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We used functional magnetic resonance imaging (fMRI) to identify brain areas involved in auditory rhythm perception. Participants listened to three rhythm sequences that varied in temporal predictability. The most predictable sequence was an isochronous rhythm sequence of a single interval (ISO). The other two sequences had nine intervals with unequal durations. One of these had interval durations of integer ratios relative to the shortest interval (METRIC). The other had interval durations of non-integer ratios relative to the shortest interval (NON-METRIC), and was thus perceptually more complex than the other two. In addition, we presented unpredictable sequences with randomly distributed intervals (RAN). We tested two hypotheses. Firstly, that areas involved in motor timing control would also process the temporal predictability of sensory cues. Therefore, there was no active task included in the experiment that could influence the participant perception or induce motor preparation. We found that dorsal premotor cortex (PMD), SMA, preSMA, and lateral cerebellum were more active when participants listen to rhythm sequences compared to random sequences. The activity pattern in supplementary motor area (SMA) and preSMA suggested a modulation dependent on sequence predictability, strongly suggesting a role in temporal sensory prediction. Secondly, we hypothesized that the more complex the rhythm sequence, the more it would engage short-term memory processes of the prefrontal cortex. We found that the superior prefrontal cortex was more active when listening to METRIC and NON-METRIC compared to ISO. We argue that the complexity of rhythm sequences is an important factor in modulating activity in many of the rhythm areas. However, the difference in complexity of our stimuli should be regarded as continuous.

Studies on simple pseudorandom motor and cognitive tasks have shown that the dorsolateral prefrontal cortex and rostral premotor areas are involved in free response selection. We used functional magnetic resonance imaging to investigate whether these brain regions are also involved in free generation of responses in a more complex creative behavior: musical improvisation. Eleven professional pianists participated in the study. In one condition, Improvise, the pianist improvised on the basis of a visually displayed melody. In the control condition, Reproduce, the participant reproduced his previous improvisation from memory. Participants were able to reproduce their improvisations with a high level of accuracy, and the contrast Improvise versus Reproduce was thus essentially matched in terms of motor output and sensory feedback. However, the Improvise condition required storage in memory of the improvisation. We therefore also included a condition FreeImp, where the pianist improvised but was instructed not to memorize his performance. To locate brain regions involved in musical creation, we investigated the activations in the Improvise-Reproduce contrast that were also present in FreeImp contrasted with a baseline rest condition. Activated brain regions included the right dorsolateral prefrontal cortex, the presupplementary motor area, the rostral portion of the dorsal premotor cortex, and the left posterior part of the superior temporal gyrus. We suggest that these regions are part of a network involved in musical creation, and discuss their possible functional roles.

When performing or perceiving music, we experience the melodic (spatial) and rhythmic aspects as a unified whole. Moreover, the motor program theory stipulates that the relative timing and the serial order of the movement are invariant features of a motor program. Still, clinical and psychophysical observations suggest independent processing of these two aspects, in both production and perception. Here, we used functional magnetic resonance imaging to dissociate between brain areas processing the melodic and the rhythmic aspects during piano playing from musical scores. This behavior requires that the pianist decodes two types of information from the score in order to produce the desired piece of music. The spatial location of a note head determines which piano key to strike, and the various features of the note, such as the stem and flags determine the timing of each key stroke. We found that the medial occipital lobe, the superior temporal lobe, the rostral cingulate cortex, the putamen and the cerebellum process the melodic information, whereas the lateral occipital and the inferior temporal cortex, the left supramarginal gyrus, the left inferior and ventral frontal gyri, the caudate nucleus, and the cerebellum process the rhythmic information. Thus, we suggest a dissociate involvement of the dorsal visual stream in the spatial pitch processing and the ventral visual stream in temporal movement preparation. We propose that this dissociate organization may be important for fast learning and flexibility in motor control.

Using diffusion tensor imaging, we investigated effects of piano practicing in childhood, adolescence and adulthood on white matter, and found positive correlations between practicing and fiber tract organization in different regions for each age period. For childhood, practicing correlations were extensive and included the pyramidal tract, which was more structured in pianists than in non-musicians. Long-term training within critical developmental periods may thus induce regionally specific plasticity in myelinating tracts.

We investigated whether the temporal structure of movement sequences can be represented and learned independently of their ordinal structure, and whether some brain regions are particularly important for temporal sequence performance. Using a learning transfer design, we found evidence for independent temporal representations: learning a spatiotemporal sequence facilitated learning its temporal and ordinal structure alone; learning a temporal and an ordinal structure facilitated learning of a sequence where the two were coupled. Second, learning of temporal structures was found during reproduction of sequential stimuli with random ordinal structure, suggesting independent mechanisms for temporal learning. We then used functional magnetic resonance imaging to investigate the neural control of sequences during well-learned performance. The temporal and ordinal structures of the sequences were varied in a 2 × 2 factorial design. A dissociation was found between brain regions involved in ordinal and temporal control, the latter mainly involving the presupplementary motor area, the inferior frontal gyrus and precentral sulcus, and the superior temporal gyri. Finally, in a second fMRI experiment, well-learned temporal sequences were performed with the left or right index fingers, or using rhythmic speech. The overlap in brain activity during performance with the different effectors included a similar set of brain regions as that found in the first fMRI experiment: the supplementary motor area (SMA), the superior temporal gyrus, and the inferior frontal cortex. We thus suggest that this set of regions is important for abstract, movement-independent, temporal sequence control. This organization may be important for increased flexibility in voluntarily timed motor tasks. [ABSTRACT FROM AUTHOR]