Lecture 20 Flashcards

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1
Q

define musical imagery

A

perceptual and cognitive processes that represent musical information without direct auditory stimulation

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2
Q

what does tempos and delays between notes correspond to in the brain

A

temporal structure for the actual stimuli being represented

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3
Q

what does imagining a pitch or timbre before presentation do

A

it speeds up relevant responses when the properties of the imagined and actual stimuli are aligned

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4
Q

true or false -> similarities between perceived and imagined tones are a function of physiological responses

A

false - of behavioral responses

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5
Q

which ear is where most people report localizing musical imager to

A

right ear

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6
Q

describe the right ear advantage and why is this

A

stimuli presented to the right ear is heard more accurately
-> this might be because language is lateralized in the left hemisphere

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7
Q

what are the three neurological similarities in musical imagery

A
  1. note is expected but not presented -> emitted potentials -> resemble sensory evoked potentials
  2. people with lots of musical training -> reading music notes lead to ERPs identical to those that occur when actually listening to that actual musical score
  3. mismatch negativity occurs for both perceived and imagined stimuli
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8
Q

what are the neurological differences in alpha levels

A

imagine a melody results in more high band synchronized alpha
-> imagine complex tones -> alpha levels increased

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9
Q

which ERP is involved in the neurological differences in musical imagery and what happens

A

N1
-> better musical imagery -> reduced amplitude of N1 after first imagining than hearing

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10
Q

what did neisser say about the predictive model of involuntary musical imagery

A

direct perception simply takes over when perception provides no direct stimulation

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11
Q

describe what happens when there is anticipated silence between tracks of an album

A

mental imagery of the upcoming song corresponds to similar patterns of activity in the PFC and motor areas

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12
Q

what happens when participants are presented with a familiar piece with silent gaps

A

they often fill in the missing part on their own -> similar activity in auditory cortex during direct perception

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13
Q

_______________ involve musical imagery that lacks control

A

musical hallucinations

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14
Q

what is the difference between us and earworms when it comes to musical hallucinations

A

we typically perceive musical hallucinations as originating from direct perception

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15
Q

what are some factors that can cause musical hallucinations

A

brain injury, epilepsy, drugs and schizophrenia

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16
Q

which parts of the brain has activity with hallucinations been reported

A

superior temporal gyrus, right temporal lobe and superior temporal sulcus

17
Q

what is the most common psychiatric condition associated with musical hallucinations

A

schizophrenia

18
Q

what are the characteristics of schizophrenia, in relation to musical hallucinations

A

-> more obsessive
-> what is originally perceived is actually coming from somewhere from the individual’s environment -> becomes accepted as part of self

19
Q

________ is defined when stimuli in one sensory modality trigger sensations in another modality

A

synaesthesia

20
Q

define color-grapheme synaesthesia

A

people with this automatically perceive numbers as being colored in specific ways

21
Q

give an example of what happens in people with color grapheme synaesthesia

A

2 always look purple even though it is printed in black

21
Q

what one of the case studies involving the relationships between synaesthesia and musical imagery

A

composer Jean Sibelius said he heard different musical chords when he sees different colors

22
Q

what do explanatory theories reference about synaesthesia

A

there are abnormal patterns of activation, disinhibition or cross wiring between sensory areas

23
Q

________ involves the perception of colors triggered by sounds

A

tone color synaesthesia

24
Q

_____ are stimuli that trigger musical perceptions

A

inducers

25
Q

what are the 4 categories of inducers

A

compositional style, timbre, tonality and pitch

26
Q

what are concurrents

A

colors, shapes, spatial layouts and textures

27
Q

describe the case study about tone color synaesthesia (results and set up)

A

-> participants looked at blocks of color while listening to heavy metal
-> perceived unpleasant color combos when hearing music they did not like
-> perceived light colors when there are higher pitches and perceived dark colors when there are lower pitches

28
Q

in the case study: tone color synaesthesia - specific colors that were perceived were influenced by ….

A

instrumentation and timbre