Penhune, V. B. | bioRxiv Science

bioRxiv2023

Dopamine dysregulation in Parkinson's disease flattens the pleasurable urge to move to musical rhythms

The pleasurable urge to move to music (PLUMM) elicits activity in motor and reward areas of the brain and is thought to be driven by predictive processes. Dopamine within motor and limbic cortico-striatal networks is implicated in the predictive processes underlying beat-based timing and music-induced pleasure, respectively. This suggests a central role of cortico-striatal dopamine in PLUMM. This study tested this hypothesis by comparing PLUMM in Parkinsons disease patients, healthy age-matched, and young controls. Participants listened to musical sequences with varying rhythmic and harmonic complexity (low, medium, high), and rated their experienced pleasure and urge to move to the rhythm. In line with previous results, healthy younger participants showed an inverted U-shaped relation between rhythmic complexity and ratings, with a preference for medium complexity rhythms, while age-matched controls showed a similar, but weaker, inverted U-shaped response. Conversely, PD patients showed a significantly flattened response for both the urge to move and pleasure. Crucially, this flattened response could not be attributed to differences in rhythm discrimination and did not reflect an overall decrease in ratings. Together, these results support the role of dopamine within cortico-striatal networks in the predictive processes that form the link between the perceptual processing of rhythmic patterns, and the affective and motor responses to rhythmic music.

neuroscience↗

bioRxiv2020

Effector-independent brain network for auditory-motor integration: fMRI evidence from singing and cello playing

Many everyday tasks share high-level sensory goals but differ in the movements used to accomplish them. One example of this is musical pitch regulation, where the same notes can be produced using the vocal system or a musical instrument controlled by the hands. Cello playing has previously been shown to rely on brain structures within the singing network for performance of single notes, except in areas related to primary motor control, suggesting that the brain networks for auditory feedback processing and sensorimotor integration may be shared (Segado et al. 2018). However, research has shown that singers and cellists alike can continue singing/playing in tune even in the absence of auditory feedback (Chen et al. 2013, Kleber et al. 2013), so different paradigms are required to test feedback monitoring and control mechanisms. In singing, auditory pitch feedback perturbation paradigms have been used to show that singers engage a network of brain regions including anterior cingulate cortex (ACC), anterior insula (aINS), and intraparietal sulcus (IPS) when compensating for altered pitch feedback, and posterior superior temporal gyrus (pSTG) and supramarginal gyrus (SMG) when ignoring it (Zarate et al. 2005, 2008). To determine whether the brain networks for cello playing and singing directly overlap in these sensory-motor integration areas, in the present study expert cellists were asked to compensate for or ignore introduced pitch perturbations when singing/playing during fMRI scanning. We found that cellists were able to sing/play target tones, and compensate for and ignore introduced feedback perturbations equally well. Brain activity overlapped for singing and playing in IPS and SMG when compensating, and pSTG and dPMC when ignoring; differences between singing/playing across all three conditions were most prominent in M1, centered on the relevant motor effectors (hand, larynx). These findings support the hypothesis that pitch regulation during cello playing relies on structures within the singing network and suggests that differences arise primarily at the level of forward motor control. HighlightsO_LIExpert cellists were asked to compensate for or ignore introduced pitch perturbations when singing/playing during fMRI scanning. C_LIO_LICellists were able to sing/play target tones, and compensate for and ignore introduced feedback perturbations equally well. C_LIO_LIBrain activity overlapped for singing and playing in IPS and SMG when compensating, and pSTG and dPMC when ignoring. C_LIO_LIDifferences between singing/playing across were most prominent in M1, centered around the relevant motor effectors (hand, larynx) C_LIO_LIFindings support the hypothesis that pitch regulation during cello playing relies on structures within the singing network with differences arising primarily at the level of forward motor control C_LI

neuroscience↗