Embodiment, motion, and emotion
Sensory-motor processing and mirror neurons
Chen et al. (NM III no. 1, pp. 15-34) present studies of the neural basis for interactions between the
auditory and motor systems in the context of musical rhythm perception and production. Based on
fMRI studies, they demonstrate that motor sequencing tasks engage the supplementary motor area
(SMA), the pre-SMA, the dorsal premotor area (PMAd), and the cerebellum (p. 19). Furthermore,
they illuminate how various parts of the premotor cortex are engaged by rhythm. The dorsal premor-
tor area (PMAd) is sensitive to rhythm’s metric structure. The ventral premotor area (PMAv) is not,
but it is sensitive to the processing of action-related sounds. The mid-premotor area (not shown in
figure 3.4) is engaged during both passive listening and tapping (pp. 22-23).
Finally, the authors discuss the role of mirror neurons (pp. 28-29). Monkey studies have shown
that the same neurons become active when performing an action, such as grasping a banana, and
when observing someone else performing the same action. Similarly, auditory mirror neurons are
engaged when the monkey breaks a peanut, and when the monkey hears a peanut being broken.
However, the authors assume that the possible role of mirror neurons for auditory-motor integration
is still unclear.
Integration of action, music, and language
Fadiga et al. (NM III no. 66, pp. 448-458) review studies of the posterior inferior frontal gyrus (IFG),
known as Broca’s area. According to classical neuroscience, Broca’s area is considered of critical
importance for language production. Another area located in the inferior parietal lobule, known as
Wernicke’s area, is considered important for speech perception. These areas are interconnected
with a bundle of association fibers, the arcuate fasciculus (see above, no. 57).
The authors refer to current research, which shows that the posterior IFG is activated for sev-
eral tasks other than language production, including speech comprehension, action execution and
observation, and music execution and listening. These tasks also activate a neighboring area, the
ventral premotor cortex (p. 448).
These findings are related to studies which describe the putative human mirror neuron system.
This system includes the posterior IFG, the ventral premotor cortex, and the rostral part of the inferi-
or parietal lobule. It becomes activated not only when a person performs an action, but also when he
or she sees or hears the same action (Rizzolatti & Craighero 2004). Further studies suggest that it is
possible to delineate a network of brain areas shared between listening, producing, and imagining a
musical excerpt (p. 454).
In conclusion, the authors propose that the posterior inferior frontal gyrus (Broca’s area) might
be a center of a brain network encoding hierarchical structures regardless of their use in action, lan-
guage or music (p. 455).
Bodily impact of music
Grewe et al. (NM III no. 51, pp. 351-354) report a new approach to using chills as indicators of indi-
vidual emotional peaks. Chills consist of a highly pleasurable feeling response combined with goose
bumps and shivers, a bodily reaction that can be measured. The authors point out that it has been
a problem in previous studies that individuals experience chills at different points in time and in re-
sponse to different musical events. In their study, they apply an approach which aims at overcoming
this difficulty.
They collected chill samples of 95 listeners in response to seven music pieces of Mozart,
Bach, and Puccini. While listening, participants were asked to press a mouse button as long as a
chill lasted, and measurements of skin conductance response (SCR) and heart rate (HR) were re-
corded simultaneously. These data permitted comparison of chill episodes with non-chill episodes of
the same participant. Comparisons of 622 chill samples with 622 non-chill samples showed a strong
and synchronized relationship between subjective feelings, skin conductance response, and heart