Biological Foundations of Music (Annals of the New York Academy of Sciences)

479 Pages·2003·7.37 MB·English

by  Isabelle Peretz

THE COGNITIVE
NEUROSCIENCE OF
MUSIC
Isabelle Peretz
Robert J. Zatorre
Editors
OXFORD UNIVERSITY PRESS
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THE COGNITIVE NEUROSCIENCE
OF MUSIC
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THE CO GNITIVE
NEUROSCIENCE OF
MUSIC
Edited by
ISABELLE PERETZ
Départment de Psychologie,
Université de Montréal,C.P.6128,
Succ.Centre-Ville,Montréal,
Québec,H3C 3J7,Canada
and
ROBERT J.ZATORRE
Montreal Neurological Institute,
McGill University,Montreal,
Quebec,H3A 2B4,Canada
1
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1
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© The New York Academy ofSciences,Chapters 1–7,9–20,and 22–8,and Oxford University Press,Chapters 8
and 21.Most ofthe materials in this book originally appeared in The Biological Foundations ofMusic,
published as Volume 930 ofthe Annals ofthe New York Academy ofSciences,June 2001 (ISBN 1-57331-306-8).
This book is an expanded version ofthe original Annals volume.
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PREFACE
Over the past decade there has been an explosion in research activities on music perception
and performance,and their correlates in the human brain.This sudden increase in scient-
ific work on music has been motivated in part by the idea that music offers a unique oppor-
tunity to better understand the organization of the human brain. The other major
motivation for exploring the neural substrates of musical activities is that they may shed
light on the functional origin and biological value ofmusic.Like language,music exists in
all human societies.Like language,music is a complex,rule-governed activity,and appears
to be associated with a specific brain architecture.Moreover,sensitivity to musical struc-
ture develops early in life,without conscious effort,in the large majority ofthe population.
Music also appears to be specific to humans,although some investigators have begun to
examine its possible evolutionary origins in other species’.1
Unlike most other high-level functions ofthe human brain—and unlike language—only
a minority ofindividuals become proficient performing musicians through explicit tutor-
ing.This particularity in the distribution of acquired skills confers to music a privileged
role in the study ofbrain plasticity.Another distinction from language is that a large vari-
ety of sensory-motor systems may be studied because of the many different ways of pro-
ducing music.These variable modes ofauditory expression enable interesting comparisons
across systems.
Given both its similarities with language and its divergence from it,we believe that the
relationship between music and the brain is ofcentral importance for the domain ofcog-
nitive neuroscience.The fact that musical activities have generally been considered as an
exquisite product ofhuman culture,and as such are often assumed to be merely a cultural
artifact,should not be taken as an impediment to achieving a scientific understanding of
its underlying basis.In fact,we would argue that the cultural overlay associated with music
confers upon it a key role for understanding the biology of human cognitive functions.
Indeed,the ubiquity ofmusic,its developmental features,and its brain substrates raise the
question ofthe nature and the extent ofits biological foundations,and how these interact
with culture.
In this context,it is remarkable to note that the study ofmusic as a major brain function
has been relatively neglected. Neuropsychological questions related to musical abilities
have been of occasional interest to neurologists and psychologists since the last century
(e.g.Ref.2 for pioneering work),but systematic,sustained investigations have been rare
until recently.Several developments—both theoretical and technological—have created a
profound change in the way in which music studies are perceived,thereby enabling us to
present this volume as a beginning to the scientific study of the neurobiology of music.
First,one should mention the development of cognitive psychology during the latter half
of the twentieth century; cognitive psychologists were among the first to recognize the
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value of music as a means of studying perception, memory, attention, and performance
(see Refs 2–5 for the three benchmark textbooks). Second, neuropsychology, which had
always been based on knowledge from neurophysiology and neuroanatomy,began also to
adopt experimental and cognitive paradigms,permitting advances in understanding lesion
effects on musical functions.Third,developmental psychologists exploited new techniques
that allowed them to probe the mind ofeven neonates.Finally,and most dramatically per-
haps with the arrival on the scene ofneuroimaging techniques such as fMRI and MEG,the
stage was set for the explosion to which we alluded above,and which forms the core ofthe
present volume.
The objective ofthe conference,from which most ofthe present texts are derived,was to
demonstrate the dynamism and richness ofthe discipline.The conference was held in May
2000 in New York,and was initiated and sponsored by the New York Academy of Science.
Major scientists from six different countries,working in a variety ofinterrelated disciplines
and pursuing sustained research activities on music were invited to present their work.
Most responded enthusiastically and addressed issues crucial to a better understanding of
the neural substrates underlying musical functions.Their presentations first appeared in
the Annals ofthe New York Academy ofSciences,volume 930,under the title ‘The Biological
Foundations of Music’ in 2001. Given the success of this issue, Oxford University Press
invited us to edit an updated version ofit in their collection ofbooks.We eagerly accepted
and invited a few other major players in the field who originally presented a poster to pub-
lish a full chapter in the present volume.Therefore,you will find here an updated version
ofthe 25 original chapters as well as three new chapters.
The contributions in the present volume will reveal how much progress has been made
in the field over the last decade. Besides providing research overviews, many texts also
delineate significant avenues for future research.Indeed,it is clear that this is a very young
field still,and that much remains to be done.We hope that the material presented in this
volume,coupled with an increase ofinterest for the biological foundations ofmusic in the
scientific and general community,represent the initial spark for building a solid and stim-
ulating cognitive neuroscience ofmusic.
I.P.and R.Z.
February 2003
References
1. Wallin,N.,B.Merker and S.Brown(ed.) (2000) The Origins ofMusic.Cambridge,MA:MIT Press.
2. Bouillaud, J. (1865) Sur la faculté du langage articulé. Bulletin de l’Académie de Médecine 30,
752–68.
3. Deutsch,D.(ed.) (1982) The Psychology ofMusic.New York:Academic Press.
4. Dowling,W.and D.Harwood(1986) Music Cognition.Series in cognition and perception.New
York.Academic Press.
5. Sloboda, J. (1985) The Musical Mind: The Cognitive Psychology of Music. London: Oxford
University Press.
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CONTENTS
List ofcontributors page xi
Part I The origins ofmusic
1 Musical predispositions in infancy:an update page 3
Sandra E.Trehub
2 The quest for universals in temporal processing in music page 21
Carolyn Drake and Daisy Bertrand
3 Mechanisms ofmusical memory in infancy page 32
Jenny R.Saffran
4 Music,cognition,culture,and evolution page 42
Ian Cross
5 Is music an evolutionary adaptation? page 57
David Huron
Part II The musical mind
6 The roots ofmusical variation in perceptual similarity and invariance page 79
Stephen McAdams and Daniel Matzkin
7 Tonal cognition page 95
Carol L.Krumhansl and Petri Toiviainen
8 Learning and perceiving musical structures:further insights from
artificial neural networks page 109
Barbara Tillmann,Jamshed J.Bharucha,and Emmanuel Bigand
Part III The neurons ofmusic
9 Neurobiology ofharmony perception page 127
Mark Jude Tramo,Peter A.Cariani,Bertrund Delgutte,and Louis D.Braida
10 Intracerebral evoked potentials in pitch perception reveal a functional
asymmetry ofhuman auditory cortex page 152
Catherine Liégeois-Chauvel,Kimberly Giraud,Jean-Michel Badier,
Patrick Marquis,and Patrick Chauvel
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11 The neural processing ofcomplex sounds page 168
Timothy D.Griffiths
Part IV Musical brain substrates
12 Music and the neurologist:a historical perspective page 181
John C.M.Brust
13 Brain specialization for music:new evidence from congenital amusia page 192
Isabelle Peretz
14 Cerebral substrates for musical temporal processes page 204
Séverine Samson and Nathalie Ehrlé
15 Cerebral substrates ofmusical imagery page 217
Andrea R.Halpern
16 Neural specializations for tonal processing page 231
Robert J.Zatorre
17 Exploring the functional neuroanatomy ofmusic performance,
perception,and comprehension page 247
Lawrence M.Parsons
18 Comparison between language and music page 269
Mireille Besson and Daniele Schön
19 Musical sound processing:EEG and MEG evidence page 294
Mari Tervaniemi
20 Processing emotions induced by music page 310
L.J.Trainor and L.A.Schmidt
21 A new approach to the cognitive neuroscience ofmelody page 325
Aniruddh D.Patel
22 How many music centres are in the brain? page 346
Eckart O.Altenmüller
Part V Musical expertise/brain plasticity
23 Functional organization and plasticity ofauditory cortex page 357
JosefP.Rauschecker
24 The brain ofmusicians page 366
Gottfried Schlaug
25 Representational cortex in musicians page 382
C.Pantev,A.Engelien,V.Candia,and T.Elbert
26 The brain that makes music and is changed by it page 396
Alvaro Pascual-Leone
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Part VI Relation ofmusic to other cognitive domains
27 The sounds ofpoetry viewed as music page 413
Fred Lerdahl
28 Does exposure to music have beneficial side effects? page 430
E.Glenn Schellenberg