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Full-Text Articles in Neuroscience and Neurobiology
Cerebral Substrates Of Musical Imagery, Andrea Halpern
Cerebral Substrates Of Musical Imagery, Andrea Halpern
Andrea Halpern
No abstract provided.
Memory For Melodies, Andrea Halpern, J.C. Bartlett
Memory For Melodies, Andrea Halpern, J.C. Bartlett
Andrea Halpern
No abstract provided.
Common Parietal Activation In Musical Mental Transformations Across Pitch And Time, Nicholas E.V. Foster, Andrea Halpern, Robert J. Zatorre
Common Parietal Activation In Musical Mental Transformations Across Pitch And Time, Nicholas E.V. Foster, Andrea Halpern, Robert J. Zatorre
Andrea Halpern
We previously observed that mental manipulation of the pitch level or temporal organization of melodies results in functional activation in the human intraparietal sulcus (IPS), a region also associated with visuospatial transformation and numerical calculation. Two outstanding questions about these musical transformations are whether pitch and time depend on separate or common processing in IPS, and whether IPS recruitment in melodic tasks varies depending upon the degree of transformation required (as it does in mental rotation). In the present study we sought to answer these questions by applying functional magnetic resonance imaging while musicians performed closely matched mental transposition (pitch …
Feel The Noise: Relating Individual Differences In Auditory Imagery To The Structure And Function Of Sensorimotor Systems, Cesar F. Lima, Nadine Lavan, Samuel Evans, Zarinah Agnew, Andrea R. Halpern, Pradheep Shanmugalingam, Sophie Meekings, Dana Boebinger, Markus Ostarek, Carolyn Mcgettigan, Jane E. Warren, Sophie K. Scott
Feel The Noise: Relating Individual Differences In Auditory Imagery To The Structure And Function Of Sensorimotor Systems, Cesar F. Lima, Nadine Lavan, Samuel Evans, Zarinah Agnew, Andrea R. Halpern, Pradheep Shanmugalingam, Sophie Meekings, Dana Boebinger, Markus Ostarek, Carolyn Mcgettigan, Jane E. Warren, Sophie K. Scott
Andrea Halpern
Humans can generate mental auditory images of voices or songs, sometimes perceiving them almost as vividly as perceptual experiences. The functional networks supporting auditory imagery have been described, but less is known about the systems associated with interindividual differences in auditory imagery. Combining voxel-based morphometry and fMRI, we examined the structural basis of interindividual differences in how auditory images are subjectively perceived, and explored associations between auditory imagery, sensory-based processing, and visual imagery. Vividness of auditory imagery correlated with gray matter volume in the supplementary motor area (SMA), parietal cortex, medial superior frontal gyrus, and middle frontal gyrus. An analysis …
Mental Reversal Of Imagined Melodies: A Role For The Posterior Parietal Cortex, R.J. Zatorre, Andrea Halpern, M. Bouffard
Mental Reversal Of Imagined Melodies: A Role For The Posterior Parietal Cortex, R.J. Zatorre, Andrea Halpern, M. Bouffard
Andrea Halpern
Two fMRI experiments explored the neural substrates of a musical imagery task that required manipulation of the imagined sounds: temporal reversal of a melody. Musicians were presented with the first few notes of a familiar tune (Experiment 1) or its title (Experiment 2), followed by a string of notes that was either an exact or an inexact reversal. The task was to judge whether the second string was correct or not by mentally reversing all its notes, thus requiring both maintenance and manipulation of the represented string. Both experiments showed considerable activation of the superior parietal lobe (intraparietal sulcus) during …
Identification Of Speeded And Slowed Familiar Melodies By Younger, Middle-Aged, And Older Musicians And Nonmusicians, M.W. Andrews, W.J. Dowling, J.C. Bartlett, Andrea Halpern
Identification Of Speeded And Slowed Familiar Melodies By Younger, Middle-Aged, And Older Musicians And Nonmusicians, M.W. Andrews, W.J. Dowling, J.C. Bartlett, Andrea Halpern
Andrea Halpern
There is a range of tempos within which listeners can identify familiar tunes (around 0.8 to 6.0 notes/s). Faster and slower tunes are difficult to identify. The authors assessed fast and slow melody-identification thresholds for 80 listeners ages 17–79 years with expertise varying from musically untrained to professional. On fast-to-slow (FS) trials the tune started at a very fast tempo and slowed until the listener identified it. Slow-to-fast (SF) trials started slow and accelerated. Tunes either retained their natural rhythms or were stylized isochronous versions. Increased expertise led to better performance for both FS and SF thresholds (r = .45). …
Contextual Information And Memory For Unfamiliar Tunes In Older And Younger Adults, S.A. Deffler, Andrea Halpern
Contextual Information And Memory For Unfamiliar Tunes In Older And Younger Adults, S.A. Deffler, Andrea Halpern
Andrea Halpern
We examined age differences in the effectiveness of multiple repetitions and providing associative facts on tune memory. For both tune and fact recognition, three presentations were beneficial. Age was irrelevant in fact recognition, but older adults were less successful than younger in tune recognition. The associative fact did not affect young adults' performance. Among older people, the neutral association harmed performance; the emotional fact mitigated performance back to baseline. Young adults seemed to rely solely on procedural memory, or repetition, to learn tunes. Older adults benefitted by using emotional associative information to counteract memory burdens imposed by neutral associative information.
Absolute Pitch And Planum Temporale, J.P. Keenan, V. Thangaraj, Andrea Halpern, G.S. Schlaug
Absolute Pitch And Planum Temporale, J.P. Keenan, V. Thangaraj, Andrea Halpern, G.S. Schlaug
Andrea Halpern
An increased leftward asymmetry of the planum temporale (PT) in absolute-pitch (AP) musicians has been previously reported, with speculation that early exposure to music influences the degree of PT asymmetry. To test this hypothesis and to determine whether a larger left PT or a smaller right PT actually accounts for the increased overall PT asymmetry in AP musicians, anatomical magnetic resonance images were taken from a right-handed group of 27 AP musicians, 27 nonmusicians, and 22 non-AP musicians. A significantly greater leftward PT asymmetry and a significantly smaller right absolute PT size for the AP musicians compared to the two …
Melody Recognition At Fast And Slow Tempos: Effects Of Age, Experience, And Familiarity, W.J. Dowling, J.C. Bartlett, Andrea Halpern, M.W. Andrews
Melody Recognition At Fast And Slow Tempos: Effects Of Age, Experience, And Familiarity, W.J. Dowling, J.C. Bartlett, Andrea Halpern, M.W. Andrews
Andrea Halpern
Eighty-one listeners defined by three age ranges (18–30, 31–59, and over 60 years) and three levels of musical experience performed an immediate recognition task requiring the detection of alterations in melodies. On each trial, a brief melody was presented, followed 5 sec later by a test stimulus that either was identical to the target or had two pitches changed, for a same–different judgment. Each melody pair was presented at 0.6 note/sec, 3.0 notes/sec, or 6.0 notes/sec. Performance was better with familiar melodies than with unfamiliar melodies. Overall performance declined slightly with age and improved substantially with increasing experience, in agreement …
Recognition Of Familiar And Unfamiliar Music In Normal Aging And Alzheimer's Disease, J.C. Bartlett, Andrea Halpern, W.J. Dowling
Recognition Of Familiar And Unfamiliar Music In Normal Aging And Alzheimer's Disease, J.C. Bartlett, Andrea Halpern, W.J. Dowling
Andrea Halpern
We tested normal young and elderly adults and elderly Alzheimer’s disease (AD) patients on recognition memory for tunes. In Experiment 1, AD patients and age-matched controls received a study list and an old/new recognition test of highly familiar, traditional tunes, followed by a study list and test of novel tunes. The controls performed better than did the AD patients. The controls showed the “mirror effect” of increased hits and reduced false alarms for traditional versus novel tunes, whereas the patients false-alarmed as often to traditional tunes as to novel tunes. Experiment 2 compared young adults and healthy elderly persons using …
Hearing In The Mind's Ear: A Pet Investigation Of Musical Imagery And Perception, Robert J. Zatorre, Andrea R. Halpern, David W. Perry, Ernst Meyer, Alan C. Evans
Hearing In The Mind's Ear: A Pet Investigation Of Musical Imagery And Perception, Robert J. Zatorre, Andrea R. Halpern, David W. Perry, Ernst Meyer, Alan C. Evans
Andrea Halpern
Neuropsychological studies have suggested that imagery processes may be mediated by neuronal mechanisms similar to those used in perception. To test this hypothesis, and to explore the neural basis for song imagery, 12 normal subjects were scanned using the water bolus method to measure cerebral blood flow (CBF) during the performance of three tasks. In the control condition subjects saw pairs of words on each trial and judged which word was longer. In the perceptual condition subjects also viewed pairs of words, this time drawn from a familiar song; simultaneously they heard the corresponding song, and their task was to …
Behavioral And Neural Correlates Of Perceived And Imagined Musical Timbre, Andrea Halpern, R.J. Zattore, M. Bouffard, J.A. Johnson
Behavioral And Neural Correlates Of Perceived And Imagined Musical Timbre, Andrea Halpern, R.J. Zattore, M. Bouffard, J.A. Johnson
Andrea Halpern
The generality of findings implicating secondary auditory areas in auditory imagery was tested by using a timbre imagery task with fMRI. Another aim was to test whether activity in supplementary motor area (SMA) seen in prior studies might have been related to subvocalization. Participants with moderate musical background were scanned while making similarity judgments about the timbre of heard or imagined musical instrument sounds. The critical control condition was a visual imagery task. The pattern of judgments in perceived and imagined conditions was similar, suggesting that perception and imagery access similar cognitive representations of timbre. As expected, judgments of heard …
Prediction Accuracy Of Young And Middle-Aged Adults In Memory For Familiar And Unfamiliar Texts, S.K. Johnson, Andrea Halpern
Prediction Accuracy Of Young And Middle-Aged Adults In Memory For Familiar And Unfamiliar Texts, S.K. Johnson, Andrea Halpern
Andrea Halpern
This study investigated the influence of age, familiarity, and level of exposure on the metamemorial skill of prediction accuracy on a future test. Young (17 to 23 years old) and middle-aged adults (35 to 50 years old) were asked to predict their memory for text material. Participants made predictions on a familiar text and an unfamiliar text, at three different levels of exposure to each. The middle-aged adults were superior to the younger adults at predicting performance. This finding indicates that metamemory may increase from youth to middle age. Other findings include superior prediction accuracy for unfamiliar compared to familiar …
I Know What I Like: Stability Of Aesthetic Preference In Alzheimer's Disease, Andrea Halpern, J. Ly, S. Elkin-Franklin, M.G. O'Connor
I Know What I Like: Stability Of Aesthetic Preference In Alzheimer's Disease, Andrea Halpern, J. Ly, S. Elkin-Franklin, M.G. O'Connor
Andrea Halpern
Two studies explored the stability of art preference in patients with Alzheimer’s disease and age-matched control participants. Preferences for three different styles of paintings, displayed on art postcards, were examined over two sessions. Preference for specific paintings differed among individuals but AD and non-AD groups maintained about the same stability in terms of preference judgments across two weeks, even though the AD patients did not have explicit memory for the paintings. We conclude that aesthetic responses can be preserved in the face of cognitive decline. This should encourage caregivers and family to engage in arts appreciation activities with patients, and …
Aging And Experience In The Recognition Of Musical Transpositions, Andrea Halpern, J.C. Bartlett, W.J. Dowling
Aging And Experience In The Recognition Of Musical Transpositions, Andrea Halpern, J.C. Bartlett, W.J. Dowling
Andrea Halpern
The authors examined the effects of age, musical experience, and characteristics of musical stimuli on a melodic short-term memory task in which participants had to recognize whether a tune was an exact transposition of another tune recently presented. Participants were musicians and nonmusicians between ages 18 and 30 or 60 and 80. In 4 experiments, the authors found that age and experience affected different aspects of the task, with experience becoming more influential when interference was provided during the task. Age and experience interacted only weakly, and neither age nor experience influenced the superiority of tonal over atonal materials. Recognition …
The Effects Of Aging And Musical Experience On The Representation Of Tonal Hierarchies, Andrea Halpern, S.Y. Kwak, J.C. Bartlett, W.J. Dowling
The Effects Of Aging And Musical Experience On The Representation Of Tonal Hierarchies, Andrea Halpern, S.Y. Kwak, J.C. Bartlett, W.J. Dowling
Andrea Halpern
Two experiments explored the representation of the tonal hierarchy in Western music among older (aged 60 to 80) and younger (aged 15 to 22) musicians and nonmusicians. A probe tone technique was used: 4 notes from the major triad were presented, followed by 1 note chosen from the 12 notes of the chromatic scale. Whereas musicians had a better sense of the tonal hierarchy than nonmusicians, older adults were no worse than younger adults in differentiating the notes according to musical principles. However, older adults were more prone than younger adults to classify the notes by frequency proximity (pitch height) …
Dementia And Music: Challenges And Future Directions, Andrea Halpern
Dementia And Music: Challenges And Future Directions, Andrea Halpern
Andrea Halpern
No abstract provided.
Perception Of Mode, Rhythm, And Contour In Unfamiliar Melodies: Effects Of Age And Experience, Andrea R. Halpern, J.C. Bartlett, W.J. Dowling
Perception Of Mode, Rhythm, And Contour In Unfamiliar Melodies: Effects Of Age And Experience, Andrea R. Halpern, J.C. Bartlett, W.J. Dowling
Andrea Halpern
We explored the ability of older (60-80 years old) and younger (18-23 years old) musicians and nonmusicians to judge the similarity of transposed melodies varying on rhythm, mode, and/or contour (Experiment 1) and to discriminate among melodies differing only in rhythm, mode, or contour (Experiment 2). Similarity ratings did not vary greatly among groups, with tunes differing only by mode being rated as most similar. In the same/different discrimination task, musicians performed better than nonmusicians, but we found no age differences. We also found that discrimination of major from minor tunes was difficult for everyone, even for musicians. Mode is …
Effects Of Timbre And Tempo Change On Memory For Music, Andrea Halpern, D. Mullensiefen
Effects Of Timbre And Tempo Change On Memory For Music, Andrea Halpern, D. Mullensiefen
Andrea Halpern
We investigated the effects of different encoding tasks and of manipulations of two supposedly surface parameters of music on implicit and explicit memory for tunes. In two experiments, participants were first asked to either categorize instrument or judge familiarity of 40 unfamiliar short tunes. Subsequently, participants were asked to give explicit and implicit memory ratings for a list of 80 tunes, which included 40 previously heard. Half of the 40 previously heard tunes differed in timbre (Experiment 1) or tempo (Experiment 2) in comparison with the first exposure. A third experiment compared similarity ratings of the tunes that varied in …
Levels-Of-Processing Effects On "Remember" Responses In Recognition For Familiar And Unfamiliar Tunes, E. Mungan, Z. Peynircioglu, Andrea Halpern
Levels-Of-Processing Effects On "Remember" Responses In Recognition For Familiar And Unfamiliar Tunes, E. Mungan, Z. Peynircioglu, Andrea Halpern
Andrea Halpern
We investigated the effect of level-of-processing manipulations on “remember” and “know” responses in episodic melody recognition (Experiments 1 and 2) and how this effect is modulated by item familiarity (Experiment 2). In Experiment 1, participants performed 2 conceptual and 2 perceptual orienting tasks while listening to familiar melodies: judging the mood, continuing the tune, tracing the pitch contour, and counting long notes. The conceptual mood task led to higher d' rates for “remember” but not “know” responses. In Experiment 2, participants either judged the mood or counted long notes of tunes with high and low familiarity. A level-of-processing effect emerged …
Hearing With The Mind's Eye, G. Schlaug, C. Chen, D. Press, Andrea Halpern, A. Warde, Q. Chen, A. Pascual-Leone
Hearing With The Mind's Eye, G. Schlaug, C. Chen, D. Press, Andrea Halpern, A. Warde, Q. Chen, A. Pascual-Leone
Andrea Halpern
No abstract provided.
The Persistence Of Musical Memories: A Descriptive Study Of Earworms, Andrea Halpern, J.C. Bartlett
The Persistence Of Musical Memories: A Descriptive Study Of Earworms, Andrea Halpern, J.C. Bartlett
Andrea Halpern
We describe some characteristics of persistent musical and verbal retrieval episodes, commonly known as "earworms." In Study 1, participants first filled out a survey summarizing their earworm experiences retrospectively. This was followed by a diary study to document each experience as it happened. Study 2 was an extension of the diary study with a larger sample and a focus on triggering events. Consistent with popular belief, these persistent musical memories were common across people and occurred frequently for most respondents, and were often linked to recent exposure to preferred music. Contrary to popular belief, the large majority of such experiences …
Brain Activation During Anticipation Of Sound Sequences, A.M. Leaver, J. Van Lare, B. Zielinski, Andrea Halpern, J.P. Rauschecker
Brain Activation During Anticipation Of Sound Sequences, A.M. Leaver, J. Van Lare, B. Zielinski, Andrea Halpern, J.P. Rauschecker
Andrea Halpern
Music consists of sound sequences that require integration over time. As we become familiar with music, associations between notes, melodies, and entire symphonic movements become stronger and more complex. These associations can become so tight that, for example, hearing the end of one album track can elicit a robust image of the upcoming track while anticipating it in total silence. Here, we study this predictive “anticipatory imagery” at various stages throughout learning and investigate activity changes in corresponding neural structures using functional magnetic resonance imaging. Anticipatory imagery (in silence) for highly familiar naturalistic music was accompanied by pronounced activity in …
Aging And Memory For Music: A Review, Andrea R. Halpern, J.C. Bartlett
Aging And Memory For Music: A Review, Andrea R. Halpern, J.C. Bartlett
Andrea Halpern
People of all ages enjoy listening to music, yet most research in musical development has concentrated on infancy through childhood. Our recent research program examined various aspects of music cognition in younger (ages 18 through 30) and older adults (ages 60 through 80) with varying amounts of musical experience. The studies investigated the independent and combined influences of age and experience on a wide assortment of long and short-term memory tasks. Results showed that some musical tasks reflect the same age-related declines as seen in nonmusical tasks, and musical training does not reduce these age-related declines. In other tasks, experience …
An Erp Study Of Major-Minor Classification In Melodies, Andrea Halpern, J.S. Martin, T.D. Reed
An Erp Study Of Major-Minor Classification In Melodies, Andrea Halpern, J.S. Martin, T.D. Reed
Andrea Halpern
COMPOSERS COMMONLY USE MAJOR OR MINOR SCALES to create different moods in music.Nonmusicians show poor discrimination and classification of this musical dimension; however, they can perform these tasks if the decision is phrased as happy vs. sad.We created pairs of melodies identical except for mode; the first major or minor third or sixth was the critical note that distinguished major from minor mode. Musicians and nonmusicians judged each melody as major vs. minor or happy vs. sad.We collected ERP waveforms, triggered to the onset of the critical note. Musicians showed a late positive component (P3) to the critical note only …
Perception Of Emotion In Sounded And Imagined Music, B.L. Lucas, E. Schubert, Andrea Halpern
Perception Of Emotion In Sounded And Imagined Music, B.L. Lucas, E. Schubert, Andrea Halpern
Andrea Halpern
WE STUDIED THE EMOTIONAL RESPONSES BY MUSICIANS to familiar classical music excerpts both when the music was sounded, and when it was imagined.We used continuous response methodology to record response profiles for the dimensions of valence and arousal simultaneously and then on the single dimension of emotionality. The response profiles were compared using cross-correlation analysis, and an analysis of responses to musical feature turning points, which isolate instances of change in musical features thought to influence valence and arousal responses. We found strong similarity between the use of an emotionality arousal scale across the stimuli, regardless of condition (imagined …
When That Tune Runs Through Your Head: A Pet Investigation Of Auditory Imagery For Familiar Melodies, Andrea Halpern, R.J. Zattore
When That Tune Runs Through Your Head: A Pet Investigation Of Auditory Imagery For Familiar Melodies, Andrea Halpern, R.J. Zattore
Andrea Halpern
The present study used positron emission tomography (PET) to examine the cerebral activity pattern associated with auditory imagery forfamiliar tunes. Subjects either imagined the continuation of nonverbaltunes cued by their first few notes, listened to a short sequence of notesas a control task, or listened and then reimagined that short sequence. Subtraction of the activation in the control task from that in the real-tune imagery task revealed primarily right-sided activation in frontal and superior temporal regions, plus supplementary motor area(SMA). Isolating retrieval of the real tunes by subtracting activation in the reimagine task from that in the real-tune imagery task …
Effects Of Training And Melodic Features On Mode Perception, A.M. Leaver, Andrea Halpern
Effects Of Training And Melodic Features On Mode Perception, A.M. Leaver, Andrea Halpern
Andrea Halpern
The two modes most widely used in Western music today convey opposite moods—a distinction that nonmusicians and even young children are able to make. However, the current studies provide evidence that, despite a strong link between mode and affect, mode perception is problematic. Nonmusicians found mode discrimination to be harder than discrimination of other melodic features, and they were not able to accurately classify major and minor melodies with these labels. Although nonmusicians were able to classify major and minor melodies using affective labels, they performed at chance in mode discrimination. Training, in the form of short lessons given to …
Mental Concerts: Musical Imagery And Auditory Cortex, Robert J. Zatorre, Andrea R. Halpern
Mental Concerts: Musical Imagery And Auditory Cortex, Robert J. Zatorre, Andrea R. Halpern
Andrea Halpern
Most people intuitively understand what it means to “hear a tune in your head.” Converging evidence now indicates that auditory cortical areas can be recruited even in the absence of sound and that this corresponds to the phenomenological experience of imagining music. We discuss these findings as well as some methodological challenges. We also consider the role of core versus belt areas in musical imagery, the relation between auditory and motor systems during imagery of music performance, and practical implications of this research.
Effect Of Unilateral Temporal-Lobe Excision On Perception And Imagery Of Songs, R.J. Zatorre, Andrea Halpern
Effect Of Unilateral Temporal-Lobe Excision On Perception And Imagery Of Songs, R.J. Zatorre, Andrea Halpern
Andrea Halpern
Auditory imagery for songs was studied in two groups of patients with left or right temporal-lobe excision for control of epilepsy, and a group of matched normal control subjects. Two tasks were used. In the perceptual task, subjects saw the text of a familiar song and simultaneously heard it sung. On each trial they judged if the second of two capitalized lyrics was higher or lower in pitch than the first. The imagery task was identical in all respects except that no song was presented, so that subjects had to generate an auditory image of the song. The results indicated …