***TASK*** the task is to summarize an input biomedical literature in six sentences 
    ***INPUT*** the input is a biomedical literature 
    ***OUTPUT*** the output is the summary of an input biomedical literature in six sentences 
    ***DOCUMENTATION*** 
    ***EXAMPLES*** 
    Input: The popular view of music as a " universal " language ignores the privileged position of the cultural insider in comprehending musical information unique to their own tradition . The purpose of this study was to test the hypothesis that listeners would demonstrate different neural activity in response to culturally familiar and unfamiliar music and that those differences may be affected by the extent of subjects ' formal musical training . Just as familiar language s have been shown to use distinct brain processes , we hypothesized that an analogous difference might be found in music and that it may depend in part on subjects ' formal musical knowledge . Using fMRI we compared the activation patterns of professional musicians and untrained controls reared in the United States as they listened to music from their culture ( Western ) and from an unfamiliar culture ( Chinese ) . No overall differences in activation were observed for either subject group in response to the two musical styles , although there were differences in recall performance based on style and there were activation differences based on training . Trained listeners demonstrated additional activation in the right STG for both musics and in the right and left midfrontal regions for Western music and Chinese music , respectively . Our findings indicate that listening to culturally different musics may activate similar neural re sources but with dissimilar results in recall performance Numerous functional imaging studies have shown that retrieval from semantic and episodic memory is subserved by distinct neural networks . However , these results were essentially obtained with verbal and visuospatial material . The aim of this work was to determine the neural substrates underlying the semantic and episodic components of music using familiar and nonfamiliar melodic tunes . To study musical semantic memory , we design ed a task in which the instruction was to judge whether or not the musical extract was felt as " familiar . " To study musical episodic memory , we constructed two delayed recognition tasks , one containing only familiar and the other only nonfamiliar items . For each recognition task , half of the extracts ( targets ) were presented in the prior semantic task . The episodic and semantic tasks were to be contrasted by a comparison to two perceptive control tasks and to one another . Cerebral blood flow was assessed by means of the oxygen-15-labeled water injection method , using high-resolution PET . Distinct patterns of activations were found . First , regarding the episodic memory condition , bilateral activations of the middle and superior frontal gyri and precuneus ( more prominent on the right side ) were observed . Second , the semantic memory condition disclosed extensive activations in the medial and orbital frontal cortex bilaterally , the left angular gyrus , and predominantly the left anterior part of the middle temporal gyri . The findings from this study are discussed in light of the available neuropsychological data obtained in brain-damaged subjects and functional neuroimaging studies In three experiments , the effects of exposure to melodies  on their subsequent liking and recognition were explored . In each experiment , the subjects first listened to a set of familiar and unfamiliar melodies in a study phase . In the subsequent test phase , the melodies were repeated , along with a set of distractors matched in familiarity . Half the subjects were required to rate their liking of each melody , and half had to identify the melodies they had heard earlier in the study phase . Repetition of the studied melodies was found to increase liking of the unfamiliar melodies in the affect task and to be best for detection of familiar melodies in the recognition task ( Experiments 1 , 2 , and 3 ) . These memory effects were found to fade at different time delays between study and test in the affect and recognition tasks , with the latter leading to the most persistent effects ( Experiment 2 ) . Both study -to-test changes in melody timbre and manipulation of study tasks had a marked impact on recognition and little influence on liking judgments ( Experiment 3 ) . Thus , all manipulated variables were found to dissociate the memory effects in the two tasks . The results are consistent with the view that memory effects in the affect and recognition tasks pertain to the implicit and explicit forms of memory , respectively . Part of the results are , however , at variance with the literature on implicit and explicit memory in the auditory domain . Attribution of these differences to the use of musical material is discussed 
    Output:
    
Our results did not find significant peak activations consistently across included studies .
Using a less conservative approach ( p < 0.001 , uncorrected for multiple comparisons ) we found that the left superior frontal gyrus , the ventral lateral ( VL ) nucleus of the left thalamus , and the left medial surface of the superior frontal gyrus had the highest likelihood of being activated by familiar music .
On the other h and , the left insula , and the right anterior cingulate cortex had the highest likelihood of being activated by unfamiliar music .
We had expected limbic structures as top clusters when listening to familiar music .
But , instead , music familiarity had a motor pattern of activation .
This could reflect an audio-motor synchronization to the rhythm which is more engaging for familiar tunes , and /or a sing-along response in one 's mind , anticipating melodic , harmonic progressions , rhythms , timbres , and lyric events in the familiar songs .