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Speech perception is mediated by both left and right auditory cortices but with differential sensitivity to specific acoustic information contained in the speech signal. A detailed description of this functional asymmetry is missing, and the underlying models are widely debated. We analyzed cortical responses from 96 epilepsy patients with electrode implantation in left or right primary, secondary, and/or association auditory cortex (AAC). We presented short acoustic transients to noninvasively estimate the dynamical properties of multiple functional regions along the auditory cortical hierarchy. We show remarkably similar bimodal spectral response profiles in left and right primary and secondary regions, with evoked activity composed of dynamics in the theta (around 4–8 Hz) and beta–gamma (around 15–40 Hz) ranges. Beyond these first cortical levels of auditory processing, a hemispheric asymmetry emerged, with delta and beta band (3/15 Hz) responsivity prevailing in the right hemisphere and theta and gamma band (6/40 Hz) activity prevailing in the left. This asymmetry is also present during syllables presentation, but the evoked responses in AAC are more heterogeneous, with the co-occurrence of alpha (around 10 Hz) and gamma (>25 Hz) activity bilaterally. These intracranial data provide a more fine-grained and nuanced characterization of cortical auditory processing in the 2 hemispheres, shedding light on the neural dynamics that potentially shape auditory and speech processing at different levels of the cortical hierarchy.
Research on the music-language interface has extensively investigated similarities and differences of poetic and musical meter, but largely disregarded melody. Using a measure of melodic structure in music––autocorrelations of sound sequences consisting of discrete pitch and duration values––, we show that individual poems feature distinct and text-driven pitch and duration contours, just like songs and other pieces of music. We conceptualize these recurrent melodic contours as an additional, hitherto unnoticed dimension of parallelistic patterning. Poetic speech melodies are higher order units beyond the level of individual syntactic phrases, and also beyond the levels of individual sentences and verse lines. Importantly, auto-correlation scores for pitch and duration recurrences across stanzas are predictive of how melodious naive listeners perceive the respective poems to be, and how likely these poems were to be set to music by professional composers. Experimentally removing classical parallelistic features characteristic of prototypical poems (rhyme, meter, and others) led to decreased autocorrelation scores of pitches, independent of spoken renditions, along with reduced ratings for perceived melodiousness. This suggests that the higher order parallelistic feature of poetic melody strongly interacts with the other parallelistic patterns of poems. Our discovery of a genuine poetic speech melody has great potential for deepening the understanding of the music-language interface.