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Burger B, Thompson MR, Luck G, Saarikallio SH, Toiviainen P. Hunting for the beat in the body: on period and phase locking in music-induced movement. Front Hum Neurosci 2014; 8:903. [PMID: 25426051 PMCID: PMC4224089 DOI: 10.3389/fnhum.2014.00903] [Citation(s) in RCA: 56] [Impact Index Per Article: 5.6] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/24/2014] [Accepted: 10/22/2014] [Indexed: 11/13/2022] Open
Abstract
Music has the capacity to induce movement in humans. Such responses during music listening are usually spontaneous and range from tapping to full-body dancing. However, it is still unclear how humans embody musical structures to facilitate entrainment. This paper describes two experiments, one dealing with period locking to different metrical levels in full-body movement and its relationships to beat- and rhythm-related musical characteristics, and the other dealing with phase locking in the more constrained condition of sideways swaying motions. Expected in Experiment 1 was that music with clear and strong beat structures would facilitate more period-locked movement. Experiment 2 was assumed to yield a common phase relationship between participants' swaying movements and the musical beat. In both experiments optical motion capture was used to record participants' movements. In Experiment 1 a window-based period-locking probability index related to four metrical levels was established, based on acceleration data in three dimensions. Subsequent correlations between this index and musical characteristics of the stimuli revealed pulse clarity to be related to periodic movement at the tactus level, and low frequency flux to mediolateral and anteroposterior movement at both tactus and bar levels. At faster tempi higher metrical levels became more apparent in participants' movement. Experiment 2 showed that about half of the participants showed a stable phase relationship between movement and beat, with superior-inferior movement most often being synchronized to the tactus level, whereas mediolateral movement was rather synchronized to the bar level. However, the relationship between movement phase and beat locations was not consistent between participants, as the beat locations occurred at different phase angles of their movements. The results imply that entrainment to music is a complex phenomenon, involving the whole body and occurring at different metrical levels.
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Affiliation(s)
- Birgitta Burger
- Department of Music, Finnish Centre for Interdisciplinary Music Research, University of Jyväskylä Jyväskylä, Finland
| | - Marc R Thompson
- Department of Music, Finnish Centre for Interdisciplinary Music Research, University of Jyväskylä Jyväskylä, Finland
| | - Geoff Luck
- Department of Music, Finnish Centre for Interdisciplinary Music Research, University of Jyväskylä Jyväskylä, Finland
| | - Suvi H Saarikallio
- Department of Music, Finnish Centre for Interdisciplinary Music Research, University of Jyväskylä Jyväskylä, Finland
| | - Petri Toiviainen
- Department of Music, Finnish Centre for Interdisciplinary Music Research, University of Jyväskylä Jyväskylä, Finland
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52
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Sturm I, Blankertz B, Potes C, Schalk G, Curio G. ECoG high gamma activity reveals distinct cortical representations of lyrics passages, harmonic and timbre-related changes in a rock song. Front Hum Neurosci 2014; 8:798. [PMID: 25352799 PMCID: PMC4195312 DOI: 10.3389/fnhum.2014.00798] [Citation(s) in RCA: 19] [Impact Index Per Article: 1.9] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/22/2014] [Accepted: 09/19/2014] [Indexed: 11/13/2022] Open
Abstract
Listening to music moves our minds and moods, stirring interest in its neural underpinnings. A multitude of compositional features drives the appeal of natural music. How such original music, where a composer's opus is not manipulated for experimental purposes, engages a listener's brain has not been studied until recently. Here, we report an in-depth analysis of two electrocorticographic (ECoG) data sets obtained over the left hemisphere in ten patients during presentation of either a rock song or a read-out narrative. First, the time courses of five acoustic features (intensity, presence/absence of vocals with lyrics, spectral centroid, harmonic change, and pulse clarity) were extracted from the audio tracks and found to be correlated with each other to varying degrees. In a second step, we uncovered the specific impact of each musical feature on ECoG high-gamma power (70-170 Hz) by calculating partial correlations to remove the influence of the other four features. In the music condition, the onset and offset of vocal lyrics in ongoing instrumental music was consistently identified within the group as the dominant driver for ECoG high-gamma power changes over temporal auditory areas, while concurrently subject-individual activation spots were identified for sound intensity, timbral, and harmonic features. The distinct cortical activations to vocal speech-related content embedded in instrumental music directly demonstrate that song integrated in instrumental music represents a distinct dimension in complex music. In contrast, in the speech condition, the full sound envelope was reflected in the high gamma response rather than the onset or offset of the vocal lyrics. This demonstrates how the contributions of stimulus features that modulate the brain response differ across the two examples of a full-length natural stimulus, which suggests a context-dependent feature selection in the processing of complex auditory stimuli.
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Affiliation(s)
- Irene Sturm
- Berlin School of Mind and Brain, Humboldt Universität zu Berlin Berlin, Germany ; Neurotechnology Group, Department of Electrical Engineering and Computer Science, Berlin Institute of Technology Berlin, Germany ; Neurophysics Group, Department of Neurology and Clinical Neurophysiology, Charité - University Medicine Berlin Berlin, Germany
| | - Benjamin Blankertz
- Neurotechnology Group, Department of Electrical Engineering and Computer Science, Berlin Institute of Technology Berlin, Germany ; Bernstein Focus: Neurotechnology Berlin, Germany
| | - Cristhian Potes
- National Resource Center for Adaptive Neurotechnologies, Wadsworth Center, New York State Department of Health Albany, NY, USA ; Department of Electrical and Computer Engineering, University of Texas at El Paso El Paso, TX, USA
| | - Gerwin Schalk
- National Resource Center for Adaptive Neurotechnologies, Wadsworth Center, New York State Department of Health Albany, NY, USA ; Department of Electrical and Computer Engineering, University of Texas at El Paso El Paso, TX, USA ; Department of Neurosurgery, Washington University in St. Louis St. Louis, MO, USA ; Department of Biomedical Engineering, Rensselaer Polytechnic Institute Troy, NY, USA ; Department of Neurology, Albany Medical College Albany, NY, USA ; Department of Neurosurgery, Washington University in St. Louis St. Louis, MO, USA
| | - Gabriel Curio
- Berlin School of Mind and Brain, Humboldt Universität zu Berlin Berlin, Germany ; Neurophysics Group, Department of Neurology and Clinical Neurophysiology, Charité - University Medicine Berlin Berlin, Germany ; Bernstein Focus: Neurotechnology Berlin, Germany
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53
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Vuust P, Witek MAG. Rhythmic complexity and predictive coding: a novel approach to modeling rhythm and meter perception in music. Front Psychol 2014; 5:1111. [PMID: 25324813 PMCID: PMC4181238 DOI: 10.3389/fpsyg.2014.01111] [Citation(s) in RCA: 104] [Impact Index Per Article: 10.4] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/24/2014] [Accepted: 09/12/2014] [Indexed: 11/18/2022] Open
Abstract
Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has a remarkable capacity to move our minds and bodies. How does the cognitive system enable our experiences of rhythmically complex music? In this paper, we describe some common forms of rhythmic complexity in music and propose the theory of predictive coding (PC) as a framework for understanding how rhythm and rhythmic complexity are processed in the brain. We also consider why we feel so compelled by rhythmic tension in music. First, we consider theories of rhythm and meter perception, which provide hierarchical and computational approaches to modeling. Second, we present the theory of PC, which posits a hierarchical organization of brain responses reflecting fundamental, survival-related mechanisms associated with predicting future events. According to this theory, perception and learning is manifested through the brain’s Bayesian minimization of the error between the input to the brain and the brain’s prior expectations. Third, we develop a PC model of musical rhythm, in which rhythm perception is conceptualized as an interaction between what is heard (“rhythm”) and the brain’s anticipatory structuring of music (“meter”). Finally, we review empirical studies of the neural and behavioral effects of syncopation, polyrhythm and groove, and propose how these studies can be seen as special cases of the PC theory. We argue that musical rhythm exploits the brain’s general principles of prediction and propose that pleasure and desire for sensorimotor synchronization from musical rhythm may be a result of such mechanisms.
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Affiliation(s)
- Peter Vuust
- Center of Functionally Integrative Neuroscience, Aarhus University Hospital Aarhus, Denmark ; Royal Academy of Music Aarhus/Aalborg, Denmark
| | - Maria A G Witek
- Center of Functionally Integrative Neuroscience, Aarhus University Hospital Aarhus, Denmark
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54
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Tarr B, Launay J, Dunbar RIM. Music and social bonding: "self-other" merging and neurohormonal mechanisms. Front Psychol 2014; 5:1096. [PMID: 25324805 PMCID: PMC4179700 DOI: 10.3389/fpsyg.2014.01096] [Citation(s) in RCA: 178] [Impact Index Per Article: 17.8] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/01/2014] [Accepted: 09/10/2014] [Indexed: 01/13/2023] Open
Abstract
It has been suggested that a key function of music during its development and spread amongst human populations was its capacity to create and strengthen social bonds amongst interacting group members. However, the mechanisms by which this occurs have not been fully discussed. In this paper we review evidence supporting two thus far independently investigated mechanisms for this social bonding effect: self-other merging as a consequence of inter-personal synchrony, and the release of endorphins during exertive rhythmic activities including musical interaction. In general, self-other merging has been experimentally investigated using dyads, which provide limited insight into large-scale musical activities. Given that music can provide an external rhythmic framework that facilitates synchrony, explanations of social bonding during group musical activities should include reference to endorphins, which are released during synchronized exertive movements. Endorphins (and the endogenous opioid system (EOS) in general) are involved in social bonding across primate species, and are associated with a number of human social behaviors (e.g., laughter, synchronized sports), as well as musical activities (e.g., singing and dancing). Furthermore, passively listening to music engages the EOS, so here we suggest that both self-other merging and the EOS are important in the social bonding effects of music. In order to investigate possible interactions between these two mechanisms, future experiments should recreate ecologically valid examples of musical activities.
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Affiliation(s)
- Bronwyn Tarr
- Social and Evolutionary Neuroscience Research Group, Department of Experimental Psychology, University of OxfordOxford, UK
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55
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Peckel M, Pozzo T, Bigand E. The impact of the perception of rhythmic music on self-paced oscillatory movements. Front Psychol 2014; 5:1037. [PMID: 25278924 PMCID: PMC4165317 DOI: 10.3389/fpsyg.2014.01037] [Citation(s) in RCA: 9] [Impact Index Per Article: 0.9] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/10/2014] [Accepted: 08/29/2014] [Indexed: 12/05/2022] Open
Abstract
Inspired by theories of perception-action coupling and embodied music cognition, we investigated how rhythmic music perception impacts self-paced oscillatory movements. In a pilot study, we examined the kinematic parameters of self-paced oscillatory movements, walking and finger tapping using optical motion capture. In accordance with biomechanical constraints accounts of motion, we found that movements followed a hierarchical organization depending on the proximal/distal characteristic of the limb used. Based on these findings, we were interested in knowing how and when the perception of rhythmic music could resonate with the motor system in the context of these constrained oscillatory movements. In order to test this, we conducted an experiment where participants performed four different effector-specific movements (lower leg, whole arm and forearm oscillation and finger tapping) while rhythmic music was playing in the background. Musical stimuli consisted of computer-generated MIDI musical pieces with a 4/4 metrical structure. The musical tempo of each song increased from 60 BPM to 120 BPM by 6 BPM increments. A specific tempo was maintained for 20 s before a 2 s transition to the higher tempo. The task of the participant was to maintain a comfortable pace for the four movements (self-paced) while not paying attention to the music. No instruction on whether to synchronize with the music was given. Results showed that participants were distinctively influenced by the background music depending on the movement used with the tapping task being consistently the most influenced. Furthermore, eight strategies put in place by participants to cope with the task were unveiled. Despite not instructed to do so, participants also occasionally synchronized with music. Results are discussed in terms of the link between perception and action (i.e., motor/perceptual resonance). In general, our results give support to the notion that rhythmic music is processed in a motoric fashion.
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Affiliation(s)
- Mathieu Peckel
- Laboratoire d'Etude de l'Apprentissage et du Développement, Centre National de la Recherche Scientifique, Université de Bourgogne Dijon, France
| | - Thierry Pozzo
- Unité 1093, Cognition, Action et Plasticité Sensorimotrice, Institut National de la Santé et de la Recherche Médicale Dijon, France ; Institut Universitaire de France, Université de Bourgogne, UFR STAPS Dijon, France ; Department of Robotics, Brain and Cognitive Sciences, Istituto Italiano di Tecnologia Genoa, Italy
| | - Emmanuel Bigand
- Laboratoire d'Etude de l'Apprentissage et du Développement, Centre National de la Recherche Scientifique, Université de Bourgogne Dijon, France
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56
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Sioros G, Miron M, Davies M, Gouyon F, Madison G. Syncopation creates the sensation of groove in synthesized music examples. Front Psychol 2014; 5:1036. [PMID: 25278923 PMCID: PMC4165312 DOI: 10.3389/fpsyg.2014.01036] [Citation(s) in RCA: 34] [Impact Index Per Article: 3.4] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/01/2014] [Accepted: 08/29/2014] [Indexed: 11/22/2022] Open
Abstract
In order to better understand the musical properties which elicit an increased sensation of wanting to move when listening to music—groove—we investigate the effect of adding syncopation to simple piano melodies, under the hypothesis that syncopation is correlated to groove. Across two experiments we examine listeners' experience of groove to synthesized musical stimuli covering a range of syncopation levels and densities of musical events, according to formal rules implemented by a computer algorithm that shifts musical events from strong to weak metrical positions. Results indicate that moderate levels of syncopation lead to significantly higher groove ratings than melodies without any syncopation or with maximum possible syncopation. A comparison between the various transformations and the way they were rated shows that there is no simple relation between syncopation magnitude and groove.
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Affiliation(s)
- George Sioros
- Department of Informatics Engineering, Faculdade de Engenharia, Universidade do Porto Porto, Portugal
| | - Marius Miron
- Institute for Systems and Computer Engineering - Technology and Science (INESC-TEC) Porto, Portugal
| | - Matthew Davies
- Institute for Systems and Computer Engineering - Technology and Science (INESC-TEC) Porto, Portugal
| | - Fabien Gouyon
- Institute for Systems and Computer Engineering - Technology and Science (INESC-TEC) Porto, Portugal
| | - Guy Madison
- Department of Psychology, Umeå University Umeå, Sweden
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57
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Madison G, Sioros G. What musicians do to induce the sensation of groove in simple and complex melodies, and how listeners perceive it. Front Psychol 2014; 5:894. [PMID: 25191286 PMCID: PMC4137755 DOI: 10.3389/fpsyg.2014.00894] [Citation(s) in RCA: 25] [Impact Index Per Article: 2.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/01/2014] [Accepted: 07/28/2014] [Indexed: 11/13/2022] Open
Abstract
Groove is the experience of wanting to move when hearing music, such as snapping fingers or tapping feet. This is a central aspect of much music, in particular of music intended for dancing. While previous research has found considerable consistency in ratings of groove across individuals, it remains unclear how groove is induced, that is, what are the physical properties of the acoustic signal that differ between more and less groove-inducing versions. Here, we examined this issue with a performance experiment, in which four musicians performed six simple and six complex melodies in two conditions with the intention of minimizing and maximizing groove. Analyses of rhythmical and temporal properties from the performances demonstrated some general effects. For example, more groove was associated with more notes on faster metrical levels and syncopation, and less groove was associated with deadpan timing and destruction of the regular pulse. We did not observe that deviations from the metrical grid [i.e., micro-timing (MT)] were a predictor of groove. A listener experiment confirmed that the musicians' manipulations had the intended effects on the experience of groove. A Brunswikian lens model was applied, which estimates the performer-perceiver communication across the two experiments. It showed that the communication achievement for simple melodies was 0.62, and that the matching of performers' and listeners' use of nine rhythmical cues was 0.83. For complex melodies with an already high level of groove, the corresponding values were 0.39 and 0.34, showing that it was much more difficult to "take out" groove from musical structures designed to induce groove.
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Affiliation(s)
- Guy Madison
- Department of Psychology, Umeå University Umeå, Sweden
| | - George Sioros
- Sound and Music Computing Group, INESC TEC Porto, Portugal
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58
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Witek MAG, Clarke EF, Wallentin M, Kringelbach ML, Vuust P. Syncopation, body-movement and pleasure in groove music. PLoS One 2014; 9:e94446. [PMID: 24740381 PMCID: PMC3989225 DOI: 10.1371/journal.pone.0094446] [Citation(s) in RCA: 131] [Impact Index Per Article: 13.1] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/03/2013] [Accepted: 03/16/2014] [Indexed: 12/03/2022] Open
Abstract
Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a web-based survey which investigated the relationship between syncopation and ratings of wanting to move and experienced pleasure. Participants heard funk drum-breaks with varying degrees of syncopation and audio entropy, and rated the extent to which the drum-breaks made them want to move and how much pleasure they experienced. While entropy was found to be a poor predictor of wanting to move and pleasure, the results showed that medium degrees of syncopation elicited the most desire to move and the most pleasure, particularly for participants who enjoy dancing to music. Hence, there is an inverted U-shaped relationship between syncopation, body-movement and pleasure, and syncopation seems to be an important structural factor in embodied and affective responses to groove.
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Affiliation(s)
| | - Eric F. Clarke
- Faculty of Music, University of Oxford, Oxford, United Kingdom
| | - Mikkel Wallentin
- Center of Functionally Integrative Neuroscience, Aarhus University Hospital, Aarhus, Denmark
- Center for Semiotics, University of Aarhus, Aarhus, Denmark
| | - Morten L. Kringelbach
- Department of Psychiatry, Warneford Hospital, University of Oxford, Oxford, United Kingdom
- Center of Functionally Integrative Neuroscience, Aarhus University Hospital, Aarhus, Denmark
| | - Peter Vuust
- Center of Functionally Integrative Neuroscience, Aarhus University Hospital, Aarhus, Denmark
- The Royal Academy of Music, Aarhus/Aalborg, Denmark
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59
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Abstract
Sensorimotor synchronization (SMS) is the coordination of rhythmic movement with an external rhythm, ranging from finger tapping in time with a metronome to musical ensemble performance. An earlier review (Repp, 2005) covered tapping studies; two additional reviews (Repp, 2006a, b) focused on music performance and on rate limits of SMS, respectively. The present article supplements and extends these earlier reviews by surveying more recent research in what appears to be a burgeoning field. The article comprises four parts, dealing with (1) conventional tapping studies, (2) other forms of moving in synchrony with external rhythms (including dance and nonhuman animals' synchronization abilities), (3) interpersonal synchronization (including musical ensemble performance), and (4) the neuroscience of SMS. It is evident that much new knowledge about SMS has been acquired in the last 7 years.
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60
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Thornberg K, Josephsson S, Lindquist I. Experiences of participation in rhythm and movement therapy after stroke. Disabil Rehabil 2014; 36:1869-74. [PMID: 24400709 DOI: 10.3109/09638288.2013.876107] [Citation(s) in RCA: 19] [Impact Index Per Article: 1.9] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 12/21/2022]
Abstract
PURPOSE The aim of this study was to investigate how persons with stroke experience participation in rhythm and music therapy. METHODS To gain knowledge of the qualitatively different ways persons with stroke experience participation in Ronnie Gardiner Rhythm and Music (RGRM) therapy, a phenomenographic approach was chosen. Interviews with 17 persons with stroke were done. Selection criteria were set to capture the variations in how the phenomenon appeared to the informants. RESULTS Two qualitatively different ways of experiencing the RGRM therapy were identified: (A) challenge leading to connection with the body and (B) being able. A feeling of being connected to the body was achieved as a result of the challenging tasks. By gaining a feeling of body awareness joy, energy and desire to do things increased. Learning new skills was promoted by having to be concentrated during therapy sessions and a sense of being able to carry out difficult tasks was achieved. CONCLUSIONS Participation in RGRM seems to have helped the persons come to terms with their changed bodies, leading to feelings of being connected with their bodies. A feeling of change in competence occurred when an ability to carry out the tasks was simultaneously achieved. IMPLICATIONS FOR REHABILITATION Stroke may cause considerable functional limitations with needs of rehabilitation services as a consequence. Participation in rhythm and movement activities may help persons who have had a stroke come to terms with their "new" bodies. The rhythm and movement activities were considered demanding and helped return to a meaningful life.
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Affiliation(s)
- Kerstin Thornberg
- Department of Neurobiology, Care Sciences and Society, Division of Physiotherapy and
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61
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Neural underpinnings of music: the polyrhythmic brain. ADVANCES IN EXPERIMENTAL MEDICINE AND BIOLOGY 2014; 829:339-56. [PMID: 25358719 DOI: 10.1007/978-1-4939-1782-2_18] [Citation(s) in RCA: 12] [Impact Index Per Article: 1.2] [Reference Citation Analysis] [Abstract] [Track Full Text] [Subscribe] [Scholar Register] [Indexed: 01/05/2023]
Abstract
Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has the remarkable ability to move our minds and bodies. Why do certain rhythms make us want to tap our feet, bop our heads or even get up and dance? And how does the brain process rhythmically complex rhythms during our experiences of music? In this chapter, we describe some common forms of rhythmic complexity in music and propose that the theory of predictive coding can explain how rhythm and rhythmic complexity are processed in the brain. We also consider how this theory may reveal why we feel so compelled by rhythmic tension in music. First, musical-theoretical and neuroscientific frameworks of rhythm are presented, in which rhythm perception is conceptualized as an interaction between what is heard ('rhythm') and the brain's anticipatory structuring of music ('the meter'). Second, three different examples of tension between rhythm and meter in music are described: syncopation, polyrhythm and groove. Third, we present the theory of predictive coding of music, which posits a hierarchical organization of brain responses reflecting fundamental, survival-related mechanisms associated with predicting future events. According to this theory, perception and learning is manifested through the brain's Bayesian minimization of the error between the input to the brain and the brain's prior expectations. Fourth, empirical studies of neural and behavioral effects of syncopation, polyrhythm and groove will be reported, and we propose how these studies can be seen as special cases of the predictive coding theory. Finally, we argue that musical rhythm exploits the brain's general principles of anticipation and propose that pleasure from musical rhythm may be a result of such anticipatory mechanisms.
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62
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Stupacher J, Hove MJ, Novembre G, Schütz-Bosbach S, Keller PE. Musical groove modulates motor cortex excitability: A TMS investigation. Brain Cogn 2013; 82:127-36. [DOI: 10.1016/j.bandc.2013.03.003] [Citation(s) in RCA: 107] [Impact Index Per Article: 9.7] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/15/2012] [Revised: 03/21/2013] [Accepted: 03/29/2013] [Indexed: 11/16/2022]
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63
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Phillips-Silver J, Toiviainen P, Gosselin N, Peretz I. Amusic does not mean unmusical: Beat perception and synchronization ability despite pitch deafness. Cogn Neuropsychol 2013; 30:311-31. [DOI: 10.1080/02643294.2013.863183] [Citation(s) in RCA: 19] [Impact Index Per Article: 1.7] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 10/25/2022]
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64
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Burger B, Thompson MR, Luck G, Saarikallio S, Toiviainen P. Influences of rhythm- and timbre-related musical features on characteristics of music-induced movement. Front Psychol 2013; 4:183. [PMID: 23641220 PMCID: PMC3624091 DOI: 10.3389/fpsyg.2013.00183] [Citation(s) in RCA: 61] [Impact Index Per Article: 5.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/12/2012] [Accepted: 03/26/2013] [Indexed: 11/13/2022] Open
Abstract
Music makes us move. Several factors can affect the characteristics of such movements, including individual factors or musical features. For this study, we investigated the effect of rhythm- and timbre-related musical features as well as tempo on movement characteristics. Sixty participants were presented with 30 musical stimuli representing different styles of popular music, and instructed to move along with the music. Optical motion capture was used to record participants' movements. Subsequently, eight movement features and four rhythm- and timbre-related musical features were computationally extracted from the data, while the tempo was assessed in a perceptual experiment. A subsequent correlational analysis revealed that, for instance, clear pulses seemed to be embodied with the whole body, i.e., by using various movement types of different body parts, whereas spectral flux and percussiveness were found to be more distinctly related to certain body parts, such as head and hand movement. A series of ANOVAs with the stimuli being divided into three groups of five stimuli each based on the tempo revealed no significant differences between the groups, suggesting that the tempo of our stimuli set failed to have an effect on the movement features. In general, the results can be linked to the framework of embodied music cognition, as they show that body movements are used to reflect, imitate, and predict musical characteristics.
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Affiliation(s)
- Birgitta Burger
- Department of Music, Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä Jyväskylä, Finland
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65
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de Dreu MJ, van der Wilk ASD, Poppe E, Kwakkel G, van Wegen EEH. Rehabilitation, exercise therapy and music in patients with Parkinson's disease: a meta-analysis of the effects of music-based movement therapy on walking ability, balance and quality of life. Parkinsonism Relat Disord 2012; 18 Suppl 1:S114-9. [PMID: 22166406 DOI: 10.1016/s1353-8020(11)70036-0] [Citation(s) in RCA: 205] [Impact Index Per Article: 17.1] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Journal Information] [Submit a Manuscript] [Subscribe] [Scholar Register] [Indexed: 12/27/2022]
Abstract
Recent evidence suggests that music-based movement (MbM) therapy may be a promising intervention to improve gait and gait-related activities in Parkinson's disease (PD) patients, because it naturally combines cognitive movement strategies, cueing techniques, balance exercises and physical activity while focussing on the enjoyment of moving on music instead of the current mobility limitations of the patient. A meta-analysis of RCTs on the efficacy of MbM-therapy, including individual rhythmic music training and partnered dance classes, was performed. Identified studies (K = 6) were evaluated on methodological quality, and summary effect sizes (SES) were calculated. Studies were generally small (total N= 168). Significant homogeneous SESs were found for the Berg Balance Scale, Timed Up and Go test and stride length (SESs: 4.1,2.2,0.11; P-values <0.01; I(2) 0,0,7%, respectively). A sensitivity analysis on type of MbM-therapy (dance- or gait-related interventions) revealed a significant improvement in walking velocity for gait-related MbM-therapy, but not for dance-related MbM-therapy. No significant effects were found for UPDRS-motor score, Freezing of Gait and Quality of Life. Overall, MbM-therapy appears promising for the improvement of gait and gait-related activities in PD. Future studies should incorporate larger groups and focus on long-term compliance and follow-up.
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Affiliation(s)
- M J de Dreu
- Research Institute MOVE, Faculty of Human Movement Sciences, VU University, Amsterdam, The Netherlands
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