Recent research suggests that emotional music clips can serve as a highly successful tool for eliciting rich autobiographical memories, and that the utility of these cues may be related to their subjective familiarity. The current study was designed to examine the effects of familiarity on phenomenological characteristics and neural recruitment during retrieval of autobiographical memories elicited by musical cues. Further, we were interested in understanding how these effects differ as a function of age. In an event-related functional neuroimaging study, participants retrieved autobiographical memories associated with age-specific popular musical clips. Participants rated song familiarity, as well as the temporal specificity and emotional valence of each memory. Song familiarity was associated with increased dmPFC activity and ratings of temporal specificity and positivity across participants. In addition, behavioral and neuroimaging findings suggest age differences in familiarity-related effects in which familiarity was more associated with enhancement of memory detail in young adults and affective positivity in older adults. These findings highlight important age-related shifts in how individuals retrieve autobiographical events and how personally-relevant musical cues may be used to facilitate memory retrieval.

Research has established that there is a cognitive link between perception and production of the same movement. However, there has been relatively little research into the relevance of this for non-expert perceivers, such as music listeners who do not play instruments themselves. In two experiments we tested whether participants can quickly learn new associations between sounds and observed movement without performing those movements themselves. We measured motor evoked potentials (MEPs) in the first dorsal interosseous muscle of participants' right hands while test tones were heard and single transcranial magnetic stimulation (TMS) pulses were used to trigger motor activity. In Experiment 1 participants in a 'human' condition (n=4) learnt to associate the test tone with finger movement of the experimenter, while participants in a 'computer' condition (n=4) learnt that the test tone was triggered by a computer. Participants in the human condition showed a larger increase in MEPs compared with those in the computer condition. In a second experiment pairing between sounds and movement occurred without participants repeatedly observing the movement and we found no such difference between the human (n=4) and computer (n=4) conditions. These results suggest that observers can quickly learn to associate sound with movement, so it should not be necessary to have played an instrument to experience some motor resonance when hearing that instrument.

This study investigates the effects of musical training on brain activity to violations of rhythmic expectancies. We recorded behavioral and event-related brain potential (ERP) responses of musicians and non-musicians to discrepancies of rhythm between pairs of unfamiliar melodies based on Western classical rules. Rhythm deviations in the second melody involved prolongation of a note, thus creating a delay in the subsequent note; the duration of the second note was consequently shorter because the offset time was unchanged. In the first melody, on the other hand, the two notes were of equal duration. Musicians detected rhythm deviations significantly better than non-musicians. A negative auditory cortical potential in response to the omitted stimulus was observed at a latency of 150-250 ms from where the note should have been. There were no significant differences of amplitude or latency between musicians and non-musicians. In contrast, the N100 and P200 to the delayed note after the omission were significantly greater in amplitude in musicians compared to non-musicians especially in frontal and frontal-central areas. These findings indicate that long term musical training enhances brain cortical activities involved in processing temporal irregularities of unfamiliar melodies.

Music therapy has been employed as a therapeutic intervention to facilitate healing across a variety of clinical populations. There is theoretical and empirical evidence to suggest that individuals with trauma exposure and Posttraumatic Stress Disorder (PTSD), a condition characterized by enduring symptoms of distressing memory intrusions, avoidance, emotional disturbance, and hyperarousal, may derive benefits from music therapy. The current narrative review describes the practice of music therapy and presents a theoretically-informed assessment and model of music therapy as a tool for addressing symptoms of PTSD. The review also presents key empirical studies that support the theoretical assessment. Social, cognitive, and neurobiological mechanisms (e.g., community building, emotion regulation, increased pleasure, anxiety reduction) that promote music therapy's efficacy as an adjunctive treatment for individuals with posttraumatic stress are discussed. It is concluded that music therapy may be a useful therapeutic tool to reduce symptoms and improve functioning among individuals with trauma exposure and PTSD, though more rigorous empirical study is required. In addition, music therapy may help foster resilience and engage individuals who struggle with stigma associated with seeking professional help. Practical recommendations for incorporating music therapy into clinical practice are offered along with several suggestions for future research.

"Cocktail party" speech perception is largely studied using either linguistic or nonspeech noise maskers. Few studies have addressed how listeners understand speech during concurrent music. We used popular songs to probe the effects of familiarity and different inherent properties of background music (i.e., isolated vocals, isolated instruments, or unprocessed song) on speech recognition. Participants performed an open-set sentence recognition task in the presence of familiar and unfamiliar music maskers (-5 dB signal-to-noise ratio [SNR]) composed of the full unprocessed song, only the instrumentals, or only the vocals. We found that full songs negatively affected recognition performance more so than isolated vocals and instrumentals. Surprisingly, there was also an interaction with music familiarity; well-known music impaired performance in the homologous full song and instrumental conditions. Our results show strong effects of song component and familiarity on speech recognition ability, highlighting interactions between both physical and psychological characteristics of musical noise on task performance. Familiarity impairs speech perception when background music features the instrumentals with or without the vocals. Our findings have implications for understanding the possible facilitation (or interference) of background music during concurrent linguistic tasks including academic study in attempts to promote learning.