The relationship between the neurobiology of speech and music has been investigated for more than a century. There remains no widespread agreement regarding how (or to what extent) music perception utilizes the neural circuitry that is engaged in speech processing, particularly at the cortical level. Prominent models such as Patel’s Shared Syntactic Integration Resource Hypothesis (SSIRH) and Koelsch’s neurocognitive model of music perception suggest a high degree of overlap, particularly in the frontal lobe, but also perhaps more distinct representations in (...) the temporal lobe with hemispheric asymmetries. The present meta-analysis study used activation likelihood estimate analyses to identify the brain regions consistently activated for music as compared to speech across the functional neuroimaging (fMRI and PET) literature. Eighty music and 91 speech neuroimaging studies of healthy adult control subjects were analyzed. Peak activations reported in the music and speech studies were divided into four paradigm categories: passive listening, discrimination tasks, error/anomaly detection tasks and memory-related tasks. We then compared activation likelihood estimates within each category for music versus speech, and each music condition with passive listening. We found that listening to music and to speech preferentially activate distinct temporo-parietal bilateral cortical networks. We also found music and speech to have shared resources in the left pars opercularis but speech-specific resources in the left pars triangularis. The extent to which music recruited speech-activated frontal resources was modulated by task. While there are certainly limitations to meta-analysis techniques particularly regarding sensitivity, this work suggests that the extent of shared resources between speech and music may be task-dependent and highlights the need to consider how task effects may be affecting conclusions regarding the neurobiology of speech and music. (shrink)

The influence of background music on cognitive functions is still a matter of debate. In this study, we investigated the influence of background music on executive functions (particularly on inhibitory functions). Participants completed a standardized cued Go/NoGo task during three different conditions while an EEG was recorded (1: with no background music, 2: with relaxing or 3: with exciting background music). In addition, we collected reaction times, omissions, and commissions in response to the Go and NoGo stimuli. From the EEG (...) data, event-related potentials (ERPs) were calculated for the Go and NoGo trials. From these ERPs, the N2 and P3 components were specifically analyzed since previous studies have shown that these components (and particularly the Go-NoGo difference waves) are strongly associated with inhibitory functions. The N2 and P3 components of the difference waves (N2d and P3d) were used for statistical analyses. The statistical analyses revealed no differences between the three conditions in terms of amplitudes and latencies of the N2d and P3d components. In addition, reaction times, omissions, and commissions were comparable across all conditions. Our results suggest that in the context of this paradigm, music as background acoustic stimulation has no detrimental effects on the performance of a Go/NoGo task and neural underpinnings. (shrink)

Sacred Harp singers the world over gather weekly to sing out ofThe Sacred Harp, a collection of shape-note songs first published in 1844. Their tradition is highly ritualized, and it plays an important role in the lives of many participants. Following the implementation of lockdown protocols to combat the COVID-19 pandemic, groups of Sacred Harp singers quickly and independently devised a variety of means by which to sing together online using Zoom, Jamulus, and Facebook Live. The rapidity and creativity with (...) which Sacred Harp singers developed ways to sustain their activities attests to the strength and significance of this community of practice, and in this article I describe each modality and provide an account of how it came to be developed and widely used. As a participant-observer, I completed extensive fieldwork across these digital sites and conducted semi-structured interviews with 22 other singers. I found that online singing practices have reshaped the Sacred Harp community. Many singers who did not previously have the opportunity to participate now have access, while others have lost access due to technological barriers or lack of interest in online activities. At the same time, geographical barriers have disintegrated, and singing organizers must make an effort to maintain local identity. A stable community of singers has emerged in the digital realm, but it is by no means identical to the community that predated the pandemic. I also identify the ways in which online singing has proven meaningful to participants by providing continuity in their personal and communal practice. Specifically, online singing allows participants to access and celebrate their collective memories of the Sacred Harp community, carry out significant rituals, and continue to grow as singers. While no single modality replicates the complete Sacred Harp singing experience, together they function “like pieces in a puzzle”, allowing individual participants to access many of the elements of Sacred Harp singing that are most meaningful to them. (shrink)