Abstract

Listening to music is above all a human experience, which becomes an aesthetic experience when an individual immerses himself/herself in the music, dedicating attention to perceptual-cognitive-affective interpretation and evaluation. The study of these processes where the individual perceives, understands, enjoys and evaluates a set of auditory stimuli has mainly been focused on the effect of music on specific brain structures, as measured with neurophysiology and neuroimaging techniques. The very recent application of network science algorithms to brain research allows an insight into the functional connectivity between brain regions. These studies in network neuroscience have identified distinct circuits that function during goal-directed tasks and resting states. We review recent neuroimaging findings which indicate that music listening is traceable in terms of network connectivity and activations of target regions in the brain, in particular between the auditory cortex, the reward brain system and brain regions active during mind wandering.

Highlights

  • Music has been studied as a human artifact, focusing to a certain degree on the structural analysis of the score and on the historical birth and fortune of the compositions.Though legitimate and useful, the structural and historical approaches take only partially into account the listener’s experience while listening [1]

  • A first instigation was given by the pioneers of early cognitive musicology who claimed that music is above all a human experience rather than a petrified structure to be studied outside of the time of actual unfolding [4]

  • During listening to purchased music clips, the nucleus accumbens increased its connectivity with superior temporal gyrus, orbitofrontal cortex, amygdala, ventromedial prefrontal cortex, anterior cingulate, and inferior frontal gyrus

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Summary

Introduction

Music has been studied as a human artifact, focusing to a certain degree on the structural analysis of the score and on the historical birth and fortune of the compositions. A huge body of research has followed since these early days, with a major focus on music and cognition and the computational modelling of musical knowledge [5,6,7,8,9,10] This approach, was still more cognitive than experiential (for applications of experiential and phenomenological views to neuroscience, see [11]). With the recent development in neuroimaging, cognitive neuroscience and visual neuroaesthetics, a novel approach to music providing a phenomenological brain-based framework for the aesthetic experience of music could be introduced [12,13,14,15,16]. A first overview of the studies is given in Table 1 with a short description of the method, participants, and major findings of these studies

Major Findings
Neuroaesthetics of Music
Network Neuroscience and Connectomics
The Default Mode Network during Music Listening
Brain Connections during the Experience of Musical Reward
Conclusions
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