Abstract
The relationship between structural processing in music and language has received increasing interest in the past several years, spurred by the influential Shared Syntactic Integration Resource Hypothesis (SSIRH; Patel, Nature Neuroscience, 6, 674–681, 2003). According to this resource-sharing framework, music and language rely on separable syntactic representations but recruit shared cognitive resources to integrate these representations into evolving structures. The SSIRH is supported by findings of interactions between structural manipulations in music and language. However, other recent evidence suggests that such interactions also can arise with nonstructural manipulations, and some recent neuroimaging studies report largely nonoverlapping neural regions involved in processing musical and linguistic structure. These conflicting results raise the question of exactly what shared (and distinct) resources underlie musical and linguistic structural processing. This paper suggests that one shared resource is prefrontal cortical mechanisms of cognitive control, which are recruited to detect and resolve conflict that occurs when expectations are violated and interpretations must be revised. By this account, musical processing involves not just the incremental processing and integration of musical elements as they occur, but also the incremental generation of musical predictions and expectations, which must sometimes be overridden and revised in light of evolving musical input.
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Notes
It is worth noting that, while Basso and Capitani’s (1985) patient NS did show preserved harmonic processing despite quite severe global aphasia, it is not actually clear whether his ability to process linguistic structure was deficient because his severe anomia and apraxia make it difficult to evaluate his syntactic processing abilities per se. In fact, we know of no unambiguous reports of agrammatic individuals who show preserved harmonic processing in music. In addition, there is at least some evidence that agrammatism is associated with harmonic processing deficits in online tasks (Patel et al., 2008).
See the Conclusions section below for discussion of some exceptions to this generalization.
It seems unlikely that multiple musical (or linguistic) analyses are consciously available simultaneously; instead, musically ambiguous stimuli might be better construed as cases of multistability, such as the Necker cube, where only one interpretation can be experienced at a time (Repp, 2007). However, it remains possible that mechanisms of musical parsing construct and consider multiple analyses at some unconscious level of representation.
For additional examples and a taxonomy of different types of metrical ambiguity, see Justin London’s collected list of “metric fakeouts,” available from http://people.carleton.edu/~jlondon/.
It is important to note that these cognitive control advantages (and the neuroanatomical differences discussed below) have largely been reported in correlational studies; thus, it is possible that they reflect—at least in part—preexisting differences between people who do and do not decide to pursue musical training (e.g., Corrigall et al., 2013; but see Norton et al., 2005).
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The authors thank David Bashwiner, Nina Hsu, Eugene Montague, Mattson Ogg, Aniruddh Patel, Elizabeth Redcay, and Jason Reitman for helpful comments about earlier versions of this manuscript.
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Slevc, L.R., Okada, B.M. Processing structure in language and music: a case for shared reliance on cognitive control. Psychon Bull Rev 22, 637–652 (2015). https://doi.org/10.3758/s13423-014-0712-4
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DOI: https://doi.org/10.3758/s13423-014-0712-4