Neuromusical Research and The Legend of Tone Deafness: IDEAS for Musical Intelligence in All of Us

Are all humans capable of being musical? What does it mean to be musical? Is tone deafness real? What are the implications of neuroscience research for how people learn to be musical? This webpage is about music, the brain, and the evidence for musical intelligence in all of us.

Recent advances in brain research offer insights into the substrates of the central nervous system and the basis of human intelligence. Based on an extensive review of research from multiple disciplines, including cognitive neuroscience, anthropology, education, and psychology, there is consistent evidence supporting the existence of an inherent and potentially specialized musical intelligence in all people. A summary of this evidence can be organized into a three-stage model of musical intelligence: Inherent musical intelligence, Developmental Experiences serving the Acquisition of musical abilities; and potential Specializations of musical abilities (IDEAS).

Except for rare cases of congenital amusia (i.e., the cognitive inability to process musical information), all humans possess the aptitude to be musical. Although cultural anecdotes of people claiming "tone deafness" may suggest otherwise, it is likely that reported limitations of musicality are more founded on socio-psychological phenomena than on genetic factors. Part of the basis for debunking the legend of tone-deafness comes from how we define what it means to be musical. To begin with, musical intelligence comes in many flavors and activities. The more obvious examples are performing on an instrument or writing a song, but there are more basic ways that musical intelligence guides all of us on a regular basis. If you can adjust the tempo of your gait to step onto an escalator without disastrous effects then you've got rhythm.Ben Zander is fond of saying that if you can tell that someone is from Texas or from Rome based on the way he speaks, or if you can answer the phone and immediately tell by the sound of your mother’s voice what sort of mood she’s in then you can’t also be tone deaf.

IDEAS Prezi (click here)

IDEAS Prezi References

Alfredson, B. B., Risberg, J., Hagberg, B., & Gustafson, L. (2004). Right temporal lobe activation when listening to emotionally significant music. Appl Neuropsychol, 11(3), 161-166.

Bangert, M., and Altenmüller, E. (2003). Mapping perception to action in piano practice: a longitudinal DC-EEG study. BMC Neuroscience, 4(26), 14.

Bengtsson, S. L., & Ullen, F. (2006). Dissociation between melodic and rhythmic processing during piano performance from musical scores. Neuroimage, 30(1), 272-284.

Brown, S., Martinez, M. J., Parsons, L. M. (2006). The neural basis of human dance. Cerebral Cortex, 16(8), 1157-1167.

Di Pietro, M., Laganaro, M., Leemann, B., & Schnider, A. (2004). Receptive amusia: temporal auditory processing deficit in a professional musician following a left temporo-parietal lesion. Neuropsychologia, 42(7), 868-877.

Gogtay, N., Giedd, J. N., Lusk, L., Hayashi, K. M., Greenstein, D., Vaituzis, A. C., et al. (2004). Dynamic mapping of human cortical development during childhood through early adulthood. Proceedings of the National Academy of Sciences of the United States of America, 101(21), 8174-8179.

Khalfa, S., Schon, D., Anton, J. L., & Liegeois-Chauvel, C. (2005). Brain regions involved in the recognition of happiness and sadness in music. Neuroreport, 16(18), 1981-1984.

Gardner, H. (1999). Intelligence reframed. New York: Basic Books.

Grahn, J. A. & McAuley, J. D. (2009). Neural bases of individual differences in beat perception. NeuroImage, 47(4), 1894-1903.

Hannon, E. E. & Trehub, S. E. (2005). Tuning in to musical rhythms: infants learn more readily than adults. Proceedings of the National Academy of Sciences of the USA, 102(35), 12639-12643.

Haslinger, B., Erhard, P., Altenmuller, E., Hennenlotter, A., Schwaiger, M., Grafin von Einsiedel, H., et al. (2004). Reduced recruitment of motor association areas during bimanual coordination in concert pianists. Hum Brain Mapp, 22(3), 206-215.

Haslinger, B., Erhard, P., Altenmuller, E., Schroeder, U., Boecker, H., & Ceballos-Baumann, A. O. (2005). Transmodal sensorimotor networks during action observation in professional pianists. J Cogn Neurosci, 17(2), 282-293.

Hebert, S., Racette, A., Gagnon, L., & Peretz, I. (2003). Revisiting the dissociation between singing and speaking in expressive aphasia. Brain, 126(Pt 8), 1838-1850.

Hodges, D. A. (2000). Why are we musical? Support for an evolutionary theory of human musicality. Proceedings of the 6th International Conference on Music Perception and Cognition. Keele University, Keele, England.

Hodges, D.A. (2005). Why Study Music? International Journal of Music Education. 23(2), 111-115.

Jeffries, K. J., Fritz, J. B., & Braun, A. R. (2003). Words in melody: an H(2)15O PET study of brain activation during singing and speaking. Neuroreport, 14(5), 749-754.

Koelsch, S., Gunter, T., Friederici, A. D., & Schroger, E. (2000). Brain indices of music processing: "nonmusicians" are musical. J Cogn Neurosci, 12(3), 520-541.

Kraemer, D. J., Macrae, C. N., Green, A. E., & Kelley, W. M. (2005). Musical imagery: sound of silence activates auditory cortex. Nature, 434(7030), 158.

Levitin, D. (2006). This Is Your Brain on Music: The Science of a Human Obsession. London: Penguin.

Liegeois-Chauvel C, Peretz I, Babai M, Laguit- ton V, Chauvel P. 1998. Contribution of different cortical areas in the temporal lobes to music processing. Brain (121), 1853–1867

Limb, C. J. & Braun, A. R. (2008). Neural substrates of spontaneous musical performance: An fMRI study of jazz improvisation. PLoS ONE 3(2) e1679.

Mazziota, J. (1988). Brain metabolism in auditory perception: The PET study. In F. Roehmann, and F. Wilson (Ed.), The biology of music making. St. Louis: MMB Music.

Meister, I., Krings, T., Foltys, H., Boroojerdi, B., Muller, M., Topper, R., et al. (2005). Effects of long-term practice and task complexity in musicians and nonmusicians performing simple and complex motor tasks: implications for cortical motor organization. Hum Brain Mapp, 25(3), 345-352.

Merriam, A. (1964). The anthropology of music. Chicago: Northwestern University Press.

Norton, A., Winner, E., Cronin, K., Overy, K., Lee, D. J., & Schlaug, G. (2005). Are there pre-existing neural, cognitive, or motoric markers for musical ability? Brain Cogn, 59(2), 124-134.

Parsons, L. M., Sergent, J., Hodges, D. A., & Fox, P. T. (2005). The brain basis of piano performance. Neuropsychologia, 43(2), 199-215.

Penhune, V. B., Zatorre, R. J., & Feindel, W. H. (1999). The role of auditory cortex in retention of rhythmic patterns as studied in patients with temporal lobe removals including Heschl's gyrus. Neuropsychologia, 37(3), 315-331.

Perani, D., Saccuman, M. C., Scifo, P. Danilo S., Andreolli, G., Rovelli, R., Baldoli, C. & Koelsh, S. (2010). Functional specializations for music processing in the human newborn brain. Proceedings of the National Academy of Sciences of the USA. 107(10), 4758-4763.

Ragert, P., Schmidt, A., Altenmuller, E., & Dinse, H. R. (2004). Superior tactile performance and learning in professional pianists: evidence for meta-plasticity in musicians. Eur J Neurosci, 19(2), 473-478.

Rauschecker, J. P. (2001). Cortical plasticity and music. Ann N Y Acad Sci, 930, 330-336.

Rauscher, F. H., Shaw, G. L., & Ky, K. N. (1993). Music and spatial task performance. Nature, 365, 611.

Rizzolatti, G. (1996). Premotor cortex and the recognition of motor actions. Cognitive Brain Research (3), 131-141.

Sacks, O. (2007). Musicophillia: Tales of Music and the Brain. New York: Alfred A. Knopf.

Schneider, P., Sluming, V., Roberts, N., Scherg, M., Goebel, R., Specht, H. J., et al. (2005). Structural and functional asymmetry of lateral Heschl's gyrus reflects pitch perception preference. Nat Neurosci, 8(9), 1241-1247.

Schon, D., Gordon, R. L., & Besson, M. (2005). Musical and linguistic processing in song perception. Ann N Y Acad Sci, 1060, 71-81.

Seung, Y., Kyong, J. S., Woo, S. H., Lee, B. T., & Lee, K. M. (2005). Brain activation during music listening in individuals with or without prior music training. Neurosci Res, 52(4), 323-329.

Trehub, S. (2000). Human processing predispositions and musical universals. In N. Wallin, B. Merker, & S. Brown (eds.) The origins of music (427-448).

Wilson, E. M., & Davey, N. J. (2002). Musical beat influences corticospinal drive to ankle flexor and extensor muscles in man. Int J Psychophysiol, 44(2), 177-184.

Zatorre RJ, Perry DW, Beckett CA, Westbury CF, Evans AC. 1998. Functional anatomy of musical processing in listeners with absolute pitch and relative pitch. Proc. Natl. Acad. Sci. USA (95), 3172–77