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Maurer D, Maurer C. The origins and development of aesthetics. Philos Trans R Soc Lond B Biol Sci 2024; 379:20230246. [PMID: 39005026 DOI: 10.1098/rstb.2023.0246] [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: 10/15/2023] [Accepted: 03/12/2024] [Indexed: 07/16/2024] Open
Abstract
All people (and some other animals) have aesthetic responses to sensory stimulation, responses of emotional pleasure or displeasure. These emotions vary from one person and culture to another, yet they share a common mechanism. To survive, an adaptive animal (as opposed to a tropic animal) needs to become comfortable with normality and to have slight abnormalities draw attention to themselves. Walking through a jungle you need to notice a tiger from a single stripe: if you must wait to see the whole animal, you are unlikely to survive. In Homo sapiens, the brain's adaptive neurochemistry does this naturally, partly because the brain's neuronal networks are structured to react efficiently to fractal structures, structures that shape much of nature. In addition, previous associations may turn a slight variation from normal into feelings of either pleasure or danger. The details of these responses-what is normal and what variations feel like-will depend upon an individual's experience, but the mechanism is the same, no matter whether a person is tasting a wine, seeing a face or landscape, or hearing a song. This article is part of the theme issue 'Sensing and feeling: an integrative approach to sensory processing and emotional experience'.
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Affiliation(s)
- Daphne Maurer
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, Ontario, Canada L8S 4K1
| | - Charles Maurer
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, Ontario, Canada L8S 4K1
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2
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Phillips-Silver J, Hartmann M, Fernández-García L, Maurno NCG, Toiviainen P, González MTD. Development of full-body rhythmic synchronization in middle childhood. Sci Rep 2024; 14:15741. [PMID: 38977822 PMCID: PMC11231307 DOI: 10.1038/s41598-024-66438-7] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/18/2024] [Accepted: 07/01/2024] [Indexed: 07/10/2024] Open
Abstract
Rhythmic entrainment is a fundamental aspect of musical behavior, but the skills required to accurately synchronize movement to the beat seem to develop over many years. Motion capture studies of corporeal synchronization have shown immature abilities to lock in to the beat in children before age 5, and reliable synchronization ability in adults without musical training; yet there is a lack of data on full-body synchronization skills between early childhood and adulthood. To document typical rhythmic synchronization during middle childhood, we used a wireless motion capture device to measure period- and phase-locking of full body movement to rhythm and metronome stimuli in 6 to 11 year-old children in comparison with adult data. Results show a gradual improvement with age; however children's performance did not reach adult levels by age 12, suggesting that these skills continue to develop during adolescence. Our results suggest that in the absence of specific music training, full-body rhythmic entrainment skills improve gradually during middle childhood, and provide metrics for examining the continued maturation of these skills during adolescence.
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Affiliation(s)
- Jessica Phillips-Silver
- JPS Research & Education, Washington, DC, USA
- CIBIS Research Center, University of Almería, Almería, Spain
| | - Martin Hartmann
- Centre of Excellence in Music, Mind, Body and Brain, University of Jyväskylä, Jyväskylä, Finland
- Department of Music, Art and Culture Studies, University of Jyväskylä, Jyväskylä, Finland
| | - Laura Fernández-García
- Department of Psychology, University of Almería, Almería, Spain
- CIBIS Research Center, University of Almería, Almería, Spain
| | - Nahuel Cruz Gioiosa Maurno
- Department of Psychology, University of Almería, Almería, Spain
- CIBIS Research Center, University of Almería, Almería, Spain
| | - Petri Toiviainen
- Centre of Excellence in Music, Mind, Body and Brain, University of Jyväskylä, Jyväskylä, Finland
- Department of Music, Art and Culture Studies, University of Jyväskylä, Jyväskylä, Finland
| | - María Teresa Daza González
- Department of Psychology, University of Almería, Almería, Spain.
- CIBIS Research Center, University of Almería, Almería, Spain.
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3
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Bigand F, Bianco R, Abalde SF, Novembre G. The geometry of interpersonal synchrony in human dance. Curr Biol 2024; 34:3011-3019.e4. [PMID: 38908371 PMCID: PMC11266842 DOI: 10.1016/j.cub.2024.05.055] [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: 01/17/2024] [Revised: 05/01/2024] [Accepted: 05/24/2024] [Indexed: 06/24/2024]
Abstract
Collective synchronized behavior has powerful social-communicative functions observed across several animal taxa.1,2,3,4,5,6,7 Operationally, synchronized behavior can be explained by individuals responding to shared external cues (e.g., light, sound, or food) as well as by inter-individual adaptation.3,8,9,10,11 We contrasted these accounts in the context of a universal human practice-collective dance-by recording full-body kinematics from dyads of laypersons freely dancing to music in a "silent disco" setting. We orthogonally manipulated musical input (whether participants were dancing to the same, synchronous music) and visual contact (whether participants could see their dancing partner). Using a data-driven method, we decomposed full-body kinematics of 70 participants into 15 principal movement patterns, reminiscent of common dance moves, explaining over 95% of kinematic variance. We find that both music and partners drive synchrony, but through distinct dance moves. This leads to distinct kinds of synchrony that occur in parallel by virtue of a geometric organization: anteroposterior movements such as head bobs synchronize through music, while hand gestures and full-body lateral movements synchronize through visual contact. One specific dance move-vertical bounce-emerged as a supramodal pacesetter of coordination, synchronizing through both music and visual contact, and at the pace of the musical beat. These findings reveal that synchrony in human dance is independently supported by shared musical input and inter-individual adaptation. The independence between these drivers of synchrony hinges on a geometric organization, enabling dancers to synchronize to music and partners simultaneously by allocating distinct synchronies to distinct spatial axes and body parts.
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Affiliation(s)
- Félix Bigand
- Neuroscience of Perception & Action Lab, Italian Institute of Technology, Viale Regina Elena 291, 00161 Rome, Italy.
| | - Roberta Bianco
- Neuroscience of Perception & Action Lab, Italian Institute of Technology, Viale Regina Elena 291, 00161 Rome, Italy
| | - Sara F Abalde
- Neuroscience of Perception & Action Lab, Italian Institute of Technology, Viale Regina Elena 291, 00161 Rome, Italy; The Open University Affiliated Research Centre, Istituto Italiano di Tecnologia, Genova, Italy
| | - Giacomo Novembre
- Neuroscience of Perception & Action Lab, Italian Institute of Technology, Viale Regina Elena 291, 00161 Rome, Italy.
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4
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Yamazaki R, Ushiyama J. Head movements induced by voluntary neck flexion stabilize sensorimotor synchronization of the finger to syncopated auditory rhythms. Front Psychol 2024; 15:1335050. [PMID: 38903467 PMCID: PMC11188995 DOI: 10.3389/fpsyg.2024.1335050] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/09/2023] [Accepted: 05/03/2024] [Indexed: 06/22/2024] Open
Abstract
Head movements that are synchronized with musical rhythms often emerge during musical activities, such as hip hop dance. Although such movements are known to affect the meter and pulse perception of complex auditory rhythms, no studies have investigated their contribution to the performance of sensorimotor synchronization (SMS). In the present study, participants listened to syncopated auditory rhythms and flexed their dominant hand index finger in time with the perceived pulses (4/4 meters). In the first experiment (Exp. 1), the participants moved their heads via voluntary neck flexion to the pulses in parallel with finger SMS (Nodding condition, ND). This performance was compared with finger SMS without nodding (Without Nodding condition, WN). In the second experiment (Exp. 2), we investigated the specificity of the effect of head SMS on finger SMS confirmed in Exp. 1 by asking participants to flex their bilateral index fingers to the pulses (Bimanual condition, BM). We compared the performance of dominant hand finger SMS between the BM and ND conditions. In Exp. 1, we found that dominant hand finger SMS was significantly more stable (smaller standard deviation of asynchrony) in the ND versus WN condition (p < 0.001). In Exp. 2, dominant hand finger SMS was significantly more accurate (smaller absolute value of asynchrony) in the ND versus BM condition (p = 0.037). In addition, the stability of dominant hand finger SMS was significantly correlated with the index of phase locking between the pulses and head SMS across participants in the ND condition (r = -0.85, p < 0.001). In contrast, the stability of dominant hand finger SMS was not significantly correlated with the index of phase locking between pulses and non-dominant hand finger SMS in the BM condition (r = -0.25, p = 0.86 after multiple comparison correction). These findings suggest that SMS modulation depends on the motor effectors simultaneously involved in synchronization: simultaneous head SMS stabilizes the timing of dominant hand finger SMS, while simultaneous non-dominant hand finger SMS deteriorates the timing accuracy of dominant hand finger SMS. The present study emphasizes the unique and crucial role of head movements in rhythmic behavior.
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Affiliation(s)
- Ryoichiro Yamazaki
- Graduate School of Media and Governance, Keio University, Fujisawa, Japan
| | - Junichi Ushiyama
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
- Department of Rehabilitation Medicine, Keio University School of Medicine, Tokyo, Japan
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Rathcke T, Smit E, Zheng Y, Canzi M. Perception of temporal structure in speech is influenced by body movement and individual beat perception ability. Atten Percept Psychophys 2024:10.3758/s13414-024-02893-8. [PMID: 38769276 DOI: 10.3758/s13414-024-02893-8] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Accepted: 04/03/2024] [Indexed: 05/22/2024]
Abstract
The subjective experience of time flow in speech deviates from the sound acoustics in substantial ways. The present study focuses on the perceptual tendency to regularize time intervals found in speech but not in other types of sounds with a similar temporal structure. We investigate to what extent individual beat perception ability is responsible for perceptual regularization and if the effect can be eliminated through the involvement of body movement during listening. Participants performed a musical beat perception task and compared spoken sentences to their drumbeat-based versions either after passive listening or after listening and moving along with the beat of the sentences. The results show that the interval regularization prevails in listeners with a low beat perception ability performing a passive listening task and is eliminated in an active listening task involving body movement. Body movement also helped to promote a veridical percept of temporal structure in speech at the group level. We suggest that body movement engages an internal timekeeping mechanism, promoting the fidelity of auditory encoding even in sounds of high temporal complexity and irregularity such as natural speech.
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Affiliation(s)
- Tamara Rathcke
- Department of Linguistics, University of Konstanz, Konstanz, 78464, Baden-Württemberg, Germany.
| | - Eline Smit
- Department of Linguistics, University of Konstanz, Konstanz, 78464, Baden-Württemberg, Germany
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Street, Penrith, 2751, NSW, Australia
| | - Yue Zheng
- Department of Psychology, University of York, York, YO10 5DD, UK
- Department of Hearing Sciences, University of Nottingham, Nottingham, NG7 2RD, UK
| | - Massimiliano Canzi
- Department of Linguistics, University of Konstanz, Konstanz, 78464, Baden-Württemberg, Germany
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Russo S, Carnovalini F, Calignano G, Arfé B, Rodà A, Valenza E. Linking vestibular, tactile, and somatosensory rhythm perception to language development in infancy. Cognition 2024; 243:105688. [PMID: 38101080 DOI: 10.1016/j.cognition.2023.105688] [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: 06/14/2023] [Revised: 11/30/2023] [Accepted: 12/06/2023] [Indexed: 12/17/2023]
Abstract
First experiences with rhythm occur in the womb, with different rhythmic sources being available to the human fetus. Among sensory modalities, vestibular, tactile, and somatosensory perception plays a crucial role in early processing. However, a limited number of studies so far have specifically focused on VTS rhythms in language development. The present work investigated VTS rhythmic abilities and their role in language acquisition through two experiments with 45 infants (21 females, sex assigned at birth; M age = 661.6 days, SD = 192.6) with middle/high socioeconomic status. Specifically, 37 infants from the original sample completed Experiment 1, assessing VTS rhythmic abilities through a vibrotactile tool for music perception. In Experiment 2, linguistic abilities were evaluated in 40 participants from the same cohort, specifically testing phonological and prosodic processing. Discrimination abilities for rhythmic and linguistic stimuli were inferred from changes in pupil diameter to contingent visual stimuli over time, through a Tobii X-60 eye-tracker. The predictive effect of VTS rhythmic abilities on linguistic processing and the developmental changes occurring across ages were explored in the 32 infants who completed both Experiments 1 and 2 by means of generalized, additive and linear, mixed-effect models. Results are discussed in terms of cross-sensory (i.e., haptic to hearing) and cross-domain (i.e., music to language) effects of rhythm on language acquisition, with implications for typical and atypical development.
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Affiliation(s)
- Sofia Russo
- Department of Developmental Psychology and Socialization, University of Padua, Padova, Italy.
| | - Filippo Carnovalini
- Department of Department of Information Engineering, University of Padua, Padova, Italy.
| | - Giulia Calignano
- Department of Developmental Psychology and Socialization, University of Padua, Padova, Italy.
| | - Barbara Arfé
- Department of Developmental Psychology and Socialization, University of Padua, Padova, Italy.
| | - Antonio Rodà
- Department of Department of Information Engineering, University of Padua, Padova, Italy.
| | - Eloisa Valenza
- Department of Developmental Psychology and Socialization, University of Padua, Padova, Italy.
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7
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Granot R. The music we march to: Beyond beat, floating intentionality and improvisation: A comment on "Musical engagement as a duet of tight synchrony and loose interpretability" by Tal-Chen Rabinowitch. Phys Life Rev 2023; 47:9-14. [PMID: 37660431 DOI: 10.1016/j.plrev.2023.08.009] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/09/2023] [Accepted: 08/14/2023] [Indexed: 09/05/2023]
Affiliation(s)
- Roni Granot
- The MusiCog Lab, The Hebrew University of Jerusalem, Israel.
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Lenc T, Peter V, Hooper C, Keller PE, Burnham D, Nozaradan S. Infants show enhanced neural responses to musical meter frequencies beyond low-level features. Dev Sci 2023; 26:e13353. [PMID: 36415027 DOI: 10.1111/desc.13353] [Citation(s) in RCA: 5] [Impact Index Per Article: 5.0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/02/2022] [Revised: 10/20/2022] [Accepted: 11/16/2022] [Indexed: 11/24/2022]
Abstract
Music listening often entails spontaneous perception and body movement to a periodic pulse-like meter. There is increasing evidence that this cross-cultural ability relates to neural processes that selectively enhance metric periodicities, even when these periodicities are not prominent in the acoustic stimulus. However, whether these neural processes emerge early in development remains largely unknown. Here, we recorded the electroencephalogram (EEG) of 20 healthy 5- to 6-month-old infants, while they were exposed to two rhythms known to induce the perception of meter consistently across Western adults. One rhythm contained prominent acoustic periodicities corresponding to the meter, whereas the other rhythm did not. Infants showed significantly enhanced representations of meter periodicities in their EEG responses to both rhythms. This effect is unlikely to reflect the tracking of salient acoustic features in the stimulus, as it was observed irrespective of the prominence of meter periodicities in the audio signals. Moreover, as previously observed in adults, the neural enhancement of meter was greater when the rhythm was delivered by low-pitched sounds. Together, these findings indicate that the endogenous enhancement of metric periodicities beyond low-level acoustic features is a neural property that is already present soon after birth. These high-level neural processes could set the stage for internal representations of musical meter that are critical for human movement coordination during rhythmic musical behavior. RESEARCH HIGHLIGHTS: 5- to 6-month-old infants were presented with auditory rhythms that induce the perception of a periodic pulse-like meter in adults. Infants showed selective enhancement of EEG activity at meter-related frequencies irrespective of the prominence of these frequencies in the stimulus. Responses at meter-related frequencies were boosted when the rhythm was conveyed by bass sounds. High-level neural processes that transform rhythmic auditory stimuli into internal meter templates emerge early after birth.
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Affiliation(s)
- Tomas Lenc
- Institute of Neuroscience (IONS), Université catholique de Louvain (UCL), Brussels, Belgium
- MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Sydney, Australia
| | - Varghese Peter
- MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Sydney, Australia
- School of Health and Behavioural Sciences, University of the Sunshine Coast, Queensland, Australia
| | - Caitlin Hooper
- MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Sydney, Australia
| | - Peter E Keller
- MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Sydney, Australia
- Center for Music in the Brain & Department of Clinical Medicine, Aarhus University, Aarhus, Denmark
| | - Denis Burnham
- MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Sydney, Australia
| | - Sylvie Nozaradan
- Institute of Neuroscience (IONS), Université catholique de Louvain (UCL), Brussels, Belgium
- MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Sydney, Australia
- International Laboratory for Brain, Music and Sound Research (BRAMS), Montreal, Canada
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9
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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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11
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Reybrouck M, Podlipniak P, Welch D. Music Listening and Homeostatic Regulation: Surviving and Flourishing in a Sonic World. INTERNATIONAL JOURNAL OF ENVIRONMENTAL RESEARCH AND PUBLIC HEALTH 2021; 19:278. [PMID: 35010538 PMCID: PMC8751057 DOI: 10.3390/ijerph19010278] [Citation(s) in RCA: 1] [Impact Index Per Article: 0.3] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Subscribe] [Scholar Register] [Received: 09/02/2021] [Revised: 11/10/2021] [Accepted: 12/20/2021] [Indexed: 01/01/2023]
Abstract
This paper argues for a biological conception of music listening as an evolutionary achievement that is related to a long history of cognitive and affective-emotional functions, which are grounded in basic homeostatic regulation. Starting from the three levels of description, the acoustic description of sounds, the neurological level of processing, and the psychological correlates of neural stimulation, it conceives of listeners as open systems that are in continuous interaction with the sonic world. By monitoring and altering their current state, they can try to stay within the limits of operating set points in the pursuit of a controlled state of dynamic equilibrium, which is fueled by interoceptive and exteroceptive sources of information. Listening, in this homeostatic view, can be adaptive and goal-directed with the aim of maintaining the internal physiology and directing behavior towards conditions that make it possible to thrive by seeking out stimuli that are valued as beneficial and worthy, or by attempting to avoid those that are annoying and harmful. This calls forth the mechanisms of pleasure and reward, the distinction between pleasure and enjoyment, the twin notions of valence and arousal, the affect-related consequences of music listening, the role of affective regulation and visceral reactions to the sounds, and the distinction between adaptive and maladaptive listening.
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Affiliation(s)
- Mark Reybrouck
- Faculty of Arts, University of Leuven, 3000 Leuven, Belgium
- Department of Art History, Musicology and Theater Studies, IPEM Institute for Psychoacoustics and Electronic Music, 9000 Ghent, Belgium
| | - Piotr Podlipniak
- Institute of Musicology, Adam Mickiewicz University in Poznań, 61-712 Poznan, Poland;
| | - David Welch
- Institute Audiology Section, School of Population Health, University of Auckland, Auckland 2011, New Zealand;
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12
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Lenc T, Merchant H, Keller PE, Honing H, Varlet M, Nozaradan S. Mapping between sound, brain and behaviour: four-level framework for understanding rhythm processing in humans and non-human primates. Philos Trans R Soc Lond B Biol Sci 2021; 376:20200325. [PMID: 34420381 PMCID: PMC8380981 DOI: 10.1098/rstb.2020.0325] [Citation(s) in RCA: 10] [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] [Accepted: 06/14/2021] [Indexed: 12/16/2022] Open
Abstract
Humans perceive and spontaneously move to one or several levels of periodic pulses (a meter, for short) when listening to musical rhythm, even when the sensory input does not provide prominent periodic cues to their temporal location. Here, we review a multi-levelled framework to understanding how external rhythmic inputs are mapped onto internally represented metric pulses. This mapping is studied using an approach to quantify and directly compare representations of metric pulses in signals corresponding to sensory inputs, neural activity and behaviour (typically body movement). Based on this approach, recent empirical evidence can be drawn together into a conceptual framework that unpacks the phenomenon of meter into four levels. Each level highlights specific functional processes that critically enable and shape the mapping from sensory input to internal meter. We discuss the nature, constraints and neural substrates of these processes, starting with fundamental mechanisms investigated in macaque monkeys that enable basic forms of mapping between simple rhythmic stimuli and internally represented metric pulse. We propose that human evolution has gradually built a robust and flexible system upon these fundamental processes, allowing more complex levels of mapping to emerge in musical behaviours. This approach opens promising avenues to understand the many facets of rhythmic behaviours across individuals and species. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.
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Affiliation(s)
- Tomas Lenc
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, New South Wales 2751, Australia
- Institute of Neuroscience (IONS), Université Catholique de Louvain (UCL), Brussels 1200, Belgium
| | - Hugo Merchant
- Instituto de Neurobiologia, UNAM, Campus Juriquilla, Querétaro 76230, Mexico
| | - Peter E. Keller
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, New South Wales 2751, Australia
| | - Henkjan Honing
- Amsterdam Brain and Cognition (ABC), Institute for Logic, Language and Computation (ILLC), University of Amsterdam, Amsterdam 1090 GE, The Netherlands
| | - Manuel Varlet
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, New South Wales 2751, Australia
- School of Psychology, Western Sydney University, Penrith, New South Wales 2751, Australia
| | - Sylvie Nozaradan
- Institute of Neuroscience (IONS), Université Catholique de Louvain (UCL), Brussels 1200, Belgium
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Lense MD, Ladányi E, Rabinowitch TC, Trainor L, Gordon R. Rhythm and timing as vulnerabilities in neurodevelopmental disorders. Philos Trans R Soc Lond B Biol Sci 2021; 376:20200327. [PMID: 34420385 PMCID: PMC8380970 DOI: 10.1098/rstb.2020.0327] [Citation(s) in RCA: 34] [Impact Index Per Article: 11.3] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Accepted: 05/05/2021] [Indexed: 12/22/2022] Open
Abstract
Millions of children are impacted by neurodevelopmental disorders (NDDs), which unfold early in life, have varying genetic etiologies and can involve a variety of specific or generalized impairments in social, cognitive and motor functioning requiring potentially lifelong specialized supports. While specific disorders vary in their domain of primary deficit (e.g. autism spectrum disorder (social), attention-deficit/hyperactivity disorder (attention), developmental coordination disorder (motor) and developmental language disorder (language)), comorbidities between NDDs are common. Intriguingly, many NDDs are associated with difficulties in skills related to rhythm, timing and synchrony though specific profiles of rhythm/timing impairments vary across disorders. Impairments in rhythm/timing may instantiate vulnerabilities for a variety of NDDs and may contribute to both the primary symptoms of each disorder as well as the high levels of comorbidities across disorders. Drawing upon genetic, neural, behavioural and interpersonal constructs across disorders, we consider how disrupted rhythm and timing skills early in life may contribute to atypical developmental cascades that involve overlapping symptoms within the context of a disorder's primary deficits. Consideration of the developmental context, as well as common and unique aspects of the phenotypes of different NDDs, will inform experimental designs to test this hypothesis including via potential mechanistic intervention approaches. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.
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Affiliation(s)
- Miriam D. Lense
- Department of Otolaryngology—Head and Neck Surgery, Vanderbilt University Medical Center, Nashville, TN, USA
- Vanderbilt Kennedy Center, Vanderbilt University Medical Center, Nashville, TN, USA
| | - Eniko Ladányi
- Department of Otolaryngology—Head and Neck Surgery, Vanderbilt University Medical Center, Nashville, TN, USA
| | | | - Laurel Trainor
- Department of Psychology, Neuroscience and Behaviour, McMaster University, Hamilton, Ontario, Canada
| | - Reyna Gordon
- Department of Otolaryngology—Head and Neck Surgery, Vanderbilt University Medical Center, Nashville, TN, USA
- Vanderbilt Kennedy Center, Vanderbilt University Medical Center, Nashville, TN, USA
- Vanderbilt Genetics Institute, Vanderbilt University Medical Center, Nashville, TN, USA
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14
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Rocha S, Southgate V, Mareschal D. Rate of infant carrying impacts infant spontaneous motor tempo. ROYAL SOCIETY OPEN SCIENCE 2021; 8:210608. [PMID: 34540253 PMCID: PMC8441131 DOI: 10.1098/rsos.210608] [Citation(s) in RCA: 1] [Impact Index Per Article: 0.3] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Figures] [Subscribe] [Scholar Register] [Received: 04/10/2021] [Accepted: 08/23/2021] [Indexed: 06/13/2023]
Abstract
Rhythm production is a critical component of human interaction, not least forming the basis of our musicality. Infants demonstrate a spontaneous motor tempo (SMT), or natural rate of rhythmic movement. Here, we ask whether infant SMT is influenced by the rate of locomotion infants experience when being carried. Ten-month-old, non-walking infants were tested using a free drumming procedure before and after 10 min of being carried by an experimenter walking at a slower (98 BPM) or faster (138 BPM) than average tempo. We find that infant SMT is differentially impacted by carrying experience dependent on the tempo at which they were carried: infants in the slow-walked group exhibited a slower SMT from pre-test to post-test, while infants in the fast-walked group showed a faster SMT from pre-test to post-test. Heart rate data suggest that this effect is not due to a general change in the state of arousal. We argue that being carried during caregiver locomotion is a predominant experience for infants throughout the first years of life, and as a source of regular, vestibular, information, may at least partially form the basis of their sense of rhythm.
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Affiliation(s)
- Sinead Rocha
- Department of Psychology, University of Cambridge, Cambridge CB2 1TN, UK
- Birkbeck University of London, London WC1E 7HX, UK
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15
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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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16
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Tichko P, Kim JC, Large EW. Bouncing the network: A dynamical systems model of auditory-vestibular interactions underlying infants' perception of musical rhythm. Dev Sci 2021; 24:e13103. [PMID: 33570778 DOI: 10.1111/desc.13103] [Citation(s) in RCA: 9] [Impact Index Per Article: 3.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/03/2020] [Accepted: 02/03/2021] [Indexed: 11/26/2022]
Abstract
Previous work suggests that auditory-vestibular interactions, which emerge during bodily movement to music, can influence the perception of musical rhythm. In a seminal study on the ontogeny of musical rhythm, Phillips-Silver and Trainor (2005) found that bouncing infants to an unaccented rhythm influenced infants' perceptual preferences for accented rhythms that matched the rate of bouncing. In the current study, we ask whether nascent, diffuse coupling between auditory and motor systems is sufficient to bootstrap short-term Hebbian plasticity in the auditory system and explain infants' preferences for accented rhythms thought to arise from auditory-vestibular interactions. First, we specify a nonlinear, dynamical system in which two oscillatory neural networks, representing developmentally nascent auditory and motor systems, interact through weak, non-specific coupling. The auditory network was equipped with short-term Hebbian plasticity, allowing the auditory network to tune its intrinsic resonant properties. Next, we simulate the effect of vestibular input (e.g., infant bouncing) on infants' perceptual preferences for accented rhythms. We found that simultaneous auditory-vestibular training shaped the model's response to musical rhythm, enhancing vestibular-related frequencies in auditory-network activity. Moreover, simultaneous auditory-vestibular training, relative to auditory- or vestibular-only training, facilitated short-term auditory plasticity in the model, producing stronger oscillator connections in the auditory network. Finally, when tested on a musical rhythm, models which received simultaneous auditory-vestibular training, but not models that received auditory- or vestibular-only training, resonated strongly at frequencies related to their "bouncing," a finding qualitatively similar to infants' preferences for accented rhythms that matched the rate of infant bouncing.
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Affiliation(s)
- Parker Tichko
- Department of Music, Northeastern University, Boston, MA, USA
| | - Ji Chul Kim
- Department of Psychological Sciences, Perception, Action, Cognition (PAC) Division, University of Connecticut, Storrs, CT, USA
| | - Edward W Large
- Department of Psychological Sciences, Perception, Action, Cognition (PAC) Division, University of Connecticut, Storrs, CT, USA.,Department of Psychological Sciences, Center for the Ecological Study of Perception & Action (CESPA), University of Connecticut, Storrs, CT, USA.,Department of Physics, University of Connecticut, Storrs, CT, USA
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17
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Rocha S, Southgate V, Mareschal D. Infant Spontaneous Motor Tempo. Dev Sci 2020; 24:e13032. [PMID: 32860482 DOI: 10.1111/desc.13032] [Citation(s) in RCA: 10] [Impact Index Per Article: 2.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/05/2019] [Revised: 08/07/2020] [Accepted: 08/19/2020] [Indexed: 11/29/2022]
Abstract
Spontaneous Motor Tempo (SMT) is influenced by individual differences in age and body size. We present the first data documenting the SMT of infants from 5 to 37 months of age using a simple drumming task. As in late childhood and adulthood, we predicted that infant SMT would slow across the first years of life. However, we find that older infants drum more quickly than younger infants. Furthermore, studies of adults suggest larger bodies prefer slower rhythms. This relationship may be the product of biomechanical resonance, or effects may be driven by rhythmic experience, such as of locomotion. We used infants, whose body size is dissociated from their predominant experience of locomotion as their parent often carries them, to test this argument. We reveal that infant SMT is predicted by parent, but not own, body size, supporting a passive experience-based argument, and propose that early rhythm may be set by repetitive vestibular stimulation when carried by the caregiver.
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Affiliation(s)
- Sinead Rocha
- Centre for Brain and Cognitive Development, Birkbeck University of London, London, UK.,Centre for Neuroscience in Education, University of Cambridge, Cambridge, UK
| | | | - Denis Mareschal
- Centre for Brain and Cognitive Development, Birkbeck University of London, London, UK
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18
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Colley I, Varlet M, MacRitchie J, Keller PE. The influence of a conductor and co-performer on auditory-motor synchronisation, temporal prediction, and ancillary entrainment in a musical drumming task. Hum Mov Sci 2020; 72:102653. [PMID: 32721371 DOI: 10.1016/j.humov.2020.102653] [Citation(s) in RCA: 4] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/06/2019] [Revised: 05/06/2020] [Accepted: 06/09/2020] [Indexed: 11/30/2022]
Abstract
Interpersonal coordination is exemplified in ensemble musicians, who coordinate their actions deliberately in order to achieve temporal synchronisation in their performances. However, musicians also move parts of their bodies unintentionally or spontaneously, sometimes in ways that do not directly produce sound from their instruments. Musicians' movements-intentional or otherwise-provide visual signals to co-performers, which might facilitate temporal synchronisation. In large ensembles, a conductor also provides a visual cue, which has been shown to enhance synchronisation. In the present study, we tested how visual cues from a co-performer and a conductor affect processes of temporal anticipation, synchronisation, and ancillary movements in a sample of primarily non-musicians. We used a dyadic synchronisation drumming task, in which paired participants drummed to the beat of tempo-changing music. We manipulated visual access between partners and a virtual conductor. Results showed that the conductor improved synchronisation with the music, but synchrony with the music did not improve when partners could see each other. Temporal prediction was improved when partners saw the conductor, but not each other. Ancillary movements of the head were more synchronised between partners when they could see each other, and greater ancillary synchrony at beat-related frequencies of movement was associated with greater drumming synchrony. These results suggest that compatible audio-visual cues can improve intentional synchronisation, that ancillary movements are affected by seeing a partner, and that attended vs. incidental visual cues thus have partially dissociable effects on temporal coordination during joint action.
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Affiliation(s)
- Ian Colley
- The MARCS Institute for Brain, Behaviour and Development, Western SydneyUniversity, Locked Bag 1797, Penrith, NSW 2751, Australia.
| | - Manuel Varlet
- The MARCS Institute for Brain, Behaviour and Development, Western SydneyUniversity, Locked Bag 1797, Penrith, NSW 2751, Australia; School of Psychology, Western Sydney University, Locked Bag 1797, Penrith, NSW 2751, Australia
| | - Jennifer MacRitchie
- The MARCS Institute for Brain, Behaviour and Development, Western SydneyUniversity, Locked Bag 1797, Penrith, NSW 2751, Australia; School of Humanities and Communication Arts, Western Sydney University, Locked Bag 1797, Penrith, NSW 2751, Australia
| | - Peter E Keller
- The MARCS Institute for Brain, Behaviour and Development, Western SydneyUniversity, Locked Bag 1797, Penrith, NSW 2751, Australia
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19
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Gavirangaswamy V, Gupta A, Terwilliger M, Gupta A. RDMTk. INTERNATIONAL JOURNAL OF COGNITIVE INFORMATICS AND NATURAL INTELLIGENCE 2019. [DOI: 10.4018/ijcini.2019100101] [Citation(s) in RCA: 1] [Impact Index Per Article: 0.2] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/09/2022]
Abstract
Research into risky decision making (RDM) has become a multidisciplinary effort. Conversations cut across fields such as psychology, economics, insurance, and marketing. This broad interest highlights the necessity for collaborative investigation of RDM to understand and manipulate the situations within which it manifests. A holistic understanding of RDM has been impeded by the independent development of diverse RDM research methodologies across different fields. There is no software specific to RDM that combines paradigms and analytical tools based on recent developments in high-performance computing technologies. This paper presents a toolkit called RDMTk, developed specifically for the study of risky decision making. RDMTk provides a free environment that can be used to manage globally-based experiments while fostering collaborative research. The incorporation of machine learning and high-performance computing (HPC) technologies in the toolkit further open additional possibilities such as scalable algorithms and big data problems arising from global scale experiments.
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Affiliation(s)
| | | | | | - Ajay Gupta
- Western Michigan University, Kalamazoo, USA
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20
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Takehana A, Uehara T, Sakaguchi Y. Audiovisual synchrony perception in observing human motion to music. PLoS One 2019; 14:e0221584. [PMID: 31454393 PMCID: PMC6711538 DOI: 10.1371/journal.pone.0221584] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/17/2019] [Accepted: 08/09/2019] [Indexed: 11/18/2022] Open
Abstract
To examine how individuals perceive synchrony between music and body motion, we investigated the characteristics of synchrony perception during observation of a Japanese Radio Calisthenics routine. We used the constant stimuli method to present video clips of an individual performing an exercise routine. We generated stimuli with a range of temporal shifts between the visual and auditory streams, and asked participants to make synchrony judgments. We then examined which movement-feature points agreed with music beats when the participants perceived synchrony. We found that extremities (e.g., hands and feet) reached the movement endpoint or moved through the lowest position at music beats associated with synchrony. Movement onsets never agreed with music beats. To investigate whether visual information about the feature points was necessary for synchrony perception, we conducted a second experiment where only limited portions of video clips were presented to the participants. Participants consistently judged synchrony even when the video image did not contain the critical feature points, suggesting that a prediction mechanism contributes to synchrony perception. To discuss the meaning of these feature points with respect to synchrony perception, we examined the temporal relationship between the motion of body parts and the ground reaction force (GRF) of exercise performers, which reflected the total force acting on the performer. Interestingly, vertical GRF showed local peaks consistently synchronized with music beats for most exercises, with timing that was closely correlated with the timing of movement feature points. This result suggests that synchrony perception in humans is based on some global variable anticipated from visual information, instead of the feature points found in the motion of individual body parts. In summary, the present results indicate that synchrony perception during observation of human motion to music depends largely on spatiotemporal prediction of the performer's motion.
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Affiliation(s)
- Akira Takehana
- Department of Mechanical Engineering and Intelligent Systems, Graduate School of Informatics and Engineering, University of Electro-Communications, Chofu, Tokyo, Japan
| | - Tsukasa Uehara
- Department of Mechanical Engineering and Intelligent Systems, Graduate School of Informatics and Engineering, University of Electro-Communications, Chofu, Tokyo, Japan
| | - Yutaka Sakaguchi
- Department of Mechanical Engineering and Intelligent Systems, Graduate School of Informatics and Engineering, University of Electro-Communications, Chofu, Tokyo, Japan
- Research Center for Performance Art Science, University of Electro-Communications, Chofu, Tokyo, Japan
- * E-mail:
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21
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Reybrouck M, Podlipniak P, Welch D. Music and Noise: Same or Different? What Our Body Tells Us. Front Psychol 2019; 10:1153. [PMID: 31293465 PMCID: PMC6603256 DOI: 10.3389/fpsyg.2019.01153] [Citation(s) in RCA: 12] [Impact Index Per Article: 2.4] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/18/2018] [Accepted: 05/01/2019] [Indexed: 11/23/2022] Open
Abstract
In this article, we consider music and noise in terms of vibrational and transferable energy as well as from the evolutionary significance of the hearing system of Homo sapiens. Music and sound impinge upon our body and our mind and we can react to both either positively or negatively. Much depends, in this regard, on the frequency spectrum and the level of the sound stimuli, which may sometimes make it possible to set music apart from noise. There are, however, two levels of description: the physical-acoustic description of the sound and the subjective-psychological reactions by the listeners. Starting from a vibrational approach to sound and music, we first investigate how sound may activate the sense of touch and the vestibular system of the inner ear besides the sense of hearing. We then touch upon distinct issues such as the relation between low-frequency sounds and annoyance, the harmful effect of loud sound and noise, the direct effects of overstimulation with sound, the indirect effects of unwanted sounds as related to auditory neurology, and the widespread phenomenon of liking loud sound and music, both from the point of view of behavioral and psychological aspects.
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Affiliation(s)
- Mark Reybrouck
- Musicology Research Group, Faculty of Arts, KU Leuven-University of Leuven, Leuven, Belgium.,IPEM, Department of Art History, Musicology and Theatre Studies, Ghent, Belgium
| | - Piotr Podlipniak
- Institute of Musicology, Adam Mickiewicz University in Poznań, Poznań, Poland
| | - David Welch
- Audiology Section, School of Population Health, University of Auckland, Auckland, New Zealand
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22
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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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23
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Colley ID, Varlet M, MacRitchie J, Keller PE. The influence of visual cues on temporal anticipation and movement synchronization with musical sequences. Acta Psychol (Amst) 2018; 191:190-200. [PMID: 30308442 DOI: 10.1016/j.actpsy.2018.09.014] [Citation(s) in RCA: 15] [Impact Index Per Article: 2.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/09/2018] [Revised: 08/24/2018] [Accepted: 09/28/2018] [Indexed: 12/29/2022] Open
Abstract
Music presents a complex case of movement timing, as one to several dozen musicians coordinate their actions at short time-scales. This process is often directed by a conductor who provides a visual beat and guides the ensemble through tempo changes. The current experiment tested the ways in which audio-motor coordination is influenced by visual cues from a conductor's gestures, and how this influence might manifest in two ways: movements used to produce sound related to the music, and movements of the upper-body that do not directly affect sound output. We designed a virtual conductor that was derived from morphed motion capture recordings of human conductors. Two groups of participants (29 musicians and 28 nonmusicians, to test the generalizability of visuo-motor synchronization to non-experts) were shown the virtual conductor, a simple visual metronome, or a stationary circle while completing a drumming task that required synchronization with tempo-changing musical sequences. We measured asynchronies and temporal anticipation in the drumming task, as well as participants' upper-body movement using motion capture. Drumming results suggest the conductor generally improves synchronization by facilitating anticipation of tempo changes in the music. Motion capture results showed that the conductor visual cue elicited more structured head movements than the other two visual cues for nonmusicians only. Multiple regression analysis showed that the nonmusicians with less rigid movement and high anticipation had lower asynchronies. Thus, the visual cues provided by a conductor might serve to facilitate temporal anticipation and more synchronous movement in the general population, but might also cause rigid ancillary movements in some non-experts.
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24
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Varlet M, Williams R, Keller PE. Effects of pitch and tempo of auditory rhythms on spontaneous movement entrainment and stabilisation. PSYCHOLOGICAL RESEARCH 2018; 84:568-584. [PMID: 30116886 DOI: 10.1007/s00426-018-1074-8] [Citation(s) in RCA: 18] [Impact Index Per Article: 3.0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/11/2018] [Accepted: 08/09/2018] [Indexed: 10/28/2022]
Abstract
Human movements spontaneously entrain to auditory rhythms, which can help to stabilise movements in time and space. The properties of auditory rhythms supporting the occurrence of this phenomenon, however, remain largely unclear. Here, we investigate in two experiments the effects of pitch and tempo on spontaneous movement entrainment and stabilisation. We examined spontaneous entrainment of hand-held pendulum swinging in time with low-pitched (100 Hz) and high-pitched (1600 Hz) metronomes to test whether low pitch favours movement entrainment and stabilisation. To investigate whether stimulation and movement tempi moderate these effects of pitch, we manipulated (1) participants' preferred movement tempo by varying pendulum mechanical constraints (Experiment 1) and (2) stimulation tempo, which was either equal to, or slightly slower or faster (± 10%) than the participant's preferred movement tempo (Experiment 2). The results showed that participants' movements spontaneously entrained to auditory rhythms, and that this effect was stronger with low-pitched rhythms independently of stimulation and movement tempi. Results also indicated that auditory rhythms can lead to increased movement amplitude and stabilisation of movement tempo and amplitude, particularly when low-pitched. However, stabilisation effects were found to depend on intrinsic movement variability. Auditory rhythms decreased movement variability of individuals with higher intrinsic variability but increased movement variability of individuals with lower intrinsic variability. These findings provide new insights into factors that influence auditory-motor entrainment and how they may be optimised to enhance movement efficiency.
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Affiliation(s)
- Manuel Varlet
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Locked Bag 1797, Penrith, NSW, 2751, Australia.
| | - Rohan Williams
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Locked Bag 1797, Penrith, NSW, 2751, Australia
| | - Peter E Keller
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Locked Bag 1797, Penrith, NSW, 2751, Australia
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25
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Abstract
Bass sounds play a special role in conveying the rhythm and stimulating motor entrainment to the beat of music. However, the biological roots of this culturally widespread musical practice remain mysterious, despite its fundamental relevance in the sciences and arts, and also for music-assisted clinical rehabilitation of motor disorders. Here, we show that this musical convention may exploit a neurophysiological mechanism whereby low-frequency sounds shape neural representations of rhythmic input at the cortical level by boosting selective neural locking to the beat, thus explaining the privileged role of bass sounds in driving people to move along with the musical beat. Music makes us move, and using bass instruments to build the rhythmic foundations of music is especially effective at inducing people to dance to periodic pulse-like beats. Here, we show that this culturally widespread practice may exploit a neurophysiological mechanism whereby low-frequency sounds shape the neural representations of rhythmic input by boosting selective locking to the beat. Cortical activity was captured using electroencephalography (EEG) while participants listened to a regular rhythm or to a relatively complex syncopated rhythm conveyed either by low tones (130 Hz) or high tones (1236.8 Hz). We found that cortical activity at the frequency of the perceived beat is selectively enhanced compared with other frequencies in the EEG spectrum when rhythms are conveyed by bass sounds. This effect is unlikely to arise from early cochlear processes, as revealed by auditory physiological modeling, and was particularly pronounced for the complex rhythm requiring endogenous generation of the beat. The effect is likewise not attributable to differences in perceived loudness between low and high tones, as a control experiment manipulating sound intensity alone did not yield similar results. Finally, the privileged role of bass sounds is contingent on allocation of attentional resources to the temporal properties of the stimulus, as revealed by a further control experiment examining the role of a behavioral task. Together, our results provide a neurobiological basis for the convention of using bass instruments to carry the rhythmic foundations of music and to drive people to move to the beat.
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26
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Comstock DC, Hove MJ, Balasubramaniam R. Sensorimotor Synchronization With Auditory and Visual Modalities: Behavioral and Neural Differences. Front Comput Neurosci 2018; 12:53. [PMID: 30072885 PMCID: PMC6058047 DOI: 10.3389/fncom.2018.00053] [Citation(s) in RCA: 30] [Impact Index Per Article: 5.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/05/2018] [Accepted: 06/19/2018] [Indexed: 11/13/2022] Open
Abstract
It has long been known that the auditory system is better suited to guide temporally precise behaviors like sensorimotor synchronization (SMS) than the visual system. Although this phenomenon has been studied for many years, the underlying neural and computational mechanisms remain unclear. Growing consensus suggests the existence of multiple, interacting, context-dependent systems, and that reduced precision in visuo-motor timing might be due to the way experimental tasks have been conceived. Indeed, the appropriateness of the stimulus for a given task greatly influences timing performance. In this review, we examine timing differences for sensorimotor synchronization and error correction with auditory and visual sequences, to inspect the underlying neural mechanisms that contribute to modality differences in timing. The disparity between auditory and visual timing likely relates to differences in the processing specialization between auditory and visual modalities (temporal vs. spatial). We propose this difference could offer potential explanation for the differing temporal abilities between modalities. We also offer suggestions as to how these sensory systems interface with motor and timing systems.
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Affiliation(s)
- Daniel C Comstock
- Cognitive and Information Sciences, University of California, Merced, Merced, CA, United States
| | - Michael J Hove
- Department of Psychological Science, Fitchburg State University, Fitchburg, MA, United States
| | - Ramesh Balasubramaniam
- Cognitive and Information Sciences, University of California, Merced, Merced, CA, United States
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27
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Affiliation(s)
- Daniel J. Levitin
- Department of Psychology, McGill University, Montreal, QC H3A 1G1, Canada
| | - Jessica A. Grahn
- Department of Psychology and Brain and Mind Institute, Western University, London, Ontario N6A 5B7, Canada
| | - Justin London
- Departments of Music and Cognitive Science, Carleton College, Northfield, Minnesota 55057
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28
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Rhythmic entrainment: Why humans want to, fireflies can't help it, pet birds try, and sea lions have to be bribed. Psychon Bull Rev 2017; 23:1647-1659. [PMID: 26920589 DOI: 10.3758/s13423-016-1013-x] [Citation(s) in RCA: 71] [Impact Index Per Article: 10.1] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/08/2022]
Abstract
Until recently, the literature on rhythmic ability took for granted that only humans are able to synchronize body movements to an external beat-to entrain. This assumption has been undercut by findings of beat-matching in various species of parrots and, more recently, in a sea lion, several species of primates, and possibly horses. This throws open the question of how widespread beat-matching ability is in the animal kingdom. Here we reassess the arguments and evidence for an absence of beat-matching in animals, and conclude that in fact no convincing case against beat-matching in animals has been made. Instead, such evidence as there is suggests that this capacity could be quite widespread. Furthermore, mutual entrainment of oscillations is a general principle of physical systems, both biological and nonbiological, suggesting that entrainment of motor systems by sensory systems may be a default rather than an oddity. The question then becomes, not why a few privileged species are able to beat-match, but why species do not always do so-why they vary in both spontaneous and learned beat-matching. We propose that when entrainment is not driven by fixed, mandatory connections between input and output (as in the case of, e.g., fireflies entraining to each others' flashes), it depends on voluntary control over, and voluntary or learned coupling of, sensory and motor systems, which can paradoxically lead to apparent failures of entrainment. Among the factors that affect whether an animal will entrain are sufficient control over the motor behavior to be entrained, sufficient perceptual sophistication to extract the entraining beat from the overall sensory environment, and the current cognitive state of the animal, including attention and motivation. The extent of entrainment in the animal kingdom potentially has widespread implications, not only for understanding the roots of human dance, but also for understanding the neural and cognitive architectures of animals.
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Synchronization to metrical levels in music depends on low-frequency spectral components and tempo. PSYCHOLOGICAL RESEARCH 2017; 82:1195-1211. [DOI: 10.1007/s00426-017-0894-2] [Citation(s) in RCA: 26] [Impact Index Per Article: 3.7] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/19/2016] [Accepted: 07/11/2017] [Indexed: 10/19/2022]
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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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Todd NPM, Govender S, Colebatch JG. Vestibular-dependent inter-stimulus interval effects on sound evoked potentials of central origin. Hear Res 2016; 341:190-201. [PMID: 27498399 PMCID: PMC5090052 DOI: 10.1016/j.heares.2016.07.017] [Citation(s) in RCA: 6] [Impact Index Per Article: 0.8] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Submit a Manuscript] [Subscribe] [Scholar Register] [Received: 01/07/2016] [Revised: 07/04/2016] [Accepted: 07/27/2016] [Indexed: 11/28/2022]
Abstract
Todd et al. (2014ab) have recently demonstrated the presence of vestibular-dependent contributions to auditory evoked potentials (AEPs) when passing through the vestibular threshold as determined by vestibular evoked myogenic potentials (VEMPs), including a particular deflection labeled as an N42/P52 prior to the long-latency AEPs N1 and P2. In this paper we report the results of an experiment to determine the effect of inter-stimulus interval (ISI) and regularity on potentials recorded above and below VEMP threshold. Five healthy, right-handed subjects were recruited and evoked potentials were recorded to binaurally presented sound stimulation, above and below vestibular threshold, at seven stimulus rates with ISIs of 212, 300, 424, 600, 848, 1200 and 1696 ms. The inner five intervals, i.e. 300, 424, 600, 848, 1200 ms, were presented twice in both regular and irregular conditions. ANOVA on the global field power (GFP) were conducted for each of four waves, N42, P52, N1 and P2 with factors of intensity, ISI and regularity. Both N42 and P52 waves showed significant ANOVA effects of intensity but no other main effects or interactions. In contrast both N1 and P2 showed additional effects of ISI, as well as intensity, and evidence of non-linear interactions between ISI and intensity. A source analysis was carried out consistent with prior work suggesting that when above vestibular threshold, in addition to bilateral superior temporal cortex, ocular, cerebellar and cingulate sources are recruited. Further statistical analysis of the source currents indicated that the origin of the interactions with intensity may be the ISI sensitivity of the vestibular-dependent sources. This in turn may reflect a specific vestibular preference for stimulus rates associated with locomotion, i.e. rates close to 2 Hz, or ISIs close to 500 ms, where saccular afferents show increased gain and the corresponding reflexes are most sensitive.
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Affiliation(s)
- N P M Todd
- Department of Psychology, University of Exeter, Exeter EX4 4QG, UK.
| | - S Govender
- Prince of Wales Clinical School and Neuroscience Research Australia, University of New South Wales, Randwick, Sydney, NSW 2052, Australia
| | - J G Colebatch
- Prince of Wales Clinical School and Neuroscience Research Australia, University of New South Wales, Randwick, Sydney, NSW 2052, Australia
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Schmidt-Kassow M, Wilkinson D, Denby E, Ferguson H. Synchronised vestibular signals increase the P300 event-related potential elicited by auditory oddballs. Brain Res 2016; 1648:224-231. [DOI: 10.1016/j.brainres.2016.07.019] [Citation(s) in RCA: 4] [Impact Index Per Article: 0.5] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/14/2015] [Revised: 07/01/2016] [Accepted: 07/13/2016] [Indexed: 11/29/2022]
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Araneda R, Renier L, Ebner-Karestinos D, Dricot L, De Volder AG. Hearing, feeling or seeing a beat recruits a supramodal network in the auditory dorsal stream. Eur J Neurosci 2016; 45:1439-1450. [PMID: 27471102 DOI: 10.1111/ejn.13349] [Citation(s) in RCA: 15] [Impact Index Per Article: 1.9] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/21/2015] [Revised: 06/13/2016] [Accepted: 07/23/2016] [Indexed: 10/21/2022]
Abstract
Hearing a beat recruits a wide neural network that involves the auditory cortex and motor planning regions. Perceiving a beat can potentially be achieved via vision or even touch, but it is currently not clear whether a common neural network underlies beat processing. Here, we used functional magnetic resonance imaging (fMRI) to test to what extent the neural network involved in beat processing is supramodal, that is, is the same in the different sensory modalities. Brain activity changes in 27 healthy volunteers were monitored while they were attending to the same rhythmic sequences (with and without a beat) in audition, vision and the vibrotactile modality. We found a common neural network for beat detection in the three modalities that involved parts of the auditory dorsal pathway. Within this network, only the putamen and the supplementary motor area (SMA) showed specificity to the beat, while the brain activity in the putamen covariated with the beat detection speed. These results highlighted the implication of the auditory dorsal stream in beat detection, confirmed the important role played by the putamen in beat detection and indicated that the neural network for beat detection is mostly supramodal. This constitutes a new example of convergence of the same functional attributes into one centralized representation in the brain.
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Affiliation(s)
- Rodrigo Araneda
- Université catholique de Louvain, 54 Avenue Hippocrate UCL B1.54.09, 1200, Brussels, Belgium
| | - Laurent Renier
- Université catholique de Louvain, 54 Avenue Hippocrate UCL B1.54.09, 1200, Brussels, Belgium
| | | | - Laurence Dricot
- Université catholique de Louvain, 54 Avenue Hippocrate UCL B1.54.09, 1200, Brussels, Belgium
| | - Anne G De Volder
- Université catholique de Louvain, 54 Avenue Hippocrate UCL B1.54.09, 1200, Brussels, Belgium
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Fraser LE, Makooie B, Harris LR. The Subjective Visual Vertical and the Subjective Haptic Vertical Access Different Gravity Estimates. PLoS One 2015; 10:e0145528. [PMID: 26716835 PMCID: PMC4696803 DOI: 10.1371/journal.pone.0145528] [Citation(s) in RCA: 26] [Impact Index Per Article: 2.9] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/12/2015] [Accepted: 12/04/2015] [Indexed: 11/18/2022] Open
Abstract
The subjective visual vertical (SVV) and the subjective haptic vertical (SHV) both claim to probe the underlying perception of gravity. However, when the body is roll tilted these two measures evoke different patterns of errors with SVV generally becoming biased towards the body (A-effect, named for its discoverer, Hermann Rudolph Aubert) and SHV remaining accurate or becoming biased away from the body (E-effect, short for Entgegengesetzt-effect, meaning “opposite”, i.e., opposite to the A-effect). We compared the two methods in a series of five experiments and provide evidence that the two measures access two different but related estimates of gravitational vertical. Experiment 1 compared SVV and SHV across three levels of whole-body tilt and found that SVV showed an A-effect at larger tilts while SHV was accurate. Experiment 2 found that tilting either the head or the trunk independently produced an A-effect in SVV while SHV remained accurate when the head was tilted on an upright body but showed an A-effect when the body was tilted below an upright head. Experiment 3 repeated these head/body configurations in the presence of vestibular noise induced by using disruptive galvanic vestibular stimulation (dGVS). dGVS abolished both SVV and SHV A-effects while evoking a massive E-effect in the SHV head tilt condition. Experiments 4 and 5 show that SVV and SHV do not combine in an optimally statistical fashion, but when vibration is applied to the dorsal neck muscles, integration becomes optimal. Overall our results suggest that SVV and SHV access distinct underlying gravity percepts based primarily on head and body position information respectively, consistent with a model proposed by Clemens and colleagues.
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Affiliation(s)
- Lindsey E. Fraser
- Center for Vision Research, York University, Toronto, Ontario, Canada
- * E-mail:
| | - Bobbak Makooie
- Center for Vision Research, York University, Toronto, Ontario, Canada
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Nikolsky A. Evolution of tonal organization in music mirrors symbolic representation of perceptual reality. Part-1: Prehistoric. Front Psychol 2015; 6:1405. [PMID: 26528193 PMCID: PMC4607869 DOI: 10.3389/fpsyg.2015.01405] [Citation(s) in RCA: 14] [Impact Index Per Article: 1.6] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/23/2015] [Accepted: 09/03/2015] [Indexed: 11/21/2022] Open
Abstract
This paper reveals the way in which musical pitch works as a peculiar form of cognition that reflects upon the organization of the surrounding world as perceived by majority of music users within a socio-cultural formation. The evidence from music theory, ethnography, archeology, organology, anthropology, psychoacoustics, and evolutionary biology is plotted against experimental evidence. Much of the methodology for this investigation comes from studies conducted within the territory of the former USSR. To date, this methodology has remained solely confined to Russian speaking scholars. A brief overview of pitch-set theory demonstrates the need to distinguish between vertical and horizontal harmony, laying out the framework for virtual music space that operates according to the perceptual laws of tonal gravity. Brought to life by bifurcation of music and speech, tonal gravity passed through eleven discrete stages of development until the onset of tonality in the seventeenth century. Each stage presents its own method of integration of separate musical tones into an auditory-cognitive unity. The theory of “melodic intonation” is set forth as a counterpart to harmonic theory of chords. Notions of tonality, modality, key, diatonicity, chromaticism, alteration, and modulation are defined in terms of their perception, and categorized according to the way in which they have developed historically. Tonal organization in music, and perspective organization in fine arts are explained as products of the same underlying mental process. Music seems to act as a unique medium of symbolic representation of reality through the concept of pitch. Tonal organization of pitch reflects the culture of thinking, adopted as a standard within a community of music users. Tonal organization might be a naturally formed system of optimizing individual perception of reality within a social group and its immediate environment, setting conventional standards of intellectual and emotional intelligence.
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Affiliation(s)
- Mariève Corbeil
- International Laboratory for Brain, Music and Sound Research (BRAMS); Center for Research on Brain, Music and Language (CRBML); Université de Montréal
| | | | - Isabelle Peretz
- International Laboratory for Brain, Music and Sound Research (BRAMS); Center for Research on Brain, Music and Language (CRBML); Université de Montréal
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Todd NPM, Lee CS. The sensory-motor theory of rhythm and beat induction 20 years on: a new synthesis and future perspectives. Front Hum Neurosci 2015; 9:444. [PMID: 26379522 PMCID: PMC4549635 DOI: 10.3389/fnhum.2015.00444] [Citation(s) in RCA: 51] [Impact Index Per Article: 5.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/19/2014] [Accepted: 07/22/2015] [Indexed: 11/30/2022] Open
Abstract
Some 20 years ago Todd and colleagues proposed that rhythm perception is mediated by the conjunction of a sensory representation of the auditory input and a motor representation of the body (Todd, 1994a, 1995), and that a sense of motion from sound is mediated by the vestibular system (Todd, 1992a, 1993b). These ideas were developed into a sensory-motor theory of rhythm and beat induction (Todd et al., 1999). A neurological substrate was proposed which might form the biological basis of the theory (Todd et al., 2002). The theory was implemented as a computational model and a number of experiments conducted to test it. In the following time there have been several key developments. One is the demonstration that the vestibular system is primal to rhythm perception, and in related work several experiments have provided further evidence that rhythm perception is body dependent. Another is independent advances in imaging, which have revealed the brain areas associated with both vestibular processing and rhythm perception. A third is the finding that vestibular receptors contribute to auditory evoked potentials (Todd et al., 2014a,b). These behavioral and neurobiological developments demand a theoretical overview which could provide a new synthesis over the domain of rhythm perception. In this paper we suggest four propositions as the basis for such a synthesis. (1) Rhythm perception is a form of vestibular perception; (2) Rhythm perception evokes both external and internal guidance of somatotopic representations; (3) A link from the limbic system to the internal guidance pathway mediates the “dance habit”; (4) The vestibular reward mechanism is innate. The new synthesis provides an explanation for a number of phenomena not often considered by rhythm researchers. We discuss these along with possible computational implementations and alternative models and propose a number of new directions for future research.
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Affiliation(s)
- Neil P M Todd
- Faculty of Life Science, University of Manchester Manchester, UK
| | - Christopher S Lee
- Department of Psychology, Goldsmiths College, University of London London, UK
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Todd NPM, Lee CS. Source analysis of electrophysiological correlates of beat induction as sensory-guided action. Front Psychol 2015; 6:1178. [PMID: 26321991 PMCID: PMC4536380 DOI: 10.3389/fpsyg.2015.01178] [Citation(s) in RCA: 9] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/04/2014] [Accepted: 07/27/2015] [Indexed: 11/13/2022] Open
Abstract
In this paper we present a reanalysis of electrophysiological data originally collected to test a sensory-motor theory of beat induction (Todd et al., 2002; Todd and Seiss, 2004; Todd and Lee, 2015). The reanalysis is conducted in the light of more recent findings and in particular the demonstration that auditory evoked potentials contain a vestibular dependency. At the core of the analysis is a model which predicts brain dipole source current activity over time in temporal and frontal lobe areas during passive listening to a rhythm, or active synchronization, where it dissociates the frontal activity into distinct sources which can be identified as respectively pre-motor and motor in origin. The model successfully captures the main features of the rhythm in showing that the metrical structure is manifest in an increase in source current activity during strong compared to weak beats. In addition the outcomes of modeling suggest that: (1) activity in both temporal and frontal areas contribute to the metrical percept and that this activity is distributed over time; (2) transient, time-locked activity associated with anticipated beats is increased when a temporal expectation is confirmed following a previous violation, such as a syncopation; (3) two distinct processes are involved in auditory cortex, corresponding to tangential and radial (possibly vestibular dependent) current sources. We discuss the implications of these outcomes for the insights they give into the origin of metrical structure and the power of syncopation to induce movement and create a sense of groove.
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Affiliation(s)
- Neil P. M. Todd
- Faculty of Life Science, University of ManchesterManchester, UK
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Peters RM, Rasman BG, Inglis JT, Blouin JS. Gain and phase of perceived virtual rotation evoked by electrical vestibular stimuli. J Neurophysiol 2015; 114:264-73. [PMID: 25925318 DOI: 10.1152/jn.00114.2015] [Citation(s) in RCA: 33] [Impact Index Per Article: 3.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/05/2015] [Accepted: 04/28/2015] [Indexed: 11/22/2022] Open
Abstract
Galvanic vestibular stimulation (GVS) evokes a perception of rotation; however, very few quantitative data exist on the matter. We performed psychophysical experiments on virtual rotations experienced when binaural bipolar electrical stimulation is applied over the mastoids. We also performed analogous real whole body yaw rotation experiments, allowing us to compare the frequency response of vestibular perception with (real) and without (virtual) natural mechanical stimulation of the semicircular canals. To estimate the gain of vestibular perception, we measured direction discrimination thresholds for virtual and real rotations. Real direction discrimination thresholds decreased at higher frequencies, confirming multiple previous studies. Conversely, virtual direction discrimination thresholds increased at higher frequencies, implying low-pass filtering of the virtual perception process occurring potentially anywhere between afferent transduction and cortical responses. To estimate the phase of vestibular perception, participants manually tracked their perceived position during sinusoidal virtual and real kinetic stimulation. For real rotations, perceived velocity was approximately in phase with actual velocity across all frequencies. Perceived virtual velocity was in phase with the GVS waveform at low frequencies (0.05 and 0.1 Hz). As frequency was increased to 1 Hz, the phase of perceived velocity advanced relative to the GVS waveform. Therefore, at low frequencies GVS is interpreted as an angular velocity signal and at higher frequencies GVS becomes interpreted increasingly as an angular position signal. These estimated gain and phase spectra for vestibular perception are a first step toward generating well-controlled virtual vestibular percepts, an endeavor that may reveal the usefulness of GVS in the areas of clinical assessment, neuroprosthetics, and virtual reality.
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Affiliation(s)
- Ryan M Peters
- School of Kinesiology, University of British Columbia, Vancouver, British Columbia, Canada
| | - Brandon G Rasman
- School of Kinesiology, University of British Columbia, Vancouver, British Columbia, Canada
| | - J Timothy Inglis
- School of Kinesiology, University of British Columbia, Vancouver, British Columbia, Canada; Djavad Mowafaghian Centre for Brain Health, University of British Columbia, Vancouver, British Columbia, Canada; International Collaboration on Repair Discoveries, University of British Columbia, Vancouver, British Columbia, Canada; and
| | - Jean-Sébastien Blouin
- School of Kinesiology, University of British Columbia, Vancouver, British Columbia, Canada; Djavad Mowafaghian Centre for Brain Health, University of British Columbia, Vancouver, British Columbia, Canada; Institute for Computing, Information, and Cognitive Systems, University of British Columbia, Vancouver, British Columbia, Canada
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Wang T. A hypothesis on the biological origins and social evolution of music and dance. Front Neurosci 2015; 9:30. [PMID: 25741232 PMCID: PMC4332322 DOI: 10.3389/fnins.2015.00030] [Citation(s) in RCA: 9] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/11/2014] [Accepted: 01/21/2015] [Indexed: 11/13/2022] Open
Abstract
The origins of music and musical emotions is still an enigma, here I propose a comprehensive hypothesis on the origins and evolution of music, dance, and speech from a biological and sociological perspective. I suggest that every pitch interval between neighboring notes in music represents corresponding movement pattern through interpreting the Doppler effect of sound, which not only provides a possible explanation for the transposition invariance of music, but also integrates music and dance into a common form—rhythmic movements. Accordingly, investigating the origins of music poses the question: why do humans appreciate rhythmic movements? I suggest that human appreciation of rhythmic movements and rhythmic events developed from the natural selection of organisms adapting to the internal and external rhythmic environments. The perception and production of, as well as synchronization with external and internal rhythms are so vital for an organism's survival and reproduction, that animals have a rhythm-related reward and emotion (RRRE) system. The RRRE system enables the appreciation of rhythmic movements and events, and is integral to the origination of music, dance and speech. The first type of rewards and emotions (rhythm-related rewards and emotions, RRREs) are evoked by music and dance, and have biological and social functions, which in turn, promote the evolution of music, dance and speech. These functions also evoke a second type of rewards and emotions, which I name society-related rewards and emotions (SRREs). The neural circuits of RRREs and SRREs develop in species formation and personal growth, with congenital and acquired characteristics, respectively, namely music is the combination of nature and culture. This hypothesis provides probable selection pressures and outlines the evolution of music, dance, and speech. The links between the Doppler effect and the RRREs and SRREs can be empirically tested, making the current hypothesis scientifically concrete.
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Affiliation(s)
- Tianyan Wang
- School of Life Science, Tsinghua University Beijing, China ; Ocean Science and Technology Division, Graduate School at Shenzhen, Tsinghua University Shenzhen, China ; Gene and Cell Engineering Laboratory, Shenzhen Institutes of Advanced Technology, Chinese Academy of Sciences Shenzhen, China
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Phillips-Silver J, Toiviainen P, Gosselin N, Turgeon C, Lepore F, Peretz I. Cochlear implant users move in time to the beat of drum music. Hear Res 2015; 321:25-34. [PMID: 25575604 DOI: 10.1016/j.heares.2014.12.007] [Citation(s) in RCA: 18] [Impact Index Per Article: 2.0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Submit a Manuscript] [Subscribe] [Scholar Register] [Received: 06/26/2014] [Revised: 12/18/2014] [Accepted: 12/22/2014] [Indexed: 11/28/2022]
Abstract
Cochlear implant users show a profile of residual, yet poorly understood, musical abilities. An ability that has received little to no attention in this population is entrainment to a musical beat. We show for the first time that a heterogeneous group of cochlear implant users is able to find the beat and move their bodies in time to Latin Merengue music, especially when the music is presented in unpitched drum tones. These findings not only reveal a hidden capacity for feeling musical rhythm through the body in the deaf and hearing impaired population, but illuminate promising avenues for designing early childhood musical training that can engage implanted children in social musical activities with benefits potentially extending to non-musical domains.
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Affiliation(s)
- Jessica Phillips-Silver
- International Laboratory for Brain, Music and Sound Research (BRAMS), Pavillon 1420 boul. Mont Royal, University of Montreal, Case Postale 6128, Station Centre-Ville, Montreal Québec H3C 3J7, Canada; Department of Psychology, University of Montreal, C.P. 6128, Succursale Centre-Ville, Montréal, Québec H3C 3J7, Canada.
| | - Petri Toiviainen
- Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä, Department of Music, P.O. Box 35, FI-40014, University of Jyväskylä, Finland.
| | - Nathalie Gosselin
- International Laboratory for Brain, Music and Sound Research (BRAMS), Pavillon 1420 boul. Mont Royal, University of Montreal, Case Postale 6128, Station Centre-Ville, Montreal Québec H3C 3J7, Canada.
| | - Christine Turgeon
- Department of Psychology, University of Montreal, C.P. 6128, Succursale Centre-Ville, Montréal, Québec H3C 3J7, Canada.
| | - Franco Lepore
- Department of Psychology, University of Montreal, C.P. 6128, Succursale Centre-Ville, Montréal, Québec H3C 3J7, Canada.
| | - Isabelle Peretz
- International Laboratory for Brain, Music and Sound Research (BRAMS), Pavillon 1420 boul. Mont Royal, University of Montreal, Case Postale 6128, Station Centre-Ville, Montreal Québec H3C 3J7, Canada; Department of Psychology, University of Montreal, C.P. 6128, Succursale Centre-Ville, Montréal, Québec H3C 3J7, Canada.
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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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Abstract
Here, we demonstrate that "moving to the beat" can improve the perception of timing, providing an intriguing explanation as to why we often move when listening to music. In the first experiment, participants heard a series of isochronous beats and identified whether the timing of a final tone after a short silence was consistent with the timing of the preceding sequence. On half of the trials, participants tapped along with the beat, and on half of the trials, they listened without moving. When the final tone occurred later than expected, performance in the movement condition was significantly better than performance in the no-movement condition. Two additional experiments illustrate that this improved performance is due to improved timekeeping, rather than to a shift in strategy. This work contributes to a growing literature on sensorimotor integration by demonstrating body movement's objective improvement in timekeeping, complementing previous explorations involving subjective tasks.
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Hession CE, Eastwood B, Watterson D, Lehane CM, Oxley N, Murphy BA. Therapeutic Horse Riding Improves Cognition, Mood Arousal, and Ambulation in Children with Dyspraxia. J Altern Complement Med 2014; 20:19-23. [DOI: 10.1089/acm.2013.0207] [Citation(s) in RCA: 19] [Impact Index Per Article: 1.9] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/12/2022] Open
Affiliation(s)
- Caren E. Hession
- Limerick School of Art and Design, Limerick Institute of Technology, Co. Limerick, Ireland
| | - Brian Eastwood
- Drugs and Alcohol, Health and Wellbeing Directorate, Kings College London, London, United Kingdom
| | - David Watterson
- The Royal College of Physicians and Surgeons of Glasgow, Glasgow, United Kingdom
| | | | - Nigel Oxley
- Faculty of Humanities, University of Ulster, Northern Ireland
| | - Barbara A. Murphy
- School of Agriculture and Food Science, University College Dublin, Belfield, Dublin, Ireland
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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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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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Got rhythm…for better and for worse. Cross-modal effects of auditory rhythm on visual word recognition. Cognition 2013; 127:214-9. [PMID: 23454794 DOI: 10.1016/j.cognition.2013.01.007] [Citation(s) in RCA: 34] [Impact Index Per Article: 3.1] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/26/2012] [Revised: 12/20/2012] [Accepted: 01/27/2013] [Indexed: 11/23/2022]
Abstract
The present research aimed to investigate whether, as previously observed with pictures, background auditory rhythm would also influence visual word recognition. In a lexical decision task, participants were presented with bisyllabic visual words, segmented into two successive groups of letters, while an irrelevant strongly metric auditory sequence was played in a loop. The first group of letters could either be congruent with the syllabic division of the word (e.g. val in val/se) or not (e.g. va in va/lse). In agreement with the Dynamic Attending Theory (DAT), our results confirmed that the presentation of the correct first syllable on-beat (i.e. in synchrony with a peak of covert attention) facilitated visual word recognition compared to when it was presented off-beat. However, when an incongruent first syllable was displayed on-beat, this led to an aggravation of impaired recognition. Thus, our results suggest that oscillatory attention tapped into cognitive processes rather than perceptual or decisional and motor stages. We like to think of our paradigm, which combines background auditory rhythm with segmented visual stimuli, as a sort of temporal magnifying glass which allows for the enlargement of the reaction time differences between beneficial and detrimental processing conditions in human cognition.
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Maes PJ, Leman M. The influence of body movements on children's perception of music with an ambiguous expressive character. PLoS One 2013; 8:e54682. [PMID: 23358805 PMCID: PMC3554646 DOI: 10.1371/journal.pone.0054682] [Citation(s) in RCA: 21] [Impact Index Per Article: 1.9] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/31/2012] [Accepted: 12/14/2012] [Indexed: 11/19/2022] Open
Abstract
The theory of embodied music cognition states that the perception and cognition of music is firmly, although not exclusively, linked to action patterns associated with that music. In this regard, the focus lies mostly on how music promotes certain action tendencies (i.e., dance, entrainment, etc.). Only recently, studies have started to devote attention to the reciprocal effects that people’s body movements may exert on how people perceive certain aspects of music and sound (e.g., pitch, meter, musical preference, etc.). The present study positions itself in this line of research. The central research question is whether expressive body movements, which are systematically paired with music, can modulate children’s perception of musical expressiveness. We present a behavioral experiment in which different groups of children (7–8 years, N = 46) either repetitively performed a happy or a sad choreography in response to expressively ambiguous music or merely listened to that music. The results of our study show indeed that children’s perception of musical expressiveness is modulated in accordance with the expressive character of the dance choreography performed to the music. This finding supports theories that claim a strong connection between action and perception, although further research is needed to uncover the details of this connection.
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Huang J, Gamble D, Sarnlertsophon K, Wang X, Hsiao S. Integration of auditory and tactile inputs in musical meter perception. ADVANCES IN EXPERIMENTAL MEDICINE AND BIOLOGY 2013; 787:453-61. [PMID: 23716252 PMCID: PMC4324720 DOI: 10.1007/978-1-4614-1590-9_50] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.2] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Subscribe] [Scholar Register] [Indexed: 01/20/2023]
Abstract
Musicians often say that they not only hear but also "feel" music. To explore the contribution of tactile information to "feeling" music, we investigated the degree that auditory and tactile inputs are integrated in humans performing a musical meter-recognition task. Subjects discriminated between two types of sequences, "duple" (march-like rhythms) and "triple" (waltz-like rhythms), presented in three conditions: (1) unimodal inputs (auditory or tactile alone); (2) various combinations of bimodal inputs, where sequences were distributed between the auditory and tactile channels such that a single channel did not produce coherent meter percepts; and (3) bimodal inputs where the two channels contained congruent or incongruent meter cues. We first show that meter is perceived similarly well (70-85 %) when tactile or auditory cues are presented alone. We next show in the bimodal experiments that auditory and tactile cues are integrated to produce coherent meter percepts. Performance is high (70-90 %) when all of the metrically important notes are assigned to one channel and is reduced to 60 % when half of these notes are assigned to one channel. When the important notes are presented simultaneously to both channels, congruent cues enhance meter recognition (90 %). Performance dropped dramatically when subjects were presented with incongruent auditory cues (10 %), as opposed to incongruent tactile cues (60 %), demonstrating that auditory input dominates meter perception. These observations support the notion that meter perception is a cross-modal percept with tactile inputs underlying the perception of "feeling" music.
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Affiliation(s)
- Juan Huang
- The Solomon H. Snyder Department of Neuroscience, The Johns Hopkins University, Baltimore, MD 21205, USA.
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Ferrè ER, Vagnoni E, Haggard P. Galvanic vestibular stimulation influences randomness of number generation. Exp Brain Res 2012; 224:233-41. [DOI: 10.1007/s00221-012-3302-6] [Citation(s) in RCA: 26] [Impact Index Per Article: 2.2] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/26/2012] [Accepted: 10/05/2012] [Indexed: 02/05/2023]
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