Brain, Vol 120, Issue 2 229-243, Copyright © 1997 by Oxford University Press
H Platel, C Price, JC Baron, R Wise, J Lambert, RS Frackowiak, B Lechevalier and F Eustache
This work explores the cerebral structures involved in the appreciation of
music. We studied six young healthy subjects (right handed, French, without
musical talent), using a high resolution PET device (CTI 953B) and
15O-labelled water. In three tasks, we studied the effects of selective
attention to pitch, timbre and rhythm; a final task studied semantic
familiarity with tunes (considered as divided attention for pitch and
rhythm). These four tasks were performed on the same material (a tape
consisting of 30 randomly arranged sequences of notes). We selected a
paradigm, without a reference task, to compare the activations produced by
attention to different parameters of the same stimulus. We expected that
the activations recorded during each task would differ according to the
differences in cognitive operations. We found activations preferentially in
the left hemisphere for familiarity, pitch tasks and rhythm, and in the
right hemisphere for the timbre task. The familiarity task activated the
left inferior frontal gyrus, Brodmann area (BA) 47, and superior temporal
gyrus (in its anterior part, BA 22). These activations presumably represent
lexico-semantic access to melodic representations. In the pitch task,
activations were observed in the left cuneus/precuneus (BA 18/19). These
results were unexpected and we interpret them as reflecting a visual mental
imagery strategy employed to carry out this task. The rhythm task activated
left inferior Broca's area (BA 44/6), with extention into the neighbouring
insula, suggesting a role for this cerebral region in the processing of
sequential sounds.
ARTICLES
The structural components of music perception. A functional anatomical study
INSERM U.320, CHU de Caen, University of Caen, France.
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