Psychology 987b: Thought Questions

TOPICS:
*Note: we are currently trying to solve a problem we are having with opening certain PDFs through our web server. Papers that may be problematic are marked below. You can contact Christine for a copy.

1. RE: Evarts (1951) and Tramo et al (2002: How good are people off the street at telling two tones apart? In semitones?

Evarts, E.V. Effect of auditory cortex ablation in frequency discrimination in monkey, 1951, 443-448.

Kaas, JH, Hackett, TA, & Tramo, MJ. Auditory processing in primate cerebral cortex. Current Opinion in Neurobiology 1999, 9: 164-170. Get PDF!

Morel, A, Garraghty, PE, & Kaas, JH. Tonotopic organization, architectonic fields, and connections of auditory cortex in macaque monkeys. Journal of Comparative Neurology 1993, 335: 437-459.

Phillips, DP, Semple, MN, Calford, MB, & Kitzes, LM. Level-dependent representation of stimulus frequency in cat primary auditory cortex. Experimental Brain Research 1994, 102: 210-226.

Shepard, RN. Circularity in judgments of relative pitch. Journal of the Acoustical Society of America 1964, 36: 2346-2353.

Tramo, MJ, Shah, GD, & Braida, LD. Functional role of auditory cortex in frequency processing and pitch perception. Journal of Neurophysiology 2002, 87: 122-139. Get PDF!

Wightman, FL & Green, DM. The perception of pitch. American Scientist 1974, 62: 208-215.

1. RE: Houtsma & Goldstein - why was it important to show that the missing F0 could be perceived dichotically?

3. What are the differences between the Cariani & Delgutte vs. Schwarz & Tomlinson papers with respect to neuroanatomical level of inquiry, neural coding scheme, and positive vs. negative results?

Cariani PA & Delgutte B. Neural correlates of the pitch of complex tones. I. Pitch ad pitch salience. Journal of Neurophysiology 1996, 76: 1698-1716.

Houtsma AJM & Goldstein JL. The central origin of the pitch of complex tones: Evidence from musical interval recognition. Journal of the Acoustical Society of America1971, 51: 520-528.

Pantev C, Hoke M, Lutkenhoner B, & Lehnertz K. Tonotopic organization of the auditory cortex: Pitch versus frequency representation. Science 1989, 246: 486-488.

Schwarz DWF & Tomlinson RWW. Spectral response patterns of auditory cortex neurons to harmonic complex tones in alert monkey (Macaca mulatta). Journal of Neurophysiology 1990, 64: 282-298.

Zatorre RJ. Pitch perception of complex tones and human temporal-lobe function. Journal of the Acoustical Society of America 1988, 84: 566-572.

Zatorre RJ, Evans, AC, Meyer, E, & Gjedde A. Lateralization of phonetic and pitch discrimination in speech processing. Science 1992, 256: 846-849.

1. Plomp & Steeneken: what is the just noticeable difference (JND) for roughness? What is the point of maximum roughness? How does Moore et al's paper relate to Plomp & Steeneken's report?

2. Tramo, Bharucha, & Musiek: what do we learn about the perception of consonance and the influence of harmonic expectancy on consonance judgments?

3. Tramo, Cariani, Delgutte, & Braida: what does this paper suggest about relationship between consonance and roughness?

Plomp R & Steeneken HJM. Interference between two simple tones. Journal of the Acoustical Society of America1968, 43: 883-884.

Tramo MJ, Cariani PA, Delgutte B & Braida LD. Neurobiological foundations for the theory of harmony in Western tonal music. In The Biological Foundations of Music (R Zatorre & I Peretz, Eds) 2001, 92-116.

Moore BCJ, Peters, RW & Glasberg BR. Thresholds for the detection of inharmonicity in complex tones. Journal of the Acoustical Society of America 1985, 77: 1861-1867.

Tramo MJ, Bharucha JJ & Musiek FE. Music perception and cognition followng bilateral lesions of auditory cortex. Journal of Cognitive Neuroscience 1990, 2: 195-212.

1. Do you think non-musicians (i.e., those with no, or very little, music training) would show the same sensitivity to horizontal harmonic relations described by Krumhansl et al.? Why or why not? Further, do you think patterns of sensitivity would differ depending on the type of contextual principle?

2. How might you account for the latency differences found by Patel et al vs. Maess et al?

3. Re: Blood et al. What do you think is the importance of having different anatomical structures for perception vs. emotion?

Krumhansl CL, Bharucha J & Castellano MA. Key distance effects on perceived harmonic structure in music. Perception & Psychophysics 1982, 32: 96-108.

Patel AD, Gibson E, Ratner J, Besson M & Holcomb PJ. Processing syntactic relations in language and music: An event-related potential study. Journal of Cognitive Neuroscience 1998, 10: 717-733. Get PDF!
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Maess B, Koelsch S, Gunter TC & Friederici AD. Musical syntax is processed in Broca's area: an MEG study. Nature Neuroscience 2001, 4: 540-545. Get PDF!
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Blood AJ, Zatorre RJ, Bermudez P & Evans AC. Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic brain regions. Nature Neuroscience 1999, 2: 382-387. Get PDF!

1. RE: Miller (1956) & Dowling (1978)
Do you think Miller's magical number 7 (plus or minus 2) applies to the type of melodic memory paradigm used by Dowling (1978)? Why or why not?

2. RE: Cuddy & Lunney (1995) & Schmuckler (1997)
How do Cuddy & Lunney and Schmuckler's approaches to testing musical expectancy differ? Do you have a preference for either approach? Why?
Do Narmour's bottom-up principles of melodic expectancy (summarized by Cuddy & Lunney) seem reasonable to you? Do you think any potential principles are missing or redundant?

3. RE: Liegeois-Chauvel et al (1998)
Are you comfortable with the conclusion of the importance of the right hemisphere for contour + interval processing and the left hemisphere only for interval processing? Why or why not?

Miller GA. The magical number seven, plus or minus two: Some limits on our capacity for processing information. Psychological Review 1956, 63: 81-97.

Dowling WJ. Scale and contour: Two components of a theory of memory for melodies. Psychological Review 1978, 85: 341-354.

Cuddy LL & Lunney CA. Expectancies generated by melodic intervals: Perceptual judgments of melodic continuity. Perception & Psychophysics 1995, 57: 451-462. Get PDF!

Schmuckler MA. Expectancy effects in memory for melodies. Canadian Journal of Psychology 1997, 51: 292-305. Get PDF!

Liegeois-Chauvel C, Peretz I, Babai M, Laguitton V, Chauvel P. Contribution of different cortical areas in the temporal lobes to music processing. Brain 1998, 121: 1853-1867. Get PDF!
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1. RE: Peretz (1990)
Given our interest in understanding the functionality of auditory brain areas, what criticism might you have about Peretz' description of subjects?

2. RE: Peretz (1990), Kuck et al (2003), Penhune et al (1999)
What are some potential variables that might account for the varied findings in these 3 studies?

3. RE: Sakai et al (1999)
How does the experimental approach differ in this paper compared to the others?

Krumhansl CL. Rhythm and pitch in music cognition. Psychological Bulletin 2000, 126: 159-179. **Background review paper.

Peretz I. Processing of local and global musical information by unilateral brain-damaged patients. Brain 1990, 113: 1185-1205. **Only need to read sections on rhythm processing.

Kuck H, Grossbach M, Bangert M, Altenmuller E. Brain processing of meter and rhythm in music. Annals of the New York Academy of Sciences, 999: 244-253. Get PDF!
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Penhune VB, Zatorre RJ, Feindel WH. The role of auditory cortex in retention of rhythmic patterns as studied in patients iwth temporal lobe removals including Heschl's gyrus. Neuropsychologia 1999, 37: 315-331. Get PDF!

Sakai K, Hikosaka O, Miyauchi S. Takino R, Tamada T, Iwata NK, Nielsen M. Neural representations of a rhythm depends on its interval ratio. Journal of Neuroscience 1999, 19: 10074-10081. Get PDF!
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1. Re: Samson & Zatorre (1991). Following our discussion this week about data and statistical interpretation, comb through the results sections of the two experiments (beware, they are a bit badly organized in my
view...) and study the 2 figures. Based on your intuitions about the actual data points, combined with what statistics are reported (focus on contrasts between different groups and conditions) do you agree with the
authors' two main conclusions (i.e., verbal code related to left temporal lobe; melodic code dependent on either, according to type of encoding)? Why or why not?

2. Re: Patel et al (1998). Are you satisfied with the suggestion that prosody and music share neural resources based on the stimuli? Do you have any other ideas on how one might compare music and speech processing?

Samson S & Zatorre RJ. Recognition memory for text and melody of songs after unilateral temporal lobe lesion: Evidence for dual encoding. Journal of Experimental Psychology: Learning, Memory & Cognition 1991, 17: 793-804. Get PDF!

Patel AD, Peretz I, Tramo M, Labreque R. Processing prosodic and musical patterns: A neuropsychological investigation. Brain & Language 1998, 61: 123-144. Get PDF!

Baum SR & Dwivedi VD. Sensitivity to prosodic structure in left-and right-hemisphere-damaged individuals. Brain & Language 2003, 87: 278-289.

Hebert S, Racette A, Gagnon L, Peretz I. Revisiting the dissociation between singing and speaking in expressive aphasia. Brain 2003, 126: 1838-1850.

Lo YL, Fook-Chong S, Lau DPC, Tan EK. Cortical excitability changes associated with musical tasks: a transcranial magnetic stimulation study in humans. Neuroscience Letters 2003, 352: 85-88.

1. Re: Sloboda (1991). Obviously, this is a dated study and questionnaire data come with problems. Even so, do you have ideas on how the author could improve the questionnaire, analysis of the music features, and/or interpreted association with physical responses?

2. Re: Blood & Zatorre (2001). Do you foresee any potential issues with subject-selected stimuli and associated dependent variables? Why or why not?

Sloboda JA. Music structure and emotional response: Some empirical findings. Psychology of Music 1991, 19: 110-120. Get PDF!
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Blood AJ & Zatorre RJ. Intensely pleasureable responses to music correlate with activity in brain regions implicated in reward and emotion. PNAS 2001, 98: 11818-11823. Get PDF!

Altenmuller E, Schurmann K, Lim VK, Parlitz D. Hits to the left, flops to the right: different emotions during listening to music are reflected in cortical lateralisation patterns. Neuropsychologia 2002, 40: 2242-2256.

Juslin PN & Sloboda JA. Psychological perspectives on music and emotion. In PN Juslin & JZ Sloboda (Eds.) Music and emotion (pp. 71-104) 2001. Oxford: Oxford University Press.

Meyer LB. Emotion and meaning in music. 1956. Chicago: University of Chicago Press.

Peretz I, Gagnon L, Bouchard B. Music and emotion: perceptual determinants, immediacy, and isolation after brain damage. Cognition 1998, 68: 111-141.

1. Wright et al (2000) demonstrated improved detection of stimuli involving whole octave transpositions and melodic tonal relations (compared to 1/2 octaves and atonal or random melodies). What other auditory relations seem reasonable to test (in or out of the music domain) using a comparative approach, and why do you think it would be interesting?

2. Zentner & Kagan (1998): Do you agree with the interpretation that the behavioral measures used with these infants implicate preference for consonance over dissonance? Why or why not?

3. Recanzone et al (1993) & Karni et al (1995): These papers present evidence for brain plasticity due to training on auditory and motor tasks. What are some implications of these findings (in either modality, and/or regarding brain plasticity in general)?

Wright AA, Rivera JJ, Hulse SH, Shyan M, Neiworth JJ. Music perception and octave generalization in rhesus monkeys. Journal of Experimental Psychology: General 2000, 129: 291-307. Get PDF!

Zentner MR & Kagan J. Infants' perception of consonance and dissonance in music. Infant Behavior & Development 1998, 21: 483-492.

Recanzone GH, Schreiner CE, Merzenich MM. Plasticity in the frequency representation of primary auditory cortex following discrimination training in adult owl monkeys. Journal of Neuroscience 1993, 13: 87-103. Get PDF!

Karni A, Meyer G, Jezzard P, Adams MM, Turner R, Ungerleider LG. Functional MRI evidence for adult motor cortex plasticty during motor skill learning. Nature 1995, 14: 155-158.

DallaBella S, Peretz I, Rousseau L, Gosselin N. A developmental study of the affective value of tempo and mode in music. Cognition 2001: 80, B1-B10.

Schmidt LA, Trainor LJ, Santesso DL. Development of frontal electroencephalogram (EEG) and heart rate (ECG) responses to affective musical stimul during the first 12 months of post-natal life. Brain & Cognition 2003, 52: 27-32.