Reference to Wikipedia (Taken From http://en.wikipedia.org/wiki/Brodmann_area_41_%26_42 )

Brodmann area 41

This area is also known as anterior transverse temporal area 41 (H). It is a subdivision of the cytoarchitecturally-defined temporal region of cerebral cortex, occupying the anterior transverse temporal gyrus (H) in the bank of the lateral sulcus on the dorsal surface of the temporal lobe. Brodmann area 41 is bounded medially by the parainsular area 52 (H) and laterally by the posterior transverse temporal area 42 (H) (Brodmann-1909).

Brodmann area 42

This area is also known as posterior transverse temporal area 42 (H). It is a subdivision of the cytoarchitecturally-defined temporal region of cerebral cortex, located in the bank of the lateral sulcus on the dorsal surface of the temporal lobe. Brodmann area 42 is bounded medially by the anterior transverse temporal area 41 (H) and laterally by the superior temporal area 22 (Brodmann-1909).

Relationship to auditory system

The auditory cortex is the most highly organized processing unit of sound in the brain. This cortex area is the neural crux of hearing, and, in humans, language and music.

The auditory cortex is divided into three separate parts, the primary, secondary and tertiary auditory cortex. These structures are formed concentrically around one another, with the primary AC in the middle and the tertiary AC on the outside.

The primary auditory cortex is tonotopically organized, which means that certain cells in the auditory cortex are sensitive to specific frequencies. This is a fascinating function which has been preserved throughout most of the audition circuit. This area of the brain "is thought to identify the fundamental elements of music, such as pitch and loudness." ^[4] This makes sense as this is the area which receives direct input from the medial geniculate nucleus of the thalamus. The secondary auditory cortex has been indicated in the processing of "harmonic, melodic and rhythmic patterns." ^[4] The tertiary auditory cortex supposedly integrates everything into the overall experience of music. ^[4]

An evoked response study of congenitally deaf kittens by Klinke et al. utilized field potentials to measure cortical plasticity in the auditory cortex. These kittens were stimulated and measured against a control or un-stimulated congenitally deaf cat (CDC) and normal hearing cats. The field potentials measured for artificially stimulated CDC was eventually much stronger than that of a normal hearing cat. ^[5] This is in concordance with Eckart Altenmuller's study where it was observed that students who received musical instruction had greater cortical activation than those who did not. ^[6]

The auditory cortex exhibits some strange behavior pertaining to the gamma wave frequency. When subjects are exposed to three or four cycles of a 40 hertz click, an abnormal spike appears in the EEG data, which is not present for other stimuli. The spike in neuronal activity correlating to this frequency is not restrained to the tonotopic organization of the auditory cortex. It has been theorized that this is a " resonant frequency" of certain areas of the brain, and appears to affect the visual cortex as well. ^[7]

Gamma band activation (20 to 40 Hz) has been shown to be present during the perception of sensory events and the process of recognition. Kneif et al, in their 2000 study, presented subjects with eight musical notes to well known tunes, such as Yankee Doodle and Frere Jacques. Randomly, the sixth and seventh notes were omitted and an electroencephalogram, as well as a magnetoencephalogram were each employed to measure the neural results. Specifically, the presence of gamma waves, induced by the auditory task at hand, were measured from the temples of the subjects. The OSP response, or omitted stimulus response, was located in a slightly different position; 7 mm more anterior, 13 mm more medial and 13 mm more superior in respect to the complete sets. The OSP recordings were also characteristically lower in gamma waves, as compared to the complete musical set. The evoked responses during the sixth and seventh omitted notes are assumed to be imagined, and were characteristically different, especially in the right hemisphere. ^[8] The right auditory cortex has long been shown to be more sensitive to tonality, while the left auditory cortex has been shown to be more sensitive to minute sequential differences in sound specifically speech.

Hallucinations have been shown to produce oscillations which are parallel (although not exactly the same as) the gamma frequency range. Sperling showed in his 2004 study that auditory hallucinations produce band wavelengths in the range of 12.5-30 Hz. The bands occurred in the left auditory cortex of a schizophrenic and were controlled against 13 controls (18) . This aligns with the studies of people remembering a song in their minds; they do not perceive any sound, but experience the melody, rhythm and overall experience of sound. When schizophrenics experience hallucinations, it is the primary auditory cortex which becomes active. This is characteristically different from remembering a sound stimulus, which only faintly activates the tertiary auditory cortex. ^[9] By deduction, an artificial stimulation of the primary auditory cortex should elicit an incredibly real auditory hallucination. The termination of all audition and music into the tertiary auditory cortex creates a fascinating nexus of aural information. If this theory is true, it would be interesting to study a subject with a damaged, TAC or one with artificially suppressed function. This would be very difficult to do as the tertiary cortex is simply a ring around the secondary, which is a ring around the primary AC.

Tone is perceived in more places than just the auditory cortex; one specifically fascinating area is the rostromedial prefrontal cortex.^[10] Janata et al, in their 2002 study, used an fMRI machine to study the areas of the brain which were active during tonality processing. The result of which displayed several areas which are not normally considered to be part of the audition process. The rostromedial prefrontal cortex is a subsection of the medial prefrontal cortex, which projects to the amygdala , and is thought to aid in the inhibition of negative emotion. ^[11] The medial prefrontal cortex is thought to be the core developmental difference between the impulsive teenager and the calm adult. The rostromedial prefrontal cortex is tonality sensitive, meaning it is activated by the tones and frequencies of resonant sounds and music. It could be hypothesized that this is the mechanism by which music ameliorates the soul (or, if one prefers, the limbic system).