Human Auditory-Motor Networks Show Frequency-Specific Phase-Based Coupling in Resting-State MEG.

Perception and production of music and speech rely on auditory-motor coupling, a mechanism which has been linked to temporally precise oscillatory coupling between auditory and motor regions of the human brain, particularly in the beta frequency band. Recently, brain imaging studies using magnetoencephalography (MEG) have also shown that accurate auditory temporal predictions specifically depend on phase coherence between auditory and motor cortical regions. However, it is not yet clear whether this tight oscillatory phase coupling is an intrinsic feature of the auditory-motor loop, or whether it is only elicited by task demands.

State-dependent connectivity in auditory-reward networks predicts peak pleasure experiences to music.

Music can evoke pleasurable and rewarding experiences. Past studies that examined task-related brain activity revealed individual differences in musical reward sensitivity traits and linked them to interactions between the auditory and reward systems. However, state-dependent fluctuations in spontaneous neural activity in relation to music-driven rewarding experiences have not been studied.

Cortical-subcortical interactions underlie processing of auditory predictions measured with 7T fMRI.

Perception integrates both sensory inputs and internal models of the environment. In the auditory domain, predictions play a critical role because of the temporal nature of sounds. However, the precise contribution of cortical and subcortical structures in these processes and their interaction remain unclear.

Auditory hemispheric asymmetry for actions and objects.

What is the function of auditory hemispheric asymmetry? We propose that the identification of sound sources relies on the asymmetric processing of two complementary and perceptually relevant acoustic invariants: actions and objects. In a large dataset of environmental sounds, we observed that temporal and spectral modulations display only weak covariation. We then synthesized auditory stimuli by simulating various actions (frictions) occurring on different objects (solid surfaces).