12/15/2004
Tuning the Brain
This was a memorable musical week, beginning with the sixth grade holiday concert at our grandson’s school. The all-string orchestra performed valiantly. However, lacking instruments of the Stradivarius quality and the more expensive bows that bring life to the instruments, the depth of these young musicians’ accomplishments could not be fully expressed. The sixth grade band, with its percussion section masking some instrumental weaknesses, sounded quite good. The chorus was the highlight. The boys’ voices have not yet begun to change and there’s a certain angelic quality to them that’s appropriate to the Christmas season. The numbers were lively, featuring a good bit of spirited arm and body movement, and were quite enjoyable, capped by the appearance of Santa.
During my career at Bell Labs, many of the scientific meetings that I attended were in Boston. I always regretted that we never got to a performance of the Boston Pops. That was remedied this week when we joined a group at the New Jersey Performing Arts Center in Newark for a very enjoyable concert of Christmas and Chanukah music by the Pops under the direction of Keith Lockhart. The orchestra was enhanced by the Boston Pops Holiday Chorus and a 17-year-old vocalist, Hayley Westenra from New Zealand. She was an attractive young lady with a beautiful voice. Lockhart was wearing a red shirt and red socks, pointedly reminding the audience that, in Boston, red socks are quite popular. This remark drew good-natured boos from some in the audience, obviously Yankee fans. As with the sixth grade concert, the climax came with an appearance by Santa.
Music certainly plays an important role in virtually all cultures. Today, we have electronic devices that store hundreds of songs and the media are filled with stories of illegal downloading of music and the search for ways to assure proper compensation for the recording artists. Music has been around in human groupings for at least some 50,000 years as evidenced by findings of primitive bone flutes dating that far back. Suggestions have been made that music arose in humans as a means to impress potential mates or as a means to keep communities together. I like to think that it was simply a case of some Neandertal guy or gal listening to a mockingbird sing and figuring out that putting holes in a bone and blowing accomplished the same thing.
Patricia Gray, head of the Biomusic program at the National Academy of Sciences, points out that humpback whales have been making music for millions of years and that they sing songs very much along the same patterns as do humans. A song may last about 20 minutes, with repetition of certain refrains, and they may repeat the same song over and over again for hours. According to Gray and colleagues, the whales even use refrains that rhyme and the researchers speculate that the humpbacks use rhymes to help them remember, just as we do. Whales seem to appreciate good music. There was a study of some humpbacks that wandered from the Indian Ocean to the Pacific Ocean, where they met some native whales. Some of the latter decided they liked the Indian’s song so much they switched and, within 3 years, were singing just the Indian Ocean tune.
With modern techniques for imaging the brain, researchers have been trying to figure out how and where music is processed and stored in the brain. At first it was though there might be one “music center” in the brain but that notion has proved not to be the case. Instead, music causes action in various parts of the brain, some of which are used in other forms of perception. An article, “Music and the Brain”, in the November issue of Scientific American describes this work. The author is Norman Weinberger, is the founder of the Center for the Neurobiology of Learning and Memory at the University of California, Irvine.
Let’s follow a few bars of music out of my grandson’s saxophone into my brain. These few bars are not simple. Each note has a certain “pitch”, or frequency. Then there is “rhythm”, the duration of a bunch of notes, not to mention “tempo”, which is the overall pace. There’s also “contour”, the shape of a melody that encompasses the rise and fall of the notes. There’s the “key”, which is the set of pitches to which the notes belong. There’s the “tone”, the effect of the pitch and loudness of the note and there’s “timbre”, the characteristic that distinguishes between the same note played by a violin or a saxophone.
Well, those notes, as sound waves, go scooting through the ear to the inner ear and the cochlea, which contains something called the basilar membrane. This membrane, struck by the sound waves, vibrates and causes tiny hair cells to send electrical signals through auditory nerve fibers. The 3,500 or so hair cells are each tuned to different frequencies. The auditory nerve fibers deliver their signals to individual neurons, and the trains of electrical signals end up in the auditory cortex in the brain. In the auditory cortex the different cells (neurons) respond best to certain frequencies but there is some overlap of frequencies in neighboring cells so there isn’t any gap in frequency response.
It was thought for some time that when a cell detected a certain frequency it would respond the same way every time. Not true. Weinbereger and a colleague at UC Irvine, Thomas McKenna, studied individual neurons in cats (don’t want to do this in humans!). They found that the response, number of firings, of the neurons changed when the note was for example, the first note as opposed to being in among a series of notes. They also found that the response depended on the contour, that is, was it part of a rising or falling contour.
A remarkable feature of the auditory cortex is that it can be “retuned”. If the brain finds that certain tones are “important”, the cells can shift their response to a new frequency. This devotes more cells to that frequency and leads to a greater overall response to that frequency. Weinberger and colleagues showed this retuning by working with guinea pigs. First they looked at a bunch of cells and found which tones produced the greatest responses. Then they took a tone that was not one of these preferred tones and used that tone to precede a mild shock to the foot of the guinea pigs. Very quickly the guineas learned that tone was trouble and, sure enough, the neurons were retuned to respond to the shocking tone.
The auditory cortex is not the only area of the brain associated with music. A vivid example cited in the Scientific American article is that of a woman with a damaged temporal lobe of the brain. The woman was normal in the sense that she had no difficulties connected with intelligence, language or memory. Yet, she was severely challenged musically. She could not recognize or distinguish between any music, whether it was old or new to her or whether the melodies were similar or completely different! In spite of this, her emotional reactions to different types of music were perfectly normal. Conclusion: the temporal lobe is essential to the comprehension of melody.
Are there certain pieces of music that make you feel absolutely euphoric? Anne Blood and Robert Zatorre of McGill University ran imaging experiments on the brains of musicians listening to such pieces and found that the brain lit up in the same reward regions as those related to food, sex and addictive drugs. Could that indicate that one could diet by listening to the right kind of music instead of grabbing that extra doughnut?
All this work on the brain is great but how do you explain 12- year-old Jay Greenberg? Jay, who already has composed 5 complete symphonies, has been on a full scholarship at Juilliard since he was 10! Some are comparing him to Mozart. I saw this child prodigy interviewed by Scott Pelley on 60 Minutes a couple of weeks ago. When Pelley asked him how he composes, Jay replied that it was all in his head, fully written and that he essentially hears the full orchestral version in his head. All he has to do is write it down, scoring the work for the different instruments in the orchestra. Sometimes it seems that he can hear more than one composition at once as though there are multiple channels in his brain.
After watching the 60 Minutes segment on this child prodigy, it was clear that all this work on the brain has barely begun to scratch the surface of the remarkable properties and functioning of this strange blob of gray matter.
NOTE: This column was posted on 12/15/2004 but disappeared until re-posted on 12/17!! Gremlins?!
Allen F. Bortrum
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