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We are asking participants to generate sequences in the Bohlen-Pierce Scale which are then rated for creativity by another group of participants. Through the analysis of creativity ratings, divergent task results, and self-reported likert-scale surveys, we aim to see if there are correlations between creative output and traits traditionally associated with creativity.

This study explores the relationship between neural response and perceived creativity of musical sequences in the Bohlen-Pierce scale.

Pre-Registration for task fMRI study on Music-Based Intervention

The present study examined differences between inflectional and derivational morphology using Greek nouns and verbs with masked priming (with both short and long stimulus onset asynchrony) and long-lag priming. A lexical decision task to inflected noun and verb targets was used to test whether their processing is differentially facilitated by prior presentation of their stem in words of the same grammatical class (inflectional morphology) or of a different grammatical class (derivational morphology). Differences in semantics, syntactic information, and morphological complexity between inflected and derived word pairs (both nouns and verbs) were minimized by unusually tight control of stimuli as permitted by Greek morphology. Results showed that morphological relations affected processing of morphologically complex Greek words (nouns and verbs) across prime durations (50–250ms) as well as when items intervened between primes and targets. In two of the four experiments (Experiments 1 and 3), inflectionally related primes produced significantly greater effects than derivationally related primes suggesting differences in processing inflectional versus derivational morphological relations, which may disappear when processing is less dependent on semantic effects (Experiment 4). Priming effects differed for verb vs. noun targets with long SOA priming (Experiment 3), consistent with processing differences between complex words of different grammatical class (nouns and verbs) when semantic effects are maximized. Taken together, results demonstrate that inflectional and derivational relations differentially affect processing complex words of different grammatical class (nouns and verbs). This finding indicates that distinctions of morphological relation (inflectional vs. derivational) are not of the same kind as distinctions of grammatical class (nouns vs. verbs). Asymmetric differences among inflected and derived verbs and nouns seem to depend on semantic effects and/or processing demands modulating priming effects very early in lexical processing of morphologically complex written words, consistent with models of lexical processing positing early access to morphological structure and early influence of semantics.

Background music is widely used to sustain attention, but little is known about what musical properties aid attention. This may be due to inter-individual variability in neural responses to music. We test the hypothesis that music can sustain attention by affecting oscillations via acoustic amplitude modulation, differentially for those with varying levels of attentional difficulty. We first show that heavily-modulated music improves sustained attention for participants with more ADHD symptoms. FMRI showed this music elicited greater activity in attentional networks in this group only, and EEG showed greater stimulus-brain coupling for this group in response to the heavily-modulated music. Finally, we parametrically manipulated the depth and rate of amplitude modulations inserted in otherwise-identical music, and found that beta-range modulations helped more than other frequency ranges for participants with more ADHD symptoms. Results suggest the possibility of an oscillation-based neural mechanism for targeted music to support improved cognitive performance.

Listening to pleasurable music is known to engage the brain9s reward system, but little is known about how this engagement develops over time. Here we show for the first time that brain network connectivity can change longitudinally as a result of a personalized receptive music-based intervention (MBI) in cognitively unimpaired older adults. Using a combination of whole-brain regression, seed-based connectivity analysis, and representational similarity analysis (RSA), we compared fMRI responses during a simple music listening task in older adults before and after an eight-week personalized music listening program. Participants rated self-selected and researcher-selected musical excerpts on liking and familiarity. Parametric effects of liking, familiarity, and selection showed significant activation of auditory, reward, default mode, and sensorimotor areas both pre- and post-intervention. Seed-based connectivity comparing pre- and post-intervention showed a significant increase in functional connectivity between auditory regions and the medial prefrontal cortex (mPFC), and this auditory-mPFC connectivity was modulated by participant liking and familiarity ratings. RSA showed significant representations of selection and novelty in auditory regions at both time-points, and an increase in striatal representation of musical stimuli following intervention. Taken together, results show a sensitivity of auditory, reward, default, and sensorimotor regions to individual differences in music familiarity and liking, as well as a shift in brain network dynamics following the personalized MBI. Results show how regular music listening can provide an auditory channel towards the mPFC, thus offering a potential neural mechanism supporting healthy brain aging.

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.

One of the most remarkable abilities of the human brain is to create. Creativity is the cornerstone of human culture, and is the core cognitive capacity that has enabled music throughout history. Much of the act of creating new music, such as in music composition, is an effortful process that requires prolonged persistence, motivation, and dedication. However, other aspects of musical creativity, such as musical improvisation, have an appearance of spontaneity and automaticity, and appear to depend on states of flow that seize the improviser as they encounter musical ideas and produce novel musical output seemingly in real time. How is this real-time creativity possible: how does the brain tackle the problem of musical improvisation, and how does it accomplish this feat? Can improvisation be learned, and if so, how?

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.

Music-based interventions (MBI) have become increasingly widely adopted for dementia and related disorders. Previous research shows that music engages reward-related regions through functional connectivity with the auditory system, but evidence for the effectiveness of MBI is mixed in older adults with mild cognitive impairment (MCI) and Alzheimer’s disease (AD). This underscores the need for a unified mechanistic understanding to motivate MBIs. The main objective of the present study is to characterize the intrinsic connectivity of the auditory and reward systems in healthy aging individuals with MCI, and those with AD. Using resting-state fMRI data from the Alzheimer’s Database Neuroimaging Initiative, we tested resting-state functional connectivity within and between auditory and reward systems in older adults with MCI, AD, and age-matched healthy controls (N = 105). Seed-based correlations were assessed from regions of interest (ROIs) in the auditory network (i.e., anterior superior temporal gyrus, posterior superior temporal gyrus, Heschl’s Gyrus), and the reward network (i.e., nucleus accumbens, caudate, putamen, and orbitofrontal cortex). AD individuals were lower in both within-network and between-network functional connectivity in the auditory network and reward networks compared to MCI and controls. Furthermore, graph theory analyses showed that the MCI group had higher clustering and local efficiency than both AD and control groups, whereas AD individuals had lower betweenness centrality than MCI and control groups. Together, the auditory and reward systems show preserved within- and between-network connectivity in MCI individuals relative to AD. These results motivate future music-based interventions in individuals with MCI due to the preservation of functional connectivity within and between auditory and reward networks at that initial stage of neurodegeneration.

1AbstractKnowledge of speech and music depends upon the ability to perceive relationships between sounds in order to form a stable mental representation of statistical structure. Although evidence exists for the learning of musical scale structure from the statistical properties of sound events, little research has been able to observe how specific acoustic features contribute to statistical learning independent of the effects of long-term exposure. Here, using a new musical system, we show that spectral content is an important cue for acquiring musical scale structure. In two experiments, participants completed probe-tone ratings before and after a half-hour period of exposure to melodies in a novel musical scale with a predefined statistical structure. In Experiment 1, participants were randomly assigned to either a no-exposure control group, or to exposure groups who heard pure tone or complex tone sequences. In Experiment 2, participants were randomly assigned to exposure groups who heard complex tones constructed with odd harmonics or even harmonics. Learning outcome was assessed by correlating pre/post-exposure ratings and the statistical structure of tones within the exposure period. Spectral information significantly affected sensitivity to statistical structure: participants were able to learn after exposure to all tested timbres, but did best at learning with timbres with odd harmonics, which were congruent with scale structure. Results show that spectral amplitude distribution is a useful cue for statistical learning, and suggest that musical scale structure might be acquired through exposure to spectral distribution in sounds.

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.

The study aimed to identify the academic departments' understanding of e-learning universities and the degree of their practice from the point of view of the faculty members. The researcher distributed (250) questionnaires to the sample of the sample and retrieved (220) questionnaires. When the researcher was informed about them, he noticed that (1) an incomplete questionnaire. The sample stabilized on 219 faculty members whose questionnaires were analyzed.

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

Creativity has been defined as requiring both novelty and effectiveness, but little is known about how this standard definition applies in music. Here, we present results from a pilot study in which we combine behavioral testing in musical improvisation and structural neuroimaging to relate brain structure to performance in a creative musical improvisation task. Thirty-eight subjects completed a novel improvisation continuation task and underwent T1 MRI. Recorded performances were rated by expert jazz instructors for creativity. Voxel-based morphometric analyses on T1 data showed that creativity ratings were negatively associated with gray matter volume in the right inferior temporal gyrus and bilateral hippocampus. The duration of improvisation training, which was significantly correlated with creativity ratings, was negatively associated with gray matter volume in the rolandic operculum. Together, results show that musical improvisation ability and training are associated with gray matter volume in regions that are previously linked to learning and memory formation, perceptual categorization, and sensory integration. The present study takes a first step towards understanding the neuroanatomical basis of musical creativity by relating creative musical improvisation to individual differences in gray matter structure.

Music frequently elicits intense emotional responses, a phenomenon that has been scrutinized from multiple disciplines that span the sciences and arts. While most people enjoy music and find it rewarding, there is substantial individual variability in the experience and degree of music-induced reward. Here, we review current work on the neural substrates of hedonic responses to music. In particular, we focus the present review on specific musical anhedonia, a selective lack of pleasure from music. Based on evidence from neuroimaging, neuropsychology, and brain stimulation studies, we derive a neuroanatomical model of the experience of pleasure during music listening. Our model posits that hedonic responses to music are the result of connectivity between structures involved in auditory perception as a predictive process, and those involved in the brain's dopaminergic reward system. We conclude with open questions and implications of this model for future research on why humans appreciate music.

We studied mentoring relationships between undergraduate and graduate students in a summer undergraduate research program, over three years. Using a grounded theory approach, we created a model of research mentoring that describes how the roles of the mentor and the student can change. Whereas previous models of research mentoring ignored student roles and treated mentor roles as static, our model focuses on the development of the mentoring relationship over time. Our model explains how conflicts can occur if the mentor role does not match the maturity level of the student.

Humans uniquely appreciate aesthetics, experiencing pleasurable responses to complex stimuli that confer no clear intrinsic value for survival. However, substantial variability exists in the frequency and specificity of aesthetic responses. While pleasure from aesthetics is attributed to the neural circuitry for reward, what accounts for individual differences in aesthetic reward sensitivity remains unclear. Using a combination of survey data, behavioral and psychophysiological measures and diffusion tensor imaging, we found that white matter connectivity between sensory processing areas in the superior temporal gyrus and emotional and social processing areas in the insula and medial prefrontal cortex explains individual differences in reward sensitivity to music. Our findings provide the first evidence for a neural basis of individual differences in sensory access to the reward system, and suggest that social-emotional communication through the auditory channel may offer an evolutionary basis for music making as an aesthetically rewarding function in humans.

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.

This chapter provides an overview of research at the intersection of music and cognitive functions. Music, an intrinsically creative art form, requires bottom-up and top-down perceptual processing, attention, and integration of executive functions. Literature on music and attention spans debates on selection theories, and the role of temporal attention and neuronal entrainment. Attention is a subset of executive functioning, goal-directed processes including conflict monitoring, task switching, and working memory. Considerable research has addressed the effects of musical training on executive functions, with contrasting reports of success in far transfer. Finally, contrary to goal-directed processes, creativity entails unconstrained thought processes that yield novel output. Perhaps due to the unrestricted nature of both music and creativity, the relevant research has also been variable. Considering these seemingly disparate aspects of cognitive function in tandem can inspire new and interesting research questions, promoting a more cohesive conceptualization of music within cognitive science more generally.

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.

Perceiving and producing vocal sounds are important functions of the auditory-motor system and are fundamental to communication. Prior studies have identified a network of brain regions involved in pitch production, specifically pitch matching. Here we reverse engineer the function of the auditory perception-production network by targeting specific cortical regions (e.g., right and left posterior superior temporal (pSTG) and posterior inferior frontal gyri (pIFG)) with cathodal transcranial direct current stimulation (tDCS)—commonly found to decrease excitability in the underlying cortical region—allowing us to causally test the role of particular nodes in this network. Performance on a pitch-matching task was determined before and after 20 min of cathodal stimulation. Acoustic analyses of pitch productions showed impaired accuracy after cathodal stimulation to the left pIFG and the right pSTG in comparison to sham stimulation. Both regions share particular roles in the feedback and feedforward motor control of pitched vocal production with a differential hemispheric dominance.

Creativity is the ability to produce work that is novel, high in quality, and appropriate to an audience. One domain of creativity comes from musical improvisation, in which individuals spontaneously create novel auditory-motor sequences that are aesthetically rewarding. Here we test the hypothesis that individual differences in creative behavior are subserved by mesial and lateral differences in white matter connectivity. We compare jazz improvising musicians against classical (non-improvising) musicians and non-musician control subjects in musical performance and diffusion tensor imaging. Subjects improvised on short musical motifs and underwent DTI. Statistical measures of fluency and entropy for musical performances predicted expert ratings of creativity for each performance. Tract-Based Spatial Statistics (TBSS) showed higher Fractional Anisotropy (FA) in the cingulate cortex and corpus callosum in jazz musicians. FA in the cingulate also correlated with entropy. Probabilistic tractography from these mesial regions to lateral seed regions of the arcuate fasciculus, a pathway known to be involved in sound perception and production, showed mesial-to-lateral connectivity that correlated with improvisation training. Results suggest that white matter connectivity between lateral and mesial structures may integrate domain-general and domain-specific components of creativity.

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.

This work-in-progress paper describes an exploratory investigation of the relationship between Grit and retention of engineering students. Grit is a noncognitive trait that psychologists have used to predict success more accurately than cognitive traits like intelligence. We administered the Grit Scale in a first-year engineering design project course (n = 465). Using binary logistic regression, we found that Grit was not a significant predictor of retention, but one of Grit's subscales, Perseverance of Effort, was significant for both one- and two-year retention in engineering. Our results suggest that we may be able to improve retention by helping students develop persistence to overcome their challenges and difficulties.

Recent theoretical advances in the evolution of music posit that affective communication is an evolutionary function of music through which the mind and brain are transformed. A rigorous test of this view should entail examining the neuroanatomical mechanisms for affective communication of music, specifically by comparing individual differences in the general population with a special population who lacks specific affective responses to music. Here we compare white matter connectivity in BW, a case with severe musical anhedonia, with a large sample of control subjects who exhibit normal variability in reward sensitivity to music. We show for the first time that structural connectivity within the reward system can predict individual differences in musical reward in a large population, but specific patterns in connectivity between auditory and reward systems are special in an extreme case of specific musical anhedonia. Results support and extend the Mixed Origins of Music theory by identifying multiple neural pathways through which music might operate as an affective signaling system.

Human creativity contributes to the engagement, achievement, and subjective well-being of individuals. As positive psychology embraces the use of scientific inquiry to increase happiness and improve well-being, the movement would be incomplete without a thorough investigation of this core human strength. While historiometric and psychometric studies have defined multiple areas for creativity research, a neuroscientific understanding of how the human brain serves creativity is only beginning to be realized. This chapter reviews the literature on the neuroscience of creativity, with special foci on how different components of creative cognition and domains of perception relate to the structural and functional connectivity of the human brain, and how these patterns of brain connectivity can inform interventions that foster creativity and innovation.

Here we investigate associations between complex auditory and complex taste stimuli. A novel piece of music was composed and recorded in four different styles of musical articulation to reflect the four basic tastes groups (sweet, sour, salty, bitter). In Experiment 1, participants performed above chance at pairing the music clips with corresponding taste words. Experiment 2 uses multidimensional scaling to interpret how participants categorize these musical stimuli, and to show that auditory categories can be organized in a similar manner as taste categories. Experiment 3 introduces four different flavors of custom-made chocolate ganache and shows that participants can match music clips with the corresponding taste stimuli with above-chance accuracy. Experiment 4 demonstrates the partial role of pleasantness in crossmodal mappings between sound and taste. The present findings confirm that individuals are able to make crossmodal associations between complex auditory and gustatory stimuli, and that valence may mediate multisensory integration in the general population.

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.

The conference entitled "The Neurosciences and Music-IV: Learning and Memory'' was held at the University of Edinburgh from June 9-12, 2011, jointly hosted by the Mariani Foundation and the Institute for Music in Human and Social Development, and involving nearly 500 international delegates. Two opening workshops, three large and vibrant poster sessions, and nine invited symposia introduced a diverse range of recent research findings and discussed current research directions. Here, the proceedings are introduced by the workshop and symposia leaders on topics including working with children, rhythm perception, language processing, cultural learning, memory, musical imagery, neural plasticity, stroke rehabilitation, autism, and amusia. The rich diversity of the interdisciplinary research presented suggests that the future of music neuroscience looks both exciting and promising, and that important implications for music rehabilitation and therapy are being discovered.