Neuronal Correlates of Perception, Imagery, and Memory for Familiar Tunes

We used fMRI to investigate the neuronal correlates of encoding and recognizing heard and imagined melodies. Ten participants were shown lyrics of familiar verbal tunes; they either heard the tune along with the lyrics, or they had to imagine it. In a subsequent surprise recognition test, they had to identify the titles of tunes that they had heard or imagined earlier. The functional data showed substantial overlap during melody perception and imagery, including secondary auditory areas. During imagery compared with perception, an extended network including pFC, SMA, intraparietal sulcus, and cerebellum showed increased activity, in line with the increased processing demands of imagery. Functional connectivity of anterior right temporal cortex with frontal areas was increased during imagery compared with perception, indicating that these areas form an imagery-related network. Activity in right superior temporal gyrus and pFC was correlated with the subjective rating of imagery vividness. Similar to the encoding phase, the recognition task recruited overlapping areas, including inferior frontal cortex associated with memory retrieval, as well as left middle temporal gyrus. The results present new evidence for the cortical network underlying goal-directed auditory imagery, with a prominent role of the right pFC both for the subjective impression of imagery vividness and for on-line mental monitoring of imagery-related activity in auditory areas.

Effects of training and melodic features on mode perception

The two modes most widely used in Western music today convey opposite moods—a distinction that nonmusicians and even young children are able to make. However, the current studies provide evidence that, despite a strong link between mode and affect, mode perception is problematic. Nonmusicians found mode discrimination to be harder than discrimination of other melodic features, and they were not able to accurately classify major and minor melodies with these labels. Although nonmusicians were able to classify major and minor melodies using affective labels, they performed at chance in mode discrimination. Training, in the form of short lessons given to nonmusicians and the natural musical experience of musicians, improved performance, but not to ceiling levels. Tunes with high note density were classified as major, and tunes with low note density as minor, even though these features were actually unrelated in the experimental material. Although these findings provide support for the importance of mode in the perception of emotion, they clearly indicate that these mode perceptions are inaccurate, even in trained individuals, without the assistance of affective labeling.

The Visual, the Epic, and Pasternak’s ‘Devjat’son pjatyj god’

In this study I consider the role of poetic description in Pasternak’s ‘Deviat’sot piatyi god’ (‘1905’) in the context of the genre of the poema. Descriptive passages in poetic narratives, as a rule, provide a static setting for a protagonist’s actions. In the absence of any single hero in Pasternak’s poema, topography itself begins to move. I examine the categories of stasis and motion, central to ‘1905’, at the intersection of the visual and the verbal. The idea of reanimating the events of the first Russian revolution twenty years after the fact borders on the ekphrastic in places, where the poet transposes techniques and genres from the visual arts into a verse epic. Finally, I suggest that aesthetic perception itself is the dominant principle in the poema, as opposed to documentary faithfulness, which is traditionally emphasized in the scholarship on this work.