dementia of the alzheimer type (ad) can affect emotional judgments of facial expression and prosody. Spared emotional judgments of music have been observed in early AD (Gagnon, Peretz, & Fülöp, 2009). The AD case study of Cuddy and Duffin (2005) showed relatively spared perception and memory for music. Through the single case study of MD, we again address the question of whether early AD might leave these abilities intact. The first experiment examined her musical emotional judgments in relation to mode and tempo. Overall results replicated the finding of a preserved response to changes in these structural properties. In a second experiment, we examined MD's recognition of musical and facial emotional expressions. She demonstrated a deficit only for the recognition of the facial expression of anger. Her performance adds to other empirical demonstrations that in early AD music perception and memory, as well as musical emotional judgments, may be relatively preserved.
Singing abilities are rarely examined despite the fact that their study represents one of the richest sources of information regarding how music is processed in the brain. In particular, the analysis of singing performance in brain-damaged patients provides key information regarding the autonomy of music processing relative to language processing. Here, we review the relevant literature, mostly on the perception and memory of text and tunes in songs, and we illustrate how lyrics can be distinguished from melody in singing, in the case of brain damage. We report a new case, G.D., who has a severe speech disorder,marked by phonemic errors and stuttering, without a concomitant musical production disorder. G.D. was found to produce as few intelligible words in speaking as in singing familiar songs. Singing ““la, la, la”” was intact and hence could not account for the speech deficit observed in singing. The results indicate that verbal production, be it sung or spoken, is mediated by the same (impaired) language output system and that this speech route is distinct from the (spared) melodic route. In sum, we provide here further evidence that the autonomy of music and language processing extends to production tasks.