Literature DB >> 11970802

Automatic and controlled processing of melodic contour and interval information measured by electrical brain activity.

Laurel J Trainor1, Kelly L McDonald, Claude Alain.   

Abstract

Most work on how pitch is encoded in the auditory cortex has focused on tonotopic (absolute) pitch maps. However, melodic information is thought to be encoded in the brain in two different "relative pitch" forms, a domain-general contour code (up/down pattern of pitch changes) and a music-specific interval code (exact pitch distances between notes). Event-related potentials were analyzed in nonmusicians from both passive and active oddball tasks where either the contour or the interval of melody-final notes was occasionally altered. The occasional deviant notes generated a right frontal positivity peaking around 350 msec and a central parietal P3b peaking around 580 msec that were present only when participants focused their attention on the auditory stimuli. Both types of melodic information were encoded automatically in the absence of absolute pitch cues, as indexed by a mismatch negativity wave recorded during the passive conditions. The results indicate that even in the absence of musical training, the brain is set up to automatically encode music-specific melodic information, even when absolute pitch information is not available.

Entities:  

Mesh:

Year:  2002        PMID: 11970802     DOI: 10.1162/089892902317361949

Source DB:  PubMed          Journal:  J Cogn Neurosci        ISSN: 0898-929X            Impact factor:   3.225


  29 in total

1.  Musical intervals and relative pitch: frequency resolution, not interval resolution, is special.

Authors:  Josh H McDermott; Michael V Keebler; Christophe Micheyl; Andrew J Oxenham
Journal:  J Acoust Soc Am       Date:  2010-10       Impact factor: 1.840

2.  A mismatch negativity study of local-global auditory processing.

Authors:  Alexandra List; Timothy Justus; Lynn C Robertson; Shlomo Bentin
Journal:  Brain Res       Date:  2007-03-20       Impact factor: 3.252

3.  Development of auditory phase-locked activity for music sounds.

Authors:  Antoine J Shahin; Laurel J Trainor; Larry E Roberts; Kristina C Backer; Lee M Miller
Journal:  J Neurophysiol       Date:  2009-10-28       Impact factor: 2.714

4.  Auditory attention to frequency and time: an analogy to visual local-global stimuli.

Authors:  Timothy Justus; Alexandra List
Journal:  Cognition       Date:  2005-01-06

5.  Melody recognition revisited: influence of melodic Gestalt on the encoding of relational pitch information.

Authors:  Yune-Sang Lee; Petr Janata; Carlton Frost; Zachary Martinez; Richard Granger
Journal:  Psychon Bull Rev       Date:  2015-02

6.  Continuation tapping to triggered melodies: motor resonance effects of melodic motion.

Authors:  Paolo Ammirante; William F Thompson
Journal:  Exp Brain Res       Date:  2011-10-25       Impact factor: 1.972

7.  Musicians demonstrate experience-dependent brainstem enhancement of musical scale features within continuously gliding pitch.

Authors:  Gavin M Bidelman; Jackson T Gandour; Ananthanarayan Krishnan
Journal:  Neurosci Lett       Date:  2011-08-30       Impact factor: 3.046

8.  A neurophysiological study into the foundations of tonal harmony.

Authors:  Elika Bergelson; William J Idsardi
Journal:  Neuroreport       Date:  2009-02-18       Impact factor: 1.837

Review 9.  Music perception, pitch, and the auditory system.

Authors:  Josh H McDermott; Andrew J Oxenham
Journal:  Curr Opin Neurobiol       Date:  2008-10-02       Impact factor: 6.627

Review 10.  Language and thought are not the same thing: evidence from neuroimaging and neurological patients.

Authors:  Evelina Fedorenko; Rosemary Varley
Journal:  Ann N Y Acad Sci       Date:  2016-04-20       Impact factor: 5.691

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