Event-related brain potentials to sound omissions differ in musicians and non-musicians

Rüsseler, Jascha; Altenmüller, Eckart; Nager, Wido; Kohlmetz, Christine; Münte, Thomas F.

doi:10.1016/s0304-3940(01)01977-2

Cited by 121 publications

(89 citation statements)

References 18 publications

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“…This is in line with the accumulating literature showing superior audi- tory preattentive processing in musicians as revealed with the MMN paradigm (Russeler, Altenmüller, Nager, Kohlmetz, & Münte, 2001;Tervaniemi, Rytkonen, Schröger, Ilmoniemi, & Näätänen, 2001;Koelsch, Schröger, & Tervaniemi, 1999). Also, enhanced cortical representations in musicians have been observed in the auditory modality and the sensory-motor modality (Elbert, Pantev, Wienbruch, Rockstroh, & Taub, 1995), as well as in the cross-modal interaction between them (Schulz, Ross, & Pantev, 2003).…”

Section: Mmnm In Musicians Versus Nonmusicianssupporting

confidence: 90%

Automatic Encoding of Polyphonic Melodies in Musicians and Nonmusicians

Fujioka

Trainor

Roß

et al. 2005

Journal of Cognitive Neuroscience

166

126

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Abstract& In music, multiple musical objects often overlap in time. Western polyphonic music contains multiple simultaneous melodic lines (referred to as ''voices'') of equal importance. Previous electrophysiological studies have shown that pitch changes in a single melody are automatically encoded in memory traces, as indexed by mismatch negativity (MMN) and its magnetic counterpart (MMNm), and that this encoding process is enhanced by musical experience. In the present study, we examined whether two simultaneous melodies in polyphonic music are represented as separate entities in the auditory memory trace. Musicians and untrained controls were tested in both magnetoencephalogram and behavioral sessions. Polyphonic stimuli were created by combining two melodies (A and B), each consisting of the same five notes but in a different order. Melody A was in the high voice and Melody B in the low voice in one condition, and this was reversed in the other condition. On 50% of trials, a deviant final (5th) note was played either in the high or in the low voice, and it either went outside the key of the melody or remained within the key. These four deviations occurred with equal probability of 12.5% each. Clear MMNm was obtained for most changes in both groups, despite the 50% deviance level, with a larger amplitude in musicians than in controls. The response pattern was consistent across groups, with larger MMNm for deviants in the high voice than in the low voice, and larger MMNm for in-key than out-of-key changes, despite better behavioral performance for out-of-key changes. The results suggest that melodic information in each voice in polyphonic music is encoded in the sensory memory trace, that the higher voice is more salient than the lower, and that tonality may be processed primarily at cognitive stages subsequent to MMN generation. &

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Section: Mmnm In Musicians Versus Nonmusicianssupporting

confidence: 90%

Automatic Encoding of Polyphonic Melodies in Musicians and Nonmusicians

Fujioka

Trainor

Roß

et al. 2005

Journal of Cognitive Neuroscience

166

126

View full text Add to dashboard Cite

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“…Though the above-mentioned theories do not propose that there might be a difference in rhythmical induced expectancies between musicians or naïve listeners, other researchers using EP measurements have reported that musicians show more refined detection of, e.g. pitch (Russeler et al, 2001) and impure chords (Koelsch et al, 2002). In line, we hypothesize that differences between musicians and nonmusicians will exist such that with an increase in musical experience, there will be an increase in hierarchical levels in which rhythmical sequences can be perceived.…”

Section: Introductionmentioning

confidence: 92%

“…Others have also reported different findings between musically trained and untrained participants. Recently, Russeler et al (2001) found a more pronounced attention effect for musicians in a pitch detection task compared to untrained subjects that indicates changes in neural organisation as a consequence of long-term training. In line, Pantev et al (2001) reported an increase in neuronal representation specific for the processing of piano tones in musicians.…”

Section: Rhythmic Trainingmentioning

confidence: 99%

Rhythmic context influences the auditory evoked potentials of musicians and nonmusicians

Jongsma¹,

Desain²,

Honing³

2004

Biological Psychology

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“…Subjects (experiments 1 and 2) were exposed to an acoustic temporal mismatch paradigm [similar to that of Rüsseler et al (2001)] via MRcompatible headphones (Commander XG; Resonance Technology). In detail, sine tones (50 ms duration; 5 ms linear rise and fall times; carrier frequency, 1 kHz) were adjusted in amplitude according to the subjects' subjective feedback of sounds being clearly distinguishable from scanner noise background while not being experienced as unpleasant [no significant group differences in sound pressure level (SPL); experiment 1: mean SPL, 89 dB; t test (df 12), p ϭ 0.17; experiment 2: mean SPL, 83.5 dB; ANOVA, p ϭ 0.43].…”

Section: Auditory Stimulation During Functional Imagingmentioning

confidence: 99%

Musical Training Induces Functional Plasticity in Human Hippocampus

et al. 2010

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Training can change the functional and structural organization of the brain, and animal models demonstrate that the hippocampus formation is particularly susceptible to training-related neuroplasticity. In humans, however, direct evidence for functional plasticity of the adult hippocampus induced by training is still missing. Here, we used musicians' brains as a model to test for plastic capabilities of the adult human hippocampus. By using functional magnetic resonance imaging optimized for the investigation of auditory processing, we examined brain responses induced by temporal novelty in otherwise isochronous sound patterns in musicians and musical laypersons, since the hippocampus has been suggested previously to be crucially involved in various forms of novelty detection. In the first crosssectional experiment, we identified enhanced neural responses to temporal novelty in the anterior left hippocampus of professional musicians, pointing to expertise-related differences in hippocampal processing. In the second experiment, we evaluated neural responses to acoustic temporal novelty in a longitudinal approach to disentangle training-related changes from predispositional factors. For this purpose, we examined an independent sample of music academy students before and after two semesters of intensive aural skills training. After this training period, hippocampal responses to temporal novelty in sounds were enhanced in musical students, and statistical interaction analysis of brain activity changes over time suggests training rather than predisposition effects. Thus, our results provide direct evidence for functional changes of the adult hippocampus in humans related to musical training.

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Event-related brain potentials to sound omissions differ in musicians and non-musicians

Cited by 121 publications

References 18 publications

Automatic Encoding of Polyphonic Melodies in Musicians and Nonmusicians

Automatic Encoding of Polyphonic Melodies in Musicians and Nonmusicians

Rhythmic context influences the auditory evoked potentials of musicians and nonmusicians

Musical Training Induces Functional Plasticity in Human Hippocampus

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