Abstract
This research uses an MR-Compatible cello to compare functional brain activation during singing and cello playing within the same individuals to determine the extent to which arbitrary auditory-motor associations, like those required to play the cello, co-opt functional brain networks that evolved for singing. Musical instrument playing and singing both require highly specific associations between sounds and movements. Because these are both used to produce musical sounds, it is often assumed in the literature that their neural underpinnings are highly similar. However, singing is an evolutionarily old human trait, and the auditory-motor associations used for singing are also used for speech and non-speech vocalizations. This sets it apart from the arbitrary auditory-motor associations required to play musical instruments. The pitch range of the cello is similar to that of the human voice, but cello playing is completely independent of the vocal apparatus, and can therefore be used to dissociate the auditory-vocal network from that of the auditory-motor network. While in the MR-Scanner, 11 expert cellists listened to and subsequently produced individual tones either by singing or cello playing. All participants were able to sing and play the target tones in tune (<50C deviation from target). We found that brain activity during cello playing directly overlaps with brain activity during singing in many areas within the auditory-vocal network. These include primary motor, dorsal pre-motor, and supplementary motor cortices (M1, dPMC, SMA),the primary and periprimary auditory cortices within the superior temporal gyrus (STG) including Heschl's gyrus, anterior insula (aINS), anterior cingulate cortex (ACC), and intraparietal sulcus (IPS), and Cerebellum but, notably, exclude the periaqueductal gray (PAG) and basal ganglia (Putamen). Second, we found that activity within the overlapping areas is positively correlated with, and therefore likely contributing to, both singing and playing in tune determined with performance measures. Third, we found that activity in auditory areas is functionally connected with activity in dorsal motor and pre-motor areas, and that the connectivity between them is positively correlated with good performance on this task. This functional connectivity suggests that the brain areas are working together to contribute to task performance and not just coincidently active. Last, our findings showed that cello playing may directly co-opt vocal areas (including larynx area of motor cortex), especially if musical training begins before age 7.
Highlights
Playing musical instruments and singing both result in musical pitch patterns by integrating auditory perception with finemotor control
By performing a two way anova, we found that participants could produce each of the three target tones within the specified accuracy both when singing and when playing the cello (Figure 6)
Post-hoc tests showed that, when playing the cello, participants tended to be flat on the highest tone and that, in singing, they tended to be flat on the lowest note
Summary
Playing musical instruments and singing both result in musical pitch patterns by integrating auditory perception with finemotor control. Auditory-motor integration for singing relies on neural systems for vocalization, where there is a relatively direct link between a motor action and the pitch produced. This evolutionarily old auditory-vocal system comprises auditory, motor and pre-motor regions in the dorsal stream, as well as the cerebellum, basal ganglia and brainstem structures (Figure 1) (Kleber and Zarate, 2014). No previous studies have directly compared the brain networks engaged by singing and instrument playing This comparison would allow us to assess whether learned auditory-motor associations involved in playing an instrument build on existing brain networks that are in place for vocal production, or whether they engage different or additional systems
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