Wiebke Trost

Mapping Aesthetic Musical Emotions in the Brain

Music evokes complex emotions beyond pleasant/unpleasant or happy/sad dichotomies usually investigated in neuroscience. Here, we used functional neuroimaging with parametric analyses based on the intensity of felt emotions to explore a wider spectrum of affective responses reported during music listening. Positive emotions correlated with activation of left striatum and insula when high-arousing (Wonder, Joy) but right striatum and orbitofrontal cortex when low-arousing (Nostalgia, Tenderness). Irrespective of their positive/negative valence, high-arousal emotions (Tension, Power, and Joy) also correlated with activations in sensory and motor areas, whereas low-arousal categories (Peacefulness, Nostalgia, and Sadness) selectively engaged ventromedial prefrontal cortex and hippocampus. The right parahippocampal cortex activated in all but positive high-arousal conditions. Results also suggested some blends between activation patterns associated with different classes of emotions, particularly for feelings of Wonder or Transcendence. These data reveal a differentiated recruitment across emotions of networks involved in reward, memory, self-reflective, and sensorimotor processes, which may account for the unique richness of musical emotions.

The role of the medial temporal limbic system in processing emotions in voice and music.

Subcortical brain structures of the limbic system, such as the amygdala, are thought to decode the emotional value of sensory information. Recent neuroimaging studies, as well as lesion studies in patients, have shown that the amygdala is sensitive to emotions in voice and music. Similarly, the hippocampus, another part of the temporal limbic system (TLS), is responsive to vocal and musical emotions, but its specific roles in emotional processing from music and especially from voices have been largely neglected. Here we review recent research on vocal and musical emotions, and outline commonalities and differences in the neural processing of emotions in the TLS in terms of emotional valence, emotional intensity and arousal, as well as in terms of acoustic and structural features of voices and music. We summarize the findings in a neural framework including several subcortical and cortical functional pathways between the auditory system and the TLS. This framework proposes that some vocal expressions might already receive a fast emotional evaluation via a subcortical pathway to the amygdala, whereas cortical pathways to the TLS are thought to be equally used for vocal and musical emotions. While the amygdala might be specifically involved in a coarse decoding of the emotional value of voices and music, the hippocampus might process more complex vocal and musical emotions, and might have an important role especially for the decoding of musical emotions by providing memory-based and contextual associations.

Rhythm implicitly affects temporal orienting of attention across modalities

Here we present two experiments investigating the implicit orienting of attention over time by entrainment to an auditory rhythmic stimulus. In the first experiment, participants carried out a detection and discrimination tasks with auditory and visual targets while listening to an isochronous, auditory sequence, which acted as the entraining stimulus. For the second experiment, we used musical extracts as entraining stimulus, and tested the resulting strength of entrainment with a visual discrimination task. Both experiments used reaction times as a dependent variable. By manipulating the appearance of targets across four selected metrical positions of the auditory entraining stimulus we were able to observe how entraining to a rhythm modulates behavioural responses. That our results were independent of modality gives a new insight into cross-modal interactions between auditory and visual modalities in the context of dynamic attending to auditory temporal structure.

How musical training affects cognitive development: rhythm, reward and other modulating variables

Musical training has recently gained additional interest in education as increasing neuroscientific research demonstrates its positive effects on brain development. Neuroimaging revealed plastic changes in the brains of adult musicians but it is still unclear to what extent they are the product of intensive music training rather than of other factors, such as preexisting biological markers of musicality. In this review, we synthesize a large body of studies demonstrating that benefits of musical training extend beyond the skills it directly aims to train and last well into adulthood. For example, children who undergo musical training have better verbal memory, second language pronunciation accuracy, reading ability and executive functions. Learning to play an instrument as a child may even predict academic performance and IQ in young adulthood. The degree of observed structural and functional adaptation in the brain correlates with intensity and duration of practice. Importantly, the effects on cognitive development depend on the timing of musical initiation due to sensitive periods during development, as well as on several other modulating variables. Notably, we point to motivation, reward and social context of musical education, which are important yet neglected factors affecting the long-term benefits of musical training. Further, we introduce the notion of rhythmic entrainment and suggest that it may represent a mechanism supporting learning and development of executive functions. It also hones temporal processing and orienting of attention in time that may underlie enhancements observed in reading and verbal memory. We conclude that musical training uniquely engenders near and far transfer effects, preparing a foundation for a range of skills, and thus fostering cognitive development.

The sound of emotions-Towards a unifying neural network perspective of affective sound processing

Affective sounds are an integral part of the natural and social environment that shape and influence behavior across a multitude of species. In human primates, these affective sounds span a repertoire of environmental and human sounds when we vocalize or produce music. In terms of neural processing, cortical and subcortical brain areas constitute a distributed network that supports our listening experience to these affective sounds. Taking an exhaustive cross-domain view, we accordingly suggest a common neural network that facilitates the decoding of the emotional meaning from a wide source of sounds rather than a traditional view that postulates distinct neural systems for specific affective sound types. This new integrative neural network view unifies the decoding of affective valence in sounds, and ascribes differential as well as complementary functional roles to specific nodes within a common neural network. It also highlights the importance of an extended brain network beyond the central limbic and auditory brain systems engaged in the processing of affective sounds.

Getting the beat: Entrainment of brain activity by musical rhythm and pleasantness

Rhythmic entrainment is an important component of emotion induction by music, but brain circuits recruited during spontaneous entrainment of attention by music and the influence of the subjective emotional feelings evoked by music remain still largely unresolved. In this study we used fMRI to test whether the metric structure of music entrains brain activity and how music pleasantness influences such entrainment. Participants listened to piano music while performing a speeded visuomotor detection task in which targets appeared time-locked to either strong or weak beats. Each musical piece was presented in both a consonant/pleasant and dissonant/unpleasant version. Consonant music facilitated target detection and targets presented synchronously with strong beats were detected faster. FMRI showed increased activation of bilateral caudate nucleus when responding on strong beats, whereas consonance enhanced activity in attentional networks. Meter and consonance selectively interacted in the caudate nucleus, with greater meter effects during dissonant than consonant music. These results reveal that the basal ganglia, involved both in emotion and rhythm processing, critically contribute to rhythmic entrainment of subcortical brain circuits by music.

Temporal dynamics of musical emotions examined through intersubject synchrony of brain activity

To study emotional reactions to music, it is important to consider the temporal dynamics of both affective responses and underlying brain activity. Here, we investigated emotions induced by music using functional magnetic resonance imaging (fMRI) with a data-driven approach based on intersubject correlations (ISC). This method allowed us to identify moments in the music that produced similar brain activity (i.e. synchrony) among listeners under relatively natural listening conditions. Continuous ratings of subjective pleasantness and arousal elicited by the music were also obtained for the music outside of the scanner. Our results reveal synchronous activations in left amygdala, left insula and right caudate nucleus that were associated with higher arousal, whereas positive valence ratings correlated with decreases in amygdala and caudate activity. Additional analyses showed that synchronous amygdala responses were driven by energy-related features in the music such as root mean square and dissonance, while synchrony in insula was additionally sensitive to acoustic event density. Intersubject synchrony also occurred in the left nucleus accumbens, a region critically implicated in reward processing. Our study demonstrates the feasibility and usefulness of an approach based on ISC to explore the temporal dynamics of music perception and emotion in naturalistic conditions.

Music and emotions: from enchantment to entrainment.

Producing and perceiving music engage a wide range of sensorimotor, cognitive, and emotional processes. Emotions are a central feature of the enjoyment of music, with a large variety of affective states consistently reported by people while listening to music. However, besides joy or sadness, music often elicits feelings of wonder, nostalgia, or tenderness, which do not correspond to emotion categories typically studied in neuroscience and whose neural substrates remain largely unknown. Here we review the similarities and differences in the neural substrates underlying these “complex” music‐evoked emotions relative to other more “basic” emotional experiences. We suggest that these emotions emerge through a combination of activation in emotional and motivational brain systems (e.g., including reward pathways) that confer its valence to music, with activation in several other areas outside emotional systems, including motor, attention, or memory‐related regions. We then discuss the neural substrates underlying the entrainment of cognitive and motor processes by music and their relation to affective experience. These effects have important implications for the potential therapeutic use of music in neurological or psychiatric diseases, particularly those associated with motor, attention, or affective disturbances.

Rhythmic entrainment as a musical affect induction mechanism

ABSTRACT One especially important feature of metrical music is that it contains periodicities that listeners’ bodily rhythms can adapt to. Recent psychological frameworks have introduced the notion of rhythmic entrainment, among other mechanisms, as an emotion induction principle. In this review paper, we discuss rhythmic entrainment as an affect induction mechanism by differentiating four levels of entrainment in humans—perceptual, autonomic physiological, motor, and social—all of which could contribute to a subjective feeling component. We review the theoretical and empirical literature on rhythmic entrainment to music that supports the existence of these different levels of entrainment by describing the phenomena and characterizing the associated underlying brain processes. The goal of this review is to present the theoretical implications and empirical findings about rhythmic entrainment as an important principle at the basis of affect induction via music, since it rests upon the temporal dimension of music, which is a specificity of music as an affective stimulus. HIGHLIGHTSRhythmic entrainment represents an affect induction mechanism.Rhythmic entrainment occurs on the perceptual, autonomic, motor, and social level.The basal ganglia play a key role in the link of rhythmic entrainment and affect.Rhythmic entrainment supposedly induces positive valence and social dispositions.

Alteration of complex negative emotions induced by music in euthymic patients with bipolar disorder

BACKGROUND Research has shown bipolar disorder to be characterized by dysregulation of emotion processing, including biases in facial expression recognition that is most prevalent during depressive and manic states. Very few studies have examined induced emotions when patients are in a euthymic phase, and there has been no research on complex emotions. We therefore set out to test emotional hyperreactivity in response to musical excerpts inducing complex emotions in bipolar disorder during euthymia. METHODS We recruited 21 patients with bipolar disorder (BD) in a euthymic phase and 21 matched healthy controls. Participants first rated their emotional reactivity on two validated self-report scales (ERS and MAThyS). They then rated their music-induced emotions on nine continuous scales. The targeted emotions were wonder, power, melancholy and tension. We used a specific generalized linear mixed model to analyze the behavioral data. RESULTS We found that participants in the euthymic bipolar group experienced more intense complex negative emotions than controls when the musical excerpts induced wonder. Moreover, patients exhibited greater emotional reactivity in daily life (ERS). Finally, a greater experience of tension while listening to positive music seemed to be mediated by greater emotional reactivity and a deficit in executive functions. LIMITATIONS The heterogeneity of the BD group in terms of clinical characteristics may have influenced the results. CONCLUSIONS Euthymic patients with bipolar disorder exhibit more complex negative emotions than controls in response to positive music.