WATABE Hiroshi National Cardiovascular Center Research Institute, Department of Investigative Radiology, General Manager, 放射線医学部, 室長 (40280820)
HAYASHI Takuya National Cardiovascular Center Research Institute, Department of Investigative Radiology, General Manager, 放射線医学部, 室長 (50372115)
SENDA Michio Foundation for Biomedical Research and Innovation Molecular Imaging Research Group, Group leader, 分子イメージング研究グループ, グループリーダ (00216558)
TANIGUCHI Takashi Osaka Gakuin University, Department of Informatics, Assistant Professor, 情報学部, 助教授 (20249395)
OHMORI Mika Ochanomizu University, Subdivision of Education, Psycology and Sociology, Assistant Professor, 文教育学部, 助教授 (50312806)
谷 勇男 佛教大学, 福祉教育開発研究センター, 講師 (90329996)
|Budget Amount *help
¥10,600,000 (Direct Cost: ¥10,600,000)
Fiscal Year 2005: ¥1,600,000 (Direct Cost: ¥1,600,000)
Fiscal Year 2004: ¥1,700,000 (Direct Cost: ¥1,700,000)
Fiscal Year 2003: ¥2,100,000 (Direct Cost: ¥2,100,000)
Fiscal Year 2002: ¥5,200,000 (Direct Cost: ¥5,200,000)
There have been several studies which were intended to identify cerebral localizations for components of music perceptions, such as rhythm, pitch, and timbre, by means of PET and fMRI. Those studies have been however limited in utilizing rather simple phrases or tonal patterns, and thus such stimuli may not be equivalent to what the subject percept, while listening the artistic music. This study was intended to investigate neural network while listening musical phrases which consisted of more tones with wider dynamic ranges both in volume and pitch compared with previous studies.
Subjects consisted of 17 healthy volunteers including 10 professional musicians (piano or keyboard players at least for 10 years) and 7 non-musicians who had no special educations in music. Age ranged from 35 to 45 in both groups, and 8 were male. A 3-Tesla MRI scanner (GE Sigta 3T) was used to acquire sequential T2^* images during continual stimulation of music with a selective attention for rhythm, pitch, tim
bre, or volume. The scan was followed by T1 and T2 images. Special music stimulation device was equipped, which was consisted of a high-quality 3-Tesla equivalent headphone (Hitachi, Tokyo), yes/no switches, and a music sequencer program (Digital Performer-III). The computer program produces all music stimuli which were previously-composed original-phrases essentially by piano timbre, and also recorded all switch actions to determine performance of the perceptions. All phrases of 2.7 sec were presented in a pair and were consisted of 11 notes, and their volume and tones ranged relatively large so as to provide musical feeling. The MRI session lasted for 8 min and this was repeated three times. Subjects were asked to detect errors in a selective attention involving a yes/no presentation, and were well trained prior to the MRI session using different music phrases. A continuous background cord (G, B-, C, E-,F) was produced during the experiment, aimed at minimizing effects of noise from the MRI scanner.
All subject appreciated musicality of the phrases produced in this study, and reported that the noise sounds from the scanner did not disturb the music perception. Correct answering rate was over 70% in both musician and non-musician groups. We found activations preferentially in the left hemisphere, particularly in the superior-temporal lobule for rhythm, pitch and timbre in musicians. Non-musicians also represented preferential activation in left-hemisphere including superior-temporal, pre-frontal and occipital regions, but also in right-hemisphere. The activation in the superior-temporal area is apparently larger in musicians than non-musicians. Rhythm task versus pitch and timbre tasks activated the temporal and pre-frontal areas in musicians, but did not present significant activation in non-musicians in those areas. This study demonstrated that functional anatomy for music perception may be investigated using the present music stimuli system. Activation foci may depend on the education specific to the music training. Less