Processing of voiced and unvoiced acoustic stimuli in musicians

Several anatomical studies have identified specific anatomical features within the peri-sylvian brain system of absolute pitch (AP) musicians. In this study we used graph theoretical analysis of cortical thickness covariations (as indirect indicator of connectivity) to examine whether AP musicians differ from relative pitch musicians and nonmusicians in small-world network characteristics. We measured "local connectedness" (local clustering = ), "global efficiency of information transfer" (path length = ), "small-worldness" ( = /), and "degree" centrality as measures of connectivity. Although all groups demonstrated typical small-world features, AP musicians showed significant small-world alterations. "Degree" as a measure of interconnectedness was globally significantly decreased in AP musicians. These differences let us suggest that AP musicians demonstrate diminished neural integration (less connections) among distant brain regions. In addition, AP musicians demonstrated significantly increased local connectivity in peri-sylvian language areas of which the planum temporale, planum polare, Heschl's gyrus, lateral aspect of the superior temporal gyrus, STS, pars triangularis, and pars opercularis were hub regions. All of these brain areas are known to be involved in higher-order auditory processing, working or semantic memory processes. Taken together, whereas AP musicians demonstrate decreased global interconnectedness, the local connectedness in peri-sylvian brain areas is significantly higher than for relative pitch musicians and nonmusicians. ical features within the peri-sylvian brain system of absolute pitch (AP) musicians. In this study we used graph theoretical analysis of cortical thickness covariations (as indirect indicator of connectivity) to examine whether AP musicians differ from relative pitch musicians and nonmusicians in small-world network characteristics. We measured "local connectedness" (local clustering = γ), "global efficiency of information transfer" (path length = λ), "small-worldness" (σ = γ/λ), and "degree" centrality as measures of connectivity. Although all groups demonstrated typical small-world features, AP musicians showed significant small-world alterations. "Degree" as a measure of interconnectedness was globally significantly decreased in AP musicians. These differences let us suggest that AP musicians demonstrate diminished neural integration (less connections) among distant brain regions. In addition, AP musicians demonstrated significantly increased local connectivity in peri-sylvian language areas of which the planum temporale, planum polare, Heschlʼs gyrus, lateral aspect of the superior temporal gyrus, STS, pars triangularis, and pars opercularis were hub regions. All of these brain areas are known to be involved in higherorder auditory processing, working or semantic memory processes. Taken together, whereas AP musicians demonstrate decreased global interconnectedness, the local connectedness in perisylvian brain areas is significantly higher than for relativ...

Section: Discussionsupporting

confidence: 51%

Diminished Whole-brain but Enhanced Peri-sylvian Connectivity in Absolute Pitch Musicians

Jäncke

Langer

Hänggi

2012

“…Currently, the intrinsic meaning of enhanced or reduced N1 amplitudes in musicians compared with nonmusicians is still a matter of debate. In fact, some studies reported larger N1 responses in musicians compared with nonmusicians (Ott, Langer, Oechslin, & Jäncke, 2011;Baumann et al, 2008;Kuriki, Kanda, & Hirata, 2006), whereas others did not reveal between-group differences (Lutkenhoner, Seither-Preisler, & Seither, 2006;Schneider et al, 2002) or reported reduced N1 amplitudes in musicians compared with nonmusicians (Kühnis et al, 2013a;Seppanen et al, 2012). Probably, these inconsistencies are driven by the selection of professional musicians, the spectral complexity of the stimuli, and the electrode location used for analyses.…”

Section: Introductionmentioning

confidence: 82%

Auditory Evoked Responses in Musicians during Passive Vowel Listening Are Modulated by Functional Connectivity between Bilateral Auditory-related Brain Regions

Kühnis

Elmer

Jäncke

2014

Currently, there is striking evidence showing that professional musical training can substantially alter the response properties of auditory-related cortical fields. Such plastic changes have previously been shown not only to abet the processing of musical sounds, but likewise spectral and temporal aspects of speech. Therefore, here we used the EEG technique and measured a sample of musicians and nonmusicians while the participants were passively exposed to artificial vowels in the context of an oddball paradigm. Thereby, we evaluated whether increased intracerebral functional connectivity between bilateral auditoryrelated brain regions may promote sensory specialization in musicians, as reflected by altered cortical N1 and P2 responses. This assumption builds on the reasoning that sensory specialization is dependent, at least in part, on the amount of synchronization between the two auditory-related cortices. Results clearly revealed that auditory-evoked N1 responses were shaped by musical expertise. In addition, in line with our reasoning musicians showed an overall increased intracerebral functional connectivity (as indexed by lagged phase synchronization) in theta, alpha, and beta bands. Finally, within-group correlative analyses indicated a relationship between intracerebral beta band connectivity and cortical N1 responses, however only within the musicians' group. Taken together, we provide first electrophysiological evidence for a relationship between musical expertise, auditory-evoked brain responses, and intracerebral functional connectivity among auditory-related brain regions. Therefore, here we used the EEG technique and measured a sample of musicians and nonmusicians while the participants were passively exposed to artificial vowels in the context of an oddball paradigm. Thereby, we evaluated whether increased intracerebral functional connectivity between bilateral auditoryrelated brain regions may promote sensory specialization in musicians, as reflected by altered cortical N1 and P2 responses. This assumption builds on the reasoning that sensory specialization is dependent, at least in part, on the amount of synchronization between the two auditory-related cortices. Results clearly revealed that auditory-evoked N1 responses were shaped by musical expertise. In addition, in line with our reasoning musicians showed an overall increased intracerebral functional connectivity (as indexed by lagged phase synchronization) in theta, alpha, and beta bands. Finally, within-group correlative analyses indicated a relationship between intracerebral beta band connectivity and cortical N1 responses, however only within the musiciansʼ group. Taken together, we provide first electrophysiological evidence for a relationship between musical expertise, auditory-evoked brain responses, and intracerebral functional connectivity among auditory-related brain regions. ■

“…This procedure has previously been used by our group (Elmer et al, 2012a;Kühnis, Elmer, Meyer, & Jäncke, 2012;Ott, Langer, Oechslin, Meyer, & Jäncke, 2012) and consisted of 30 successive trials in which participants had to compare pairs of piano melodies and to decide whether the heard melodies were equivalent, rhythmically different, or tonally different.…”

Section: Musical Aptitudesmentioning

confidence: 99%

An Empirical Reevaluation of Absolute Pitch: Behavioral and Electrophysiological Measurements

Elmer

Sollberger

Meyer

et al. 2013

Here, we reevaluated the "two-component" model of absolute pitch (AP) by combining behavioral and electrophysiological measurements. This specific model postulates that AP is driven by a perceptual encoding ability (i.e., pitch memory) plus an associative memory component (i.e., pitch labeling). To test these predictions, during EEG measurements, AP and non-AP (NAP) musicians were passively exposed to piano tones (first component of the model) and additionally instructed to judge whether combinations of tones and labels were conceptually associated or not (second component of the model). Auditory-evoked N1/P2 potentials did not reveal differences between the two groups, thus indicating that AP is not necessarily driven by a differential pitch encoding ability at the processing level of the auditory cortex. Otherwise, AP musicians performed the conceptual association task with an order of magnitude better accuracy and shorter RTs than NAP musicians did, this result clearly pointing to distinctive conceptual associations in AP possessors. Most notably, this behavioral superiority was reflected by an increased N400 effect and accompanied by a subsequent late positive component, the latter not being distinguishable in NAP musicians. Abstract ■ Here, we reevaluated the "two-component" model of absolute pitch (AP) by combining behavioral and electrophysiological measurements. This specific model postulates that AP is driven by a perceptual encoding ability (i.e., pitch memory) plus an associative memory component (i.e., pitch labeling). To test these predictions, during EEG measurements AP and non-AP (NAP) musicians were passively exposed to piano tones (first component of the model) and additionally instructed to judge whether combinations of tones and labels were conceptually associated or not (second component of the model). Auditory-evoked N1/P2 potentials did not reveal differences between the two groups, thus indicating that AP is not necessarily driven by a differential pitch encoding ability at the processing level of the auditory cortex. Otherwise, AP musicians performed the conceptual association task with an order of magnitude better accuracy and shorter RTs than NAP musicians did, this result clearly pointing to distinctive conceptual associations in AP possessors. Most notably, this behavioral superiority was reflected by an increased N400 effect and accompanied by a subsequent late positive component, the latter not being distinguishable in NAP musicians. ■