Scientists find the brain's rhythm, vocal areas through Pink Floyd - study

The phrase “All in all it was just a brick in the wall,” from Pink Floyd, emerges recognizably in the reconstructed song, with its rhythms intact, and the words muddy, but decipherable.

 An artistic illustration of a human brain and music. (photo credit: INGIMAGE)
An artistic illustration of a human brain and music.
(photo credit: INGIMAGE)

More than a decade ago, as the chords of Pink Floyd’s “Another Brick in the Wall, Part 1” filled the surgery suite, neuroscientists at Albany Medical Center in New York carefully recorded the activity of electrodes placed on the brains of patients undergoing surgery to relieve their epileptic attacks. Their goal was to capture the electrical activity of brain regions tuned to attributes of the music – tone, rhythm, harmony and words – to see if they could reconstruct what the patient was hearing.

Now, after a detailed data analysis from 29 such patients by neuroscientists at the University of California at Berkeley, the answer is clearly yes. Music is core to human experience, yet the precise neural dynamics underlying music perception had remained unknown.

For the uninitiated, Pink Floyd is an English rock band formed in London in 1965 who amassed an early following as one of the first British psychedelic groups. 

"We don't need no education," unless it's about brains and music perception

The phrase “All in all it was just a brick in the wall” emerges recognizably in the reconstructed song, with its rhythms intact, and the words muddy, but decipherable. This is the first time that researchers have reconstructed a recognizable song from brain recordings. The reconstruction shows the feasibility of recording and translating brain waves to capture the musical elements of speech, as well as the syllables. In humans, these musical elements, called prosody – rhythm, stress, accent, and intonation – carry meaning that the words alone do not convey. The researchers said they have added “another brick in the wall of our understanding of music processing in the human brain.”

Because this intracranial electroencephalography (iEEG) recordings can be made only from the surface of the brain, which is as close as you can get to the auditory centers, no one will be eavesdropping on the songs in your head anytime soon. But for people who have trouble communicating due to stroke or paralysis, such recordings from electrodes on the brain surface could help reproduce the musicality of speech that's missing from today's robot-like reconstructions.

A brain (Illustrative) (credit: Amel Uzunovic/Pexels)
A brain (Illustrative) (credit: Amel Uzunovic/Pexels)

The team published their findings in the prestigious journal PLOS Biology under the title “Music can be reconstructed from human auditory cortex activity using nonlinear decoding models.” 

“It’s a wonderful result, said psychology and neurology Prof. Robert Knight in the Helen Wills Neuroscience Institute at the University of California at Berkeley who conducted the study with postdoctoral fellow Ludovic Bellier. “One of the things for me about music is it has prosody and emotional content. As this whole field of brain machine interfaces progresses, this gives you a way to add musicality to future brain implants for people who need it – someone who’s got amyotrophic lateral sclerosis (ALS or Lou Gehrig’s disease) or some other disabling neurological or developmental disorder compromising speech output. It gives you an ability to decode not only the linguistic content, but some of the prosodic content of speech, some of the affect. I think that’s on which we’ve really begun to crack the code.”

As brain recording techniques improve, it could be possible someday to make such recordings without opening the brain, perhaps using sensitive electrodes attached to the scalp. Currently, scalp EEG can measure brain activity to detect an individual letter from a stream of letters, but the approach takes at least 20 seconds to identify a single letter, making communication effortful and difficult, Knight said.

“Noninvasive techniques are just not accurate enough today. Let's hope, for patients, that in the future we could, from just electrodes placed outside on the skull, read activity from deeper regions of the brain with a good signal quality. But we are far from there,” Bellier added.

The brain-machine interfaces used today to help people communicate when they're unable to speak can decode words, but the sentences produced have a robotic quality like how the late Stephen Hawking sounded when he used a speech-generating device. “Right now, the technology is more like a keyboard for the mind,” Bellier said. “You can’t read your thoughts from a keyboard. You need to push the buttons. And it makes kind of a robotic voice; for sure there's less of what I call expressive freedom.”

Bellier should know. He has played music since childhood – the drums, classical guitar, piano, and bass – at one point performing in a heavy metal band. When Knight asked him to work on the musicality of speech, Bellier said: “You bet. I was excited when I got the proposal.”

In 2012, Knight, postdoctoral fellow Brian Pasley and their colleagues were the first to reconstruct the words a person was hearing from recordings of brain activity alone. More recently, other researchers have taken Knight's work much further. Eddie Chang, a UC San Francisco neurosurgeon and senior co-author of the 2012 paper, has recorded signals from the motor area of the brain associated with jaw, lip and tongue movements to reconstruct the speech intended by a paralyzed patient, with the words displayed on a computer screen. That 2021 study used artificial intelligence to interpret the brain recordings from a patient trying to vocalize a sentence based on a set of 50 words.

While Chang’s technique is proving successful, the new study suggests that recording from the auditory regions of the brain, where all aspects of sound are processed, can capture other aspects of speech that are important in human communication.

“Decoding from the auditory cortices, which are closer to the acoustics of the sounds, as opposed to the motor cortex, which is closer to the movements that are done to generate the acoustics of speech, is super promising,” Bellier added. “It will give a little color to what’s decoded.”

For the new study, Bellier reanalyzed brain recordings obtained in 2012 and was able to pinpoint new areas of the brain involved in detecting rhythm, such as a thrumming guitar, and discovered that some portions of the auditory cortex in the superior temporal gyrus located just behind and above the ear respond at the onset of a voice or a synthesizer, while other areas respond to sustained vocals. 

The researchers also confirmed that the right side of the brain is more attuned to music than the left side. “Language is more left brain. Music is more distributed, with a bias toward right,” Knight said. “It wasn't clear it would be the same with musical stimuli,” Bellier concluded. “So here we confirm that that's not just a speech-specific thing, but that's it’s more fundamental to the auditory system and the way it processes both speech and music.”

Knight is now launching new research to understand the brain circuits that allow some people with aphasia due to stroke or brain damage to communicate by singing when they cannot otherwise find the words to express themselves.