processing (Large and Jones, 1999). Both make predictions about music and language processing over time. Experiment 1 of this study investigates the relationship between rhythmic expectancy and musical and linguistic syntax in a reading time paradigm. Stimuli (adapted from Slevc et al., 2009) were sentences broken down into segments; each sentence segment was paired with a musical chord and presented at a fixed inter-onset interval. Linguistic syntax violations appeared in a garden-path design. During the critical region of the garden-path sentence, i.e., the particular segment in which the syntactic unexpectedness was processed, expectancy violations for language, music, and rhythm were each independently manipulated: musical expectation was manipulated by presenting out-of-key chords and rhythmic expectancy was manipulated by perturbing the fixed inter-onset interval such that the sentence segments and musical chords appeared either early or late. Reading times were recorded for each sentence segment and compared for linguistic, musical, and rhythmic expectancy. Results showed main effects of rhythmic expectancy and linguistic syntax expectancy on reading time. There was also an effect of rhythm on the interaction between musical and linguistic syntax: effects of violations in musical and linguistic syntax showed significant interaction only during rhythmically expected trials. To test the effects of our experimental design on rhythmic and linguistic expectancies, independently of musical syntax, Experiment 2 used the same experimental paradigm, but the musical factor was eliminated—linguistic stimuli were simply presented silently, and rhythmic expectancy was manipulated at the critical region. Experiment 2 replicated effects of rhythm and language, without an interaction. Together, results suggest that the interaction of music and language syntax processing depends on rhythmic expectancy, and support a merging of theories of music and language syntax processing with dynamic models of attentional entrainment.

Music production and perception invoke a complex set of cognitive functions that rely on the integration of sensorimotor, cognitive, and emotional pathways. Pitch is a fundamental perceptual attribute of sound and a building block for both music and speech. Although the cerebral processing of pitch is not completely understood, recent advances in imaging and electrophysiology have provided insight into the functional and anatomical pathways of pitch processing. This review examines the current understanding of pitch processing and behavioral and neural variations that give rise to difficulties in pitch processing, and potential applications of music education for language processing disorders such as dyslexia.

Timbre, gesture, Open Sound Control, additive synthesis, parallel computing: These were just a few of David Wessel’s many brainchildren. As a Professor of Music, a founding director of Center for New Music and Audio Technologies (CNMAT), and an Affiliate Professor of Psychology at UC Berkeley, David Wessel was a wise advisor and a wonderful scientist, musician, and friend. I will narrate the exceptional experience of working with the creative force that was David Wessel, both from the perspective of a music perception and cognition scientist, and through the lens of Berkeley's CNMAT, which thrived under his leadership as a synergistic center for performers, researchers, and composers.

Music has a unique power to elicit moments of intense emotional and psychophysiological response. These moments – termed “chills,” “thrills”, “frissons,” etc. – are subjects of introspection and philosophical debate, as well as scientific study in music perception and cognition. The present article integrates the existing multidisciplinary literature in an attempt to define a comprehensive, testable, and ecologically valid model of transcendent psychophysiological moments in music.

Functional networks in the human brain give rise to complex cognitive and perceptual abilities. While the decrease of functional connectivity is linked to neurological and psychiatric disorders, less is known about the consequences of increased functional connectivity. One population that has exceptionally enhanced perceptual abilities is people with absolute pitch (AP) — an ability to categorize tones into pitch classes without reference. AP has been linked to exceptional talent as well as to psychiatric and neurological conditions. Here we show that AP possessors have increased functional activation during music listening, as well as increased degrees, clustering, and local efficiency of functional correlations, with the difference being highest around the left superior temporal gyrus. Our results provide the first evidence that increased functional connectivity in a small-world brain network is related to exceptional perceptual abilities in a healthy population.

Language and music are complex cognitive and neural functions that rely on awareness of one's own sound productions. Information on the awareness of vocal pitch, and its relation to phonemic awareness which is crucial for learning to read, will be important for understanding the relationship between tone-deafness and developmental language disorders such as dyslexia. Here we show that phonemic awareness skills are positively correlated with pitch perception–production skills in children. Children between the ages of seven and nine were tested on pitch perception and production, phonemic awareness, and IQ. Results showed a significant positive correlation between pitch perception–production and phonemic awareness, suggesting that the relationship between musical and linguistic sound processing is intimately linked to awareness at the level of pitch and phonemes. Since tone-deafness is a pitch-related impairment and dyslexia is a deficit of phonemic awareness, we suggest that dyslexia and tone-deafness may have a shared and/or common neural basis.

In neuroimaging studies, the left ventral posterior parietal cortex (PPC) is particularly active during memory retrieval. However, most studies have used verbal or verbalizable stimuli. We investigated neural activations associated with the retrieval of short, agrammatical music stimuli (Blackwood, 2004), which have been largely associated with right hemisphere processing. At study, participants listened to music stimuli and rated them on pleasantness. At test, participants made old/new recognition judgments with high/low confidence ratings. Right, but not left, ventral PPC activity was observed during the retrieval of these music stimuli. Thus, rather than indicating a special status of left PPC in retrieval, both right and left ventral PPC participate in memory retrieval, depending on the type of information that is to be remembered.

We investigated the effects of selective attention and musical training on the processing of harmonic expectations. In Experiment 1, participants with and without musical training were required to respond to the contour of melodies as they were presented with chord progressions that were highly expected, slightly unexpected, or extremely unexpected. Reaction time and accuracy results showed that when attention was focused on the melody, musically trained participants were still sensitive to different harmonic expectations, whereas participants with no musical training were undifferentiated across expectation conditions. In Experiment 2, participants were required to listen holistically to the entire chord progression and to rate their preference for each chord progression. Results from preference ratings showed that all the participants, with or without musical training, were sensitive to manipulations of harmonic expectations. Experiments 3 and 4 showed that changing the speed of presentation of chord progressions did not affect the pattern of results. The four experiments together highlight the importance of attentional focus in musical training, especially as it relates to the processing of harmonic expectations.

The effects of selective attention on the neural response to the violation of musical syntax were investigated in the present study. Musical chord progressions were played to nonmusicians while Event-Related Potentials (ERPs) were recorded. The five-chord progressions included 61% harmonically expected cadences (I–I 6 –IV–V–I), 26% harmonically unexpected cadences (I–I 6 –IV–V–N 6 ), and 13% with one of the five chords having an intensity fadeout across its duration. During the attended condition, subjects responded by pressing a button upon detecting a fadeout in volume; during the unattended condition, subjects were given reading comprehension materials and instructed to ignore all auditory stimuli. In response to the harmonic deviant, an Early Anterior Negativity (EAN) was observed at 150–300 ms in both attention conditions, but it was much larger in amplitude in the attended condition. A second scalp-negative deflection was also identified at 380–600 ms following the harmonic deviants; this Late Negativity onset earlier during the attended condition. These results suggest strong effects of attention on the neural processing of harmonic syntax. D 2005 Elsevier B.V. All rights reserved. Theme: Neural basis of behavior Topic: Cognition

Although traditional approaches in psychoacoustics emphasize bottom-up processes of hearing, a lasting approach of the Hafter lab has been to merge the bottom-up view with top-down influence of cognitive and training-related factors. Much of this is embodied in a research program on auditory attention: the listener’s ability to extract relevant features of the auditory scene (Hafter et al., 2007). I joined the Hafter lab with interests in auditory attention and music perception. In work conducted in the lab we observed effects of training on attentive processing of musical harmony—musicians are slower to respond to musically unexpected harmonies but faster to respond to expected harmonies, suggesting that long-term training refines the expectations that are built up from lifelong exposure to music in one’s culture. Armed with this knowledge, we further asked if these expectations could be learned. Using a non-Western musical scale, we showed rapid learning of perceptual patterns, which can be modeled as a...