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Autobiographical memories frequently occur during everyday life. One of the most common approaches to measuring memories in everyday life is a diary method: Participants record memories as they occur by writing down these memories in a paper diary or typing them on a smartphone. Conversely, many laboratory-based studies of autobiographical memory require participants to describe their memories out loud in a spoken manner. Here, we sought to directly compare memories recorded via typing to those spoken out loud in a smartphone diary study. Participants reported or, autobiographical memories that occurred over a period of four days either by typing (

Observers can make independent aesthetic judgements of at least two images presented briefly and simultaneously. However, it is unknown whether this is the case for two stimuli of different sensory modalities. Here, we investigated whether individuals can judge auditory and visual stimuli independently, and whether stimulus duration influences such judgments. Participants (N=120, across two experiments and a replication) saw images of paintings and heard excerpts of music, presented simultaneously for 2 s (Experiment 1) or 5 s (Experiment 2). After the stimuli were presented, participants rated how much pleasure they felt from the stimulus (music, image, or combined pleasure of both, depending on which was cued) on a 9-point scale. Finally, participants completed a baseline rating block where they rated each stimulus in isolation. We used the baseline ratings to predict ratings of audio-visual presentations. Across both experiments, the root-mean-square errors (RMSEs) obtained from leave-one-out-cross-validation analyses showed that people’s ratings of music and images were unbiased by the simultaneously presented other stimulus, and ratings of both were best described as the arithmetic mean of the ratings from the individual presentations at the end of the experiment. This pattern of results replicates previous findings on simultaneously presented images, indicating that participants can ignore the pleasure of an irrelevant stimulus regardless of the sensory modality and duration of stimulus presentation.

Previous research has found that music brings back more vivid and emotional autobiographical memories than various other retrieval cues. However, such studies have often been low in ecological validity and constrained by relatively limited cue selection and predominantly young adult samples. Here, we compared music to food as cues for autobiographical memories in everyday life in young and older adults. In two separate four-day periods, 39 younger (ages 18–34) and 39 older (ages 60–77) adults recorded their music- and food-evoked autobiographical memories in paper diaries. Across both age groups, music triggered more frequent autobiographical memories, a greater proportion of involuntary memories, and memories rated as more personally important in comparison to food cues. Age differences impacted music- and food-evoked memories similarly, with older adults consistently recalling older and less specific memories, which they rated as more positive, vivid, and rehearsed. However, young and older adults did not differ in the number or involuntary nature of their recorded memories. This work represents an important step in understanding the phenomenology of naturally occurring music-evoked autobiographical memories across adulthood and provides new insights into how and why music may be a more effective trigger for personally valued memories than certain other everyday cues.

Music can be a potent cue for autobiographical memories in both everyday and clinical settings. Understanding the extent to which music may have privileged access to aspects of our personal histories requires critical comparisons to other types of memories and exploration of how music-evoked autobiographical memories (MEAMs) vary across individuals. We compared the retrieval characteristics, content, and emotions of MEAMs to television-evoked autobiographical memories (TEAMs) in an online sample of 657 participants who were representative of the British adult population on age, gender, income, and education. Each participant reported details of a recent MEAM and a recent TEAM experience. MEAMs exhibited significantly greater episodic reliving, personal significance, and social content than TEAMs, and elicited more positive and intense emotions. The majority of these differences between MEAMs and TEAMs persisted in an analysis of a subset of responses in which the music and television cues were matched on familiarity. Age and gender effects were smaller, and consistent across both MEAMs and TEAMs. These results indicate phenomenological differences in naturally occurring memories cued by music as compared to television that are maintained across adulthood. Findings are discussed in the context of theoretical accounts of autobiographical memory, functions of music, and healthy aging.

The use of artificial intelligence (AI) to compose music is becoming mainstream. Yet, there is a concern that listeners may have biases against AIs. Here, we test the hypothesis that listeners will like music less if they think it was composed by an AI. In Study 1, participants listened to excerpts of electronic and classical music and rated how much they liked the excerpts and whether they thought they were composed by an AI or human. Participants were more likely to attribute an AI composer to electronic music and liked music less that they thought was composed by an AI. In Study 2, we directly manipulated composer identity by telling participants that the music they heard (electronic music) was composed by an AI or by a human, yet we found no effect of composer identity on liking. We hypothesized that this was due to the "AI-sounding" nature of electronic music. Therefore, in Study 3, we used a set of "human-sounding" classical music excerpts. Here, participants liked the music less when it was purportedly composed by an AI. We conclude with implications of the AI composer bias for understanding perception of AIs in arts and aesthetic processing theories more broadly. (PsycInfo Database Record (c) 2022 APA, all rights reserved).

Famous musical melodies, such as "Row, Row, Row Your Boat" and "Hot Cross Buns," are frequently used in psychological research. Such melodies have been used to assess the degree of cognitive impairments in various neurological disorders, and to investigate differences between "naming" vs. "knowing." Despite their utility as an experimental stimulus, there is currently no standardized, openly available set of famous musical melodies based on a United States population, as prior work on the topic has primarily relied on creating stimuli in an ad hoc manner. Therefore, the goal of the present work was to create a set of famous musical melodies. Here, we describe the development of the Famous Melodies Stimulus Set, a set of 107 melodies. We provide normative data for the melodies on five dimensions: familiarity, age of acquisition, emotional valence, emotional arousal, and naming ability. Participants (N = 397) rated the melodies on these five variables, validating that most melodies were highly familiar and reliably named. While familiarity ratings were skewed, all other rating scales covered a relatively broad range, allowing for researchers to select melodies for future work based on particular attributes.

The study of music-evoked autobiographical memories (MEAMs) has grown substantially in recent years. Prior work has used various methods to compare MEAMs to memories evoked by other cues (e.g., images, words). Here, we sought to identify which methods could distinguish between MEAMs and picture-evoked memories. Participants (N = 18) listened to popular music and viewed pictures of famous persons, and described any autobiographical memories evoked by the stimuli. Memories were scored using the Autobiographical Interview (AI; Levine, Svoboda, Hay, Winocur, & Moscovitch, 2002), Linguistic Inquiry and Word Count (LIWC; Pennebaker et al., 2015), and Evaluative Lexicon (EL; Rocklage & Fazio, 2018). We trained three logistic regression models (one for each scoring method) to differentiate between memories evoked by music and faces. Models trained on LIWC and AI data exhibited significantly above chance accuracy when classifying whether a memory was evoked by a face or a song. The EL, which focuses on the affective nature of a text, failed to predict whether memories were evoked by music or faces. This demonstrates that various memory scoring techniques provide complementary information about cued autobiographical memories, and suggests that MEAMs differ from memories evoked by pictures in some aspects (e.g., perceptual and episodic content) but not others (e.g., emotional content).

The study under discussion sought to investigate the hemispheric laterality of musical emotions: Is one hemisphere of the brain preferentially involved in recognizing emotions in music? The authors took a neuropsychological approach to answer this question by studying emotional judgments of music in people with brain damage to either hemisphere. Their results indicated that individuals with left hemisphere damage were significantly impaired in recognizing musical emotions as compared to healthy comparison participants. In contrast, individuals with right hemisphere damage were not impaired at identifying emotions in music, but rated the perceived intensity of the emotions lower for sadness and fear (as compared to joy and serenity). Their work suggests that the identification of emotions in music and the perceived intensity of the emotions expressed may rely on different hemispheres of the brain.

Music is a particularly salient autobiographical memory cue. Prior work has indicated that autobiographical memories evoked by music are more episodically rich than those evoked by other sensory cues. One explanation for this effect could be that music evokes autobiographical memories in a more involuntary manner than other cues. Here, we investigated the role of involuntary retrieval in music-evoked autobiographical memories. Results indicated that, regardless of intentionality, music-evoked autobiographical memories were more episodically rich and contained more perceptual details than face-evoked memories. That is, even when directly comparing involuntary music-evoked memories to involuntary face-evoked memories, there was still a consistent difference in episodic richness between memories evoked by the two cue types. This suggests that it is not the involuntary nature of music-evoked memories alone that drives this difference, but that the difference in episodic richness between cue types seems at least partially to depend on other stimulus features.

Visual aesthetic evaluations, which impact decision-making and well-being, recruit the ventral visual pathway, subcortical reward circuitry, and parts of the medial prefrontal cortex overlapping with the default-mode network (DMN). However, it is unknown whether these networks represent aesthetic appeal in a domain-general fashion, independent of domain-specific representations of stimulus content (artworks versus architecture or natural landscapes). Using a classification approach, we tested whether the DMN or ventral occipitotemporal cortex (VOT) contains a domain-general representation of aesthetic appeal. Classifiers were trained on multivoxel functional MRI response patterns collected while observers made aesthetic judgments about images from one aesthetic domain. Classifier performance (high vs. low aesthetic appeal) was then tested on response patterns from held-out trials from the same domain to derive a measure of domain-specific coding, or from a different domain to derive a measure of domain-general coding. Activity patterns in category-selective VOT contained a degree of domain-specific information about aesthetic appeal, but did not generalize across domains. Activity patterns from the DMN, however, were predictive of aesthetic appeal across domains. Importantly, the ability to predict aesthetic appeal varied systematically; predictions were better for observers who gave more extreme ratings to images subsequently labeled as “high” or “low.” These findings support a model of aesthetic appreciation whereby domain-specific representations of the content of visual experiences in VOT feed in to a “core” domain-general representation of visual aesthetic appeal in the DMN. Whole-brain “searchlight” analyses identified additional prefrontal regions containing information relevant for appreciation of cultural artifacts (artwork and architecture) but not landscapes.

Prior research has implicated the left temporal pole (LTP) as a critical region for naming semantically unique items, including famous faces, landmarks, and musical melodies. Most studies have used a confrontation naming paradigm, where a participant is presented with a stimulus and asked to retrieve its name. We have proposed previously that the LTP functions as a two-way, bidirectional convergence region brokering between conceptual knowledge and proper names for unique entities. Under this hypothesis, damage to the LTP should result in a “two way” impairment: (1) Defective proper name retrieval when presented with a unique stimulus (as shown in prior work); and (2) Defective concept retrieval when presented with a proper name. Here, we directly tested the second prediction (prediction #2) using a “recognition-from-name” paradigm. Participants were patients with LTP damage, brain-damaged comparisons with damage outside the LTP, and healthy comparisons. Participants were presented with names of famous persons (e.g., “Marilyn Monroe”), landmarks (e.g., “Leaning Tower of Pisa”), or melodies (e.g., “Rudolph the Red-Nosed Reindeer”) and were asked to provide conceptual knowledge about each. We found that individuals with damage to the LTP were significantly impaired at conceptual knowledge retrieval when given names of famous people and landmarks (this finding did not hold for melodies). This outcome supports the theory that the LTP is a bidirectional convergence region for proper naming, but suggests that melody retrieval may rely on processes different from those supported by the LTP.

The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants (N = 32) made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece (congruent with the army band) and a non-patriotic piece (congruent with the university band). Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible.

The music and social bonding (MSB) hypothesis suggests that damage to brain regions in the proposed neurobiological model, including the ventromedial prefrontal cortex (vmPFC), would disrupt the social and emotional effects of music. This commentary evaluates prior research in persons with vmPFC damage in light of the predictions put forth by the MSB hypothesis.

Background: Research has indicated that individuals with Alzheimer’s-type dementia (AD) can experience prolonged emotions, even when they cannot recall the eliciting event. Less is known about whether music can modify the emotional state of individuals with AD and whether emotions evoked by music linger in the absence of a declarative memory for the eliciting event. Objective: We examined the effects of participant-selected recorded music on self-reported feelings of emotion in individuals with AD, and whether these feelings persisted irrespective of declarative memory for the emotion-inducing stimuli. Methods: Twenty participants with AD and 19 healthy comparisons (HCs) listened to two 4.5-minute blocks of self-selected music that aimed to induce either sadness or happiness. Participants reported their feelings at baseline and three times post-induction and completed recall and recognition tests for the music selections after each induction. Results: Participants with AD had impaired memory for music selections compared to HCs. Both groups reported elevated sadness and negative affect after listening to sad music and increased happiness and positive affect after listening to happy music, relative to baseline. Sad/negative and happy/positive emotions endured up to 20 minutes post-induction. Conclusion: Brief exposure to music can induce strong and lingering emotions in individuals with AD. These findings extend the intriguing phenomenon whereby lasting emotions can be prompted by stimuli that are not remembered declaratively. Our results underscore the utility of familiar music for inducing emotions in individuals with AD and may ultimately inform strategies for using music listening as a therapeutic tool with this population.

International audience; For the hemispheric laterality of emotion processing in the brain, two competing hypotheses are currently still debated. The first hypothesis suggests a greater involvement of the right hemisphere in emotion perception whereas the second hypothesis suggests different involvements of each hemisphere as a function of the valence of the emotion. These hypotheses are based on findings for facial and prosodic emotion perception. Investigating emotion perception for other stimuli, such as music, should provide further insight and potentially help to disentangle between these two hypotheses. The present study investigated musical emotion perception in patients with unilateral right brain damage (RBD, n = 16) or left brain damage (LBD, n = 16), as well as in matched healthy comparison participants (n = 28). The experimental task required explicit recognition of musical emotions as well as ratings on the perceived intensity of the emotion. Compared to matched comparison participants, musical emotion recognition was impaired only in LBD participants, suggesting a potential specificity of the left hemisphere for explicit emotion recognition in musical material. In contrast, intensity ratings of musical emotions revealed that RBD patients underestimated the intensity of negative emotions compared to positive emotions, while LBD patients and comparisons did not show this pattern. To control for a potential generalized emotion deficit for other types of stimuli, we also tested facial emotion recognition in the same patients and their matched healthy comparisons. This revealed that emotion recognition after brain damage might depend on the stimulus category or modality used. These results are in line with the hypothesis of a deficit of emotion perception depending on lesion laterality and valence in brain-damaged participants. The present findings provide critical information to disentangle the currently debated competing hypotheses and thus allow for a better characterization of the involvement of each hemisphere for explicit emotion recognition and their perceived intensity.

This chapter provides an overview of ways of understanding the pleasures of reading, blending literary criticism with behavioral psychology. Pleasure has at least two basic functions with works of art, the first is to help identify salient elements of form, and second to release attention for exploration. While pleasure might be imagined to be the final result of engaging with a whole object, we show through an experiment the disjunction between pleasure and complete aesthetic form.

People listen to music because it is pleasurable. However, there are individual differences in the reward value of music. At the extreme low end of this continuum, individuals who derive no pleasure from music are said to have 'musical anhedonia.' Cases of acquired musical anhedonia following focal brain damage are rare, with only a handful having been reported in the scientific literature. Here, we surveyed a large sample of patients with focal brain damage to identify the frequency, specificity, and neural correlates of acquired musical anhedonia. Participants completed the Musical anhedonia Questionnaire and the Barcelona Music Reward Questionnaire (Mas-Herrero et al., 2013) to assess changes in musical enjoyment and reward following brain injury. Neuroanatomical data were analyzed with a proportional MAP-3 method to create voxelwise lesion proportion difference maps. No clear or consistent neuroanatomical correlates of musical anhedonia were identified. One patient with damage to the right-hemisphere putamen and internal capsule displayed specific and severe acquired musical anhedonia. These findings indicate that acquired musical anhedonia is very uncommon, a result which is consistent with the fact that only a small number of such cases have been reported in the literature. This rarity could have positive implications for the therapeutic potentialities of music in patients with severe neurological disorders.

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.

BACKGROUND: Previous work has investigated extensively the neuroanatomical correlates of lexical retrieval for words for concrete entities. Musical entities, such as musical instruments, are often included in studies of category-specific naming deficits, but have rarely been the focus of such work. AIMS: This article reviews a program of research investigating the neuroanatomical basis for lexical retrieval of words for unique (i.e., melodies) and non-unique (i.e., musical instruments) musical entities. MAIN CONTRIBUTION: We begin by reporting findings on the retrieval of words for unique musical entities, including musical melodies. We then consider work focusing on retrieval of words for non-unique musical entities, specifically musical instruments. We highlight similarities between the two lines of work, and then report results from new analyses including direct comparisons between the two. These comparisons suggest that impairments in naming musical melodies and in naming musical instruments are both associated with damage to the left temporal pole (LTP). However, musical instrument naming appears to rely on a more distributed set of brain regions, possibly including those relating to sensorimotor interactions with such instruments, whereas melody naming relies more exclusively on the left temporal pole. CONCLUSIONS: Retrieval of names for musical melodies appears to rely on similar neuroanatomical correlates as for other proper nouns, namely the LTP. Musical instrument naming seems to rely on a broader network of regions, including the LTP and sensorimotor areas. Overall, melody naming seems to coincide with naming of other proper nouns, while musical instrument naming appears distinct from other categories of non-unique items.

Objective Retrieval of lexical (names) and conceptual (semantic) information is frequently impaired in individuals with neurological damage. One category of items that is often affected is musical instruments. However, distinct neuroanatomical correlates underlying lexical and conceptual knowledge for musical instruments have not been identified. Method We used a neuropsychological approach to explore the neural correlates of knowledge retrieval for musical instruments. A large sample of individuals with focal brain damage (N = 298), viewed pictures of 16 musical instruments and were asked to name and identify each instrument. Neuroanatomical data were analyzed with a proportional MAP-3 method to create voxelwise lesion proportion difference maps. Results Impaired naming (lexical retrieval) of musical instruments was associated with damage to the left temporal pole and inferior pre- and postcentral gyri. Impaired recognition (conceptual knowledge retrieval) of musical instruments was associated with a more broadly and bilaterally distributed network of regions, including ventromedial prefrontal cortices, occipital cortices, and superior temporal gyrus. Conclusions The findings extend our understanding of how musical instruments are processed at neural system level, and elucidate factors that may explain why brain damage may or may not produce anomia or agnosia for musical instruments. Our findings also help inform broader understanding of category-related knowledge mapping in the brain, as musical instruments possess several characteristics that are similar to various other categories of items: They are inanimate and highly manipulable (similar to tools), produce characteristic sounds (similar to animals), and require fine-grained visual differentiation between each other (similar to people). (PsycINFO Database Record

OBJECT Anterior skull base meningiomas are frequently associated with changes in personality and behavior. Although such meningiomas often damage the ventromedial prefrontal cortex (vmPFC), which is important for higher cognition, the cognitive and behavioral effects of these meningiomas remain poorly understood. Using detailed neuropsychological assessments in a large series of patients, this study examined the cognitive and behavioral effects of meningioma lesions involving the vmPFC. METHODS The authors reviewed neuropsychology and lesion mapping records of 70 patients who underwent resection of meningiomas. The patients were drawn from the Neurological Patient Registry at the University of Iowa. Patients were sorted into 2 groups: those with lesions involving the vmPFC and those with lesions that did not involve the vmPFC. Neuropsychological data pertaining to a comprehensive array of cognitive and behavioral domains were available preoperatively in 20 patients and postoperatively in all 70 patients. RESULTS No change occurred in basic cognitive functions (e.g., attention, perception, memory, construction and motor performance, language, or executive functions) from the preoperative to postoperative epochs for the vmPFC and non-vmPFC groups. There was a significant decline in the behavioral domain, specifically adaptive function, for both the vmPFC and non-vmPFC groups, and this decline was more pronounced for the vmPFC group. Additionally, postoperative data indicated that the vmPFC group had a specific deficit in value-based decision making, as evidenced by poor performance on the Iowa Gambling Task, compared with the non-vmPFC group. The vmPFC and non-vmPFC groups did not differ postoperatively on other cognitive measures, including intellect, memory, language, and perception. CONCLUSIONS Lesions of the vmPFC resulting from meningiomas are associated with specific deficits in adaptive function and value-based decision making. Meningioma patients showed a decline in adaptive function postoperatively, and this decline was especially notable in patients with vmPFC region meningiomas. Early detection and resection of meningiomas of the anterior skull base (involving the gyrus rectus) may prevent these deficits.

Men and women often display different physiological responses to emotional stimuli, and these responses can be affected by brain damage. Here, we investigated how brain damage differentially affects electrodermal responses based on sex. We studied neurologically normal, healthy adults and a sample of neurological patients. Participants listened to music, an emotional stimulus that reliably elicits skin conductance responses (SCRs). Electrodermal activity was recorded while participants listened to musical clips. When analyzing the data without regard to sex, there were no differences between healthy and brain-damaged participants in their SCRs. However, we found a significant interaction between brain injury status and sex. For men, brain damage significantly reduced SCRs. For women, there were no differences between brain-damaged participants and neurologically healthy participants. These findings illustrate the importance of including demographic variables, such as sex, when investigating brain-behavior relationships with a psychophysiological dependent variable.

In recent years, psychological models of perception have undergone reevaluation due to a broadening of focus toward understanding not only how observers perceive stimuli but also how they subjectively evaluate stimuli. Here, we investigated the time course of such aesthetic evaluations using a gating paradigm. In a series of experiments, participants heard excerpts of classical, jazz, and electronica music. Excerpts were of different durations (250 ms, 500 ms, 750 ms, 1,000 ms, 2,000 ms, 10,000 ms) or note values (eighth note, quarter note, half note, dotted-half note, whole note, and entire 10,000 ms excerpt). After each excerpt, participants rated how much they liked the excerpt on a 9-point Likert scale. In Experiment 1, listeners made accurate aesthetic judgments within 750 ms for classical and jazz pieces, while electronic pieces were judged within 500 ms. When translated into note values (Experiment 2), electronica and jazz clips were judged more quickly than classical. In Experiment 3, we manipulated the familiarity of the musical excerpts. Unfamiliar clips were judged more quickly (500 ms) than familiar clips (750 ms), but there was overall higher accuracy for familiar pieces. Finally, we investigated listeners' aesthetic judgments continuously over the time course of more naturalistic (60 s) excerpts: Within 3 s, listeners' judgments differed between most- and least-liked pieces. We suggest that such rapid aesthetic judgments represent initial gut-level decisions that are made quickly, but that even these initial judgments are influenced by characteristics such as genre and familiarity. (PsycINFO Database Record (c) 2018 APA, all rights reserved).

Reciprocal trust is a crucial component of cooperative, mutually beneficial social relationships. Previous research using tasks that require judging and developing interpersonal trust has suggested that the insula may be an important brain region underlying these processes (King-Casas et al., 2008). Here, using a neuropsychological approach, we investigated the role of the insula in reciprocal trust during the Trust Game (TG), an interpersonal economic exchange. Consistent with previous research, we found that neurologically normal adults reciprocate trust in kind, i.e., they increase trust in response to increases from their partners, and decrease trust in response to decreases. In contrast, individuals with damage to the insula displayed abnormal expressions of trust. Specifically, these individuals behaved benevolently (expressing misplaced trust) when playing the role of investor, and malevolently (violating their partner’s trust) when playing the role of the trustee. Our findings lend further support to the idea that the insula is important for expressing normal interpersonal trust, perhaps because the insula helps to recognize risk during decision-making and to identify social norm violations.

Famous musical melodies, such as “Twinkle Twinkle Little Star” and “Old MacDonald,” are widely recognized in the western world. While the same musical melody may be represented in multiple ways, the melody itself is a unique, discrete entity. For example, at a birthday party when one person begins singing “Happy Birthday”, others join in, singing in whatever key was spontaneously chosen by the first singer. No matter what key this may be, the melody of “Happy Birthday” is easily and ubiquitously recognized. Similarly, melodies can be played on different instruments and despite the different sounds these make, the melodies tend to be quite recognizable. Semantically unique items are items that can be characterized by a unique identifier, or name (Gorno-Tempini & Price, 2001). Famous musical melodies are semantically unique items, because they are unique entities that are identified by a proper name, (e.g., “The Star Spangled Banner”). In this way, melodies are similar to other categories of unique entities, such as famous people and landmarks. While musical melodies are similar to famous people and landmarks in this regard, it is uncertain whether the category of famous musical melodies has the same neuroanatomical underpinnings as famous faces and landmarks. Importantly, famous faces and landmarks are both visual stimuli, while melodies are auditory. The neurobiology of this critical difference between these two classes of stimuli is not well understood. Previous research has frequently investigated the neuroanatomical underpinnings of recognition of famous musical melodies (Hailstone et al., 2009; Hsieh et al., 2011; Peretz et al., 1994; Platel et al., 2003; Steinke et al., 2001). In these studies, subjects have been asked to identify whether a melody is familiar or not, to continue humming the tune of the melody, or to pick the name of the melody from a group of names (in a multiple choice recognition format). Multiple brain regions have been implicated in the recognition of musical melodies, most frequently including regions in the bilateral temporal lobes. However, it is important to note that recognition of famous melodies is different from naming of melodies – the former refers to a set of semantic information that confers “knowing,” while the latter refers to a specific lexical entity that is a proper name. In the current study, we focus on the neuroanatomical basis of naming famous musical melodies, which has been far less studied than recognition. Only a few studies have investigated the neuroanatomical underpinnings of naming famous musical melodies. Ayotte and colleagues (2000) studied naming of famous musical melodies in patients who had undergone brain surgery for middle cerebral artery aneurysms. The authors found that, compared to normal comparison subjects, patients with left, but not right, hemisphere lesions were impaired at naming famous melodies. However, patients with lesions to the left hemisphere were also found to be impaired at recognizing famous melodies. Therefore, the authors were unable to specify a region that results in isolated deficits in naming famous melodies. Recently, Johnson and colleagues (2011) investigated naming of famous musical melodies, and found that patients with Alzheimer's disease, frontotemporal dementia, and semantic dementia were significantly impaired at naming famous musical melodies compared to normal comparison participants. Additionally, patients with semantic dementia performed significantly poorer than patients with Alzheimer's disease and frontotemporal dementia. However, as in the Ayotte et al. (2000) study, the semantic dementia patients who were impaired at naming famous melodies were also impaired at recognizing these melodies. Using voxel-based morphometry, the authors identified multiple regions in the left temporal lobe that correlated with performance on the famous melodies naming task. Taken together, previous research has provided some preliminary hints that the left temporal lobe is important for naming famous musical melodies. However, neuroanatomical regions responsible solely for naming of famous musical melodies have not been isolated; additionally, a clear mechanism for deficits in naming of famous melodies has not yet been found. Here, we propose that famous musical melodies are semantically unique items, and therefore, the neuroanatomical substrate underlying naming famous musical melodies is similar to naming other semantically unique items. The left temporal pole (LTP) is a region that is involved in the ability to name semantically unique entities, such as famous faces and landmarks. In a seminal study, Damasio et al. (1996) found that patients with lesions to the left temporal pole were impaired at naming the faces of famous people, but not animals or tools. Functional imaging research has confirmed that the left anterior temporal lobes selectively respond to person-knowledge, as opposed to more general categories of objects (Simmons et al., 2010). Additionally, Tranel (2006) found that patients with LTP damage were impaired at naming famous landmarks (and famous faces), suggesting that the LTP is not just necessary for naming of unique faces, but for multiple categories of semantically unique items. More recently, Drane et al., (2008, 2012) found that patients with left temporal lobectomies were significantly impaired at naming famous faces, while patients with right temporal lobectomies were significantly impaired at recognizing famous faces. These findings are consistent with functional imaging research (Damasio et al., 1996; Grabowski et al., 2001; Griffith et al., 2006; Nielson et al., 2010). Such findings have led to a theoretical framework positing that the LTP is a convergence zone that connects the retrieval of conceptual information about a unique item with the retrieval of the name of that item (Damasio et al., 2004; Tranel et al., 2001; Tranel et al., 2005). Lesions to the left temporal pole disrupt this connection between conceptual information and lexical information, and result in impairments in naming semantically unique items. Although previous research posits that the LTP is necessary for naming semantically unique entities, it is unclear whether or not musical melodies, which are an auditory stimulus, will be neuroanatomically represented in the same way as other unique entities. Tranel et al. (2005) investigated the naming of concrete (but not unique) entities using both visual and auditory stimuli. In a PET experiment, participants named various tools and animals that were presented either with a picture of the tool/animal or the sound that the tool/animal makes. Naming from both visual and auditory stimuli resulted in similar activations in the inferotemporal region – specifically, the locus of activation differed for the categories (animals v. tools) but not for the sensory modalities (visual v. auditory). While this task did not include naming of semantically unique entities, it provides support for the hypothesis that naming of auditory stimuli may engage similar brain regions to naming of visual stimuli. The study reported here expands on the previous framework that the left temporal pole is necessary for the naming of unique entities, irrespective of sensory modality or stimulus category, by investigating whether LTP damage is associated with impaired naming of a unique stimulus category: famous musical melodies. Additionally, we expand on the previous literature in music naming and recognition by proposing a specific, focal brain region that, when lesioned, will result in impairment in naming famous musical melodies. We hypothesized that the left temporal pole is associated with retrieving names for specific musical melodies, but not with retrieving semantic knowledge about these melodies. On this basis of this hypothesis, we predicted that: (1) Lesions to the LTP will impair naming of famous musical melodies, and (2) Lesions to the LTP will not impair recognition of famous musical melodies.

Previous research has shown sex differences in brain morphology ( De Bellis et al., 2001 ). However, these studies have not taken gender into account. Gender is a phenotype that describes behavior. In this study, we examined the relationship between gender, sex, and brain volumes in children. One hundred and eight children ages 7 to 17 were administered the Children's Sex Role Inventory ( Boldizar, 1991 ) and obtained volumetric brain data via magnetic resonance imaging (MRI). We found that, in the frontal lobe, higher masculinity predicted greater volumes of white matter. Also, in the temporal lobe, higher femininity predicted greater volumes of gray matter.

Music is strongly intertwined with memories-for example, hearing a song from the past can transport you back in time, triggering the sights, sounds, and feelings of a specific event. This association between music and vivid autobiographical memory is intuitively apparent, but the idea that music is intimately tied with memories, seemingly more so than other potent memory cues (e.g., familiar faces), has not been empirically tested. Here, we compared memories evoked by music to those evoked by famous faces, predicting that music-evoked autobiographical memories (MEAMs) would be more vivid. Participants listened to 30 songs, viewed 30 faces, and reported on memories that were evoked. Memories were transcribed and coded for vividness as in Levine, B., Svoboda, E., Hay, J. F., Winocur, G., & Moscovitch, M. [2002. Aging and autobiographical memory: Dissociating episodic from semantic retrieval. Psychology and Aging, 17, 677-689]. In support of our hypothesis, MEAMs were more vivid than autobiographical memories evoked by faces. MEAMs contained a greater proportion of internal details and a greater number of perceptual details, while face-evoked memories contained a greater number of external details. Additionally, we identified sex differences in memory vividness: for both stimulus categories, women retrieved more vivid memories than men. The results show that music not only effectively evokes autobiographical memories, but that these memories are more vivid than those evoked by famous faces.

Men and women often display different physiological responses to emotional stimuli, and these responses can be affected by brain damage. Here, we investigated how brain damage differentially affects electrodermal responses based on sex. We studied neurologically normal, healthy adults and a sample of neurological patients. Participants listened to music, an emotional stimulus that reliably elicits skin conductance responses (SCRs). Electrodermal activity was recorded while participants listened to musical clips. When analyzing the data without regard to sex, there were no differences between healthy and brain-damaged participants in their SCRs. However, we found a significant interaction between brain injury status and sex. For men, brain damage significantly reduced SCRs. For women, there were no differences between brain-damaged participants and neurologically healthy participants. These findings illustrate the importance of including demographic variables, such as sex, when investigating brain-behavior relationships with a psychophysiological dependent variable.