Music Perception in Acquired Prosopagnosia: An Anterior Temporal Syndrome for Faces, Voices and Music

2019 ◽  
Author(s):  
Jason J S Barton ◽  
Jacob L Stubbs ◽  
Sebastien Paquette ◽  
Brad Duchaine ◽  
Gottfried Schlaug ◽  
...  
Keyword(s):  
Music Perception ◽  
Emotional Experience ◽  
Voice Recognition ◽  
Emotional Responses ◽  
Pitch Perception ◽  
Music Appreciation ◽  
Rhythm Perception ◽  
Occipitotemporal Cortex ◽  
The Right ◽  
Musical Memory

ABSTRACTBackgroundAcquired prosopagnosia is often associated with other deficits, such as dyschromatopsia and topographagnosia, from damage to adjacent perceptual networks. A recent study showed that some subjects with developmental prosopagnosia also have congenital amusia, but problems with music perception have not been described in the acquired variant.ObjectiveOur goal was to determine if music perception was also impaired in subjects with acquired prosopagnosia, and if so, its anatomic correlate.MethodsWe studied eight subjects with acquired prosopagnosia, all of whom had extensive neuropsychological and neuroimaging testing. They performed a battery of tests evaluating pitch and rhythm processing, including the Montréal Battery for the Evaluation of Amusia.ResultsThree of eight subjects with acquired prosopagnosia had impaired musical pitch perception while rhythm perception was spared. Two of the three also showed reduced musical memory. These three reported alterations in their emotional experience of music: one reported music anhedonia and aversion, while the remaining two had changes consistent with musicophilia. The lesions of these three subjects affected the right or bilateral temporal poles as well as the right amygdala and insula. None of the three prosopagnosic subjects with lesions limited to the inferior occipitotemporal cortex had impaired pitch perception or musical memory, or reported changes in music appreciation.ConclusionTogether with the results of our previous studies of voice recognition, these findings indicate an anterior temporal agnosia syndrome that can include the amnestic variant of prosopagnosia, phonagnosia, and various alterations in music perception, including acquired amusia, reduced musical memory, and altered emotional responses to music.

Introducing a Psycho-Historical Approach to the Study of Emotions in Music: The Case of Monteverdi’s Il Combattimento di Tancredi e Clorinda

2017 ◽  
Vol 1 (1) ◽  
pp. 29-58
Author(s):  
Jane W. Davidson ◽  
Frederic Kiernan ◽  
Sandra Garrido
Keyword(s):  
Music Perception ◽  
Emotional Experience ◽  
Emotional Responses ◽  
Structural Elements ◽  
Claudio Monteverdi ◽  
Factors Influencing ◽  
Cultural Experiences ◽  
Personal Experiences ◽  
The Many

This essay addresses the challenges of reaching a historically informed understanding of the emotional experience of seventeenth-century musical performance by applying a recent theoretical account of the psychological emotion mechanisms that underpin music perception. A short work by Claudio Monteverdi (1567–1643) is taken as a case study, to investigate the ways that structural elements of the music engage emotion mechanisms. Since modern-day listeners also draw on emotion mechanisms, a modern-day exploration of behavioural responses to the historical work – albeit performed and perceived through different personal experiences and perhaps with different emphases according to the many different social-cultural factors influencing modern perception – enables the identification of which mechanisms are activated in modern perceivers. While the authors acknowledge that emotional responses to music are highly susceptible to a whole range of complex and dynamic socio-cultural experiences and different historical contexts, the research undertaken nonetheless enables the development of some parameters on which to build a modern-day performance that emphasises the mechanisms most likely to arouse affect.

Predicting Music Appreciation with Past Emotional Responses to Music

2001 ◽  
Vol 49 (1) ◽  
pp. 57-70 ◽  
Author(s):  
Robert H. Woody ◽  
Kimberly J. Burns
Keyword(s):  
Classical Music ◽  
Emotional Experience ◽  
Emotional Responses ◽  
Music Appreciation ◽  
Classroom Teachers ◽  
Music Listening ◽  
Significant Relationships ◽  
Musical Background ◽  
Relationship Of ◽  
The Relationship

This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. Implications are drawn regarding approaches for teaching classical music to nonmusicians, including increased focus on expressive qualities in music listening experiences.

Investigation of the Effect of Mode and Tempo on Emotional Responses to Music Using EEG Power Asymmetry

2013 ◽  
Vol 27 (3) ◽  
pp. 142-148 ◽  
Author(s):  
Konstantinos Trochidis ◽  
Emmanuel Bigand
Keyword(s):  
Left Hemisphere ◽  
Right Hemisphere ◽  
Emotional Responses ◽  
Interactive Effects ◽  
Eeg Activity ◽  
Musical Excerpt ◽  
Major Mode ◽  
Musical Modes ◽  
Slow Tempo ◽  
The Right

The combined interactions of mode and tempo on emotional responses to music were investigated using both self-reports and electroencephalogram (EEG) activity. A musical excerpt was performed in three different modes and tempi. Participants rated the emotional content of the resulting nine stimuli and their EEG activity was recorded. Musical modes influence the valence of emotion with major mode being evaluated happier and more serene, than minor and locrian modes. In EEG frontal activity, major mode was associated with an increased alpha activation in the left hemisphere compared to minor and locrian modes, which, in turn, induced increased activation in the right hemisphere. The tempo modulates the arousal value of emotion with faster tempi associated with stronger feeling of happiness and anger and this effect is associated in EEG with an increase of frontal activation in the left hemisphere. By contrast, slow tempo induced decreased frontal activation in the left hemisphere. Some interactive effects were found between mode and tempo: An increase of tempo modulated the emotion differently depending on the mode of the piece.

Cognitive-Affective Neuroscience of Depersonalization

CNS Spectrums ◽  
2009 ◽  
Vol 14 (9) ◽  
pp. 467-471 ◽  
Author(s):  
Dan J. Stein ◽  
Daphne Simeon
Keyword(s):  
Sensory Processing ◽  
Emotional Experience ◽  
Emotional Responses ◽  
Body Schema ◽  
The Body ◽  
Affective Neuroscience ◽  
Evolutionary Perspective ◽  
Limbic Structures ◽  
Molecular Systems ◽  
Depersonalization Disorder

ABSTRACTDepersonalization disorder (DPD) is characterized by a subjective sense of detachment from one's own being and a sense of unreality. An examination of the psychobiology of depersonalization symptoms may be useful in understanding the cognitive-affective neuroscience of embodiment. DPD may be mediated by neurocircuitry and neurotransmitters involved in the integration of sensory processing and of the body schema, and in the mediation of emotional experience and the identification of feelings. For example, DPD has been found to involve autonomic blunting, deactivation of sub-cortical structures, and disturbances in molecular systems in such circuitry. An evolutionary perspective suggests that attenuation of emotional responses, mediated by deactivation of limbic structures, may sometimes be advantageous in response to inescapable stress.

Handedness affects Emotional Valence Asymmetry

1989 ◽  
Vol 68 (2) ◽  
pp. 435-441 ◽  
Author(s):  
Richard A. McFarland ◽  
Robert Kennison
Keyword(s):  
Negative Affect ◽  
Hemispheric Asymmetry ◽  
Emotional Responses ◽  
Emotional Valence ◽  
Left Handed ◽  
Two Factors ◽  
Left And Right ◽  
The Asymmetry ◽  
The Right ◽  
Cerebral Processing

Music was played monaurally to 80 right-handed and 80 left-handed subjects. Right-handers reported more positive and less negative affect if the music was to the right ear. Left-handers reported experiencing more positive and less negative affect during music to the left ear. The hand × ear interaction was significant. The valence of emotional responses to the music seems influenced by a combination of at least two factors, (1) differences between left- and right-handers in the cerebral processing of emotional valence and (2) differences in the processing of emotional valence within each handedness group depending upon which hemisphere was initially most strongly engaged by the music. These results partially corroborate and extend the findings of previous studies in which briefer stimuli were presented tachistoscopically or dichotically. It is concluded that, while there is hemispheric asymmetry in the processing of emotional valence, the direction of the asymmetry may be associated with the handedness of the subjects.

scholarly journals Prefrontal High Gamma in ECoG tags periodicity of musical rhythms in perception and imagination

2019 ◽  
Author(s):  
S. A. Herff ◽  
C. Herff ◽  
A. J. Milne ◽  
G. D. Johnson ◽  
J. J. Shih ◽  
...  
Keyword(s):  
Auditory Processing ◽  
Right Hemisphere ◽  
Brain Activity ◽  
Activity Patterns ◽  
Superior Temporal Gyrus ◽  
Gamma Activity ◽  
Rhythm Perception ◽  
High Gamma ◽  
The Right ◽  
Musical Rhythms

AbstractRhythmic auditory stimuli are known to elicit matching activity patterns in neural populations. Furthermore, recent research has established the particular importance of high-gamma brain activity in auditory processing by showing its involvement in auditory phrase segmentation and envelope-tracking. Here, we use electrocorticographic (ECoG) recordings from eight human listeners, to see whether periodicities in high-gamma activity track the periodicities in the envelope of musical rhythms during rhythm perception and imagination. Rhythm imagination was elicited by instructing participants to imagine the rhythm to continue during pauses of several repetitions. To identify electrodes whose periodicities in high-gamma activity track the periodicities in the musical rhythms, we compute the correlation between the autocorrelations (ACC) of both the musical rhythms and the neural signals. A condition in which participants listened to white noise was used to establish a baseline. High-gamma autocorrelations in auditory areas in the superior temporal gyrus and in frontal areas on both hemispheres significantly matched the autocorrelation of the musical rhythms. Overall, numerous significant electrodes are observed on the right hemisphere. Of particular interest is a large cluster of electrodes in the right prefrontal cortex that is active during both rhythm perception and imagination. This indicates conscious processing of the rhythms’ structure as opposed to mere auditory phenomena. The ACC approach clearly highlights that high-gamma activity measured from cortical electrodes tracks both attended and imagined rhythms.

scholarly journals Personalised Prediction of Self-Reported Emotion Responses to Music Stimuli

2021 ◽  
Author(s):  
◽  
Kameron Christopher
Keyword(s):  
Deep Learning ◽  
Individual Differences ◽  
Latent Variable ◽  
Emotional Experience ◽  
Emotional Responses ◽  
Stimulus Selection ◽  
Emotion Induction ◽  
Musical Background ◽  
Musical Tempo ◽  
The Many

<p>In this thesis I develop a robust system and method for predicting individuals’ emotional responses to musical stimuli. Music has a powerful effect on human emotion, however the factors that create this emotional experience are poorly understood. Some of these factors are characteristics of the music itself, for example musical tempo, mode, harmony, and timbre are known to affect people's emotional responses. However, the same piece of music can produce different emotional responses in different people, so the ability to use music to induce emotion also depends on predicting the effect of individual differences. These individual differences might include factors such as people's moods, personalities, culture, and musical background amongst others. While many of the factors that contribute to emotional experience have been examined, it is understood that the research in this domain is far from both a) identifying and understanding the many factors that affect an individual’s emotional response to music, and b) using this understanding of factors to inform the selection of stimuli for emotion induction. This unfortunately results in wide variance in emotion induction results, inability to replicate emotional studies, and the inability to control for variables in research.  The approach of this thesis is to therefore model the latent variable contributions to an individual’s emotional experience of music through the application of deep learning and modern recommender system techniques. With each study in this work, I iteratively develop a more reliable and effective system for predicting personalised emotion responses to music, while simultaneously adopting and developing strong and standardised methodology for stimulus selection. The work sees the introduction and validation of a) electronic and loop-based music as reliable stimuli for inducing emotional responses, b) modern recommender systems and deep learning as methods of more reliably predicting individuals' emotion responses, and c) novel understandings of how musical features map to individuals' emotional responses.  The culmination of this research is the development of a personalised emotion prediction system that can better predict individuals emotional responses to music, and can select musical stimuli that are better catered to individual difference. This will allow researchers and practitioners to both more reliably and effectively a) select music stimuli for emotion induction, and b) induce and manipulate target emotional responses in individuals.</p>

Individual Differences in Face Identity Processing with Fast Periodic Visual Stimulation

2017 ◽  
Vol 29 (8) ◽  
pp. 1368-1377 ◽  
Author(s):  
Buyun Xu ◽  
Joan Liu-Shuang ◽  
Bruno Rossion ◽  
James Tanaka
Keyword(s):  
Individual Differences ◽  
Visual Stimulation ◽  
High Reliability ◽  
Face Identity ◽  
Growing Body ◽  
Occipitotemporal Cortex ◽  
The Right ◽  
Open Question ◽  
Identity Processing ◽  
Identity Task

A growing body of literature suggests that human individuals differ in their ability to process face identity. These findings mainly stem from explicit behavioral tasks, such as the Cambridge Face Memory Test (CFMT). However, it remains an open question whether such individual differences can be found in the absence of an explicit face identity task and when faces have to be individualized at a single glance. In the current study, we tested 49 participants with a recently developed fast periodic visual stimulation (FPVS) paradigm [Liu-Shuang, J., Norcia, A. M., & Rossion, B. An objective index of individual face discrimination in the right occipitotemporal cortex by means of fast periodic oddball stimulation. Neuropsychologia, 52, 57–72, 2014] in EEG to rapidly, objectively, and implicitly quantify face identity processing. In the FPVS paradigm, one face identity (A) was presented at the frequency of 6 Hz, allowing only one gaze fixation, with different face identities (B, C, D) presented every fifth face (1.2 Hz; i.e., AAAABAAAACAAAAD…). Results showed a face individuation response at 1.2 Hz and its harmonics, peaking over occipitotemporal locations. The magnitude of this response showed high reliability across different recording sequences and was significant in all but two participants, with the magnitude and lateralization differing widely across participants. There was a modest but significant correlation between the individuation response amplitude and the performance of the behavioral CFMT task, despite the fact that CFMT and FPVS measured different aspects of face identity processing. Taken together, the current study highlights the FPVS approach as a promising means for studying individual differences in face identity processing.

Skills for Emotion Exposures

2021 ◽  
pp. 195-218
Author(s):  
Heather Thompson-Brenner ◽  
Melanie Smith ◽  
Gayle Brooks ◽  
Dee Ross Franklin ◽  
Hallie Espel-Huynh ◽  
...  
Keyword(s):  
Emotional Responses ◽  
Primary Focus ◽  
The Right

Emotion exposures are exercises specifically designed to provoke the emotional responses that maintain a client’s symptoms. This therapy has provided skills the client can use to cope with these responses in more adaptive ways. The emotion is the primary focus of the activity. The stimulus, which takes time to plan, is just a way of getting to the emotion. Emotion exposures can occur in external situations or in the context of internal situations, such as thoughts or memories. In this session, clients learn about emotion exposures, and they begin filling in their personal emotion exposure hierarchy. Clients are also taught skills for conducting emotion exposures, such as planning the right level of challenge, considering their expectancies beforehand, removing avoidance during the exposure, staying in the situation long enough, and practicing.

7. The appetite for music

2018 ◽  
pp. 95-108
Author(s):  
Elizabeth Hellmuth Margulis
Keyword(s):  
Emotional Responses ◽  
Aesthetic Responses ◽  
Psychology Of Music ◽  
Life Circumstances ◽  
Musical Memory ◽  
Affective Dimensions ◽  
The Way ◽  
Musical Preferences

Music can seem captivating and integral to our lives, yet these affective dimensions are precisely the ones for which understanding remains most elusive. It is relatively straightforward to study something like musical memory by manipulating excerpts in various situations and seeing whether people remember them; however, studying the way music moves us requires deeper thought. It also represents a unique opportunity for the psychology of music. “The appetite for music” considers emotional responses to music. How does sound so easily take on such powerful associations with the life circumstances in which it was encountered? Aesthetic responses to music, musical preferences, and the motivations behind people’s interest in music are also discussed.

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