Chen-Gia Tsai

DYNAMIC B-MODE ULTRASOUND IMAGING OF VOCAL FOLD VIBRATION DURING PHONATION

We used B-mode imaging to study the vibratory phenomena of the vocal folds. The presence of multilayered structures of the vocal folds in the B-mode image was verified by using freshly excised human larynges in vitro. To capture images of vocal fold vibration, a special treatment was used to reconstruct the aliasing B-mode motion pictures of vocal fold vibration. Echo-particle image velocimetry (Echo-PIV) analysis was then applied to trace the tissue particles in the motion pictures. The vibratory behavior of the body (vocal ligament and muscle) of the vocal folds was revealed. Further analysis showed a quasi-longitudinal wave along the body of the vocal folds in the coronal plane. This is, to the best of our knowledge, the first time that vocal fold vibration physiology has been studied using B-mode imaging and Echo-PIV.

The arousing and cathartic effects of popular heartbreak songs as revealed in the physiological responses of listeners

Songs that convey sorrowful emotions enjoy widespread popularity. The expressions and effects of negative emotions vary considerably across cultures and musical forms. This study explores the physiological responses to five popular “heartbreak” songs, focusing on the relationships between the temporal dynamics of emotion and the verse-chorus form. Listeners’ skin conductance and finger temperature were used to infer levels of arousal and relaxation, and the analysis of these time-series data was guided by a priori knowledge of the musical form. We found that two particular time periods in these songs, the passage preceding the chorus and the entrance of the chorus, evoked significant skin conductance responses. Given that the chorus is usually the most favorite element of a popular song, these two responses may reflect the elevated arousal associated with the feelings of “wanting” and “liking”, respectively. Moreover, the average finger temperature exhibited a U-shaped curve across each song. The significant decreases of finger temperature within the first part of songs revealed an accumulation of negative emotions in listeners, whereas the significant increases of finger temperature within the second part may reflect a release, resolution, or regulation of negative emotions. Our findings shed new light on the rewarding nature of the chorus and the cathartic effects associated with the verse-chorus form of heartbreak songs.

Listening to music in a risk-reward context: The roles of the temporoparietal junction and the orbitofrontal/insular cortices in reward-anticipation, reward-gain, and reward-loss

Artificial rewards, such as visual arts and music, produce pleasurable feelings. Popular songs in the verse-chorus form provide a useful model for understanding the neural mechanisms underlying the processing of artificial rewards, because the chorus is usually the most rewarding element of a song. In this functional magnetic resonance imaging (fMRI) study, the stimuli were excerpts of 10 popular songs with a tensioned verse-to-chorus transition. We examined the neural correlates of three phases of reward processing: (1) reward-anticipation during the verse-to-chorus transition, (2) reward-gain during the first phrase of the chorus, and (3) reward-loss during the unexpected noise followed by the verse-to-chorus transition. Participants listened to these excerpts in a risk-reward context because the verse was followed by either the chorus or noise with equal probability. The results showed that reward-gain and reward-loss were associated with left- and right-biased temporoparietal junction activation, respectively. The bilateral temporoparietal junctions were active during reward-anticipation. Moreover, we observed left-biased lateral orbitofrontal activation during reward-anticipation, whereas the medial orbitofrontal cortex was activated during reward-gain. The findings are discussed in relation to the cognitive and emotional aspects of reward processing.

Experiencing affective music in eyes-closed and eyes-open states: an electroencephalography study

In real life, listening to music may be associated with an eyes-closed or eyes-open state. The effect of eye state on listeners’ reaction to music has attracted some attention, but its influence on brain activity has not been fully investigated. The present study aimed to evaluate the electroencephalographic (EEG) markers for the emotional valence of music in different eye states. Thirty participants listened to musical excerpts with different emotional content in the eyes-closed and eyes-open states. The results showed that participants rated the music as more pleasant or with more positive valence under an eyes-open state. In addition, we found that the alpha asymmetry indices calculated on the parietal and temporal sites reflected emotion valence in the eyes-closed and eyes-open states, respectively. The theta power in the frontal area significantly increased while listening to emotional-positive music compared to emotional-negative music under the eyes-closed condition. These effects of eye states on EEG markers are discussed in terms of brain mechanisms underlying attention and emotion.

Specialization of the posterior temporal lobes for audio-motor processing - evidence from a functional magnetic resonance imaging study of skilled drummers.

Sounds of hammering or clapping can evoke simulation of the arm movements that have been previously associated with those sounds. This audio‐motor transformation also occurs at the sequential level and plays a role in speech and music processing. The present study aimed to demonstrate how the activation pattern of the sensorimotor network was modulated by the sequential nature of the auditory input and effector. Fifteen skilled drum set players participated in our functional magnetic resonance imaging study. Prior to the scan, these drummers practiced six drumming grooves. During the scan, there were four rehearsal conditions: covertly playing the drum set under the guidance of its randomly‐presented isolated stroke sounds, covertly playing the drum set along with the sounds of learned percussion music, covertly reciting the syllable representation along with this music, and covertly reciting along with the syllable representation of this music. We found greater activity in the bilateral posterior middle temporal gyri for active listening to isolated drum strokes than for active listening to learned drum music. These regions might mediate the one‐to‐one mappings from sounds to limb movements. Compared with subvocal rehearsals along with learned drum music, covert rehearsals of limb movements along with the same music additionally activated a lateral subregion of the left posterior planum temporale. Our results illustrate a functional specialization of the posterior temporal lobes for audio‐motor processing.

Musical Tension over Time: Listeners’ Physiological Responses to the ‘Retransition’ in Classical Sonata Form

The tension–resolution patterns in music play a critical role in evoking listeners’ emotional experiences. We focus on an important tradition of using such patterns for theme recurrence: the retransition in Classical sonata form. A major function of the retransition is to prepare the theme recurrence in the home key. The present study attempts to examine the effects of musical tension at the retransition by combining music analysis with listeners’ physiological-emotional responses. During the first part of the retransition, loud chords with diminished intervals played in a minor mode elevated both the musical tension and listeners’ respiration depth. This tension was released before the beginning of the second part of the retransition, and thereby listeners’ respiration depth decreased. Moreover, listeners’ heightened expectations immediately before the theme recurrence was reflected by the increased heart rate and SCR amplitude. We also observed that listeners’ finger temperature seemed to reflect the ch...

Neuromagnetic brain activities associated with perceptual categorization and sound-content incongruency: a comparison between monosyllabic words and pitch names

In human cultures, the perceptual categorization of musical pitches relies on pitch-naming systems. A sung pitch name concurrently holds the information of fundamental frequency and pitch name. These two aspects may be either congruent or incongruent with regard to pitch categorization. The present study aimed to compare the neuromagnetic responses to musical and verbal stimuli for congruency judgments, for example a congruent pair for the pitch C4 sung with the pitch name do in a C-major context (the pitch-semantic task) or for the meaning of a word to match the speaker’s identity (the voice-semantic task). Both the behavioral data and neuromagnetic data showed that congruency detection of the speaker’s identity and word meaning was slower than that of the pitch and pitch name. Congruency effects of musical stimuli revealed that pitch categorization and semantic processing of pitch information were associated with P2m and N400m, respectively. For verbal stimuli, P2m and N400m did not show any congruency effect. In both the pitch-semantic task and the voice-semantic task, we found that incongruent stimuli evoked stronger slow waves with the latency of 500–600 ms than congruent stimuli. These findings shed new light on the neural mechanisms underlying pitch-naming processes.

Neural mechanisms involved in the oral representation of percussion music: An fMRI study

Numerous music cultures use nonsense syllables to represent percussive sounds. Covert reciting of these syllable sequences along with percussion music aids active listeners in keeping track of music. Owing to the acoustic dissimilarity between the representative syllables and the referent percussive sounds, associative learning is necessary for the oral representation of percussion music. We used functional magnetic resonance imaging (fMRI) to explore the neural processes underlying oral rehearsals of music. There were four music conditions in the experiment: (1) passive listening to unlearned percussion music, (2) active listening to learned percussion music, (3) active listening to the syllable representation of (2), and (4) active listening to learned melodic music. Our results specified two neural substrates of the association mechanisms involved in the oral representation of percussion music. First, information integration of heard sounds and the auditory consequences of subvocal rehearsals may engage the right planum temporale during active listening to percussion music. Second, mapping heard sounds to articulatory and laryngeal gestures may engage the left middle premotor cortex.

The Influence of Background Music on the Visitor Museum Experience: A Case Study of the Laiho Memorial Museum, Taiwan

ABSTRACT The uses and functions of music within the museum environment are of both practical and theoretical interest. This article investigates the impact of background music on the museum visitor experience using information collected from 20 in-depth interviews with visitors to the Laiho Memorial Museum in Taiwan. Each participant heard either a piece of light music or a historical recording of a 1930s song while visiting Laihos personal study exhibited in the museum. These two types of background music have comparable information loads, although they fit the exhibit to different degrees. Qualitative analysis of interview data indicates that background music played in museums has both emotional and cognitive influences on the visitor experience. This study showed that light music evoked warm and relaxed feelings in participants, whereas a 1930s song evoked feelings of nostalgia and curiosity to learn more about the song. The results are discussed in terms of the diverse needs, behaviors, and attitudes of museum visitors.

Female Listeners’ Autonomic Responses to Dramatic Shifts Between Loud and Soft Music/Sound Passages: A Study of Heavy Metal Songs

Although music and the emotion it conveys unfold over time, little is known about how listeners respond to shifts in musical emotions. A special technique in heavy metal music utilizes dramatic shifts between loud and soft passages. Loud passages are penetrated by distorted sounds conveying aggression, whereas soft passages are often characterized by a clean, calm singing voice and light accompaniment. The present study used heavy metal songs and soft sea sounds to examine how female listeners’ respiration rates and heart rates responded to the arousal changes associated with auditory stimuli. The high-frequency power of heart rate variability (HF-HRV) was used to assess cardiac parasympathetic activity. The results showed that the soft passages of heavy metal songs and soft sea sounds expressed lower arousal and induced significantly higher HF-HRVs than the loud passages of heavy metal songs. Listeners’ respiration rate was determined by the arousal level of the present music passage, whereas the heart rate was dependent on both the present and preceding passages. Compared with soft sea sounds, the loud music passage led to greater deceleration of the heart rate at the beginning of the following soft music passage. The sea sounds delayed the heart rate acceleration evoked by the following loud music passage. The data provide evidence that sound-induced parasympathetic activity affects listeners’ heart rate in response to the following music passage. These findings have potential implications for future research on the temporal dynamics of musical emotions.