Amusiology, though it is as old as aphasiology, has been a problematic field, presumably because of individual variations in musical abilities, yielding different theories as to the neural mechanism underlying music. This article discussed the following four points mainly concerning the expressive aspects of amusia.
1. Does expressive music have a distinct neural mechanism dissociable from that of expressive speech? Old literature contains some cases of musicians with aphasia in which musical abilities were examined in detail (Souques et al., 1926, etc.) . The literature is consistent in that musical and linguistic disorders do not go in parallel. Yamadori et al. (1977) examined 24 Broca's aphasics and found singing was preserved in many of them. We have as well reported two cases with total aphasia who can sing excellently (Ihashi et al., 1993) . Thus singing and expressive speech are dissociable.
2. Are professional musicians different from lay persons in their neural mechanism for music? This is unknown. While many studies have been done concerning this question addressing receptive aspects using the paradigm of dichotic listening, investigations involving expressivc aspects are scarce.
3. What can be said of lateralization and localization for expressive music? As for lateralization, most reported cases of so-called motor amusia were due to right lesions. The issue of localization remains unsettled as reports are inconsistent in that both frontal and temporal lobe lesions are regarded as responsible.
4. What role does the quality of the disorder play in expressive amusia? In many cases reported as motor amusia, disorders are salient in melody and pitch, while, rhythm is relatively preserved. Our own study of five cases with amusia due to temporo-parietal lesions (2 bilateral, 2 left, and 1 right) revealed a similar pattern.
View full abstract