Nobel Prize in 1981: Roger Sperry awarded for discoveries of functional specialization in the cerebral hemispheres.
Significant recognition of how brain halves differ in functions, particularly in music processing.
Historical context of hemispheric function: Paul Broca's 1860s work on language disorders related to left hemisphere damage.
Marc Dax (1836) and language asymmetries discovered in aphasic patients and historical observations linking musical functions to language.
Vissarion Shebalin:
Soviet composer with profound aphasia from a left-hemisphere stroke, continued to compose music.
Represents the idea that advanced musical function can exist independently of language.
Jean Langlais:
French organist who maintained abilities to perform and compose post left-hemisphere damage.
Indicates the complex relationship between music and language processing.
The anecdotal nature of individual cases prevents the formulation of a strong theoretical framework with predictive validity.
Variability of aphasia cases complicates understanding of the interaction between music and language.
Models struggled to define clear lateralization links; some suggested:
Language = Left Hemisphere
Music = Right Hemisphere
Dominant Hemisphere Concept: Implies cognition tied mainly to language processes in the left hemisphere.
Emphasis on unique contributions of each hemisphere makes previous models inadequate.
Brenda Milner’s 1962 study: Shift from descriptive case studies to experimental design testing separate musical abilities like pitch, timbre, etc.
Identified that right temporal excisions disrupted melody and timbre perception, suggesting left hemispheric functions are not primarily responsible for musical tasks.
Studies show:
Right hemisphere critical for tonal patterns and music analysis but left hemisphere more involved in language.
Asymmetries in auditory cortex function reflect differential processing of music versus language functions.
Music: Discrete pitch steps and hierarchical structures facilitate predictive processes (e.g., tonality).
Predictable relations between pitches contribute to emotion and pleasure in music.
Speech: Continuous pitch variation for prosodic and grammatical functions does not depend on specific pitch targets.
Speech to music Allusion
anatomical associations: broca’s area, premotor cortex
Music: Highly structured rhythm and periodic beat are crucial; temporal cues for precise rhythm delineation.
Speech: Temporal modulation rates are typically higher; integral for phonemes and syllables.
Functional neuroimaging shows:
Right auditory cortex responds more to spectral changes (fine-tuned spectral features necessary for music).
Left auditory cortex more engaged with temporal changes reflecting speech processing.
Tradeoff hypothesis: Specialization of one auditory dimension (temporal or spectral) trades off with the other’s processing ability.
Human auditory systems optimized for different communicative intents—music and speech reflect functional use of acoustical cues in context.
Helps explain why individuals engage different hemispheres based on task requirements, training, and familiarity.
Hemispheric optimization: Evidence strongly supports differentiated spectral (right hemisphere) and temporal (left hemisphere) processing.
Lateralization reflects how music and speech exploit sound features distinctly, enhanced by both genetics (evolution) and environment (cultural communication).
Need for more detailed understanding of how top-down cognitive factors can influence these specialized processes dynamically through task demands.