Neural Correlates of Processing Syntax in Music and ... - PubMan
Neural Correlates of Processing Syntax in Music and ... - PubMan
Neural Correlates of Processing Syntax in Music and ... - PubMan
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<strong>Music</strong> <strong>and</strong> Language 47<br />
(words). Words <strong>in</strong> sentences are rather hierarchically structured whereas musical tones<br />
<strong>and</strong> chords are rather l<strong>in</strong>ked by probabilistic dependencies. The regularities <strong>in</strong> language<br />
are stricter <strong>in</strong> order to allow for a clear transmission <strong>of</strong> semantic messages. That is, <strong>in</strong><br />
music the structural rules seem to be much less rigid than syntactic <strong>and</strong> even prosodic<br />
rules <strong>in</strong> speech <strong>and</strong> one may, thus, more readily violate syntactic conventions for structural<br />
or aesthetic reasons (Sloboda, 1991).<br />
Nonetheless, there may be an even larger amount <strong>of</strong> similarity: Both, music <strong>and</strong> language,<br />
crucially depend on <strong>in</strong>tegration <strong>and</strong> memory when perceiv<strong>in</strong>g the structural relations<br />
between elements. Predictability is based on knowledge <strong>of</strong> either what word categories<br />
are required to complete a sentential phrase, or what tone or chord could be appropriately<br />
follow <strong>in</strong> the actual musical phrase. Integration is the other side <strong>of</strong> prediction:<br />
each new word or tone has to be <strong>in</strong>tegrated with<strong>in</strong> the current structure while <strong>in</strong>tegration<br />
costs <strong>in</strong>crease with the distance between the current element <strong>and</strong> prior dependent<br />
elements. These ideas are elaborated by Patel (2003) propos<strong>in</strong>g a “shared syntactic<br />
<strong>in</strong>tegration resource hypothesis” (SSIR). He assumed an overlap <strong>in</strong> the operations <strong>and</strong><br />
their neural correlates that provide syntactic <strong>in</strong>tegration. More specifically, he proposed<br />
that frontal regions supply the resources for computations whereas the representation <strong>of</strong><br />
syntactic regularities may reside <strong>in</strong> posterior regions. In accordance with this assumption,<br />
the process<strong>in</strong>g <strong>of</strong> musical <strong>and</strong> l<strong>in</strong>guistic syntax was demonstrated to take place <strong>in</strong><br />
rather anterior bra<strong>in</strong> regions. In these regions, the sources <strong>of</strong> the ELAN (early left anterior<br />
negativity) <strong>and</strong> the ERAN (early right anterior negativity) were localized. The<br />
sources <strong>of</strong> the P600 (<strong>and</strong> the LPC <strong>in</strong> music), proposed to reflect processes <strong>of</strong> syntactic<br />
<strong>in</strong>tegration are assumed to be generated <strong>in</strong> posterior representation regions. These late<br />
positivities <strong>in</strong> response to the structurally <strong>in</strong>congruous elements <strong>in</strong> language <strong>and</strong> music<br />
were observed to have comparable amplitude sizes <strong>and</strong> scalp distributions (Patel, Gibson<br />
et al., 1998).<br />
Some studies provided evidence for Patel’s SSIR hypothesis: Patel, Iversen, <strong>and</strong><br />
Hagoort (2004) showed that Broca’s aphasics are lack<strong>in</strong>g <strong>of</strong> the facilitative effect <strong>of</strong><br />
harmonic prim<strong>in</strong>g (i.e., <strong>of</strong> a strong music-structural relationship <strong>of</strong> context <strong>and</strong> target),<br />
<strong>in</strong>dicat<strong>in</strong>g that their syntactic process<strong>in</strong>g <strong>of</strong> both language <strong>and</strong> music is impaired. Interference<br />
effects were expected for tasks that comb<strong>in</strong>e l<strong>in</strong>guistic- <strong>and</strong> music-syntactic<br />
process<strong>in</strong>g. Koelsch, Gunter, Wittfoth, <strong>and</strong> Sammler (2005) presented synchronously<br />
music-syntactically regular <strong>and</strong> irregular chord functions <strong>and</strong> syntactically correct or<br />
<strong>in</strong>correct words. <strong>Music</strong>-syntactically irregular chords elicited an ERAN. Syntactically<br />
<strong>in</strong>correct words elicited a left anterior negativity (LAN) which was clearly reduced<br />
when words were presented simultaneously with music-syntactically irregular chord