Mireille Besson Equipe Langage, Musique et Motricité

Mireille BessonEquipe Langage, Musique et Motricité

Institut de Neurosciences Cognitives de la Méditerranée

CNRS- Université de la Méditerranée U2

“Neuroscience cognitives et apprentissage”CNRS – INRP

Lyon, 23-24 Mars, 2006

Programme « Ecole et Sciences Cognitives »

IFMR

Influence of musical expertise

Morphological and functional differences in the brain of musicians and non-musicians: Heschl’s gyrus, secondary auditory cortex, BA47, corpus callosum, planum temporale (Elbert et al, 1995; Gaser et al, 2003; Koelsch et al., 2002; Onishi et al, 2001; Schlaug et al, 1995; Pantev et al, 1998; Schneider et

al, 2002; Vuust et al, 2005, …)

Specificity ? Common networks are activated in tasks that were first thought to involve specialized brain areas and mechanisms (e.g., Posner & Rothbart, 2005)

Common networks for music and language (Maess et al, 2001; Meyer et al, 2002; Tzourio et al, 1997; Zatorre et al, 2002, …)

Musical expertise influences the anatomo-functional organization of brain

regions that are not necessarily specific to music

Transfer of learning ?

Musical training may favor positive transfers to other cognitive domains

Behavioral level (increase in performance): mathematics (Costa-Giomi, 1999; Garinder et

al 1996), symbolic and spatio-temporal reasoning (Rauscher et al, 1997), visuo-spatial abilities (Brochard et l, 2004), verbal memory ( Chan et al, 1998), general intelligence (Schellenberg, 2004)

However,

several factors (differences between groups, motivation, arousal, …) were

often not controlled in these experiments (Schellenberg, 2001)

few studies aimed at testing specific hypotheses regarding the causal

links underlying these effects (Thompson et al 2004)

Musical training, by increasing pitch perception, will facilitate prosodic processing in language (Thompson et al, 2003; 2004)

Event-Related brain Potential method

Emotional function :Emotional function : express hapiness, anger, fear, express hapiness, anger, fear, ……(Schirmer et al, 2001; Kotz et al, 2003, … )(Schirmer et al, 2001; Kotz et al, 2003, … )

Linguistic function :Linguistic function : focus, modality, segmentation, …focus, modality, segmentation, … through word stress, pauses, intonation, …through word stress, pauses, intonation, …(Astesano et al, 2003; Böcker et al, 1999; Eckstein & Friederici, 2005; Friedrich et al, 2004; (Astesano et al, 2003; Böcker et al, 1999; Eckstein & Friederici, 2005; Friedrich et al, 2004; Magne et al, 2005; Meyer et al, 2000; Steinhauer et al, 1999; …)Magne et al, 2005; Meyer et al, 2000; Steinhauer et al, 1999; …)

Acoustic parameters:Acoustic parameters: Fundamental frequency / PitchFundamental frequency / Pitch Rhythm / MeterRhythm / Meter IntensityIntensity Spectral characteristicsSpectral characteristics

Same as music language specificity ? Same as music language specificity ?

Comparison language - musicComparison language - music

Outline

o Influence of musical expertise on pitch/F0 processing in language

In adults (Schön, Magne & Besson, Psychophysiology, 2004)

In children (Magne, Schön & Besson, Jal of Cog. Neurosc., 2006)

o Influence of musical training on pitch/F0 processing in language

8 weeks of training (Moreno & Besson, 2006)

6 months of training (Moreno, Marquez, dos Santos, Castro & Besson, in prep.)

o Pitch processing in dyslexic children

Detection of strong F0 violations in language impaired in dyslexics (dos Santos, Moreno, Habib & Besson, in press)

EEG acquisition + % errors

Participants: Adults: 9 musicians et 9 non-musicians

Children: 10 musicians et 10 non-musicians Age: 7-9 yr (average: 8)

Task : is last note / word strange ?

Protocol

Time course :

| Melody/Sentence |Last Note/Word | XXXX | 150 2000 2000 ms |----------------------*------|----------------------|--------------------|- … Next trial Marqueur

+ 1/5 tone +

+ 1/2 tone

120 musical phrases : Example

Parametric pitch manipulation

Hypothesis: Congruous: Musicians = Non-musicians

Strong incongruity : Musicians = Non-musicians

Weak incongruity: Musicians > Non-musicians

+ 35%

+ 120%

120 linguistic phrases from children’s books: Example

La fillette assise par terre feuilletait un livre d’image

image

image

Parametric pitch manipulation (F0)

Hypothesis: If transfer of training, then Congruous: Musicians = Non-musicians Strong incongruity : Musicians = Non-musicians Weak incongruity: Musicians > Non-musicians

0

3

Music Language

OK Weak Strong

10

20

30

40

50

60

70

0

10

20

30

40

50

60

70

Musiciens

Non-musiciens

1 2

0

10

20

30

40

50

60

70

80

0

10

20

30

40

50

60

70

80

OK Weak Strong

OK Weak Strong OK Weak Strong

**

**

Adults

Children

Error rate

Musician adults and children detect weak pitch violationsbetter than non musician not only in music but also in language (Schön et al, 2004; Magne et al, 2006)

Adults

Musicians Non-musicians

OK

WeakStrong

Language (Cz)

Music (Cz)

-7 µV

(Schön, Magne & Besson, Psychophysiology, 2004)

500 ms

Cz Cz

Musicians Non-musicians

Event-Related brain Potentials

Music

Congruous

-10 µV

500 ms

+10 -10

Cz Cz

Musicians Non-musicians

Event-Related brain Potentials

Music

CongruousWeak incongruity

-10 µV

500 ms

+10 -10

Cz Cz

Musicians Non-musicians

Event-Related brain Potentials

Music

CongruousWeak incongruity

Strong incongruity

-10 µV

500 ms

+10 -10

Cz Cz

Musicians Non-musicians

Event-Related brain Potentials

Language

Congruous

-10 µV

500 ms

+10 -10

Cz Cz

Musicians Non-musicians

Event-Related brain Potentials

Language

Weak incongruityCongruous

-10 µV

500 ms

+10 -10

Cz Cz

Musicians Non-musicians

Event-Related brain Potentials

Language

CongruousWeak incongruity

Strong incongruity

-10 µV

500 ms

+10 -10

ConclusionsConclusions

o Musical ear : increase in pitch discrimination

Weak incongruity : Differences between musicians and non –musicians in adults and children.

o Similarity Language – Music :

Late Positive Components (categorisation – decision)

Language: weak incongruity only musicians

o Differences Language – Music :

Early negative components :

Music Adults: Right temporal

Children: only musicians, more distributed

Language Adults: Temporal bilateral

Children : nothing!

Conclusion

Musical expertise facilitates detection of pitch

violations in language

Can we find similar results with musical training ?

Importance of music lessons for language learning ?

Elementary school 

« Gilibert » in Marseille

Influence of 8 weeks of musical training ? Sylvain Moreno PhD

Participants

2 groups of 10 children equated for:

Musical background (all non-musicians)

age (8 yr old)

Sex

Laterality

socio-economic background

School level

Teachers

Experiment comprises 3 phases

Phase 1

La fillette assise par terre feuilletait un livre d’image

Test 1 : same as before (language)

+ 35%

+ 120%

Machin’Art AssociationConceptor: C. Napoléoni

Phase 2: Music Training (8 weeks)

Phase 2: Painting Training (8 weeks)

Phase 3

La fillette assise par terre feuilletait un livre d’image

Test 2 : same as before (language)

+ 35%

+ 120%

Strong Incongruity

ms

Music Training Drawing Training

Before Training

After Training (8 weeks)

Conclusion

8 weeks of musical training influence the brain

waves in language only for the strong incongruity

(Moreno & Besson, 2006)

Influence of longer training period (6 months) : research program in Aveiro, Portugal (Moreno, Marquez, Castro & Besson,in prep.)

Importance of music for education programs ? Some answer in summer 06!

Andréia Santos, Sylvain Moreno, Michel Habib & Mireille Besson Equipe Langage, Musique et Motricité, INCM-Marseile

METHODS

10 phonological dyslexics

mean age: 9.8 years; std: 1 year;

reading level >18 months below

chronological age

10 normal readers

mean age: 8.8 years; std: 0.3 years;

Combined phonological and

visuo-auditory training

Drawing training

Daily (10 mn) phonological exercises

Visuo-auditory transcoding – 20 mn 2x

week

8 WEEKS

8 WEEKS

Art games based on

abstract painting exercises

40 mn 2x week

Test 1 Test 1

Test 2 Test 2

0

20

40

60

80

congruous weak strong

Condition

% e

rro

rs Dyslexics

Controls

Error rate

0

20

40

60

80

congruous weak strong

Condition

% e

rro

rs Dyslexics

ControlsBefore Training

After Training

*

Controls

Dyslexics -150 200 700 1300 ms

-30 V

30 V

Strong – CongruousStrong – Congruous

Difference wavesDifference waves

Before Training After Training

F3 Fz F4

C3 Cz C4

Cp5 Pz Cp6

F3 Fz F4

C3 Cz C4

Cp5 Pz Cp6

Conclusion

Dyslexics seem to be impaired in pitch detection in

language (strong incongruity) (Foxton et al, 2003)

Phonological and audio-visual training improved

the level of performance of dyslexic children

Importance of music for dyslexia remediation ?

In collaboration with Carlos Marquez and Sao Luis Castro University of Porto, Portugal

Design

Similar experiment but:

Only one phase (language)

Sentences in Portugese

2 groups of 16 French adults,

musicians and non-musicians

Fz

Cz

Pz

ms

-15 µV

Non-musiciansNon-musicians

500

MusiciansMusicians

200

Effects start much

earlier for musicians

than for non-musicians

Influence of musical

expertise on prosodic

processing of a foreign

language

Cong.WeakStrong

F3 Fz F4

C3 Cz C4

Cp5 Pz Cp6

Before TrainingBefore Training

Dyslexics Controls

Figure 3. Mean amplitude ERPs to pitch manipulations in control and dyslexic children before training.

Congruous words

Weak Incongruity

Strong Incongruity

-150 200 700 1300 ms

-10 V

40 V

F3 Fz F4

C3 Cz C4

Cp5 Pz Cp6

After TrainingAfter Training

Dyslexics Controls

Congruous words

Weak Incongruity

Strong Incongruity

-150 200 700 1300 ms

-10 V

40 V

F3 Fz F4

C3 Cz C4

Cp5 Pz Cp6

F3 Fz F4

C3 Cz C4

Cp5 Pz Cp6

Figure 4. Mean amplitude ERPs to pitch manipulations in control and dyslexic children after training.

Non-musiciansNon-musicians

MusiciansMusicians