Abstract

Several neuroimaging studies have shown that listening to music activates brain regions that reside in the motor system, even when there is no overt movement. However, many of these studies report the activation of varying motor system areas that include the primary motor cortex, supplementary motor area, dorsal and ventral pre-motor areas and parietal regions. In order to examine what specific roles are played by various motor regions during music perception, we used activation likelihood estimation (ALE) to conduct a meta-analysis of neuroimaging literature on passive music listening. After extensive search of the literature, 42 studies were analyzed resulting in a total of 386 unique subjects contributing 694 activation foci in total. As suspected, auditory activations were found in the bilateral superior temporal gyrus, transverse temporal gyrus, insula, pyramis, bilateral precentral gyrus, and bilateral medial frontal gyrus. We also saw the widespread activation of motor networks including left and right lateral premotor cortex, right primary motor cortex, and the left cerebellum. These results suggest a central role of the motor system in music and rhythm perception. We discuss these findings in the context of the Action Simulation for Auditory Prediction (ASAP) model and other predictive coding accounts of brain function.

Highlights

  • In the case of music, we do not merely passively receive temporal patterns, but actively engage with the sound stream by discerning an underlying periodicity

  • In recent years, neuroimaging studies have shown that passively listening to music activates brain regions that reside in the motor system proper

  • Activation likelihood estimation (ALE) meta-analysis [41] addresses this by treating the spatial relationship between within study foci as fixed effects and between study relationships as random effects

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Summary

Introduction

In the case of (most) music, we do not merely passively receive temporal patterns, but actively engage with the sound stream by discerning an underlying periodicity. This profound shaping of temporal perception is central to understanding and participation in music, dance and even speech/conversation. In recent years, neuroimaging studies have shown that passively listening to music activates brain regions that reside in the motor system proper. The same neural correlates underlying the creation of music and moving to music appear to be involved even when one is only listening to a musical piece [1,2,3,4,5,6,7]. Activity in motor regions during perception of human actions and language is ubiquitous. In early theories of cognitive processing, motor processes and perceptual processes were

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