1
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Etani T, Miura A, Kawase S, Fujii S, Keller PE, Vuust P, Kudo K. A review of psychological and neuroscientific research on musical groove. Neurosci Biobehav Rev 2024; 158:105522. [PMID: 38141692 DOI: 10.1016/j.neubiorev.2023.105522] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/18/2023] [Revised: 12/18/2023] [Accepted: 12/19/2023] [Indexed: 12/25/2023]
Abstract
When listening to music, we naturally move our bodies rhythmically to the beat, which can be pleasurable and difficult to resist. This pleasurable sensation of wanting to move the body to music has been called "groove." Following pioneering humanities research, psychological and neuroscientific studies have provided insights on associated musical features, behavioral responses, phenomenological aspects, and brain structural and functional correlates of the groove experience. Groove research has advanced the field of music science and more generally informed our understanding of bidirectional links between perception and action, and the role of the motor system in prediction. Activity in motor and reward-related brain networks during music listening is associated with the groove experience, and this neural activity is linked to temporal prediction and learning. This article reviews research on groove as a psychological phenomenon with neurophysiological correlates that link musical rhythm perception, sensorimotor prediction, and reward processing. Promising future research directions range from elucidating specific neural mechanisms to exploring clinical applications and socio-cultural implications of groove.
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Affiliation(s)
- Takahide Etani
- School of Medicine, College of Medical, Pharmaceutical, and Health, Kanazawa University, Kanazawa, Japan; Graduate School of Media and Governance, Keio University, Fujisawa, Japan; Advanced Research Center for Human Sciences, Waseda University, Tokorozawa, Japan.
| | - Akito Miura
- Faculty of Human Sciences, Waseda University, Tokorozawa, Japan
| | - Satoshi Kawase
- The Faculty of Psychology, Kobe Gakuin University, Kobe, Japan
| | - Shinya Fujii
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
| | - Peter E Keller
- Center for Music in the Brain, Aarhus University, Aarhus, Denmark/The Royal Academy of Music Aarhus/Aalborg, Denmark; The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, Australia
| | - Peter Vuust
- Center for Music in the Brain, Aarhus University, Aarhus, Denmark/The Royal Academy of Music Aarhus/Aalborg, Denmark
| | - Kazutoshi Kudo
- Graduate School of Arts and Sciences, The University of Tokyo, Tokyo, Japan
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2
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Kawase S. Is happier music groovier? The influence of emotional characteristics of musical chord progressions on groove. PSYCHOLOGICAL RESEARCH 2024; 88:438-448. [PMID: 37615754 PMCID: PMC10858120 DOI: 10.1007/s00426-023-01869-x] [Citation(s) in RCA: 1] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/01/2023] [Accepted: 08/07/2023] [Indexed: 08/25/2023]
Abstract
Specific rhythmic patterns in music have been reported to induce an urge to move with feelings of pleasure or enjoyment, called "groove." However, it is unclear how the emotional characteristics of music (e.g., happiness or sadness) affect groove. To address this issue I investigated the effects of the emotional characteristics of music on groove by altering the chord progressions accompanying drum breaks composed by a professional composer while manipulating independent tempo and rhythmic patterns. An online listening experiment was conducted using pieces composed by a professional composer but comprising different types of chord progressions that lead to happiness or sadness. Participants evaluated the nine items on a 7-point scale, including urge to move (i.e., groove), felt emotions, nori, and liking. The experiment found that: (1) chord progressions that evoke happiness were more likely to induce groove, (2) emotional characteristics did not interact with tempi and syncopation in terms of groove ratings, and (3) the accompaniment of drum breaks enhanced groove in both happy and sad chord progressions. Musical pieces with chord progressions that induce happiness were more likely to evoke groove, namely the urge to move. This implies that considering the emotional characteristics of musical pieces and rhythms is crucial when creating music for movement during rehabilitation, therapy, or dance.
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Affiliation(s)
- Satoshi Kawase
- The Faculty of Psychology, Kobe Gakuin University, 518 Arise, Ikawadani-cho, Nishi-ku, Kobe, Hyogo, 651-2180, Japan.
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3
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Matthews TE, Stupacher J, Vuust P. The Pleasurable Urge to Move to Music Through the Lens of Learning Progress. J Cogn 2023; 6:55. [PMID: 37720891 PMCID: PMC10503533 DOI: 10.5334/joc.320] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/09/2022] [Accepted: 08/17/2023] [Indexed: 09/19/2023] Open
Abstract
Interacting with music is a uniquely pleasurable activity that is ubiquitous across human cultures. Current theories suggest that a prominent driver of musical pleasure responses is the violation and confirmation of temporal predictions. For example, the pleasurable urge to move to music (PLUMM), which is associated with the broader concept of groove, is higher for moderately complex rhythms compared to simple and complex rhythms. This inverted U-shaped relation between PLUMM and rhythmic complexity is thought to result from a balance between predictability and uncertainty. That is, moderately complex rhythms lead to strongly weighted prediction errors which elicit an urge to move to reinforce the predictive model (i.e., the meter). However, the details of these processes and how they bring about positive affective responses are currently underspecified. We propose that the intrinsic motivation for learning progress drives PLUMM and informs the music humans choose to listen to, dance to, and create. Here, learning progress reflects the rate of prediction error minimization over time. Accordingly, reducible prediction errors signal the potential for learning progress, producing a pleasurable, curious state characterized by the mobilization of attentional and memory resources. We discuss this hypothesis in the context of current psychological and neuroscientific research on musical pleasure and PLUMM. We propose a theoretical neuroscientific model focusing on the roles of dopamine and norepinephrine within a feedback loop linking prediction-based learning, curiosity, and memory. This perspective provides testable predictions that will motivate future research to further illuminate the fundamental relation between predictions, movement, and reward.
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Affiliation(s)
- Tomas E. Matthews
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University Hospital, Nørrebrogade 44, Building 1A, 8000 Aarhus C, Denmark
- Royal Academy of Music, Skovgaardsgade 2C, DK-8000 Aarhus C, Denmark
| | - Jan Stupacher
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University Hospital, Nørrebrogade 44, Building 1A, 8000 Aarhus C, Denmark
- Royal Academy of Music, Skovgaardsgade 2C, DK-8000 Aarhus C, Denmark
| | - Peter Vuust
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University Hospital, Nørrebrogade 44, Building 1A, 8000 Aarhus C, Denmark
- Royal Academy of Music, Skovgaardsgade 2C, DK-8000 Aarhus C, Denmark
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4
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O’Connell SR, Nave-Blodgett JE, Wilson GE, Hannon EE, Snyder JS. Elements of musical and dance sophistication predict musical groove perception. Front Psychol 2022; 13:998321. [PMID: 36467160 PMCID: PMC9712211 DOI: 10.3389/fpsyg.2022.998321] [Citation(s) in RCA: 2] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/26/2022] [Accepted: 10/21/2022] [Indexed: 11/02/2023] Open
Abstract
Listening to groovy music is an enjoyable experience and a common human behavior in some cultures. Specifically, many listeners agree that songs they find to be more familiar and pleasurable are more likely to induce the experience of musical groove. While the pleasurable and dance-inducing effects of musical groove are omnipresent, we know less about how subjective feelings toward music, individual musical or dance experiences, or more objective musical perception abilities are correlated with the way we experience groove. Therefore, the present study aimed to evaluate how musical and dance sophistication relates to musical groove perception. One-hundred 24 participants completed an online study during which they rated 20 songs, considered high- or low-groove, and completed the Goldsmiths Musical Sophistication Index, the Goldsmiths Dance Sophistication Index, the Beat and Meter Sensitivity Task, and a modified short version of the Profile for Music Perception Skills. Our results reveal that measures of perceptual abilities, musical training, and social dancing predicted the difference in groove rating between high- and low-groove music. Overall, these findings support the notion that listeners' individual experiences and predispositions may shape their perception of musical groove, although other causal directions are also possible. This research helps elucidate the correlates and possible causes of musical groove perception in a wide range of listeners.
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Affiliation(s)
- Samantha R. O’Connell
- Caruso Department of Otolaryngology, Head and Neck Surgery, Keck School of Medicine of USC, University of Southern California, Los Angeles, CA, United States
| | | | - Grace E. Wilson
- Department of Psychology, University of Nevada, Las Vegas, NV, United States
| | - Erin E. Hannon
- Department of Psychology, University of Nevada, Las Vegas, NV, United States
| | - Joel S. Snyder
- Department of Psychology, University of Nevada, Las Vegas, NV, United States
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5
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Lee EJ, Oh DW, Park HJ. Music-Based Sling Mobility Training for Parkinson’s Disease: One-Year Follow-up of Case Series. PHYSICAL & OCCUPATIONAL THERAPY IN GERIATRICS 2022. [DOI: 10.1080/02703181.2022.2096745] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 10/17/2022]
Affiliation(s)
- Eon-Ju Lee
- Department of Physical Therapy, Hyosung Hospital, Cheongju-si, Chungcheongbuk-do, Republic of Korea
| | - Duck-Won Oh
- Department of Physical Therapy, College of Health and Medical Science, Cheongju University, Cheongju-si, Chungcheongbuk-do, Republic of Korea
| | - Hyun-Ju Park
- Dr Ara Pilates Lab, Seo-gu, Daejeon, Republic of Korea
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6
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Spiech C, Sioros G, Endestad T, Danielsen A, Laeng B. Pupil drift rate indexes groove ratings. Sci Rep 2022; 12:11620. [PMID: 35804069 PMCID: PMC9270355 DOI: 10.1038/s41598-022-15763-w] [Citation(s) in RCA: 7] [Impact Index Per Article: 3.5] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/17/2021] [Accepted: 06/29/2022] [Indexed: 11/09/2022] Open
Abstract
Groove, understood as an enjoyable compulsion to move to musical rhythms, typically varies along an inverted U-curve with increasing rhythmic complexity (e.g., syncopation, pickups). Predictive coding accounts posit that moderate complexity drives us to move to reduce sensory prediction errors and model the temporal structure. While musicologists generally distinguish the effects of pickups (anacruses) and syncopations, their difference remains unexplored in groove. We used pupillometry as an index to noradrenergic arousal while subjects listened to and rated drumbeats varying in rhythmic complexity. We replicated the inverted U-shaped relationship between rhythmic complexity and groove and showed this is modulated by musical ability, based on a psychoacoustic beat perception test. The pupil drift rates suggest that groovier rhythms hold attention longer than ones rated less groovy. Moreover, we found complementary effects of syncopations and pickups on groove ratings and pupil size, respectively, discovering a distinct predictive process related to pickups. We suggest that the brain deploys attention to pickups to sharpen subsequent strong beats, augmenting the predictive scaffolding's focus on beats that reduce syncopations' prediction errors. This interpretation is in accordance with groove envisioned as an embodied resolution of precision-weighted prediction error.
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Affiliation(s)
- Connor Spiech
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Postboks 1133 Blindern, 0318, Oslo, Norway. .,Department of Psychology, University of Oslo, Oslo, Norway.
| | - George Sioros
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Postboks 1133 Blindern, 0318, Oslo, Norway.,Department of Musicology, University of Oslo, Oslo, Norway
| | - Tor Endestad
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Postboks 1133 Blindern, 0318, Oslo, Norway.,Department of Psychology, University of Oslo, Oslo, Norway
| | - Anne Danielsen
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Postboks 1133 Blindern, 0318, Oslo, Norway.,Department of Musicology, University of Oslo, Oslo, Norway
| | - Bruno Laeng
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Postboks 1133 Blindern, 0318, Oslo, Norway.,Department of Psychology, University of Oslo, Oslo, Norway
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7
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Ross JM, Balasubramaniam R. Time Perception for Musical Rhythms: Sensorimotor Perspectives on Entrainment, Simulation, and Prediction. Front Integr Neurosci 2022; 16:916220. [PMID: 35865808 PMCID: PMC9294366 DOI: 10.3389/fnint.2022.916220] [Citation(s) in RCA: 1] [Impact Index Per Article: 0.5] [Reference Citation Analysis] [Abstract] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/08/2022] [Accepted: 06/16/2022] [Indexed: 11/19/2022] Open
Abstract
Neural mechanisms supporting time perception in continuously changing sensory environments may be relevant to a broader understanding of how the human brain utilizes time in cognition and action. In this review, we describe current theories of sensorimotor engagement in the support of subsecond timing. We focus on musical timing due to the extensive literature surrounding movement with and perception of musical rhythms. First, we define commonly used but ambiguous concepts including neural entrainment, simulation, and prediction in the context of musical timing. Next, we summarize the literature on sensorimotor timing during perception and performance and describe current theories of sensorimotor engagement in the support of subsecond timing. We review the evidence supporting that sensorimotor engagement is critical in accurate time perception. Finally, potential clinical implications for a sensorimotor perspective of timing are highlighted.
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Affiliation(s)
- Jessica M. Ross
- Veterans Affairs Palo Alto Healthcare System and the Sierra Pacific Mental Illness, Research, Education, and Clinical Center, Palo Alto, CA, United States
- Department of Psychiatry and Behavioral Sciences, Stanford University Medical Center, Stanford, CA, United States
- Berenson-Allen Center for Non-invasive Brain Stimulation, Beth Israel Deaconess Medical Center, Boston, MA, United States
- Department of Neurology, Harvard Medical School, Boston, MA, United States
- *Correspondence: Jessica M. Ross,
| | - Ramesh Balasubramaniam
- Cognitive and Information Sciences, University of California, Merced, Merced, CA, United States
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8
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Stupacher J, Wrede M, Vuust P. A brief and efficient stimulus set to create the inverted U-shaped relationship between rhythmic complexity and the sensation of groove. PLoS One 2022; 17:e0266902. [PMID: 35588097 PMCID: PMC9119456 DOI: 10.1371/journal.pone.0266902] [Citation(s) in RCA: 7] [Impact Index Per Article: 3.5] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/18/2021] [Accepted: 03/29/2022] [Indexed: 11/18/2022] Open
Abstract
When listening to music, we often feel a strong desire to move our body in relation to the pulse of the rhythm. In music psychology, this desire to move is described by the term groove. Previous research suggests that the sensation of groove is strongest when a rhythm is moderately complex, i.e., when the rhythm hits the sweet spot between being too simple to be engaging and too complex to be interpretable. This means that the relationship between rhythmic complexity and the sensation of groove can be described by an inverted U-shape (Matthews 2019). Here, we recreate this inverted U-shape with a stimulus set that was reduced from 54 to only nine rhythms. Thereby, we provide an efficient toolkit for future studies to induce and measure different levels of groove sensations. Pleasure and movement induction in relation to rhythmic complexity are emerging topics in music cognition and neuroscience. Investigating the sensation of groove is important for understanding the neurophysiological mechanisms underlying motor timing and reward processes in the general population, and in patients with conditions such as Parkinson’s disease, Huntington’s disease and motor impairment after stroke. The experimental manipulation of groove also provides new approaches for research on social bonding in interpersonal movement interactions that feature music. Our brief stimulus set facilitates future research on these topics by enabling the creation of efficient and concise paradigms.
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Affiliation(s)
- Jan Stupacher
- Department of Clinical Medicine, Center for Music in the Brain, Aarhus University & The Royal Academy of Music Aarhus, Aalborg, Denmark
- Institute of Psychology, University of Graz, Graz, Austria
- * E-mail:
| | - Markus Wrede
- Department of Clinical Medicine, Aarhus University, Aarhus, Denmark
| | - Peter Vuust
- Department of Clinical Medicine, Center for Music in the Brain, Aarhus University & The Royal Academy of Music Aarhus, Aalborg, Denmark
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9
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Vuust P, Heggli OA, Friston KJ, Kringelbach ML. Music in the brain. Nat Rev Neurosci 2022; 23:287-305. [PMID: 35352057 DOI: 10.1038/s41583-022-00578-5] [Citation(s) in RCA: 101] [Impact Index Per Article: 50.5] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Accepted: 02/22/2022] [Indexed: 02/06/2023]
Abstract
Music is ubiquitous across human cultures - as a source of affective and pleasurable experience, moving us both physically and emotionally - and learning to play music shapes both brain structure and brain function. Music processing in the brain - namely, the perception of melody, harmony and rhythm - has traditionally been studied as an auditory phenomenon using passive listening paradigms. However, when listening to music, we actively generate predictions about what is likely to happen next. This enactive aspect has led to a more comprehensive understanding of music processing involving brain structures implicated in action, emotion and learning. Here we review the cognitive neuroscience literature of music perception. We show that music perception, action, emotion and learning all rest on the human brain's fundamental capacity for prediction - as formulated by the predictive coding of music model. This Review elucidates how this formulation of music perception and expertise in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music making. This in turn has important implications for human creativity as evinced by music improvisation. These recent advances shed new light on what makes music meaningful from a neuroscientific perspective.
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Affiliation(s)
- Peter Vuust
- Center for Music in the Brain, Aarhus University and The Royal Academy of Music (Det Jyske Musikkonservatorium), Aarhus, Denmark.
| | - Ole A Heggli
- Center for Music in the Brain, Aarhus University and The Royal Academy of Music (Det Jyske Musikkonservatorium), Aarhus, Denmark
| | - Karl J Friston
- Wellcome Centre for Human Neuroimaging, University College London, London, UK
| | - Morten L Kringelbach
- Center for Music in the Brain, Aarhus University and The Royal Academy of Music (Det Jyske Musikkonservatorium), Aarhus, Denmark.,Department of Psychiatry, University of Oxford, Oxford, UK.,Centre for Eudaimonia and Human Flourishing, Linacre College, University of Oxford, Oxford, UK
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10
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Engel A, Hoefle S, Monteiro MC, Moll J, Keller PE. Neural Correlates of Listening to Varying Synchrony Between Beats in Samba Percussion and Relations to Feeling the Groove. Front Neurosci 2022; 16:779964. [PMID: 35281511 PMCID: PMC8915847 DOI: 10.3389/fnins.2022.779964] [Citation(s) in RCA: 3] [Impact Index Per Article: 1.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/20/2021] [Accepted: 01/20/2022] [Indexed: 12/02/2022] Open
Abstract
Listening to samba percussion often elicits feelings of pleasure and the desire to move with the beat-an experience sometimes referred to as "feeling the groove"- as well as social connectedness. Here we investigated the effects of performance timing in a Brazilian samba percussion ensemble on listeners' experienced pleasantness and the desire to move/dance in a behavioral experiment, as well as on neural processing as assessed via functional magnetic resonance imaging (fMRI). Participants listened to different excerpts of samba percussion produced by multiple instruments that either were "in sync", with no additional asynchrony between instrumental parts other than what is usual in naturalistic recordings, or were presented "out of sync" by delaying the snare drums (by 28, 55, or 83 ms). Results of the behavioral experiment showed increasing pleasantness and desire to move/dance with increasing synchrony between instruments. Analysis of hemodynamic responses revealed stronger bilateral brain activity in the supplementary motor area, the left premotor area, and the left middle frontal gyrus with increasing synchrony between instruments. Listening to "in sync" percussion thus strengthens audio-motor interactions by recruiting motor-related brain areas involved in rhythm processing and beat perception to a higher degree. Such motor related activity may form the basis for "feeling the groove" and the associated desire to move to music. Furthermore, in an exploratory analysis we found that participants who reported stronger emotional responses to samba percussion in everyday life showed higher activity in the subgenual cingulate cortex, an area involved in prosocial emotions, social group identification and social bonding.
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Affiliation(s)
- Annerose Engel
- Cognitive and Behavioral Neuroscience Unit, D’Or Institute for Research and Education, Rio de Janeiro, Brazil
- Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany
- Clinic for Cognitive Neurology, University Hospital Leipzig, Leipzig, Germany
| | - Sebastian Hoefle
- Cognitive and Behavioral Neuroscience Unit, D’Or Institute for Research and Education, Rio de Janeiro, Brazil
| | - Marina Carneiro Monteiro
- Cognitive and Behavioral Neuroscience Unit, D’Or Institute for Research and Education, Rio de Janeiro, Brazil
| | - Jorge Moll
- Cognitive and Behavioral Neuroscience Unit, D’Or Institute for Research and Education, Rio de Janeiro, Brazil
| | - Peter E. Keller
- Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, NSW, Australia
- Department of Clinical Medicine, Center for Music in the Brain, Aarhus University, Aarhus, Denmark
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11
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Bouquiaux O, Thibaut A, Beaudart C, Dorban G, Bertrand S, Yildiz E, Kaux JF. Dance training and performance in patients with Parkinson disease: Effects on motor functions and patients’ well-being. Sci Sports 2021. [DOI: 10.1016/j.scispo.2021.03.004] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 10/19/2022]
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12
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Emmanouil A, Rousanoglou E, Georgaki A, Boudolos KD. When Musical Accompaniment Allows the Preferred Spatio-Temporal Pattern of Movement. Sports Med Int Open 2021; 5:E81-E90. [PMID: 34646934 PMCID: PMC8500738 DOI: 10.1055/a-1553-7063] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/23/2021] [Accepted: 05/11/2021] [Indexed: 11/24/2022] Open
Abstract
A musical accompaniment is often used in movement coordination and stability
exercise modalities, although considered obstructive for their fundament of
preferred movement pace. This study examined if the rhythmic strength of musical
excerpts used in movement coordination and exercise modalities allows the
preferred spatio-temporal pattern of movement. Voluntary and spontaneous body
sway (70 s) were tested (N=20 young women) in a non-musical
(preferred) and two rhythmic strength (RS) musical conditions (Higher:HrRS,
Lower:LrRS). The center of pressure trajectory was used for the body sway
spatio-temporal characteristics (Kistler forceplate, 100 Hz). Statistics
included paired t-tests between each musical condition and the non-musical one,
as well as between musical conditions (p≤0.05). Results indicated no
significant difference between the musical and the non-musical conditions
(p>0.05). The HrRS differed significantly from LrRS only in the
voluntary body sway, with increased sway duration (p=0.03), center of
pressure path (p=0.04) and velocity (p=0.01). The findings
provide evidence-based support for the rhythmic strength recommendations in
movement coordination and stability exercise modalities. The HrRS to LrRS
differences in voluntary body sway most possibly indicate that low-frequency
musical features rather than just tempo and pulse clarity are also
important.
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Affiliation(s)
- Analina Emmanouil
- National and Kapodistrian University of Athens, Faculty of Physical Education and Sport Science, Department of Sport Medicine and Biology of Exercise, Sport Biomechanics Lab, Daphne, Greece
| | - Elissavet Rousanoglou
- National and Kapodistrian University of Athens, Faculty of Physical Education and Sport Science, Department of Sport Medicine and Biology of Exercise, Sport Biomechanics Lab, Daphne, Greece
| | - Anastasia Georgaki
- National and Kapodistrian University of Athens, Department of Music Studies, Athens, Greece
| | - Konstantinos D Boudolos
- National and Kapodistrian University of Athens, Faculty of Physical Education and Sport Science, Department of Sport Medicine and Biology of Exercise, Sport Biomechanics Lab, Daphne, Greece
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13
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Beveridge S, Cano E, Herff SA. The effect of low-frequency equalisation on preference and sensorimotor synchronisation in music. Q J Exp Psychol (Hove) 2021; 75:475-490. [PMID: 34293989 DOI: 10.1177/17470218211037145] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/17/2022]
Abstract
Equalisation, a signal processing technique commonly used to shape the sound of music, is defined as the adjustment of the energy in specific frequency components of a signal. In this work, we investigate the effects of equalisation on preference and sensorimotor synchronisation in music. A total of 21 participants engaged in a goal-directed upper body movements in synchrony with stimuli equalised in three low-frequency sub-bands (0-50, 50-100, and 100-200 Hz). To quantify the effect of equalisation, music features including spectral flux, pulse clarity, and beat confidence were extracted from seven differently equalised versions of music tracks-one original and six manipulated versions for each music track. These music tracks were then used in a movement synchronisation task. Bayesian mixed-effects models revealed different synchronisation behaviours in response to the three sub-bands considered. Boosting energy in the 100-200 Hz sub-band reduced synchronisation performance irrespective of the sub-band energy of the original version. An energy boost in the 0-50 Hz band resulted in increased synchronisation performance only when the sub-band energy of the original version was high. An energy boost in the 50-100 Hz band increased synchronisation performance only when the sub-band energy of the original version was low. Boosting the energy in any of the three sub-bands increased preference regardless of the energy of the original version. Our results provide empirical support for the importance of low-frequency information for sensorimotor synchronisation and suggest that the effects of equalisation on preference and synchronisation are largely independent of one another.
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Affiliation(s)
- Scott Beveridge
- Social and Cognitive Computing, Institute of High Performance Computing, Agency for Science, Technology and Research (A*STAR), Singapore
| | - Estefanía Cano
- Social and Cognitive Computing, Institute of High Performance Computing, Agency for Science, Technology and Research (A*STAR), Singapore
| | - Steffen A Herff
- École Polytechnique Fédérale de Lausanne (EPFL), Lausanne, Switzerland.,Music Cognition and Action Research Group (MCA), MARCS Institute for Brain, Behaviour & Development, Western Sydney University (WSU), Sydney, NSW, Australia
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14
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Leow LA, Watson S, Prete D, Waclawik K, Grahn JA. How groove in music affects gait. Exp Brain Res 2021; 239:2419-2433. [PMID: 34106299 DOI: 10.1007/s00221-021-06083-y] [Citation(s) in RCA: 6] [Impact Index Per Article: 2.0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/21/2020] [Accepted: 03/10/2021] [Indexed: 12/17/2022]
Abstract
Rhythmic auditory stimulation (RAS) is a gait intervention in which gait-disordered patients synchronise footsteps to music or metronome cues. Musical 'groove', the tendency of music to induce movement, has previously been shown to be associated with faster gait, however, why groove affects gait remains unclear. One mechanism by which groove may affect gait is that of beat salience: music that is higher in groove has more salient musical beats, and higher beat salience might reduce the cognitive demands of perceiving the beat and synchronizing footsteps to it. If groove's effects on gait are driven primarily by the impact of beat salience on cognitive demands, then groove's effects might only be present in contexts in which it is relevant to reduce cognitive demands. Such contexts could include task parameters that increase cognitive demands (such as the requirement to synchronise to the beat), or individual differences that may make synchronisation more cognitively demanding. Here, we examined whether high beat salience can account for the effects of high-groove music on gait. First, we increased the beat salience of low-groove music to be similar to that of high-groove music by embedding metronome beats in low and high-groove music. We examined whether low-groove music with high beat salience elicited similar effects on gait as high-groove music. Second, we examined the effect of removing the requirement to synchronise footsteps to the beat (i.e., allowing participants to walk freely with the music), which is thought to remove the cognitive demand of synchronizing movements to the beat. We tested two populations thought to be sensitive to the cognitive demands of synchronisation, weak beat-perceivers and older adults. We found that increasing the beat salience of low-groove music increased stride velocity, but strides were still slower than with high-groove music. Similarly, removing the requirement to synchronise elicited faster, less variable gait, and reduced bias for stability, but high-groove music still elicited faster strides than low-groove music. These findings suggest that beat salience contributes to groove's effect on gait, but it does not fully account for it. Despite reducing task difficulty by equalizing beat salience and removing the requirement to synchronise, high-groove music still elicited faster, less variable gait. Therefore, other properties of groove also appear to play a role in groove's effect on gait.
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Affiliation(s)
- Li-Ann Leow
- The School of Psychology, McElwain Building, University of Queensland, The University of Queensland, Brisbane Qld 4072, Brisbane, Australia.
- Centre for Sensorimotor Performance, School of Human Movement and Nutrition Sciences, The University of Queensland, Building 26B Qld 4072, Brisbane, Australia.
| | - Sarah Watson
- Department of Psychology, University of Western Ontario, London, ON, Canada
- Brain and Mind Institute, University of Western Ontario, London, ON, Canada
| | - David Prete
- Department of Psychology, University of Western Ontario, London, ON, Canada
- Brain and Mind Institute, University of Western Ontario, London, ON, Canada
| | - Kristina Waclawik
- Department of Psychology, University of Western Ontario, London, ON, Canada
- Brain and Mind Institute, University of Western Ontario, London, ON, Canada
| | - Jessica A Grahn
- Department of Psychology, University of Western Ontario, London, ON, Canada
- Brain and Mind Institute, University of Western Ontario, London, ON, Canada
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15
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16
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Toiviainen P, Burunat I, Brattico E, Vuust P, Alluri V. The chronnectome of musical beat. Neuroimage 2020; 216:116191. [DOI: 10.1016/j.neuroimage.2019.116191] [Citation(s) in RCA: 18] [Impact Index Per Article: 4.5] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/20/2019] [Revised: 09/10/2019] [Accepted: 09/11/2019] [Indexed: 01/03/2023] Open
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17
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Câmara GS, Nymoen K, Lartillot O, Danielsen A. Effects of instructed timing on electric guitar and bass sound in groove performance. THE JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA 2020; 147:1028. [PMID: 32113267 DOI: 10.1121/10.0000724] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.5] [Reference Citation Analysis] [Abstract] [Track Full Text] [Subscribe] [Scholar Register] [Received: 08/26/2019] [Accepted: 01/24/2020] [Indexed: 06/10/2023]
Abstract
This paper reports on two experiments that investigated the expressive means through which musicians well versed in groove-based music signal the intended timing of a rhythmic event. Data were collected from 21 expert electric guitarists and 21 bassists, who were instructed to perform a simple rhythmic pattern in three different timing styles-"laid-back," "on-the-beat," and "pushed"-in tandem with a metronome. As expected, onset and peak timing locations corresponded to the instructed timing styles for both instruments. Regarding sound, results for guitarists revealed systematic differences across participants in the duration and brightness [spectral centroid (SC)] of the guitar strokes played using these different timing styles. In general, laid-back strokes were played with a longer duration and a lower SC relative to on-the-beat and pushed strokes. Results for the bassists indicated systematic differences in intensity (sound-pressure level): pushed strokes were played with higher intensity than on-the-beat and laid-back strokes. These results lend further credence to the hypothesis that both temporal and sound-related features are important indications of the intended timing of a rhythmic event, and together these features offer deeper insight into the ways in which musicians communicate at the microrhythmic level in groove-based music.
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Affiliation(s)
- Guilherme Schmidt Câmara
- RITMO Center for Interdisciplinary Studies in Time, Rhythm and Motion, Department of Musicology, University of Oslo, Oslo, Norway
| | - Kristian Nymoen
- RITMO Center for Interdisciplinary Studies in Time, Rhythm and Motion, Department of Musicology, University of Oslo, Oslo, Norway
| | - Olivier Lartillot
- RITMO Center for Interdisciplinary Studies in Time, Rhythm and Motion, Department of Musicology, University of Oslo, Oslo, Norway
| | - Anne Danielsen
- RITMO Center for Interdisciplinary Studies in Time, Rhythm and Motion, Department of Musicology, University of Oslo, Oslo, Norway
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18
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Datseris G, Ziereis A, Albrecht T, Hagmayer Y, Priesemann V, Geisel T. Microtiming Deviations and Swing Feel in Jazz. Sci Rep 2019; 9:19824. [PMID: 31882842 PMCID: PMC6934603 DOI: 10.1038/s41598-019-55981-3] [Citation(s) in RCA: 6] [Impact Index Per Article: 1.2] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/30/2019] [Accepted: 12/04/2019] [Indexed: 11/08/2022] Open
Abstract
Jazz music that swings has the fascinating power to elicit a pleasant sensation of flow in listeners and the desire to synchronize body movements with the music. Whether microtiming deviations (MTDs), i.e. small timing deviations below the bar or phrase level, enhance the swing feel is highly debated in the current literature. Studies on other groove related genres did not find evidence for a positive impact of MTDs. The present study addresses jazz music and swing in particular, as there is some evidence that microtiming patterns are genre-specific. We recorded twelve piano jazz standards played by a professional pianist and manipulated the natural MTDs of the recordings in systematic ways by quantizing, expanding and inverting them. MTDs were defined with respect to a grid determined by the average swing ratio. The original and manipulated versions were presented in an online survey and evaluated by 160 listeners with various musical skill levels and backgrounds. Across pieces the quantized versions (without MTDs) were rated slightly higher and versions with expanded MTDs were rated lower with regard to swing than the original recordings. Unexpectedly, inversion had no impact on swing ratings except for two pieces. Our results suggest that naturally fluctuating MTDs are not an essential factor for the swing feel.
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Affiliation(s)
- George Datseris
- Max Planck Institute for Dynamics and Self-Organization, 37077, Göttingen, Germany.
- Department of Physics, Georg-August-University Göttingen, 37073, Göttingen, Germany.
| | - Annika Ziereis
- Georg-Elias-Mueller Institute for Psychology, Georg-August-University Göttingen, 37073, Göttingen, Germany
| | - Thorsten Albrecht
- Georg-Elias-Mueller Institute for Psychology, Georg-August-University Göttingen, 37073, Göttingen, Germany
| | - York Hagmayer
- Georg-Elias-Mueller Institute for Psychology, Georg-August-University Göttingen, 37073, Göttingen, Germany
| | - Viola Priesemann
- Max Planck Institute for Dynamics and Self-Organization, 37077, Göttingen, Germany
- Department of Physics, Georg-August-University Göttingen, 37073, Göttingen, Germany
- Bernstein Center for Computational Neuroscience, 37077, Göttingen, Germany
| | - Theo Geisel
- Max Planck Institute for Dynamics and Self-Organization, 37077, Göttingen, Germany
- Department of Physics, Georg-August-University Göttingen, 37073, Göttingen, Germany
- Bernstein Center for Computational Neuroscience, 37077, Göttingen, Germany
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19
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Spatiotemporal perturbations in paced finger tapping suggest a common mechanism for the processing of time errors. Sci Rep 2019; 9:17814. [PMID: 31780695 PMCID: PMC6882783 DOI: 10.1038/s41598-019-54133-x] [Citation(s) in RCA: 5] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/05/2019] [Accepted: 11/07/2019] [Indexed: 12/27/2022] Open
Abstract
Paced finger tapping is a sensorimotor synchronization task where a subject has to keep pace with a metronome while the time differences (asynchronies) between each stimulus and its response are recorded. A usual way to study the underlying error correction mechanism is to perform unexpected temporal perturbations to the stimuli sequence. An overlooked issue is that at the moment of a temporal perturbation two things change: the stimuli period (a parameter) and the asynchrony (a variable). In terms of experimental manipulation, it would be desirable to have separate, independent control of parameter and variable values. In this work we perform paced finger tapping experiments combining simple temporal perturbations (tempo step change) and spatial perturbations with temporal effect (raised or lowered point of contact). In this way we decouple the parameter-and-variable confounding, performing novel perturbations where either the parameter or the variable changes. Our results show nonlinear features like asymmetry and are compatible with a common error correction mechanism for all types of asynchronies. We suggest taking this confounding into account when analyzing perturbations of any kind in finger tapping tasks but also in other areas of sensorimotor synchronization, like music performance experiments and paced walking in gait coordination studies.
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20
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González Sánchez V, Żelechowska A, Jensenius AR. Analysis of the Movement-Inducing Effects of Music through the Fractality of Head Sway during Standstill. J Mot Behav 2019; 52:734-749. [PMID: 31718527 DOI: 10.1080/00222895.2019.1689909] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.4] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 10/25/2022]
Abstract
The links between music and human movement have been shown to provide insight into crucial aspects of human's perception, cognition, and sensorimotor systems. In this study, we examined the influence of music on movement during standstill, aiming at further characterizing the correspondences between movement, music, and perception, by analyzing head sway fractality. Eighty seven participants were asked to stand as still as possible for 500 seconds while being presented with alternating silence and audio stimuli. The audio stimuli were all rhythmic in nature, ranging from a metronome track to complex electronic dance music. The head position of each participant was captured with an optical motion capture system. Long-range correlations of head movement were estimated by detrended fluctuation analysis (DFA). Results agree with previous work on the movement-inducing effect of music, showing significantly greater head sway and lower head sway fractality during the music stimuli. In addition, patterns across stimuli suggest a two-way adaptation process to the effects of music, with musical stimuli influencing head sway while at the same time fractality modulated movement responses. Results indicate that fluctuations in head movement in both conditions exhibit long-range correlations, suggesting that the effects of music on head movement depended not only on the value of the most recent measured intervals, but also on the values of those intervals at distant times.
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Affiliation(s)
- Victor González Sánchez
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion Department of Musicology, University of Oslo, Oslo, Norway
| | - Agata Żelechowska
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion Department of Musicology, University of Oslo, Oslo, Norway
| | - Alexander Refsum Jensenius
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion Department of Musicology, University of Oslo, Oslo, Norway
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21
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Dieterich-Hartwell RM. Music, movement, and emotions: an inquiry with suggestions for the practice of dance/movement therapy. BODY MOVEMENT AND DANCE IN PSYCHOTHERAPY 2019. [DOI: 10.1080/17432979.2019.1676310] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.4] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 10/25/2022]
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22
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Senn O, Rose D, Bechtold T, Kilchenmann L, Hoesl F, Jerjen R, Baldassarre A, Alessandri E. Preliminaries to a Psychological Model of Musical Groove. Front Psychol 2019; 10:1228. [PMID: 31214069 PMCID: PMC6558102 DOI: 10.3389/fpsyg.2019.01228] [Citation(s) in RCA: 13] [Impact Index Per Article: 2.6] [Reference Citation Analysis] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/21/2019] [Accepted: 05/09/2019] [Indexed: 01/20/2023] Open
Affiliation(s)
- Olivier Senn
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Dawn Rose
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Toni Bechtold
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Lorenz Kilchenmann
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Florian Hoesl
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Rafael Jerjen
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Antonio Baldassarre
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Elena Alessandri
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
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23
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Cirelli LK, Trehub SE. Dancing to Metallica and Dora: Case Study of a 19-Month-Old. Front Psychol 2019; 10:1073. [PMID: 31156507 PMCID: PMC6531910 DOI: 10.3389/fpsyg.2019.01073] [Citation(s) in RCA: 13] [Impact Index Per Article: 2.6] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/30/2019] [Accepted: 04/24/2019] [Indexed: 11/13/2022] Open
Abstract
Rhythmic movement to music, whether deliberate (e.g., dancing) or inadvertent (e.g., foot-tapping), is ubiquitous. Although parents commonly report that infants move rhythmically to music, especially to familiar music in familiar environments, there has been little systematic study of this behavior. As a preliminary exploration of infants' movement to music in their home environment, we studied V, an infant who began moving rhythmically to music at 6 months of age. Our primary goal was to generate testable hypotheses about movement to music in infancy. Across nine sessions, beginning when V was almost 19 months of age and ending 8 weeks later, she was video-recorded by her mother during the presentation of 60-s excerpts from two familiar and two unfamiliar songs presented at three tempos—the original song tempo as well as faster and slower versions. V exhibited a number of repeated dance movements such as head-bobbing, arm-pumping, torso twists, and bouncing. She danced most to Metallica's Now that We're Dead, a recording that her father played daily in V's presence, often dancing with her while it played. Its high pulse clarity, in conjunction with familiarity, may have increased V's propensity to dance, as reflected in lesser dancing to familiar music with low pulse clarity and to unfamiliar music with high pulse clarity. V moved faster to faster music but only for unfamiliar music, perhaps because arousal drove her movement to familiar music. Her movement to music was positively correlated with smiling, highlighting the pleasurable nature of the experience. Rhythmic movement to music may have enhanced her pleasure, and the joy of listening may have promoted her movement. On the basis of behavior observed in this case study, we propose a scaled-up study to obtain definitive evidence about the effects of song familiarity and specific musical features on infant rhythmic movement, the developmental trajectory of dance skills, and the typical range of variation in such skills.
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Affiliation(s)
- Laura K Cirelli
- Department of Psychology, University of Toronto Scarborough, Toronto, ON, Canada.,Department of Psychology, University of Toronto Mississauga, Mississauga, ON, Canada
| | - Sandra E Trehub
- Department of Psychology, University of Toronto Mississauga, Mississauga, ON, Canada
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24
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Cameron DJ, Zioga I, Lindsen JP, Pearce MT, Wiggins GA, Potter K, Bhattacharya J. Neural entrainment is associated with subjective groove and complexity for performed but not mechanical musical rhythms. Exp Brain Res 2019; 237:1981-1991. [PMID: 31152188 PMCID: PMC6647194 DOI: 10.1007/s00221-019-05557-4] [Citation(s) in RCA: 10] [Impact Index Per Article: 2.0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/14/2018] [Accepted: 05/07/2019] [Indexed: 11/29/2022]
Abstract
Both movement and neural activity in humans can be entrained by the regularities of an external stimulus, such as the beat of musical rhythms. Neural entrainment to auditory rhythms supports temporal perception, and is enhanced by selective attention and by hierarchical temporal structure imposed on rhythms. However, it is not known how neural entrainment to rhythms is related to the subjective experience of groove (the desire to move along with music or rhythm), the perception of a regular beat, the perception of complexity, and the experience of pleasure. In two experiments, we used musical rhythms (from Steve Reich’s Clapping Music) to investigate whether rhythms that are performed by humans (with naturally variable timing) and rhythms that are mechanical (with precise timing), elicit differences in (1) neural entrainment, as measured by inter-trial phase coherence, and (2) subjective ratings of the complexity, preference, groove, and beat strength of rhythms. We also combined results from the two experiments to investigate relationships between neural entrainment and subjective perception of musical rhythms. We found that mechanical rhythms elicited a greater degree of neural entrainment than performed rhythms, likely due to the greater temporal precision in the stimulus, and the two types only elicited different ratings for some individual rhythms. Neural entrainment to performed rhythms, but not to mechanical ones, correlated with subjective desire to move and subjective complexity. These data, therefore, suggest multiple interacting influences on neural entrainment to rhythms, from low-level stimulus properties to high-level cognition and perception.
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Affiliation(s)
- Daniel J Cameron
- Department of Psychology, Neuroscience and Behaviour, McMaster University, Hamilton, ON, Canada.
| | - Ioanna Zioga
- School of Biological and Chemical Sciences, Queen Mary University of London, London, UK
| | - Job P Lindsen
- Department of Psychology, Goldsmiths, University of London, London, UK
| | - Marcus T Pearce
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark
- School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK
| | - Geraint A Wiggins
- AI Lab, Vrije Universiteit Brussel, Brussels, Belgium
- School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK
| | - Keith Potter
- Department of Music, Goldsmiths, University of London, London, UK
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25
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Etani T, Miura A, Okano M, Shinya M, Kudo K. Accent Stabilizes 1:2 Sensorimotor Synchronization of Rhythmic Knee Flexion-Extension Movement in Upright Stance. Front Psychol 2019; 10:888. [PMID: 31105620 PMCID: PMC6494955 DOI: 10.3389/fpsyg.2019.00888] [Citation(s) in RCA: 5] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/19/2018] [Accepted: 04/03/2019] [Indexed: 11/17/2022] Open
Abstract
Numerous studies have shown the importance of metrical structure on beat perception and sensorimotor synchronization (SMS), which indicates why metrical structure has evolved as a widespread musical element. In the current study, we aimed to investigate the effect of metrical structure with or without accented sounds and the alignment of accent with flexion or extension movements on the stability of 1:2 SMS in rhythmic knee flexion-extension movement in upright stance (flexing the knee once every two sounds). Fourteen participants completed 1:2 rhythmic knee flexion-extension movements with a metronome beat that accelerated from 2 to 8 Hz (the frequency of the movement was 1–4 Hz). Three sound-movement conditions were provided: (1) combining the flexion phase with loud (accented) sound and the extension phase with soft (non-accented) sound, (2) the reverse combination, and (3) combining both movements with loud sound. ANOVA results showed that metrical structure with accented sounds stabilizes 1:2 SMS in the range of 3.5–7.8 Hz in terms of timing accuracy, and flexing on the accented sound is more globally stable (resistant to phase transition) than flexing on the non-accented sound. Furthermore, our results showed that metrical structure with accented sounds induces larger movement amplitude in the range of 4.6–7.8 Hz than does that without accented sounds. The present study demonstrated that metrical structure with accented sounds stabilizes SMS and induces larger movement amplitude in rhythmic knee flexion-extension movement in upright stance than does SMS with sequences without accents. In addition, we demonstrated that coordinating flexion movement with accented sound is more globally stable than coordinating extension movement with accented sound. Thus, whereas previous studies have revealed that metrical structure enhances the timing accuracy of SMS, the current study revealed that metrical structure enhances the global stability of SMS.
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Affiliation(s)
- Takahide Etani
- Graduate School of Arts and Sciences, The University of Tokyo, Tokyo, Japan
| | - Akito Miura
- Graduate School of Arts and Sciences, The University of Tokyo, Tokyo, Japan.,Advanced Research Center for Human Sciences, Waseda University, Saitama, Japan
| | - Masahiro Okano
- Ritsumeikan Global Innovation Research Organization, Ritsumeikan University, Shiga, Japan
| | - Masahiro Shinya
- Graduate School of Integrated Arts and Sciences, Hiroshima University, Hiroshima, Japan
| | - Kazutoshi Kudo
- Graduate School of Interdisciplinary Information Studies, The University of Tokyo, Tokyo, Japan
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26
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Swarbrick D, Bosnyak D, Livingstone SR, Bansal J, Marsh-Rollo S, Woolhouse MH, Trainor LJ. How Live Music Moves Us: Head Movement Differences in Audiences to Live Versus Recorded Music. Front Psychol 2019; 9:2682. [PMID: 30687158 PMCID: PMC6336707 DOI: 10.3389/fpsyg.2018.02682] [Citation(s) in RCA: 35] [Impact Index Per Article: 7.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/21/2018] [Accepted: 12/13/2018] [Indexed: 11/13/2022] Open
Abstract
A live music concert is a pleasurable social event that is among the most visceral and memorable forms of musical engagement. But what inspires listeners to attend concerts, sometimes at great expense, when they could listen to recordings at home? An iconic aspect of popular concerts is engaging with other audience members through moving to the music. Head movements, in particular, reflect emotion and have social consequences when experienced with others. Previous studies have explored the affiliative social engagement experienced among people moving together to music. But live concerts have other features that might also be important, such as that during a live performance the music unfolds in a unique and not predetermined way, potentially increasing anticipation and feelings of involvement for the audience. Being in the same space as the musicians might also be exciting. Here we controlled for simply being in an audience to examine whether factors inherent to live performance contribute to the concert experience. We used motion capture to compare head movement responses at a live album release concert featuring Canadian rock star Ian Fletcher Thornley, and at a concert without the performers where the same songs were played from the recorded album. We also examined effects of a prior connection with the performers by comparing fans and neutral-listeners, while controlling for familiarity with the songs, as the album had not yet been released. Head movements were faster during the live concert than the album-playback concert. Self-reported fans moved faster and exhibited greater levels of rhythmic entrainment than neutral-listeners. These results indicate that live music engages listeners to a greater extent than pre-recorded music and that a pre-existing admiration for the performers also leads to higher engagement.
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Affiliation(s)
- Dana Swarbrick
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada
| | - Dan Bosnyak
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada
| | - Steven R Livingstone
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada
| | - Jotthi Bansal
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada.,Digital Music Lab, School of the Arts, McMaster University, Hamilton, ON, Canada
| | - Susan Marsh-Rollo
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada
| | - Matthew H Woolhouse
- McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada.,Digital Music Lab, School of the Arts, McMaster University, Hamilton, ON, Canada
| | - Laurel J Trainor
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada.,Rotman Research Institute, Baycrest Hospital, Toronto, ON, Canada
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27
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Bowling DL, Graf Ancochea P, Hove MJ, Fitch WT. Pupillometry of Groove: Evidence for Noradrenergic Arousal in the Link Between Music and Movement. Front Neurosci 2019; 12:1039. [PMID: 30686994 PMCID: PMC6335267 DOI: 10.3389/fnins.2018.01039] [Citation(s) in RCA: 15] [Impact Index Per Article: 3.0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/16/2018] [Accepted: 12/21/2018] [Indexed: 11/16/2022] Open
Abstract
The capacity to entrain motor action to rhythmic auditory stimulation is highly developed in humans and extremely limited in our closest relatives. An important aspect of auditory-motor entrainment is that not all forms of rhythmic stimulation motivate movement to the same degree. This variation is captured by the concept of musical groove: high-groove music stimulates a strong desire for movement, whereas low-groove music does not. Here, we utilize this difference to investigate the neurophysiological basis of our capacity for auditory-motor entrainment. In a series of three experiments we examine pupillary responses to musical stimuli varying in groove. Our results show stronger pupil dilation in response to (1) high- vs. low-groove music, (2) high vs. low spectral content, and (3) syncopated vs. straight drum patterns. We additionally report evidence for consistent sex differences in music-induced pupillary responses, with males exhibiting larger differences between responses, but females exhibiting stronger responses overall. These results imply that the biological link between movement and auditory rhythms in our species is supported by the capacity of high-groove music to stimulate arousal in the central and peripheral nervous system, presumably via highly conserved noradrenergic mechanisms.
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Affiliation(s)
- Daniel L. Bowling
- Department of Cognitive Biology, University of Vienna, Vienna, Austria
| | | | - Michael J. Hove
- Department of Psychological Science, Fitchburg State University, Fitchburg, MA, United States
| | - W. Tecumseh Fitch
- Department of Cognitive Biology, University of Vienna, Vienna, Austria
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28
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Matthews TE, Witek MAG, Heggli OA, Penhune VB, Vuust P. The sensation of groove is affected by the interaction of rhythmic and harmonic complexity. PLoS One 2019; 14:e0204539. [PMID: 30629596 PMCID: PMC6328141 DOI: 10.1371/journal.pone.0204539] [Citation(s) in RCA: 45] [Impact Index Per Article: 9.0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/03/2018] [Accepted: 12/20/2018] [Indexed: 11/19/2022] Open
Abstract
The pleasurable desire to move to music, also known as groove, is modulated by rhythmic complexity. How the sensation of groove is influenced by other musical features, such as the harmonic complexity of individual chords, is less clear. To address this, we asked people with a range of musical experience to rate stimuli that varied in both rhythmic and harmonic complexity. Rhythm showed an inverted U-shaped relationship with ratings of pleasure and wanting to move, whereas medium and low complexity chords were rated similarly. Pleasure mediated the effect of harmony on wanting to move and high complexity chords attenuated the effect of rhythm on pleasure. We suggest that while rhythmic complexity is the primary driver, harmony, by altering emotional valence, modulates the attentional and temporal prediction processes that underlie rhythm perception. Investigation of the effects of musical training with both regression and group comparison showed that training increased the inverted U effect for harmony and rhythm, respectively. Taken together, this work provides important new information about how the prediction and entrainment processes involved in rhythm perception interact with musical pleasure.
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Affiliation(s)
- Tomas E. Matthews
- Laboratory for Motor Learning and Neural Plasticity, Concordia University, Montreal, Quebec, Canada
| | - Maria A. G. Witek
- Center for Music in the Brain, Aarhus University & Royal Academy of Music, Aarhus, Denmark
- Department of Music, University of Birmingham, Birmingham, United Kingdom
| | - Ole A. Heggli
- Center for Music in the Brain, Aarhus University & Royal Academy of Music, Aarhus, Denmark
| | - Virginia B. Penhune
- Laboratory for Motor Learning and Neural Plasticity, Concordia University, Montreal, Quebec, Canada
| | - Peter Vuust
- Center for Music in the Brain, Aarhus University & Royal Academy of Music, Aarhus, Denmark
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Rajendran VG, Teki S, Schnupp JWH. Temporal Processing in Audition: Insights from Music. Neuroscience 2018; 389:4-18. [PMID: 29108832 PMCID: PMC6371985 DOI: 10.1016/j.neuroscience.2017.10.041] [Citation(s) in RCA: 20] [Impact Index Per Article: 3.3] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/25/2017] [Revised: 10/24/2017] [Accepted: 10/27/2017] [Indexed: 11/28/2022]
Abstract
Music is a curious example of a temporally patterned acoustic stimulus, and a compelling pan-cultural phenomenon. This review strives to bring some insights from decades of music psychology and sensorimotor synchronization (SMS) literature into the mainstream auditory domain, arguing that musical rhythm perception is shaped in important ways by temporal processing mechanisms in the brain. The feature that unites these disparate disciplines is an appreciation of the central importance of timing, sequencing, and anticipation. Perception of musical rhythms relies on an ability to form temporal predictions, a general feature of temporal processing that is equally relevant to auditory scene analysis, pattern detection, and speech perception. By bringing together findings from the music and auditory literature, we hope to inspire researchers to look beyond the conventions of their respective fields and consider the cross-disciplinary implications of studying auditory temporal sequence processing. We begin by highlighting music as an interesting sound stimulus that may provide clues to how temporal patterning in sound drives perception. Next, we review the SMS literature and discuss possible neural substrates for the perception of, and synchronization to, musical beat. We then move away from music to explore the perceptual effects of rhythmic timing in pattern detection, auditory scene analysis, and speech perception. Finally, we review the neurophysiology of general timing processes that may underlie aspects of the perception of rhythmic patterns. We conclude with a brief summary and outlook for future research.
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Affiliation(s)
- Vani G Rajendran
- Auditory Neuroscience Group, University of Oxford, Department of Physiology, Anatomy, and Genetics, Oxford, UK
| | - Sundeep Teki
- Auditory Neuroscience Group, University of Oxford, Department of Physiology, Anatomy, and Genetics, Oxford, UK
| | - Jan W H Schnupp
- City University of Hong Kong, Department of Biomedical Sciences, 31 To Yuen Street, Kowloon Tong, Hong Kong.
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Senn O, Kilchenmann L, Bechtold T, Hoesl F. Groove in drum patterns as a function of both rhythmic properties and listeners' attitudes. PLoS One 2018; 13:e0199604. [PMID: 29958289 PMCID: PMC6025871 DOI: 10.1371/journal.pone.0199604] [Citation(s) in RCA: 16] [Impact Index Per Article: 2.7] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/15/2018] [Accepted: 06/11/2018] [Indexed: 11/22/2022] Open
Abstract
Music psychology defines groove as humans’ pleasureable urge to move their body in synchrony with music. Past research has found that rhythmic syncopation, event density, beat salience, and rhythmic variability are positively associated with groove. This exploratory study investigates the groove effect of 248 reconstructed drum patterns from different popular music styles (pop, rock, funk, heavy metal, rock’n’roll, hip hop, soul, R&B). It aims at identifying factors that might be relevant for groove and worth investigating in a controlled setting in the future. Drum patterns of eight bars duration, chosen from 248 popular music tracks, have been transcribed and audio reconstructions have been created on the basis of sound samples. During an online listening experiment, 665 participants rated the reconstructions a total of 8,329 times using a groove questionnaire. Results show that, among 15 tested variables, syncopation (R2 = 0.010) and event density (R2 = 0.011) were positively associated with the groove ratings. These effects were stronger in participants who were music professionals, compared to amateur musicians or mere listeners. A categorisation of the stimuli according to structural aspects was also associated with groove (R2 = 0.018). Beat salience, residual microtiming and rhythmic variability showed no effect on the groove ratings. Participants’ familiarity with a drum pattern had a positive influence on the groove ratings (η2 = 0.051). The largest isolated effect was measured for participants’ style bias (R2 = 0.123): groove ratings tended to be high if participants had the impression that the drum pattern belonged to a style they liked. Combined, the effects of style bias and familiarity (R2 = 0.152) exceeded the other effects as predictors for groove by a wide margin. We conclude that listeners’ taste, musical biographies and expertise have a strong effect on their groove experience. This motivates groove research not to focus on the music alone, but to take the listeners into account as well.
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Affiliation(s)
- Olivier Senn
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
- * E-mail:
| | - Lorenz Kilchenmann
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Toni Bechtold
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Florian Hoesl
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
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Vuust P, Dietz MJ, Witek M, Kringelbach ML. Now you hear it: a predictive coding model for understanding rhythmic incongruity. Ann N Y Acad Sci 2018; 1423:19-29. [PMID: 29683495 DOI: 10.1111/nyas.13622] [Citation(s) in RCA: 60] [Impact Index Per Article: 10.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/13/2017] [Revised: 12/13/2017] [Accepted: 12/22/2017] [Indexed: 12/30/2022]
Abstract
Rhythmic incongruity in the form of syncopation is a prominent feature of many contemporary musical styles. Syncopations afford incongruity between rhythmic patterns and the meter, giving rise to mental models of differently accented isochronous beats. Syncopations occur either in isolation or as part of rhythmic patterns, so-called grooves. On the basis of the predictive coding framework, we discuss how brain processing of rhythm can be seen as a special case of predictive coding. We present a simple, yet powerful model for how the brain processes rhythmic incongruity: the model for predictive coding of rhythmic incongruity. Our model proposes that a given rhythm's syncopation and its metrical uncertainty (precision) is at the heart of how the brain models rhythm and meter based on priors, predictions, and prediction error. Our minimal model can explain prominent features of brain processing of syncopation: why isolated syncopations lead to stronger prediction error in the brains of musicians, as evidenced by larger event-related potentials to rhythmic incongruity, and why we all experience a stronger urge to move to grooves with a medium level of syncopation compared with low and high levels of syncopation.
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Affiliation(s)
- Peter Vuust
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark
- The Royal Academy of Music, Aarhus/Aalborg, Aarhus, Denmark
| | - Martin J Dietz
- Center for Functionally Integrative Neuroscience, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark
| | - Maria Witek
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark
- The Royal Academy of Music, Aarhus/Aalborg, Aarhus, Denmark
| | - Morten L Kringelbach
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark
- The Royal Academy of Music, Aarhus/Aalborg, Aarhus, Denmark
- Department of Psychiatry, University of Oxford, Oxford, United Kingdom
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32
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Etani T, Marui A, Kawase S, Keller PE. Optimal Tempo for Groove: Its Relation to Directions of Body Movement and Japanese nori. Front Psychol 2018; 9:462. [PMID: 29692747 PMCID: PMC5902701 DOI: 10.3389/fpsyg.2018.00462] [Citation(s) in RCA: 21] [Impact Index Per Article: 3.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/24/2017] [Accepted: 03/19/2018] [Indexed: 12/05/2022] Open
Abstract
The tendency for groove-based music to induce body movements has been linked to multiple acoustical factors. However, it is unclear how or whether tempo affects groove, although tempo significantly affects other aspects of music perception. To address this issue, the present study investigated effects of tempo, specific rhythmic organizations of patterns, and syncopation on groove and the induction of the sensation of wanting to move. We focused on the directions of body movement in particular by taking into account nori, which is an indigenous Japanese musical term used not only synonymously with groove, but also as a spatial metaphor indicating vertical or horizontal movement directions. Thus, the present study explored how groove was felt and defined, as well as how musical factors induced the sensation of wanting to move in cross-cultural context. A listening experiment was conducted using drum breaks as stimuli. Stimuli consisted of various rhythm patterns at six tempi from 60 to 200 BPM. The main findings are that: (1) an optimal tempo for groove existed for drum breaks at around 100–120 BPM, (2) an optimal tempo existed for the sensation of wanting to move the body in specific directions (i.e., back-and-forth and side-to-side), (3) groove and nori shared a similar concept of wanting to move but differed on several points (i.e., association with sense of pulse and fast tempo). Overall, the present study suggests that there is an optimal tempo for body movement related to groove. This finding has implications for the use of music or rhythmic stimuli to induce smooth motion in rehabilitation, therapy, or dance.
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Affiliation(s)
- Takahide Etani
- Graduate School of Music, Tokyo University of the Arts, Tokyo, Japan
| | - Atsushi Marui
- Faculty of Music, Tokyo University of the Arts, Tokyo, Japan
| | - Satoshi Kawase
- Graduate School of Engineering, Nagoya Institute of Technology, Nagoya, Japan
| | - Peter E Keller
- Music Cognition and Action Research Program, The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Sydney, NSW, Australia
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Rhythmic abilities and musical training in Parkinson's disease: do they help? NPJ PARKINSONS DISEASE 2018; 4:8. [PMID: 29582000 PMCID: PMC5865140 DOI: 10.1038/s41531-018-0043-7] [Citation(s) in RCA: 37] [Impact Index Per Article: 6.2] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Subscribe] [Scholar Register] [Received: 10/27/2017] [Revised: 01/19/2018] [Accepted: 02/07/2018] [Indexed: 11/08/2022]
Abstract
Rhythmic auditory cues can immediately improve gait in Parkinson’s disease. However, this effect varies considerably across patients. The factors associated with this individual variability are not known to date. Patients’ rhythmic abilities and musicality (e.g., perceptual and singing abilities, emotional response to music, and musical training) may foster a positive response to rhythmic cues. To examine this hypothesis, we measured gait at baseline and with rhythmic cues in 39 non-demented patients with Parkinson’s disease and 39 matched healthy controls. Cognition, rhythmic abilities and general musicality were assessed. A response to cueing was qualified as positive when the stimulation led to a clinically meaningful increase in gait speed. We observed that patients with positive response to cueing (n = 17) were more musically trained, aligned more often their steps to the rhythmic cues while walking, and showed better music perception as well as poorer cognitive flexibility than patients with non-positive response (n = 22). Gait performance with rhythmic cues worsened in six patients. We concluded that rhythmic and musical skills, which can be modulated by musical training, may increase beneficial effects of rhythmic auditory cueing in Parkinson’s disease. Screening patients in terms of musical/rhythmic abilities and musical training may allow teasing apart patients who are likely to benefit from cueing from those who may worsen their performance due to the stimulation. Listening to rhythmic auditory cues improves the ability to walk in patients with Parkinson’s disease (PD). Previous studies have shown that music can help patients with neurological disorders synchronize their movements to a beat. An international study led by Valérie Cochen De Cock at Clinique Beau Soleil in Montpellier (France) and Simone Dalla Bella at the International Laboratory For Brain, Music and Sound Research (BRAMS) in Montreal (Canada), measured gait speed in 39 patients with PD without dementia in response to rhythmic stimulation. Twenty-two patients increased their gait speed by spontaneously synchronizing their steps to the beat. The remaining 17 patients showed no effect or significant worsening of gait performance (e.g., smaller step length). The patients who benefited the most from rhythmic cues exhibited better rhythmic skills and were more musical than the others. Assessing musical abilities may serve to identify patients who are likely to benefit from this music-based intervention and may foster individualization of the treatment.
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Bouwer FL, Burgoyne JA, Odijk D, Honing H, Grahn JA. What makes a rhythm complex? The influence of musical training and accent type on beat perception. PLoS One 2018; 13:e0190322. [PMID: 29320533 PMCID: PMC5761885 DOI: 10.1371/journal.pone.0190322] [Citation(s) in RCA: 23] [Impact Index Per Article: 3.8] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/14/2017] [Accepted: 12/12/2017] [Indexed: 11/18/2022] Open
Abstract
Perception of a regular beat in music is inferred from different types of accents. For example, increases in loudness cause intensity accents, and the grouping of time intervals in a rhythm creates temporal accents. Accents are expected to occur on the beat: when accents are "missing" on the beat, the beat is more difficult to find. However, it is unclear whether accents occurring off the beat alter beat perception similarly to missing accents on the beat. Moreover, no one has examined whether intensity accents influence beat perception more or less strongly than temporal accents, nor how musical expertise affects sensitivity to each type of accent. In two experiments, we obtained ratings of difficulty in finding the beat in rhythms with either temporal or intensity accents, and which varied in the number of accents on the beat as well as the number of accents off the beat. In both experiments, the occurrence of accents on the beat facilitated beat detection more in musical experts than in musical novices. In addition, the number of accents on the beat affected beat finding more in rhythms with temporal accents than in rhythms with intensity accents. The effect of accents off the beat was much weaker than the effect of accents on the beat and appeared to depend on musical expertise, as well as on the number of accents on the beat: when many accents on the beat are missing, beat perception is quite difficult, and adding accents off the beat may not reduce beat perception further. Overall, the different types of accents were processed qualitatively differently, depending on musical expertise. Therefore, these findings indicate the importance of designing ecologically valid stimuli when testing beat perception in musical novices, who may need different types of accent information than musical experts to be able to find a beat. Furthermore, our findings stress the importance of carefully designing rhythms for social and clinical applications of beat perception, as not all listeners treat all rhythms alike.
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Affiliation(s)
- Fleur L. Bouwer
- Institute for Logic, Language and Computation, University of Amsterdam, Amsterdam, The Netherlands
- Amsterdam Brain and Cognition, University of Amsterdam, Amsterdam, The Netherlands
| | - J. Ashley Burgoyne
- Institute for Logic, Language and Computation, University of Amsterdam, Amsterdam, The Netherlands
- Amsterdam Brain and Cognition, University of Amsterdam, Amsterdam, The Netherlands
| | - Daan Odijk
- Informatics Institute, University of Amsterdam, Amsterdam, The Netherlands
| | - Henkjan Honing
- Institute for Logic, Language and Computation, University of Amsterdam, Amsterdam, The Netherlands
- Amsterdam Brain and Cognition, University of Amsterdam, Amsterdam, The Netherlands
| | - Jessica A. Grahn
- Brain and Mind Institute, Department of Psychology, University of Western Ontario, London (ON), Canada
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Schutz M. Acoustic Constraints and Musical Consequences: Exploring Composers' Use of Cues for Musical Emotion. Front Psychol 2017; 8:1402. [PMID: 29249997 PMCID: PMC5715399 DOI: 10.3389/fpsyg.2017.01402] [Citation(s) in RCA: 5] [Impact Index Per Article: 0.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/19/2016] [Accepted: 08/02/2017] [Indexed: 11/13/2022] Open
Abstract
Emotional communication in music is based in part on the use of pitch and timing, two cues effective in emotional speech. Corpus analyses of natural speech illustrate that happy utterances tend to be higher and faster than sad. Although manipulations altering melodies show that passages changed to be higher and faster sound happier, corpus analyses of unaltered music paralleling those of natural speech have proven challenging. This partly reflects the importance of modality (i.e., major/minor), a powerful musical cue whose use is decidedly imbalanced in Western music. This imbalance poses challenges for creating musical corpora analogous to existing speech corpora for purposes of analyzing emotion. However, a novel examination of music by Bach and Chopin balanced in modality illustrates that, consistent with predictions from speech, their major key (nominally “happy”) pieces are approximately a major second higher and 29% faster than their minor key pieces (Poon and Schutz, 2015). Although this provides useful evidence for parallels in use of emotional cues between these domains, it raises questions about how composers “trade off” cue differentiation in music, suggesting interesting new potential research directions. This Focused Review places those results in a broader context, highlighting their connections with previous work on the natural use of cues for musical emotion. Together, these observational findings based on unaltered music—widely recognized for its artistic significance—complement previous experimental work systematically manipulating specific parameters. In doing so, they also provide a useful musical counterpart to fruitful studies of the acoustic cues for emotion found in natural speech.
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Affiliation(s)
- Michael Schutz
- Music, Acoustics, Perception, and Learning Lab, McMaster Institute for Music and the Mind, School of the Arts, McMaster University, Hamilton, ON, Canada
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36
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Senn O, Bullerjahn C, Kilchenmann L, von Georgi R. Rhythmic Density Affects Listeners' Emotional Response to Microtiming. Front Psychol 2017; 8:1709. [PMID: 29075210 PMCID: PMC5643849 DOI: 10.3389/fpsyg.2017.01709] [Citation(s) in RCA: 5] [Impact Index Per Article: 0.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/26/2017] [Accepted: 09/19/2017] [Indexed: 11/13/2022] Open
Abstract
Microtiming has been assumed to be vital for the experience of groove, but past research presented conflicting results: some studies found that microtiming is irrelevant for groove, others reported that microtiming has a detrimental effect on the groove experience, yet others described circumstances under which microtiming has no negative impact on groove. The three studies in this paper aim at explaining some of these discrepancies by clarifying to what extent listeners' emotional responses to microtiming depend on the distribution of microtiming deviations across instrumental parts (voicing) or other moderating factors like tempo or rhythmic density. The studies use data from two listening experiments involving expert bass and drums duo recordings in swing and funk style. - Study A investigates the effect of fixed time displacements within and between the parts played by different musicians. Listeners (n = 160) reacted negatively to irregularities within the drum track, but the mutual displacement of bass vs. drums did not have an effect.- Study B develops three metrics to calculate the average microtiming magnitude in a musical excerpt. The experiment showed that listeners' (n = 160) emotional responses to expert performance microtiming aligned with each other across styles, when microtiming magnitude was adjusted for rhythmic density. This indicates that rhythmic density is a unifying moderator for listeners' emotional response to microtiming in swing and funk.- Study C used the data from both experiments in order to compare the effect of fixed microtiming displacements (from Study A) with scaled versions of the originally performed microtiming patterns (from Study B). It showed that fixed snare drum displacements irritated expert listeners more than the more flexible deviations occurring in the original performances. This provides some evidence that listeners' emotional response to microtiming deviations not only depends on the magnitude of the deviations, but also on the kind and origin of the microtiming patterns (fixed lab displacements vs. flexible performance microtiming).
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Affiliation(s)
- Olivier Senn
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Claudia Bullerjahn
- Department of Social Sciences and Cultural Studies, Institute of Musicology and Music Education, Justus-Liebig-University Giessen, Giessen, Germany
| | - Lorenz Kilchenmann
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Richard von Georgi
- Department of Social Sciences and Cultural Studies, Institute of Musicology and Music Education, Justus-Liebig-University Giessen, Giessen, Germany.,Media Psychology Department, SRH Hochschule der Populären Künste, Berlin, Germany
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Brodal HP, Osnes B, Specht K. Listening to Rhythmic Music Reduces Connectivity within the Basal Ganglia and the Reward System. Front Neurosci 2017; 11:153. [PMID: 28400717 PMCID: PMC5368249 DOI: 10.3389/fnins.2017.00153] [Citation(s) in RCA: 12] [Impact Index Per Article: 1.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/14/2016] [Accepted: 03/09/2017] [Indexed: 01/12/2023] Open
Abstract
Music can trigger emotional responses in a more direct way than any other stimulus. In particular, music-evoked pleasure involves brain networks that are part of the reward system. Furthermore, rhythmic music stimulates the basal ganglia and may trigger involuntary movements to the beat. In the present study, we created a continuously playing rhythmic, dance floor-like composition where the ambient noise from the MR scanner was incorporated as an additional instrument of rhythm. By treating this continuous stimulation paradigm as a variant of resting-state, the data was analyzed with stochastic dynamic causal modeling (sDCM), which was used for exploring functional dependencies and interactions between core areas of auditory perception, rhythm processing, and reward processing. The sDCM model was a fully connected model with the following areas: auditory cortex, putamen/pallidum, and ventral striatum/nucleus accumbens of both hemispheres. The resulting estimated parameters were compared to ordinary resting-state data, without an additional continuous stimulation. Besides reduced connectivity within the basal ganglia, the results indicated a reduced functional connectivity of the reward system, namely the right ventral striatum/nucleus accumbens from and to the basal ganglia and auditory network while listening to rhythmic music. In addition, the right ventral striatum/nucleus accumbens demonstrated also a change in its hemodynamic parameter, reflecting an increased level of activation. These converging results may indicate that the dopaminergic reward system reduces its functional connectivity and relinquishing its constraints on other areas when we listen to rhythmic music.
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Affiliation(s)
- Hans P Brodal
- Department of Biological and Medical Psychology, University of Bergen Bergen, Norway
| | - Berge Osnes
- Department of Biological and Medical Psychology, University of BergenBergen, Norway; Bjørgvin District Psychiatric Centre, Haukeland University HospitalBergen, Norway
| | - Karsten Specht
- Department of Biological and Medical Psychology, University of BergenBergen, Norway; Department of Clinical Engineering, Haukeland University HospitalBergen, Norway
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38
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Rhythmic entrainment as a musical affect induction mechanism. Neuropsychologia 2017; 96:96-110. [DOI: 10.1016/j.neuropsychologia.2017.01.004] [Citation(s) in RCA: 58] [Impact Index Per Article: 8.3] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/29/2016] [Revised: 12/10/2016] [Accepted: 01/06/2017] [Indexed: 01/04/2023]
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39
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Syncopation affects free body-movement in musical groove. Exp Brain Res 2016; 235:995-1005. [DOI: 10.1007/s00221-016-4855-6] [Citation(s) in RCA: 22] [Impact Index Per Article: 2.8] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/06/2016] [Accepted: 11/17/2016] [Indexed: 10/20/2022]
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40
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Senn O, Kilchenmann L, von Georgi R, Bullerjahn C. The Effect of Expert Performance Microtiming on Listeners' Experience of Groove in Swing or Funk Music. Front Psychol 2016; 7:1487. [PMID: 27761117 PMCID: PMC5050221 DOI: 10.3389/fpsyg.2016.01487] [Citation(s) in RCA: 16] [Impact Index Per Article: 2.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/23/2016] [Accepted: 09/15/2016] [Indexed: 11/13/2022] Open
Abstract
This study tested the influence of expert performance microtiming on listeners' experience of groove. Two professional rhythm section performances (bass/drums) in swing and funk style were recorded, and the performances' original microtemporal deviations from a regular metronomic grid were scaled to several levels of magnitude. Music expert (n = 79) and non-expert (n = 81) listeners rated the groove qualities of stimuli using a newly developed questionnaire that measures three dimensions of the groove experience (Entrainment, Enjoyment, and the absence of Irritation). Findings show that music expert listeners were more sensitive to microtiming manipulations than non-experts. Across both expertise groups and for both styles, groove ratings were high for microtiming magnitudes equal or smaller than those originally performed and decreased for exaggerated microtiming magnitudes. In particular, both the fully quantized music and the music with the originally performed microtiming pattern were rated equally high on groove. This means that neither the claims of PD theory (that microtiming deviations are necessary for groove) nor the opposing exactitude hypothesis (that microtiming deviations are detrimental to groove) were supported by the data.
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Affiliation(s)
- Olivier Senn
- School of Music, Lucerne University of Applied Sciences and Arts Lucerne, Switzerland
| | - Lorenz Kilchenmann
- School of Music, Lucerne University of Applied Sciences and Arts Lucerne, Switzerland
| | - Richard von Georgi
- Department of Social Sciences and Cultural Studies, Institute of Musicology and Music Education, Justus-Liebig-University GiessenGiessen, Germany; SRH Hochschule der populären KünsteBerlin, Germany
| | - Claudia Bullerjahn
- Department of Social Sciences and Cultural Studies, Institute of Musicology and Music Education, Justus-Liebig-University Giessen Giessen, Germany
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41
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Tranchant P, Vuvan DT, Peretz I. Keeping the Beat: A Large Sample Study of Bouncing and Clapping to Music. PLoS One 2016; 11:e0160178. [PMID: 27471854 PMCID: PMC4966945 DOI: 10.1371/journal.pone.0160178] [Citation(s) in RCA: 32] [Impact Index Per Article: 4.0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/21/2015] [Accepted: 07/14/2016] [Indexed: 12/01/2022] Open
Abstract
The vast majority of humans move in time with a musical beat. This behaviour has been mostly studied through finger-tapping synchronization. Here, we evaluate naturalistic synchronization responses to music-bouncing and clapping-in 100 university students. Their ability to match the period of their bounces and claps to those of a metronome and musical clips varying in beat saliency was assessed. In general, clapping was better synchronized with the beat than bouncing, suggesting that the choice of a specific movement type is an important factor to consider in the study of sensorimotor synchronization processes. Performance improved as a function of beat saliency, indicating that beat abstraction plays a significant role in synchronization. Fourteen percent of the population exhibited marked difficulties with matching the beat. Yet, at a group level, poor synchronizers showed similar sensitivity to movement type and beat saliency as normal synchronizers. These results suggest the presence of quantitative rather than qualitative variations when losing the beat.
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Affiliation(s)
- Pauline Tranchant
- Département de psychologie, Université de Montréal, Montréal, Québec, Canada
- International Laboratory for Brain, Music and Sound Research (BRAMS), Université de Montréal, Montréal, Québec, Canada
| | - Dominique T. Vuvan
- Département de psychologie, Université de Montréal, Montréal, Québec, Canada
- International Laboratory for Brain, Music and Sound Research (BRAMS), Université de Montréal, Montréal, Québec, Canada
| | - Isabelle Peretz
- Département de psychologie, Université de Montréal, Montréal, Québec, Canada
- International Laboratory for Brain, Music and Sound Research (BRAMS), Université de Montréal, Montréal, Québec, Canada
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42
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de Dreu MJ, Kwakkel G, van Wegen EEH. Partnered Dancing to Improve Mobility for People With Parkinson's Disease. Front Neurosci 2015; 9:444. [PMID: 26696808 PMCID: PMC4675848 DOI: 10.3389/fnins.2015.00444] [Citation(s) in RCA: 10] [Impact Index Per Article: 1.1] [Reference Citation Analysis] [Key Words] [Track Full Text] [Download PDF] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/18/2015] [Accepted: 11/06/2015] [Indexed: 12/21/2022] Open
Affiliation(s)
- Miek J de Dreu
- Department of Neurosurgery, Clinical Imaging Tilburg, Elisabeth Hospital Tilburg, Netherlands
| | - Gert Kwakkel
- Department of Rehabilitation Medicine, MOVE Research Institute Amsterdam, VU University Medical Center Amsterdam, Netherlands
| | - Erwin E H van Wegen
- Department of Rehabilitation Medicine, MOVE Research Institute Amsterdam, VU University Medical Center Amsterdam, Netherlands
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Sturm I, Dähne S, Blankertz B, Curio G. Multi-Variate EEG Analysis as a Novel Tool to Examine Brain Responses to Naturalistic Music Stimuli. PLoS One 2015; 10:e0141281. [PMID: 26510120 PMCID: PMC4624980 DOI: 10.1371/journal.pone.0141281] [Citation(s) in RCA: 28] [Impact Index Per Article: 3.1] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/13/2015] [Accepted: 10/05/2015] [Indexed: 11/18/2022] Open
Abstract
Note onsets in music are acoustic landmarks providing auditory cues that underlie the perception of more complex phenomena such as beat, rhythm, and meter. For naturalistic ongoing sounds a detailed view on the neural representation of onset structure is hard to obtain, since, typically, stimulus-related EEG signatures are derived by averaging a high number of identical stimulus presentations. Here, we propose a novel multivariate regression-based method extracting onset-related brain responses from the ongoing EEG. We analyse EEG recordings of nine subjects who passively listened to stimuli from various sound categories encompassing simple tone sequences, full-length romantic piano pieces and natural (non-music) soundscapes. The regression approach reduces the 61-channel EEG to one time course optimally reflecting note onsets. The neural signatures derived by this procedure indeed resemble canonical onset-related ERPs, such as the N1-P2 complex. This EEG projection was then utilized to determine the Cortico-Acoustic Correlation (CACor), a measure of synchronization between EEG signal and stimulus. We demonstrate that a significant CACor (i) can be detected in an individual listener's EEG of a single presentation of a full-length complex naturalistic music stimulus, and (ii) it co-varies with the stimuli's average magnitudes of sharpness, spectral centroid, and rhythmic complexity. In particular, the subset of stimuli eliciting a strong CACor also produces strongly coordinated tension ratings obtained from an independent listener group in a separate behavioral experiment. Thus musical features that lead to a marked physiological reflection of tone onsets also contribute to perceived tension in music.
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Affiliation(s)
- Irene Sturm
- Berlin School of Mind and Brain, Humboldt Universität zu Berlin, Berlin, Germany
- Neurotechnology Group, Technische Universität Berlin, Berlin, Germany
- Neurophysics Group, Department of Neurology, Charité University Medicine, Berlin, Germany
| | - Sven Dähne
- Neurotechnology Group, Technische Universität Berlin, Berlin, Germany
| | - Benjamin Blankertz
- Neurotechnology Group, Technische Universität Berlin, Berlin, Germany
- Bernstein Focus Neurotechnology, Berlin, Germany
| | - Gabriel Curio
- Berlin School of Mind and Brain, Humboldt Universität zu Berlin, Berlin, Germany
- Neurophysics Group, Department of Neurology, Charité University Medicine, Berlin, Germany
- Bernstein Focus Neurotechnology, Berlin, Germany
- Bernstein Center for Computational Neuroscience, Berlin, Germany
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Kilchenmann L, Senn O. Microtiming in Swing and Funk affects the body movement behavior of music expert listeners. Front Psychol 2015; 6:1232. [PMID: 26347694 PMCID: PMC4542135 DOI: 10.3389/fpsyg.2015.01232] [Citation(s) in RCA: 18] [Impact Index Per Article: 2.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/20/2015] [Accepted: 08/03/2015] [Indexed: 11/17/2022] Open
Abstract
The theory of Participatory Discrepancies (or PDs) claims that minute temporal asynchronies (microtiming) in music performance are crucial for prompting bodily entrainment in listeners, which is a fundamental effect of the “groove” experience. Previous research has failed to find evidence to support this theory. The present study tested the influence of varying PD magnitudes on the beat-related body movement behavior of music listeners. 160 participants (79 music experts, 81 non-experts) listened to 12 music clips in either Funk or Swing style. These stimuli were based on two audio recordings (one in each style) of expert drum and bass duo performances. In one series of six clips, the PDs were downscaled from their originally performed magnitude to complete quantization in steps of 20%. In another series of six clips, the PDs were upscaled from their original magnitude to double magnitude in steps of 20%. The intensity of the listeners' beat-related head movement was measured using video-based motion capture technology and Fourier analysis. A mixed-design Four-Factor ANOVA showed that the PD manipulations had a significant effect on the expert listeners' entrainment behavior. The experts moved more when listening to stimuli with PDs that were downscaled by 60% compared to completely quantized stimuli. This finding offers partial support for PD theory: PDs of a certain magnitude do augment entrainment in listeners. But the effect was found to be small to moderately sized, and it affected music expert listeners only.
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Affiliation(s)
- Lorenz Kilchenmann
- School of Music, Lucerne University of Applied Sciences and Arts Lucerne, Switzerland
| | - Olivier Senn
- School of Music, Lucerne University of Applied Sciences and Arts Lucerne, Switzerland
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Räsänen E, Pulkkinen O, Virtanen T, Zollner M, Hennig H. Fluctuations of hi-hat timing and dynamics in a virtuoso drum track of a popular music recording. PLoS One 2015; 10:e0127902. [PMID: 26039256 PMCID: PMC4454559 DOI: 10.1371/journal.pone.0127902] [Citation(s) in RCA: 8] [Impact Index Per Article: 0.9] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/14/2014] [Accepted: 04/20/2015] [Indexed: 11/18/2022] Open
Abstract
Long-range correlated temporal fluctuations in the beats of musical rhythms are an inevitable consequence of human action. According to recent studies, such fluctuations also lead to a favored listening experience. The scaling laws of amplitude variations in rhythms, however, are widely unknown. Here we use highly sensitive onset detection and time series analysis to study the amplitude and temporal fluctuations of Jeff Porcaro’s one-handed hi-hat pattern in “I Keep Forgettin’”—one of the most renowned 16th note patterns in modern drumming. We show that fluctuations of hi-hat amplitudes and interbeat intervals (times between hits) have clear long-range correlations and short-range anticorrelations separated by a characteristic time scale. In addition, we detect subtle features in Porcaro’s drumming such as small drifts in the 16th note pulse and non-trivial periodic two-bar patterns in both hi-hat amplitudes and intervals. Through this investigation we introduce a step towards statistical studies of the 20th and 21st century music recordings in the framework of complex systems. Our analysis has direct applications to the development of drum machines and to drumming pedagogy.
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Affiliation(s)
- Esa Räsänen
- Department of Physics, Tampere University of Technology, FI-33101 Tampere, Finland
- Department of Physics, Harvard University, Cambridge, Massachusetts 02138, USA
- * E-mail:
| | - Otto Pulkkinen
- Department of Physics, Tampere University of Technology, FI-33101 Tampere, Finland
| | - Tuomas Virtanen
- Department of Signal Processing, Tampere University of Technology, FI-33101 Tampere, Finland
| | - Manfred Zollner
- Electro-Acoustic Laboratory, Regensburg University of Applied Sciences, D-93025 Regensburg, Germany
| | - Holger Hennig
- Department of Physics, Harvard University, Cambridge, Massachusetts 02138, USA
- Max Planck Institute for Dynamics and Self-Organization (MPI DS) Göttingen, Am Fassberg 17, D-37077 Göttingen, Germany
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Leow LA, Rinchon C, Grahn J. Familiarity with music increases walking speed in rhythmic auditory cuing. Ann N Y Acad Sci 2015; 1337:53-61. [PMID: 25773617 DOI: 10.1111/nyas.12658] [Citation(s) in RCA: 38] [Impact Index Per Article: 4.2] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/30/2022]
Abstract
Rhythmic auditory stimulation (RAS) is a gait rehabilitation method in which patients synchronize footsteps to a metronome or musical beats. Although RAS with music can ameliorate gait abnormalities, outcomes vary, possibly because music properties, such as groove or familiarity, differ across interventions. To optimize future interventions, we assessed how initially familiar and unfamiliar low-groove and high-groove music affected synchronization accuracy and gait in healthy individuals. We also experimentally increased music familiarity using repeated exposure to initially unfamiliar songs. Overall, familiar music elicited faster stride velocity and less variable strides, as well as better synchronization performance (matching of step tempo to beat tempo). High-groove music, as reported previously, led to faster stride velocity than low-groove music. We propose two mechanisms for familiarity's effects. First, familiarity with the beat structure reduces cognitive demands of synchronizing, leading to better synchronization performance and faster, less variable gait. Second, familiarity might have elicited faster gait by increasing enjoyment of the music, as enjoyment was higher after repeated exposure to initially low-enjoyment songs. Future studies are necessary to dissociate the contribution of these mechanisms to the observed RAS effects of familiar music on gait.
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Affiliation(s)
- Li-Ann Leow
- Department of Psychology, University of Western Ontario, London, Ontario, Canada
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Hove MJ, Keller PE. Impaired movement timing in neurological disorders: rehabilitation and treatment strategies. Ann N Y Acad Sci 2015; 1337:111-7. [PMID: 25773624 DOI: 10.1111/nyas.12615] [Citation(s) in RCA: 41] [Impact Index Per Article: 4.6] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/28/2022]
Abstract
Timing abnormalities have been reported in many neurological disorders, including Parkinson's disease (PD). In PD, motor-timing impairments are especially debilitating in gait. Despite impaired audiomotor synchronization, PD patients' gait improves when they walk with an auditory metronome or with music. Building on that research, we make recommendations for optimizing sensory cues to improve the efficacy of rhythmic cuing in gait rehabilitation. Adaptive rhythmic metronomes (that synchronize with the patient's walking) might be especially effective. In a recent study we showed that adaptive metronomes synchronized consistently with PD patients' footsteps without requiring attention; this improved stability and reinstated healthy gait dynamics. Other strategies could help optimize sensory cues for gait rehabilitation. Groove music strongly engages the motor system and induces movement; bass-frequency tones are associated with movement and provide strong timing cues. Thus, groove and bass-frequency pulses could deliver potent rhythmic cues. These strategies capitalize on the close neural connections between auditory and motor networks; and auditory cues are typically preferred. However, moving visual cues greatly improve visuomotor synchronization and could warrant examination in gait rehabilitation. Together, a treatment approach that employs groove, auditory, bass-frequency, and adaptive (GABA) cues could help optimize rhythmic sensory cues for treating motor and timing deficits.
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Affiliation(s)
- Michael J Hove
- Harvard Medical School, Massachusetts General Hospital, Boston, Massachusetts
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Abstract
Patterns of microtiming variation at the beat level are known to be associated with music that evokes an experience of groove. The microtiming of Clyde Stubblefield’s drum break on James Brown’s track The Funky Drummer exhibits a pattern of variation in individual beat periods, but bar durations are unaffected. The aim of the study was to model the production of these two apparently paradoxical attributes. In the computational model presented here, microtiming variations at the beat level emerge together with uniform bar durations, due to the interaction of two oscillators via pulse coupling. The two coupled oscillators can be seen as abstractions of entrainment processes in the brain, and implications for a general model of musical entrainment are discussed.
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Witek MAG, Kringelbach ML, Vuust P. Musical rhythm and affect: Comment on "The quartet theory of human emotions: An integrative and neurofunctional model" by S. Koelsch et al. Phys Life Rev 2015; 13:92-4. [PMID: 25936618 DOI: 10.1016/j.plrev.2015.04.029] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.2] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/20/2015] [Accepted: 04/21/2015] [Indexed: 10/23/2022]
Affiliation(s)
- Maria A G Witek
- Music in the Brain, Center of Functionally Integrative Neuroscience, Aarhus University, Denmark.
| | - Morten L Kringelbach
- Music in the Brain, Center of Functionally Integrative Neuroscience, Aarhus University, Denmark; Department of Psychiatry, Warneford Hospital, University of Oxford, UK
| | - Peter Vuust
- Music in the Brain, Center of Functionally Integrative Neuroscience, Aarhus University, Denmark; Royal Academy of Music, Aarhus/Aalborg, Denmark
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Abstract
Music is a complex acoustic signal that relies on a number of different brain and cognitive processes to create the sensation of hearing. Changes in hearing function are generally not a major focus of concern for persons with a majority of neurodegenerative diseases associated with dementia, such as Alzheimer disease (AD). However, changes in the processing of sounds may be an early, and possibly preclinical, feature of AD and other neurodegenerative diseases. The aim of this chapter is to review the current state of knowledge concerning hearing and music perception in persons who have a dementia as a result of a neurodegenerative disease. The review focuses on both peripheral and central auditory processing in common neurodegenerative diseases, with a particular focus on the processing of music and other non-verbal sounds. The chapter also reviews music interventions used for persons with neurodegenerative diseases.
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Affiliation(s)
- Julene K Johnson
- Institute for Health and Aging, University of California, San Francisco, CA, USA.
| | - Maggie L Chow
- School of Medicine, University of California, San Francisco, CA, USA
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