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Stefan Koelsch: Brain and Music: a Contribution to the Investigation of Central Auditory Processing with a New Electrophysiological Approach

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Stefan Koelsch: Brain and Music: a Contribution to the Investigation of Central Auditory Processing with a New Electrophysiological Approach Stefan Koelsch: Brain and Music: A Contribution to the Investigation of Central Auditory Processing with a new Electrophysiological Approach. Leipzig: Max Planck Institute of Cognitive Neuroscience, 2000 (MPI Series in Cognitive Neuroscience; 11) Brain and Music A contribution to the investigation of central auditory processing with a new electrophysiological approach Von der Fakultat¨ f¨ur Biowissenschaften, Pharmazie und Psychologie der Universitat¨ Leipzig genehmigte DISSERTATION zur Erlangung des akademischen Grades doctor rerum naturalium Dr. rer. nat. vorgelegt von Diplom-Psychologe Stefan Kolsch¨ geboren am 07. Juli 1968 in Wichita Falls, Texas, USA Dekan: Prof. Dr. M. Schlegel Gutachter: Prof. Dr. Angela D. Friederici Prof. Dr. Erich Schroger¨ Dr. Mari Tervaniemi Tag der Verteidigung: 27.04.2000 Acknowledgements The present work would have never come into being without the help of many colleagues. I am particularly grateful to Angela D. Friederici for providing me with excellent comments, steady support, and fantastic conditions for this project. Most thanks of all go to Thomas C. Gunter who helped me at any time, was involved in developing all ideas, discussed all details with solid expertise, and made indefatigably the most valuable suggestions on earlier drafts of the chapters. The project also owes a tremendous debt to Erich Schr¨oger who gave methodological comments and was crucially involved in discussing all results. I would especially like to acknowledge his contributions to Experiment 6 with respect to the development of the experimental design and the discussion of the results. I would also like to express thanks to Burkhard Maess for his essential contributions for conducting and evaluating the MEG-study. He was responsible for crucial methodological innovations and, notably, introduced me into the fine art of creating sophisticated shell-scripts. Besides, I would like to thank him for his comments on Chapter 5. Special thanks to Cornelia Schmidt, Yvonne Wolff, Ina Koch, and Angela Senzig for acquiring a substantial amount of the data. The work has been generously supported by grants from both Angela D. Friederici and the Max Planck Society. Table of Contents Prelude on a Research Project 1 1 Ear, Nerves, and Hearing 7 2 Music-theoretical background 15 2.1Howmajorkeysarerelated............................... 15 2.2Thebasicin-keyfunctionsinmajor.......................... 18 2.3 Neapolitan sixth chords . ................................ 19 2.4 Secondary dominants . ................................ 20 3 Subjective measures of music perception 23 3.1Context-dependentrepresentationofpitch....................... 23 3.2Therepresentationofkey-relatedness......................... 25 3.3Therepresentationofchord-functions......................... 27 3.4Thedevelopingandchangingsenseofkey....................... 28 3.5 Hierarchies of harmonic stability ............................ 30 3.6Musicalexpectancies.................................. 34 4 From EEG to ERPs 37 4.1Electro-encephalography(EEG)............................ 37 4.2The10-20system.................................... 39 4.3Obtainingevent-relatedbrainpotentials(ERPs).................... 41 5 Magnetoencephalography 45 5.1Forwardsolutionandinverseproblem......................... 46 5.2 Volume conductor models . ............................ 47 5.3MEGvs.EEG...................................... 47 6 ERP-correlates of auditory processing 51 6.1 Exogenous components: N1 and P2 . ........................ 51 6.2MismatchNegativity,N2b(andP3).......................... 52 v vi TABLE OF CONTENTS 7 ERP-correlates of language processing 55 7.1Semanticprocesses:N400............................... 55 7.2Syntacticprocesses:(E)LANandP600........................ 58 7.2.1 Early Negativities ................................ 58 7.2.2 P600...................................... 59 8 ERP-correlates of music processing 63 8.1One-partstimuli(melodicprocessing)......................... 63 8.2 Multi-part stimuli (chord processing) . ........................ 66 9 Experiment 1 69 9.1 Introduction . .................................... 69 9.2 Methods . .................................... 72 9.2.1 Subjects..................................... 72 9.2.2 Stimuli..................................... 73 9.2.3 Procedure.................................... 73 9.2.4 EEGmeasurements............................... 74 9.2.5 Data-Analysis.................................. 74 9.3Results.......................................... 75 9.3.1 Musicalcontextbuild-up............................ 75 9.3.2 Neapolitan chords . ............................ 75 9.3.3 Secondary dominants . ............................ 80 9.3.4 Deviantinstruments.............................. 81 9.3.5 Summary.................................... 81 9.4Discussion........................................ 81 9.4.1 Buildingupamusicalcontext......................... 81 9.4.2 Processingunexpectedchords......................... 83 9.4.3 Effects of position . ............................ 85 9.4.4 LatepositivityandP3-effects......................... 86 9.4.5 Secondary dominants . ............................ 87 10 Experiment 2 89 10.1 Introduction . .................................... 89 10.2 Methods . .................................... 90 10.3Results.......................................... 90 10.3.1Clusters..................................... 90 10.3.2 Effects of position . ............................ 93 10.3.3 Degree of violation: Clusters vs. Neapolitans ................. 93 10.3.4 Secondary dominants . ............................ 95 10.3.5DeviantInstruments.............................. 97 10.3.6Summary.................................... 97 TABLE OF CONTENTS vii 10.4Discussion........................................ 99 10.4.1Processingstrongmusicalviolations...................... 99 10.4.2 Effects of position . ............................ 99 10.4.3Effectsofdegreeofviolation..........................100 10.4.4 Secondary dominants . ............................101 10.4.5Deviantinstruments..............................101 11 Experiment 3 103 11.1 Introduction . ....................................103 11.2 Methods . ....................................103 11.3Results..........................................104 11.3.1BehavioralData................................104 11.3.2ERP-effects...................................104 11.3.3 ERPs: Effects of position ............................108 11.3.4Effectsoftask-relevance............................108 11.3.5 Secondary dominants . ............................110 11.3.6DeviantInstruments..............................111 11.3.7Summary....................................111 11.4Discussion........................................112 11.4.1 Effects of position . ............................112 11.4.2Effectsoftask-relevance............................112 11.4.3 Effects of (non-) detection . ........................113 11.4.4 Secondary dominants . ............................114 11.5 Supplementary behavioral study ............................115 11.5.1 Methods ....................................115 11.5.2Results.....................................116 11.5.3Discussion...................................117 12 Experiment 4 119 12.1 Introduction . ....................................119 12.2 Methods . ....................................120 12.3Results..........................................120 12.3.1 Neapolitan chords . ............................120 12.3.2 Effects of probability . ............................122 12.3.3 Secondary dominants . ............................123 12.3.4Deviantinstruments..............................124 12.3.5Summary....................................126 12.4Discussion........................................127 12.4.1 Effects of probability . ............................127 12.4.2Deviantinstruments..............................129 viii TABLE OF CONTENTS 13 Experiment 5 131 13.1 Introduction . ....................................131 13.2 Methods . ....................................134 13.2.1SubjectsandStimuli..............................134 13.2.2Procedure....................................134 13.2.3EEGmeasurementsanddata-Analysis.....................135 13.3Results..........................................135 13.3.1 Modulations . ................................135 13.3.2Chord-Inversions................................139 13.3.3DeviantInstruments..............................140 13.3.4Summary....................................142 13.4Discussion........................................143 13.4.1 Modulations vs. in-key chords . ........................143 13.4.2ERANvs.MMN................................147 13.4.3Chordinversions................................147 13.4.4Deviantinstruments..............................147 14 Experiment 6 149 14.1 Introduction . ....................................149 14.2 Methods . ....................................150 14.2.1SubjectsandStimuli..............................150 14.2.2Procedure....................................151 14.2.3EEGmeasurements...............................151 14.2.4Data-Analysis..................................151 14.3 Block 1: Ignore condition ................................152 14.3.1Results.....................................152 14.3.2Discussion...................................156 14.4 Block 2: Attend condition . ............................159 14.4.1Results.....................................159 14.4.2Discussion...................................162 15 Experiment 7 165 15.1 Introduction . ....................................165
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