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PNASNews How musical rhythm training improves short-term memory for faces, ‘V. Sluming et al., Voxel-based morphometry reveals increased gray matter density in Broca’s area in male symphony orchestra musicians.’, Broca's area of the brain with functions linked to speech production, Gallica BnF Jean de La Fontaine (French, 1621-95) fabulist and poet of the 17th century, les Fables de La Fontaine illustrées par Paul Gustave Louis Christophe Doré (French, 1832–83)

https://www.pnas.org/doi/10.1073/pnas.2201655119?utm_source=facebook&utm_medium=social&utm_term=pnas&utm_content=b53b44da-f4f0-45a2-9e38-ba274e562136&utm_campaign=hootsuite https://en.wikipedia.org/wiki/Broca's_area https://www.facebook.com/GallicaBnF/photos/pcb.10159031823413193/10159031821888193/

How musical rhythm training improves short-term memory for faces

https://www.pnas.org/doi/10.1073/pnas.2201655119?utm_source=facebook&utm_medium=social&utm_term=pnas&utm_content=b53b44da-f4f0-45a2-9e38-ba274e562136&utm_campaign=hootsuite

V. Sluming et al., Voxel-based morphometry reveals increased gray matter density in Broca’s area in male symphony orchestra musicians. Neuroimage 17, 1613–1622 (2002). Broca's area, or the Broca area is a region in the frontal lobe of the dominant hemisphere, usually the left, of the brain with functions linked to speech production. https://en.wikipedia.org/wiki/Broca's_area

Jean de La Fontaine (French, 1621-95) fabulist and poet of the 17th century, les Fables de La Fontaine illustrées par Paul Gustave Louis Christophe Doré (French, 1832–83)

Gallica BnF

Quand paraissent, en 1867, les Fables de La Fontaine illustrées par Gustave Doré, l’artiste jouit déjà d’une immense notoriété, et déploie avec un grand succès son talent dans les journaux et les livres illustrés inspirés des plus grandes œuvres de la littérature universelle. Gustave Doré propose ici une vision sombre et pessimiste des fables. Les contre-plongées, les cadrages étranges, les grossissements des détails emprisonnent le regard et l’esprit du lecteur dans ces images obsédantes. https://gallica.bnf.fr/ark:/12148/bpt6k10443224/f15.planchecontact et https://gallica.bnf.fr/html/und/litteratures/jean-de-la-fontaine-1621-1695?fbclid=IwAR0GsDODvpY98qw6E4B5nEYjmhDJ95dD2ex0nATA4_KQXbw9wXbfz2uh_XE&mode=desktop

When the Fables de La Fontaine illustrated by Gustave Doré appeared in 1867, the artist was already very well known, and was very successful in newspapers and illustrated books inspired by the greatest works of the world has universal literature. Gustave Doré offers here a dark and pessimistic view of fables. Counter-dives, quirky frames, zoom-in details capture the reader's eye and mind in these obsessive images. https://gallica.bnf.fr/ark:/12148/bpt6k10443224/f15.planchecontact and https://gallica.bnf.fr/html/und/litteratures/jean-de-la-fontaine-1621-1695?fbclid=IwAR0GsDODvpY98qw6E4B5nEYjmhDJ95dD2ex0nATA4_KQXbw9wXbfz2uh_XE&mode=desktop https://www.facebook.com/GallicaBnF/photos/pcb.10159031823413193/10159031821888193/

Jean de La Fontaine (French, 1621-1695)

Jean de La Fontaine (UK: /ˌlæ fɒnˈtɛn, -ˈteɪn/,[1] US: /ˌlɑː fɒnˈteɪn, lə -, ˌlɑː foʊnˈtɛn/,[2][3] French: [ʒɑ̃ d(ə) la fɔ̃tɛn]; 8 July 1621 – 13 April 1695) was a French fabulist and one of the most widely read French poets of the 17th century. He is known above all for his Fables, which provided a model for subsequent fabulists across Europe and numerous alternative versions in France, as well as in French regional languages.

After a long period of royal suspicion, he was admitted to the French Academy and his reputation in France has never faded since. Evidence of this is found in the many pictures and statues of the writer, later depictions on medals, coins and postage stamps. https://en.wikipedia.org/wiki/Jean_de_La_Fontaine

Paul Gustave Louis Christophe Doré (French, 1832–83) Paul Gustave Louis Christophe Doré (UK: /ˈdɔːreɪ/ DOR-ay, US: /dɔːˈreɪ/ dor-AY, French: [ɡystav dɔʁe]; 6 January 1832 – 23 January 1883) was a French artist, as a printmaker, illustrator, painter, comics artist, caricaturist, and sculptor. He is best known for his prolific output of wood-engravings, especially those illustrating classic books, including 241 illustrating the Bible. These achieved great international success, and he is the best-known artist in this printmaking technique, although his role was normally as the designer only; at the height of his career some 40 block-cutters were employed to cut his drawings onto the wooden printing blocks, usually also signing the image.[1]

In all he created some 10,000 illustrations, the most important of which were "duplicated in electrotype shells that were printed ... on cylinder presses", allowing very large print runs as steel engravings, "hypnotizing the widest public ever captured by a major illustrator", and being published simultaneously in many countries. The drawings given to the block-cutters were often surprisingly sketch-like and free.[2]

Although he lacked the usual training in an academy, his paintings were successful during his lifetime, but at least his early paintings of religious and mythological subjects, some extremely large, now tend to be regarded as "grandiloquent and of little merit".[3] From the late 1860s onwards, he painted smaller landscapes and costumed genre scenes. https://en.wikipedia.org/wiki/Gustave_Doré

PNASNews

@PNASNews

Oct 13

A study shows a link between #musical rhythm training and the ability to recall faces, suggesting that rhythm training enhances short-term memory encoding and decoding. In

@newscientist

: http://ow.ly/x8iX50L80Ic In PNAS: http://ow.ly/e1A050L80Ia

https://twitter.com/PNASNews/status/1580272271608147968

PNAS

A study shows a link between #musical rhythm training and the ability to recall faces, suggesting that rhythm training enhances short-term memory encoding and decoding. In New Scientist: http://ow.ly/vym950L80Ie In PNAS: http://ow.ly/hnnI50L80Ib

RESEARCH ARTICLE

PSYCHOLOGICAL AND COGNITIVE SCIENCES

How musical rhythm training improves short-term memory for faces

Theodore P. Zanto https://orcid.org/0000-0003-4449-691X [email protected], Vinith Johnson, Avery Ostrand, and Adam Gazzaley https://orcid.org/0000-0002-1232-9431Authors Info & Affiliations

Edited by Robert Zatorre, Montreal Neurological Institute, McGill University, Montreal, QC, Canada; received February 1, 2022; accepted August 5, 2022 by Editorial Board Member Thomas D. Albright

October 3, 2022

119 (41) e2201655119

https://doi.org/10.1073/pnas.2201655119

Significance

Musical training can improve numerous cognitive functions associated with musical performance. Yet, there is limited evidence that musical training may benefit nonmusical tasks and it is unclear how the brain may enable such a transfer of benefit. To address this, nonmusicians were randomized to receive 8 wk of either musical rhythm training or word search training. Memory for faces was assessed pre- and post-training while electroencephalography data were recorded to assess changes in brain activity. Results showed that only musical rhythm training improved face memory, which was associated with increased activity in the superior parietal region of the brain when encoding and maintaining faces. Thus, musical rhythm training can improve face memory by facilitating how the brain encodes and maintains memories.

Abstract

Playing a musical instrument engages numerous cognitive abilities, including sensory perception, selective attention, and short-term memory. Mounting evidence indicates that engaging these cognitive functions during musical training will improve performance of these same functions. Yet, it remains unclear the extent these benefits may extend to nonmusical tasks, and what neural mechanisms may enable such transfer. Here, we conducted a preregistered randomized clinical trial where nonmusicians underwent 8 wk of either digital musical rhythm training or word search as control. Only musical rhythm training placed demands on short-term memory, as well as demands on visual perception and selective attention, which are known to facilitate short-term memory. As hypothesized, only the rhythm training group exhibited improved short-term memory on a face recognition task, thereby providing important evidence that musical rhythm training can benefit performance on a nonmusical task. Analysis of electroencephalography data showed that neural activity associated with sensory processing and selective attention were unchanged by training. Rather, rhythm training facilitated neural activity associated with short-term memory encoding, as indexed by an increased P3 of the event-related potential to face stimuli. Moreover, short-term memory maintenance was enhanced, as evidenced by increased two-class (face/scene) decoding accuracy. Activity from both the encoding and maintenance periods each highlight the right superior parietal lobule (SPL) as a source for training-related changes. Together, these results suggest musical rhythm training may improve memory for faces by facilitating activity within the SPL to promote how memories are encoded and maintained, which can be used in a domain-general manner to enhance performance on a nonmusical task.

https://www.pnas.org/doi/10.1073/pnas.2201655119?utm_source=facebook&utm_medium=social&utm_term=pnas&utm_content=b53b44da-f4f0-45a2-9e38-ba274e562136&utm_campaign=hootsuite

K. Schulze, S. Zysset, K. Mueller, A. D. Friederici, S. Koelsch, Neuroarchitecture of verbal and tonal working memory in nonmusicians and musicians. Hum. Brain Mapp. 32, 771–783 (2011). V. Sluming et al., Voxel-based morphometry reveals increased gray matter density in Broca’s area in male symphony orchestra musicians. Neuroimage 17, 1613–1622 (2002). Broca's area, or the Broca area is a region in the frontal lobe of the dominant hemisphere, usually the left, of the brain with functions linked to speech production. https://en.wikipedia.org/wiki/Broca's_area

Broca's area, or the Broca area (/ˈbroʊkə/,[1][2][3] also UK: /ˈbrɒkə/, US: /ˈbroʊkɑː/[4]), is a region in the frontal lobe of the dominant hemisphere, usually the left, of the brain[5] with functions linked to speech production.

Language processing has been linked to Broca's area since Pierre Paul Broca reported impairments in two patients.[6] They had lost the ability to speak after injury to the posterior inferior frontal gyrus (pars triangularis) (BA45) of the brain.[7] Since then, the approximate region he identified has become known as Broca's area, and the deficit in language production as Broca's aphasia, also called expressive aphasia. Broca's area is now typically defined in terms of the pars opercularis and pars triangularis of the inferior frontal gyrus, represented in Brodmann's cytoarchitectonic map as Brodmann area 44 and Brodmann area 45 of the dominant hemisphere.[7]

Functional magnetic resonance imaging (fMRI) has shown language processing to also involve the third part of the inferior frontal gyrus the pars orbitalis, as well as the ventral part of BA6 and these are now often included in a larger area called Broca's region.[8]

Studies of chronic aphasia have implicated an essential role of Broca's area in various speech and language functions. Further, fMRI studies have also identified activation patterns in Broca's area associated with various language tasks. However, slow destruction of Broca's area by brain tumors can leave speech relatively intact, suggesting its functions can shift to nearby areas in the brain.

https://en.wikipedia.org/wiki/Broca's_area

Y. Otsuka, N. Osaka, M. Osaka, Functional asymmetry of superior parietal lobule for working memory in the elderly. Neuroreport 19, 1355–1359 (2008).

T. D. Wager, E. E. Smith, Neuroimaging studies of working memory: A meta-analysis. Cogn. Affect. Behav. Neurosci. 3, 255–274 (2003).

R. D. Pascual-Marqui, C. M. Michel, D. Lehmann, Low resolution electromagnetic tomography: A new method for localizing electrical activity in the brain. Int. J. Psychophysiol. 18, 49–65 (1994). T. P. Zanto, Rhythm training and short-term memory. Mendeley Data. https://data.mendeley.com/datasets/bf49k2822m/2. Accessed 22 September 2022.

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