We are using functional magnetic resonance imaging (fMRI) and diffusion tensor imaging (DTI) to analyze the brain areas and neural pathways that control vocalization. We recently characterized a part of the human motor cortex that controls laryngeal function, and have shown this to be the major vocal centre of the human brain, for both speaking and singing.

We are especially interested in the role of this part of the brain in the human capacity for vocal imitation, both developmentally and evolutionarily, and this is leading us to study the neural projections to and from the larynx motor area. In addition, we are interested in genetic aspects of speech production, including syndromes like developmental stuttering that have strong familial inheritance as well as high concordance rates in twins studies. Our collaborators include Peter Pfordresher (University at Buffalo).

2. Comparative musicology: Classification, universals, and cultural evolution

A principal objective of the lab is the revival of comparative musicology studies, in the spirit of both the Berlin School of the early 20th century and the Cantometrics project of the 1960´s. We are developing new methods for musical classification, so as to establish a taxonomy of musical styles (cantogroups, themselves made up of cantotypes) across human populations throughout the world. We are applying this information to an investigation of the relationship between regional musical styles and certain genetic markers (mitochondrial DNA haplogroups) that are used by molecular anthropologists to study the migration patterns of human populations over the last 50,000 years.

The focus of our current project is the Pacific region, attempting to characterize the migration of populations from Taiwan all the way to eastern Polynesia during the last 6,000 years. This work is being done in collaboration with Victor Grauer (Pittsburgh), Jean Trejaut and Marie Lin (Mackay Memorial Hospital, Taipei, Taiwan), and Yingfen Wang (Taiwan National University, Taipei). Other work on comparative musicology, musical universals, and traditional polyphony is being done with Joseph Jordania (University of Melbourne).

3. Speech prosody: Melody, rhythm and emotion in speech

We are engaged in cross-linguistic studies of speech melody and rhythm, using a music-inspired model of these processes. Our work currently covers English and Cantonese, but is now being expanded to include the African tone language Bambara. In addition to this work on basic phonological processes, we are examining the expression of emotion in speech using both acoustic measurements (register, pitch contour, loudness, duration) and functional MRI. This study is based on contemporary cognitive-appraisal theories of emotion. Our collaborators for the cross-lingusitic studies include Ivan Chow (McMaster University), Mireille Besson (CNRS, Marseille), and Stéphane Robert (CNRS, Paris).

4. Neural control of drawing

The capacity to create representational images on flat surfaces is the most species-specific aspect of the visual arts. We are examining the neural basis of this capacity using an MRI-compatible drawing tablet that allows us to track drawing behaviour while a person´s brain is being scanned. We are taking our lead from ancient rock art by looking at the generation of not only figurative images but of geometric patterns and abstract images as well.

5. Role playing in actors: A view from the brain

In the dramatic arts, actors take on the role of the characters they play. A large literature on "perspective taking" and "theory-of-mind" in psychology has failed to examine this process. We are studying perspective taking in actors, with the intent of shedding light on brain areas whose activity changes when actors assume the role of another person.

6. Biological foundations of human dance

An interest of the lab is the neural basis of dance movement, including a focus on the human capacity to entrain movements to external timekeepers. In addition, we are attempting to generate a classification of world dance styles, following in the footsteps of seminal work on “choreometrics” by Lomax and his colleagues.

7. Other areas of interest

Other areas of interest include musical archaeology, historical theories of music origin, neurocognitive and evolutionary theories of religion, the history of Mesoamerica, singing-based music therapy methods, and the avant-garde arts movements of the first half of the 20th century.