Intracortical myelination in musicians with absolute pitch: Quantitative morphometry using 7-T MRI.
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ABSTRACT:
SUBMITTER: Kim SG
PROVIDER: S-EPMC5084814 | biostudies-literature |
REPOSITORIES: biostudies-literature
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Project description:Absolute pitch (AP) is the ability to recognize pitch chroma of tonal sound without external references, providing a unique model of the human auditory system (Zatorre: Nat Neurosci 6 () 692-695). In a previous study (Kim and Knösche: Hum Brain Mapp () 3486-3501), we identified enhanced intracortical myelination in the right planum polare (PP) in musicians with AP, which could be a potential site for perceptional processing of pitch chroma information. We speculated that this area, which initiates the ventral auditory pathway, might be crucially involved in the perceptual stage of the AP process in the context of the "dual pathway hypothesis" that suggests the role of the ventral pathway in processing nonspatial information related to the identity of an auditory object (Rauschecker: Eur J Neurosci 41 () 579-585). To test our conjecture on the ventral pathway, we investigated resting state functional connectivity (RSFC) using functional magnetic resonance imaging (fMRI) from musicians with varying degrees of AP. Should our hypothesis be correct, RSFC via the ventral pathway is expected to be stronger in musicians with AP, whereas such group effect is not predicted in the RSFC via the dorsal pathway. In the current data, we found greater RSFC between the right PP and bilateral anteroventral auditory cortices in musicians with AP. In contrast, we did not find any group difference in the RSFC of the planum temporale (PT) between musicians with and without AP. We believe that these findings support our conjecture on the critical role of the ventral pathway in AP recognition. Hum Brain Mapp 38:3899-3916, 2017. © 2017 Wiley Periodicals, Inc.
| S-EPMC6866733 | biostudies-literature
Project description:The ability to remember tempo (the perceived frequency of musical pulse) without external references may be defined, by analogy with the notion of absolute pitch, as absolute tempo (AT). Anecdotal reports and sparse empirical evidence suggest that at least some individuals possess AT. However, to our knowledge, no systematic assessments of AT have been performed using laboratory tasks comparable to those assessing absolute pitch. In the present study, we operationalize AT as the ability to identify and reproduce tempo in the absence of rhythmic or melodic frames of reference and assess these abilities in musically trained and untrained participants. We asked 15 musicians and 15 non-musicians to listen to a seven-step `tempo scale' of metronome beats, each associated to a numerical label, and then to perform two memory tasks. In the first task, participants heard one of the tempi and attempted to report the correct label (identification task), in the second, they saw one label and attempted to tap the correct tempo (production task). A musical and visual excerpt was presented between successive trials as a distractor to prevent participants from using previous tempi as anchors. Thus, participants needed to encode tempo information with the corresponding label, store the information, and recall it to give the response. We found that more than half were able to perform above chance in at least one of the tasks, and that musical training differentiated between participants in identification, but not in production. These results suggest that AT is relatively wide-spread, relatively independent of musical training in tempo production, but further refined by training in tempo identification. We propose that at least in production, the underlying motor representations are related to tactus, a basic internal rhythmic period that may provide a body-based reference for encoding tempo.
| S-EPMC5070877 | biostudies-literature
Project description:Absolute pitch (AP) is the ability to identify an auditory pitch without prior context. Current theories posit AP involves automatic retrieval of referents. We tested interference in well-matched AP musicians, non-AP musicians, and nonmusicians with three auditory Stroop tasks. Stimuli were one of two sung pitches with congruent or incongruent verbal cues. The tasks used different lexicons: binary concrete adjectives (i.e., words: Low/High), syllables with no obvious semantic properties (i.e., solmization: Do/So), and abstract semiotic labels (i.e., orthographic: C/G). Participants were instructed to respond to pitch regardless of verbal information during electroencephalographic recording. Incongruent stimuli of words and solmization tasks increased errors and slowed response times (RTs), which was reversed in nonmusicians for the orthographic task. AP musicians made virtually no errors, but their RTs slowed for incongruent stimuli. Frontal theta (4-7 Hz) event-related synchrony was significantly enhanced during incongruence between 350 and 550 ms poststimulus onset in AP, regardless of lexicon or behavior. This effect was found in non-AP musicians and nonmusicians for word task, while orthographic task showed a reverse theta congruency effect. Findings suggest theta synchrony indexes conflict detection in AP. High beta (21-29 Hz) desynchrony indexes response conflict detection in non-AP musicians. Alpha (8-12 Hz) synchrony may reflect top-down attention.
| S-EPMC8423588 | biostudies-literature
Project description:Absolute pitch (AP) is the ability to identify the pitch names of arbitrary musical tones without being given a reference pitch. The acquisition of AP typically requires early musical training, the critical time window for which is similar to that for the acquisition of a first language. This study investigated the left-right asymmetry of the auditory cortical functions responsible for AP by focusing on the T-complex of auditory evoked potentials (AEPs), which shows morphological changes during the critical period for language acquisition. AEPs evoked by a pure-tone stimulus were recorded in high-AP musicians, low-AP musicians, and non-musicians (n = 19 each). A balanced non-cephalic electrode (BNE) reference was used to examine the left-right asymmetry of the N1a and N1c components of the T-complex. As a result, a left-dominant N1c was observed only in the high-AP musician group, indicating "AP negativity," which has previously been described as an electrophysiological marker of AP. Notably, this hemispheric asymmetry was due to a diminution of the right N1c rather than enhancement of the left N1c. A left-dominant N1a was found in both musician groups, irrespective of AP. N1c and N1a exhibited no left-right asymmetry in non-musicians. Hence, music training and the acquisition of AP are both accompanied by a left-dominant hemispheric specialization of auditory cortical functions, as indexed by N1a and N1c, respectively, but the N1c asymmetry in AP possessors was due to reduced neural activities in the right hemisphere. The use of a BNE is recommended for evaluating these radially oriented components of the T-complex.
| S-EPMC6691098 | biostudies-other
Project description:Absolute pitch (AP) is a behavioral trait that is defined as the ability to identify the pitch of tones in the absence of a reference pitch. AP is an ideal phenotype for investigation of gene and environment interactions in the development of complex human behaviors. Individuals who score exceptionally well on formalized auditory tests of pitch perception are designated as "AP-1." As described in this report, auditory testing of siblings of AP-1 probands and of a control sample indicates that AP-1 aggregates in families. The implications of this finding for the mapping of loci for AP-1 predisposition are discussed.
| S-EPMC1287535 | biostudies-literature
Project description:Important to Western tonal music is the relationship between pitches both within and between musical chords; melody and harmony are generated by combining pitches selected from the fixed hierarchical scales of music. It is of critical importance that musicians have the ability to detect and discriminate minute deviations in pitch in order to remain in tune with other members of their ensemble. Event-related potentials indicate that cortical mechanisms responsible for detecting mistuning and violations in pitch are more sensitive and accurate in musicians as compared with non-musicians. The aim of the present study was to address whether this superiority is also present at a subcortical stage of pitch processing. Brainstem frequency-following responses were recorded from musicians and non-musicians in response to tuned (i.e. major and minor) and detuned (± 4% difference in frequency) chordal arpeggios differing only in the pitch of their third. Results showed that musicians had faster neural synchronization and stronger brainstem encoding for defining characteristics of musical sequences regardless of whether they were in or out of tune. In contrast, non-musicians had relatively strong representation for major/minor chords but showed diminished responses for detuned chords. The close correspondence between the magnitude of brainstem responses and performance on two behavioral pitch discrimination tasks supports the idea that musicians' enhanced detection of chordal mistuning may be rooted at pre-attentive, sensory stages of processing. Findings suggest that perceptually salient aspects of musical pitch are not only represented at subcortical levels but that these representations are also enhanced by musical experience.
| S-EPMC3059719 | biostudies-literature
Project description:Musical training has been associated with various cognitive benefits, one of which is enhanced speech perception. However, most findings have been based on musicians taking part in ongoing music lessons and practice. This study thus sought to determine whether the musician advantage in pitch perception in the language domain extends to individuals who have ceased musical training and practice. To this end, adult active musicians (n = 22), former musicians (n = 27), and non-musicians (n = 47) were presented with sentences spoken in a native language, English, and a foreign language, French. The final words of the sentences were either prosodically congruous (spoken at normal pitch height), weakly incongruous (pitch was increased by 25%), or strongly incongruous (pitch was increased by 110%). Results of the pitch discrimination task revealed that although active musicians outperformed former musicians, former musicians outperformed non-musicians in the weakly incongruous condition. The findings suggest that the musician advantage in pitch perception in speech is retained to some extent even after musical training and practice is discontinued.
| S-EPMC9929097 | biostudies-literature
Project description:A good quality and amount of sleep are fundamental to preserve cognition and affect. New evidence also indicates that poor sleep is detrimental to brain myelination. In this study, we test the hypothesis that sleep quality and/or quantity relate to variability in cognitive and emotional function via the mediating effect of interindividual differences in proxy neuroimaging measures of white matter integrity and intracortical myelination. By employing a demographically and neuropsychologically well-characterized sample of healthy people drawn from the Human Connectome Project (n = 974), we found that quality and amount of sleep were only marginally linked to cognitive performance. In contrast, poor quality and short sleep increased negative affect (i.e. anger, fear, and perceived stress) and reduced life satisfaction and positive emotionality. At the brain level, poorer sleep quality and shorter sleep duration related to lower intracortical myelin in the mid-posterior cingulate cortex (p = 0.038), middle temporal cortex (p = 0.024), and anterior orbitofrontal cortex (OFC, p = 0.034) but did not significantly affect different measures of white matter integrity. Finally, lower intracortical myelin in the OFC mediated the association between poor sleep quality and negative emotionality (p < 0.05). We conclude that intracortical myelination is an important mediator of the negative consequences of poor sleep on affective behavior.
| S-EPMC7819832 | biostudies-literature
Project description:Previous studies have used task-related fMRI to investigate the neural basis of pitch identification (PI), but no study has examined the associations between resting-state functional connectivity (RSFC) and PI ability. Using a large sample of Chinese non-musicians (N = 320, with 56 having prior musical training), the current study examined the associations among musical training, PI ability, and RSFC. Results showed that musical training was associated with increased RSFC within the networks for multiple cognitive functions (such as vision, phonology, semantics, auditory encoding, and executive functions). PI ability was associated with RSFC with regions for perceptual and auditory encoding for participants with musical training, and with RSFC with regions for short-term memory, semantics, and phonology for participants without musical training.
| S-EPMC4324073 | biostudies-literature
Project description:While absolute pitch (AP)-the ability to name musical pitches globally and without reference-is rare in expert musicians, anecdotal evidence suggests that some musicians may better identify pitches played on their primary instrument than pitches played on other instruments. We call this phenomenon "instrument-specific absolute pitch" (ISAP). In this paper we present a theory of ISAP. Specifically, we offer the hypothesis that some expert musicians without global AP may be able to more accurately identify pitches played on their primary instrument(s), and we propose timbral cues and articulatory motor imagery as two underlying mechanisms. Depending on whether informative timbral cues arise from performer- or instrument-specific idiosyncrasies or from timbre-facilitated tonotopic representations, we predict that performance may be enhanced for notes played by oneself, notes played on one's own personal instrument, and/or notes played on any exemplar of one's own instrument type. Sounds of one's primary instrument may moreover activate kinesthetic memory and motor imagery, aiding pitch identification. In order to demonstrate how our theory can be tested, we report the methodology and analysis of two exemplary experiments conducted on two case-study participants who are professional oboists. The aim of the first experiment was to determine whether the oboists demonstrated ISAP ability, while the purpose of the second experiment was to provide a preliminary investigation of the underlying mechanisms. The results of the first experiment revealed that only one of the two oboists showed an advantage for identifying oboe tones over piano tones. For this oboist demonstrating ISAP, the second experiment demonstrated that pitch-naming accuracy decreased and variance around the correct pitch value increased as an effect of transposition and motor interference, but not of instrument or performer. These preliminary data suggest that some musicians possess ISAP while others do not. Timbral cues and motor imagery may both play roles in the acquisition of this ability. Based on our case study findings, we provide methodological considerations and recommendations for future empirical testing of our theory of ISAP.
| S-EPMC7642881 | biostudies-literature