Generation of novel motor sequences: the neural correlates of musical improvisation

Improvisation and live accompaniment increase motor response and reward during a music playing task

Music provides a reward that can enhance learning and motivation in humans. While music is often combined with exercise to improve performance and upregulate mood, the relationship between music-induced reward and motor output is poorly understood. Here, we study music reward and motor output at the same time by capitalizing on music playing. Specifically, we investigate the effects of music improvisation and live accompaniment on motor, autonomic, and affective responses. Thirty adults performed a drumming task while (i) improvising or maintaining the beat and (ii) with live or recorded accompaniment. Motor response was characterized by acceleration of hand movements (accelerometry), wrist flexor and extensor muscle activation (electromyography), and the drum strike count (i.e., the number of drum strikes played). Autonomic arousal was measured by tonic response of electrodermal activity (EDA) and heart rate (HR). Affective responses were measured by a 12-item Likert scale. The combination of improvisation and live accompaniment, as compared to all other conditions, significantly increased acceleration of hand movements and muscle activation, as well as participant reports of reward during music playing. Improvisation, regardless of type of accompaniment, increased the drum strike count and autonomic arousal (including tonic EDA responses and several measures of HR), as well as participant reports of challenge. Importantly, increased motor response was associated with increased reward ratings during music improvisation, but not while participants were maintaining the beat. The increased motor responses achieved with improvisation and live accompaniment have important implications for enhancing dose of movement during exercise and physical rehabilitation.

Music training is related to late ERP modulation and enhanced performance during Simon task but not Stroop task

Increasing evidence suggests that music training correlates with better performance in tasks measuring executive function components including inhibitory control, working memory and selective attention. The Stroop and Simon tasks measure responses to congruent and incongruent information reflecting cognitive conflict resolution. However, there are more reports of a music-training advantage in the Simon than the Stroop task. Reports indicate that these tasks may differ in the timing of conflict resolution: the Stroop task might involve early sensory stage conflict resolution, while the Simon task may do so at a later motor output planning stage. We hypothesize that musical experience relates to conflict resolution at the late motor output stage rather than the early sensory stage. Behavioral responses, and event-related potentials (ERP) were measured in participants with varying musical experience during these tasks. It was hypothesized that musical experience correlates with better performance in the Simon but not the Stroop task, reflected in ERP components in the later stage of motor output processing in the Simon task. Participants were classified into high- and low-music training groups based on the Goldsmith Musical Sophistication Index. Electrical brain activity was recorded while they completed visual Stroop and Simon tasks. The high-music training group outperformed the low-music training group on the Simon, but not the Stroop task. Mean amplitude difference (incongruent-congruent trials) was greater for the high-music training group at N100 for midline central (Cz) and posterior (Pz) sites in the Simon task and midline central (Cz) and frontal (Fz) sites in the Stroop task, and at N450 at Cz and Pz in the Simon task. N450 difference peaks occurred earlier in the high-music training group at Pz. Differences between the groups at N100 indicate that music training may be related to better sensory discrimination. These differences were not related to better behavioral performance. Differences in N450 responses between the groups, particularly in regions encompassing the motor and parietal cortices, suggest a role of music training in action selection during response conflict situations. Overall, this supports the hypothesis that music training selectively enhances cognitive conflict resolution during late motor output planning stages.

An observation of a negative effect of social cohesion on creativity in musical improvisation

Although various social factors can significantly impact creative performance, it is still unclear how social cohesion (i.e., how close we feel to others) influences creativity. We therefore conducted two studies exploring the association between social cohesion and creativity within the domain of musical improvisation, a prime example of creative performance, which usually plays out in social contexts. The first study (n = 58 musical novices) showed that music-induced synchrony facilitates social cohesion. In our second study (n = 18 musical novices), we found that in two out of three experimental conditions, increased social cohesion is associated with less creative musical outcomes, as rated by nine expert musicians. In our subsequent analysis we related measures of social cohesion and creativity. This approach highlights how, within a musical setting, creativity unfolds in the context of social contingencies as social cohesion and related factors.

Increased functional connectivity in the right dorsal auditory stream after a full year of piano training in healthy older adults

Learning to play an instrument at an advanced age may help to counteract or slow down age-related cognitive decline. However, studies investigating the neural underpinnings of these effects are still scarce. One way to investigate the effects of brain plasticity is using resting-state functional connectivity (FC). The current study compared the effects of learning to play the piano (PP) against participating in music listening/musical culture (MC) lessons on FC in 109 healthy older adults. Participants underwent resting-state functional magnetic resonance imaging at three time points: at baseline, and after 6 and 12 months of interventions. Analyses revealed piano training-specific FC changes after 12 months of training. These include FC increase between right Heschl's gyrus (HG), and other right dorsal auditory stream regions. In addition, PP showed an increased anticorrelation between right HG and dorsal posterior cingulate cortex and FC increase between the right motor hand area and a bilateral network of predominantly motor-related brain regions, which positively correlated with fine motor dexterity improvements. We suggest to interpret those results as increased network efficiency for auditory-motor integration. The fact that functional neuroplasticity can be induced by piano training in healthy older adults opens new pathways to countervail age related decline.

Moderating Role of Creative Mindset in the Effect of Metacognitive Experience on Insight Problem Solving

Metacognitive experience, measured by processing fluency, contributes to divergent thinking performance; however, whether it exhibits varying effects on insight problem-solving remains unknown. Additionally, as individuals' interpretation of metacognitive experience is influenced by their creative mindset, whether creative mindset plays a role in the relationship between metacognitive experience and insight problem-solving is another issue. In Experiment 1, a Chinese logogriph task was used to investigate insight problem-solving performance. The font style of logogriphs (easy versus difficult) was used to alter the ease of processing. The results showed that individuals had lower performance accuracy for logogriphs presented in difficult font styles, suggesting the negative effect of metacognitive disfluency experience on logogriph solving. In Experiment 2, different creative mindsets (entity versus incremental) were activated in individuals via prime manipulation. Individuals with an incremental creative mindset had a significantly higher performance accuracy and longer reaction time for logogriphs presented in difficult font styles than individuals with an entity creative mindset, suggesting that an incremental creative mindset might counteract the negative effect of metacognitive disfluency experience on logogriphs solving. These findings suggest that metacognitive disfluency experience has a negative effect on insight problem-solving and that a creative mindset moderated this effect.

Resting-state functional connectivity in lifelong musicians

Background

It has been postulated that musicianship can lead to enhanced brain and cognitive reserve, but the neural mechanisms of this effect have been poorly understood. Lifelong professional musicianship in conjunction with novel brain imaging techniques offers a unique opportunity to examine brain network differences between musicians and matched controls.

Objective

In this study we aim to investigate how resting-state functional networks (FNs) manifest in lifelong active musicians. We will evaluate the FNs of lifelong musicians and matched healthy controls using resting-state functional magnetic resonance imaging.

Methods

We derive FNs using the data-driven independent component analysis approach and analyze the functional network connectivity (FNC) between the default mode (DMN), sensory-motor (SMN), visual (VSN), and auditory (AUN) networks. We examine whether the linear regressions between FNC and age are different between the musicians and the control group.

Results

The age trajectory of average FNC across all six pairs of FNs shows significant differences between musicians and controls. Musicians show an increase in average FNC with age while controls show a decrease (P = 0.013). When we evaluated each pair of FN, we note that in musicians FNC values increased with age in DMN-AUN, DMN-VSN, and SMN-VSN and in controls FNC values decreased with age in DMN-AUN, DMN-SMN, AUN-SMN, and SMN-VSN.

Conclusion

This result provides early evidence that lifelong musicianship may contribute to enhanced brain and cognitive reserve. Results of this study are preliminary and need to be replicated with a larger number of participants.

Bilingualism and creativity across development: Evidence from divergent thinking and convergent thinking

Introduction

Numerous studies have demonstrated the benefits of creativity from bilingualism. Divergent thinking and convergent thinking are considered the two most important components of creativity. Various (although not all) studies have concluded that bilingual children outperform monolingual children in divergent thinking, however, no study on children or adolescents so far has explored the relation between bilingualism and convergent thinking, or the brain structural basis of interaction between bilingualism and creativity. This study aimed to explore the impact of bilingualism on both convergent and divergent thinking in children and adolescents based on neuropsychological assessments, and the possible structural basis of the effect of bilingualism on creativity by a whole-brain analysis of regional gray matter volume (rGMV) and cortical thickness in children and adolescents.

Methods

92 healthy children and adolescents of age 4-18 were recruited from public or private schools in the French-speaking side of Switzerland. Demographic data of the participants were collected, including gender, age, pedagogy, usage of language, and parents' socioeconomic status. Most of the participants underwent the neuropsychological assessments of divergent thinking, convergent thinking, and fluid intelligence. Structural image data of 75 participants were analyzed. Both voxel-based morphometry (VBM) and surface-based morphometry (SBM) were processed, to perform the analyses of rGMV and cortical thickness respectively.

Results

The outcomes indicated that convergent thinking, but not divergent thinking benefits from bilingualism in children and adolescents. However, this bilingual advantage appears to weaken across development. Unexpectedly, no significant correlation between morphometry and bilingualism was found. Neither divergent thinking scores nor convergent thinking scores showed any significant correlation with rGMV. However, the whole brain SBM showed that the cortical thickness in the right supplementary motor area (SMA) was negatively correlated with convergent thinking scores, which suggested that the children and adolescents with higher convergent thinking abilities may have thinner, more mature, and more activated cortex in the right SMA.

Discussion

Bilingualism and cortical thinness in the right SMA might facilitate convergent thinking independently, by enhancing this selective ability.

The Creative Drummer: An EEG-Based Pilot Study on the Correlates of Emotions and Creative Drum Playing

It is reasonable to assume that emotional processes are involved in creative tasks and the generation of creative ideas. In this pilot study, we investigate the emotional correlates in professional drummers during different degrees of creative music playing. Ten participants performed three tasks: repetitive rhythmic drum playing, pattern-based improvisation, and attention-intensive free improvisation, while their EEG activity was recorded. Arousal and valence levels were estimated from the EEG data at baseline and for the three tasks. Results show significantly increased levels of valence (i.e., increased prefrontal right alpha power compared to prefrontal left alpha power) during pattern-based and free improvisation relative to baseline, and significantly increased levels of valence during free improvisation relative to pattern-based improvisation. These results seem to indicate that positive emotion (characterized as increased valence) is associated with the creation of original ideas in drum playing and that the freer the creative process, the greater the positive effect. The implication of these results may be of particular relevance in the fields of music-based therapeutic interventions and music pedagogy.

Identifying a brain network for musical rhythm: A functional neuroimaging meta-analysis and systematic review

We conducted a systematic review and meta-analysis of 30 functional magnetic resonance imaging studies investigating processing of musical rhythms in neurotypical adults. First, we identified a general network for musical rhythm, encompassing all relevant sensory and motor processes (Beat-based, rest baseline, 12 contrasts) which revealed a large network involving auditory and motor regions. This network included the bilateral superior temporal cortices, supplementary motor area (SMA), putamen, and cerebellum. Second, we identified more precise loci for beat-based musical rhythms (Beat-based, audio-motor control, 8 contrasts) in the bilateral putamen. Third, we identified regions modulated by beat based rhythmic complexity (Complexity, 16 contrasts) which included the bilateral SMA-proper/pre-SMA, cerebellum, inferior parietal regions, and right temporal areas. This meta-analysis suggests that musical rhythm is largely represented in a bilateral cortico-subcortical network. Our findings align with existing theoretical frameworks about auditory-motor coupling to a musical beat and provide a foundation for studying how the neural bases of musical rhythm may overlap with other cognitive domains.

Neural Phenomenon in Musicality: The Interpretation of Dual-Processing Modes in Melodic Perception

The confluence of creativity in music performance finds itself in performance practices and cultural motifs, the communication of the human body along with the instrument it interacts with, and individual performers' perceptual, motor, and cognitive abilities that contribute to varied musical interpretations of the same piece or melodic line. The musical and artistic execution of a player, as well as the product of this phenomena can become determinant causes in a creative mental state. With advances in neurocognitive measures, the state of one's artistic intuition and execution has been a growing interest in understanding the creative thought process of human behavior, particularly in improvising artists. This article discusses the implementation on the concurrence of spontaneous (Type-1) and controlled (Type-2) processing modes that may be apparent in the perception of non-improvising artists on how melodic lines are perceived in music performance. Elucidating the cortical-subcortical activity in the dual-process model may extend to non-improvising musicians explored in the paradigm of neural correlates. These interactions may open new possibilities for expanding the repertoire of executive functions, creativity, and the coordinated activity of cortical-subcortical regions that regulate the free flow of artistic ideas and expressive spontaneity in future neuromusical research.

Music in the brain

Music is ubiquitous across human cultures - as a source of affective and pleasurable experience, moving us both physically and emotionally - and learning to play music shapes both brain structure and brain function. Music processing in the brain - namely, the perception of melody, harmony and rhythm - has traditionally been studied as an auditory phenomenon using passive listening paradigms. However, when listening to music, we actively generate predictions about what is likely to happen next. This enactive aspect has led to a more comprehensive understanding of music processing involving brain structures implicated in action, emotion and learning. Here we review the cognitive neuroscience literature of music perception. We show that music perception, action, emotion and learning all rest on the human brain's fundamental capacity for prediction - as formulated by the predictive coding of music model. This Review elucidates how this formulation of music perception and expertise in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music making. This in turn has important implications for human creativity as evinced by music improvisation. These recent advances shed new light on what makes music meaningful from a neuroscientific perspective.

The neural basis of creative production: A cross-modal ALE meta-analysis

One of the central questions about the cognitive neuroscience of creativity is the extent to which creativity depends on either domain-specific or domain-general mechanisms. To address this question, we carried out two parallel activation likelihood estimation meta-analyses of creativity: 1) a motoric analysis that combined studies across five domains of creative production (verbalizing, music, movement, writing, and drawing), and 2) an analysis of the standard ideational task used to study divergent thinking, the Alternate Uses task. All experiments contained a contrast between a creative task and a matched non-creative or less-creative task that controlled for the sensorimotor demands of task performance. The activation profiles of the two meta-analyses were non-overlapping, but both pointed to a domain-specific interpretation in which creative production is, at least in part, an enhancement of sensorimotor brain areas involved in non-creative production. The most concordant areas of activation in the motoric meta-analysis were high-level motor areas such as the pre-supplementary motor area and inferior frontal gyrus that interface motor planning and executive control, suggesting a means of uniting domain-specificity and -generality in creative production.

Changes in Brain Responses to Music and Non-music Sounds Following Creativity Training Within the "Different Hearing" Program

The "Different Hearing" program (DHP) is an educational activity aimed at stimulating musical creativity of children and adults by group composing in the classroom, alternative to the mainstream model of music education in Czechia. Composing in the classroom in the DHP context does not use traditional musical instruments or notation, instead, the participants use their bodies, sounds originating from common objects as well as environmental sounds as the "elements" for music composition by the participants' team, with the teacher initiating and then participating and coordinating the creative process, which ends with writing down a graphical score and then performing the composition in front of an audience. The DHP methodology works with a wide definition of musical composition. We hypothesized that the DHP short-term (2 days) intense workshop would induce changes in subjective appreciation of different classes of music and sound (including typical samples of music composed in the DHP course), as well as plastic changes of the brain systems engaged in creative thinking and music perception, in their response to diverse auditory stimuli. In our study, 22 healthy university students participated in the workshop over 2 days and underwent fMRI examinations before and after the workshop, meanwhile 24 students were also scanned twice as a control group. During fMRI, each subject was listening to musical and non-musical sound samples, indicating their esthetic impression with a button press after each sample. As a result, participants' favorable feelings toward non-musical sound samples were significantly increased only in the active group. fMRI data analyzed using ANOVA with post hoc ROI analysis showed significant group-by-time interaction (opposing trends in the two groups) in the bilateral posterior cingulate cortex/precuneus, which are functional hubs of the default mode network (DMN) and in parts of the executive, motor, and auditory networks. The findings suggest that DHP training modified the behavioral and brain response to diverse sound samples, differentially changing the engagement of functional networks known to be related to creative thinking, namely, increasing DMN activation and decreasing activation of the executive network.

Functional network connectivity during Jazz improvisation

One of the most complex forms of creativity is musical improvisation where new music is produced in real time. Brain behavior during music production has several dimensions depending on the conditions of the performance. The expression of creativity is suspected to be different whether novel ideas must be externalized using a musical instrument or can be imagined internally. This study explores whole brain functional network connectivity from fMRI data during jazz music improvisation compared against a baseline of prelearned score performance. Given that creativity might be affected by external execution, another dimension where musicians imagine or vocalize the music was also tested. We found improvisation was associated with a state of weak connectivity necessary for attenuated executive control network recruitment associated with a feeling of "flow" allowing unhindered musical creation. In addition, elicited connectivity for sensorimotor and executive control networks is not different whether musicians imagine or externalize (through vocalization) musical performance.

Musical Hallucinations in Chronic Pain: The Anterior Cingulate Cortex Regulates Internally Generated Percepts

The anterior cingulate cortex (ACC) has been extensively implicated in the functional brain network underlying chronic pain. Electrical stimulation of the ACC has been proposed as a therapy for refractory chronic pain, although, mechanisms of therapeutic action are still unclear. As stimulation of the ACC has been reported to produce many different behavioral and perceptual responses, this region likely plays a varied role in sensory and emotional integration as well as modulating internally generated perceptual states. In this case series, we report the emergence of subjective musical hallucinations (MH) after electrical stimulation of the ACC in two patients with refractory chronic pain. In an N-of-1 analysis from one patient, we identified neural activity (local field potentials) that distinguish MH from both the non-MH condition and during a task involving music listening. Music hallucinations were associated with reduced alpha band activity and increased gamma band activity in the ACC. Listening to similar music was associated with different changes in ACC alpha and gamma power, extending prior results that internally generated perceptual phenomena are supported by circuits in the ACC. We discuss these findings in the context of phantom perceptual phenomena and posit a framework whereby chronic pain may be interpreted as a persistent internally generated percept.

Statistical Properties of Musical Creativity: Roles of Hierarchy and Uncertainty in Statistical Learning

Creativity is part of human nature and is commonly understood as a phenomenon whereby something original and worthwhile is formed. Owing to this ability, humans can produce innovative information that often facilitates growth in our society. Creativity also contributes to esthetic and artistic productions, such as music and art. However, the mechanism by which creativity emerges in the brain remains debatable. Recently, a growing body of evidence has suggested that statistical learning contributes to creativity. Statistical learning is an innate and implicit function of the human brain and is considered essential for brain development. Through statistical learning, humans can produce and comprehend structured information, such as music. It is thought that creativity is linked to acquired knowledge, but so-called "eureka" moments often occur unexpectedly under subconscious conditions, without the intention to use the acquired knowledge. Given that a creative moment is intrinsically implicit, we postulate that some types of creativity can be linked to implicit statistical knowledge in the brain. This article reviews neural and computational studies on how creativity emerges within the framework of statistical learning in the brain (i.e., statistical creativity). Here, we propose a hierarchical model of statistical learning: statistically chunking into a unit (hereafter and shallow statistical learning) and combining several units (hereafter and deep statistical learning). We suggest that deep statistical learning contributes dominantly to statistical creativity in music. Furthermore, the temporal dynamics of perceptual uncertainty can be another potential causal factor in statistical creativity. Considering that statistical learning is fundamental to brain development, we also discuss how typical versus atypical brain development modulates hierarchical statistical learning and statistical creativity. We believe that this review will shed light on the key roles of statistical learning in musical creativity and facilitate further investigation of how creativity emerges in the brain.

Enhanced White Matter Fiber Tracts in Advanced Jazz Improvisers

Human cognition and behavior arise from neuronal interactions over brain structural networks. These neuronal interactions cause changes in structural networks over time. How a creative activity such as musical improvisation performance changes the brain structure is largely unknown. In this diffusion magnetic resonance imaging study, we examined the brain’s white matter fiber properties in previously identified functional networks and compared the findings between advanced jazz improvisers and non-musicians. We found that, for advanced improvisers compared with non-musicians, the normalized quantitative anisotropy (NQA) is elevated in the lateral prefrontal areas and supplementary motor area, and the underlying white matter fiber tracts connecting these areas. This enhancement of the diffusion anisotropy along the fiber pathway connecting the lateral prefrontal and supplementary motor is consistent with the functional networks during musical improvisation tasks performed by expert jazz improvisers. These findings together suggest that experts’ creative skill is associated with the task-relevant, long-timescale brain structural network changes, in support of related cognitive underpinnings.

Neuronal Effects of Listening to Entrainment Music Versus Preferred Music in Patients With Chronic Cancer Pain as Measured via EEG and LORETA Imaging

Previous studies examining EEG and LORETA in patients with chronic pain discovered an overactivation of high theta (6–9 Hz) and low beta (12–16 Hz) power in central regions. MEG studies with healthy subjects correlating evoked nociception ratings and source localization described delta and gamma changes according to two music interventions. Using similar music conditions with chronic pain patients, we examined EEG in response to two different music interventions for pain. To study this process in-depth we conducted a mixed-methods case study approach, based on three clinical cases. Effectiveness of personalized music therapy improvisations (entrainment music – EM) versus preferred music on chronic pain was examined with 16 participants. Three patients were randomly selected for follow-up EEG sessions three months post-intervention, where they listened to recordings of the music from the interventions provided during the research. To test the difference of EM versus preferred music, recordings were presented in a block design: silence, their own composed EM (depicting both “pain” and “healing”), preferred (commercially available) music, and a non-participant’s EM as a control. Participants rated their pain before and after the EEG on a 1–10 scale. We conducted a detailed single case analysis to compare all conditions, as well as a group comparison of entrainment-healing condition versus preferred music condition. Power spectrum and according LORETA distributions focused on expected changes in delta, theta, beta, and gamma frequencies, particularly in sensory-motor and central regions. Intentional moment-by-moment attention on the sounds/music rather than on pain and decreased awareness of pain was experienced from one participant. Corresponding EEG analysis showed accompanying power changes in sensory-motor regions and LORETA projection pointed to insula-related changes during entrainment-pain music. LORETA also indicated involvement of visual-spatial, motor, and language/music improvisation processing in response to his personalized EM which may reflect active recollection of creating the EM. Group-wide analysis showed common brain responses to personalized entrainment-healing music in theta and low beta range in right pre- and post-central gyrus. We observed somatosensory changes consistent with processing pain during entrainment-healing music that were not seen during preferred music. These results may depict top–down neural processes associated with active coping for pain.

Dimensions of Musical Creativity

Current literature on creative cognition has developed rich conceptual landscapes dedicated to the analysis of both individual and collective forms of creativity. This work has favored the emergence of unifying theories on domain-general creative abilities in which the main experiential, behavioral, computational, and neural aspects involved in everyday creativity are examined and discussed. But while such accounts have gained important analytical leverage for describing the overall conditions and mechanisms through which creativity emerges and operates, they necessarily leave contextual forms of creativity less explored. Among the latter, musical practices have recently drawn the attention of scholars interested in its creative properties as well as in the creative potential of those who engage with them. In the present article, we compare previously posed theories of creativity in musical and non-musical domains to lay the basis of a conceptual framework that mitigates the tension between (i) individual and collective and (ii) domain-general and domain-specific perspectives on creativity. In doing so, we draw from a range of scholarship in music and enactive cognitive science, and propose that creative cognition may be best understood as a process of skillful organism-environment adaptation that one cultivates endlessly. With its focus on embodiment, plurality, and adaptiveness, our account points to a structured unity between living systems and their world, disclosing a variety of novel analytical resources for research and theory across different dimensions of (musical) creativity.

Mapping the artistic brain: Common and distinct neural activations associated with musical, drawing, and literary creativity

Whether creativity is a domain‐general or domain‐specific ability has been a topic of intense speculation. Although previous studies have examined domain‐specific mechanisms of creative performance, little is known about commonalities and distinctions in neural correlates across different domains. We applied activation likelihood estimation (ALE) meta‐analysis to identify the brain activation of domain‐mechanisms by synthesizing functional neuroimaging studies across three forms of artistic creativity: music improvisation, drawing, and literary creativity. ALE meta‐analysis yielded a domain‐general pattern across three artistic forms, with overlapping clusters in the presupplementary motor area (pre‐SMA), left dorsolateral prefrontal cortex, and right inferior frontal gyrus (IFG). Regarding domain‐specificity, musical creativity was associated with recruitment of the SMA‐proper, bilateral IFG, left precentral gyrus, and left middle frontal gyrus (MFG) compared to the other two artistic forms; drawing creativity recruited the left fusiform gyrus, left precuneus, right parahippocampal gyrus, and right MFG compared to musical creativity; and literary creativity recruited the left angular gyrus and right lingual gyrus compared to musical creativity. Contrasting drawing and literary creativity revealed no significant differences in neural activation, suggesting that these domains may rely on a common neurocognitive system. Overall, these findings reveal a central, domain‐general system for artistic creativity, but with each domain relying to some degree on domain‐specific neural circuits.

Resting state functional connectivity underlying musical creativity

While the behavior of "being musically creative"- improvising, composing, songwriting, etc.-is undoubtedly a complex and highly variable one, recent neuroscientific investigation has offered significant insight into the neural underpinnings of many of the creative processes contributing to such behavior. A previous study from our research group (Bashwiner et al., 2016), which examined two aspects of brain structure as a function of creative musical experience, found significantly increased cortical surface area or subcortical volume in regions of the default-mode network, a motor planning network, and a "limbic" network. The present study sought to determine how these regions coordinate with one another and with other regions of the brain in a large number of participants (n ​= ​218) during a task-neutral period, i.e., during the "resting state." Deriving from the previous study's results a set of eleven regions of interest (ROIs), the present study analyzed the resting-state functional connectivity (RSFC) from each of these seed regions as a function of creative musical experience (assessed via our Musical Creativity Questionnaire). Of the eleven ROIs investigated, nine showed significant correlations with a total of 22 clusters throughout the brain, the most significant being located in bilateral cerebellum, right inferior frontal gyrus, midline thalamus (particularly the mediodorsal nucleus), and medial premotor regions. These results support prior reports (by ourselves and others) implicating regions of the default-mode, executive, and motor-planning networks in musical creativity, while additionally-and somewhat unanticipatedly-including a potentially much larger role for the salience network than has been previously reported in studies of musical creativity.

Music Improvisation Is Characterized by Increase EEG Spectral Power in Prefrontal and Perceptual Motor Cortical Sources and Can be Reliably Classified From Non-improvisatory Performance

This study expores neural activity underlying creative processes through the investigation of music improvisation. Fourteen guitar players with a high level of improvisation skill participated in this experiment. The experimental task involved playing 32-s alternating blocks of improvisation and scales on guitar. electroencephalography (EEG) data was measured continuously throughout the experiment. In order to remove potential artifacts and extract brain-related activity the following signal processing techniques were employed: bandpass filtering, Artifact Subspace Reconstruction, and Independent Component Analysis (ICA). For each participant, artifact related independent components (ICs) were removed from the EEG data and only ICs found to be from brain activity were retained. Source localization using this brain-related activity was carried out using sLORETA. Greater activity for improvisation over scale was found in multiple frequency bands (theta, alpha, and beta) localized primarily in the medial frontal cortex (MFC), Middle frontal gyrus (MFG), anterior cingulate, polar medial prefrontal cortex (MPFC), premotor cortex (PMC), pre and postcentral gyrus (PreCG and PostCG), superior temporal gyrus (STG), inferior parietal lobule (IPL), and the temporal-parietal junction. Together this collection of brain regions suggests that improvisation was mediated by processes involved in coordinating planned sequences of movement that are modulated in response to ongoing environmental context through monitoring and feedback of sensory states in relation to internal plans and goals. Machine-learning using Common Spatial Patterns (CSP) for EEG feature extraction attained a mean of over 75% classification performance for improvisation vs. scale conditions across participants. These machine-learning results are a step towards the development of a brain-computer interface that could be used for neurofeedback training to improve creativity.

New Perspectives on Music in Rehabilitation of Executive and Attention Functions

Modern music therapy, starting around the middle of the twentieth century was primarily conceived to promote emotional well-being and to facilitate social group association and integration. Therefore, it was rooted mostly in social science concepts. More recently, music as therapy began to move decidedly toward perspectives of neuroscience. This has been facilitated by the advent of neuroimaging techniques that help uncover the therapeutic mechanisms for non-musical goals in the brain processes underlying music perception, cognition, and production. In this paper, we focus on executive function (EF) and attentional processes (AP) that are central for cognitive rehabilitation efforts. To this end, we summarize existing behavioral as well as neuroimaging and neurophysiological studies in musicians, non-musicians, and clinical populations. Musical improvisation and instrumental playing may have some potential for EF/AP stimulation and neurorehabilitation. However, more neuroimaging studies are needed to investigate the neural mechanisms for the active musical performance. Furthermore, more randomized clinical trials combined with neuroimaging techniques are warranted to demonstrate the specific efficacy and neuroplasticity induced by music-based interventions.

Towards an Embodied Signature of Improvisation Skills

Improvisation is not limited to the performing arts, but is extended to everyday life situations such as conversations and decision-making. Due to their ubiquitous nature, improvisation skills have received increasing attention from researchers over the last decade. A core challenge is to grasp the complex creative processes involved in improvisation performance. To date, many studies have attempted to provide insight on brain activity and perceptual experiences when perceiving a performance, especially in musical or artistic form. However, watching/listening a performance is quite different than acting in a performance or performing daily-life activities. In this Perspective, we discuss how researchers have often missed key points concerning the study of improvisation skills, especially by ignoring the central role of bodily experiences in their formation. Furthermore, we consider how the study of (neglected) motor component of improvisation performance can provide valuable insights into the underlying nature of creative processes involved in improvisation skills and their acquisition. Finally, we propose a roadmap for studying improvisation from the acquisition of kinematic data in an ecological context to analysis, including the consideration of the coalition of (individual, environmental and task) constraints in the emergence of improvised behaviors.

The Role of Metacognitive Components in Creative Thinking

Metacognition refers to the knowledge and regulation of one’s own cognitive processes, which has been regarded as a critical component of creative thinking. However, the current literature on the association between metacognition and creative thinking remains controversial, and the underlying role of metacognition in the creative process appears to be insufficiently explored and explained. This review focuses on the roles of three aspects of metacognition (i.e., metacognitive knowledge, metacognitive experience, and metacognitive monitoring and control) in creative thinking and offers a primary summary of the neurocognitive mechanisms that support metacognition during creative thinking. Future research is needed to explore the interactive effects of the metacognitive components on creative thinking and to elucidate the function of metacognition during different stages of the creative process.

Different role of the supplementary motor area and the insula between musicians and non-musicians in a controlled musical creativity task

The ability to compose creative musical ideas depends on the cooperation of brain mechanisms involved in multiple processes, including controlled creative cognition, which is a type of creativity that has so far been poorly researched. Therefore, the objective of this study was to examine the brain evoked activations by using fMRI, in both musicians and non-musicians, during a general task of controlled musical creativity and its relationship with general creativity. Results revealed that during a rhythmic improvisation task, musicians show greater activation of the motor supplementary area, the anterior cingulate cortex, the dorsolateral prefrontal cortex, and the insula, along with greater deactivation of the default mode network in comparison with non-musicians. For the group of musicians, we also found a positive correlation between the time improvising and the activation of the supplementary motor area, whilst in the non-musicians group improvisation time correlated with the activation of the insula. The results found for the musicians support the notion that the supplementary motor area plays a role in the representation and execution of musical behaviour, while the results in non-musicians reveal the role of the insula in the processing of novel musical information.

Robust dynamical invariants in sequential neural activity

By studying different sources of temporal variability in central pattern generator (CPG) circuits, we unveil fundamental aspects of the instantaneous balance between flexibility and robustness in sequential dynamics -a property that characterizes many systems that display neural rhythms. Our analysis of the triphasic rhythm of the pyloric CPG (Carcinus maenas) shows strong robustness of transient dynamics in keeping not only the activation sequences but also specific cycle-by-cycle temporal relationships in the form of strong linear correlations between pivotal time intervals, i.e. dynamical invariants. The level of variability and coordination was characterized using intrinsic time references and intervals in long recordings of both regular and irregular rhythms. Out of the many possible combinations of time intervals studied, only two cycle-by-cycle dynamical invariants were identified, existing even outside steady states. While executing a neural sequence, dynamical invariants reflect constraints to optimize functionality by shaping the actual intervals in which activity emerges to build the sequence. Our results indicate that such boundaries to the adaptability arise from the interaction between the rich dynamics of neurons and connections. We suggest that invariant temporal sequence relationships could be present in other networks, including those shaping sequences of functional brain rhythms, and underlie rhythm programming and functionality.

Gray Matter Correlates of Creativity in Musical Improvisation

Creativity has been defined as requiring both novelty and effectiveness, but little is known about how this standard definition applies in music. Here, we present results from a pilot study in which we combine behavioral testing in musical improvisation and structural neuroimaging to relate brain structure to performance in a creative musical improvisation task. Thirty-eight subjects completed a novel improvisation continuation task and underwent T1 MRI. Recorded performances were rated by expert jazz instructors for creativity. Voxel-based morphometric analyses on T1 data showed that creativity ratings were negatively associated with gray matter volume in the right inferior temporal gyrus and bilateral hippocampus. The duration of improvisation training, which was significantly correlated with creativity ratings, was negatively associated with gray matter volume in the rolandic operculum. Together, results show that musical improvisation ability and training are associated with gray matter volume in regions that are previously linked to learning and memory formation, perceptual categorization, and sensory integration. The present study takes a first step towards understanding the neuroanatomical basis of musical creativity by relating creative musical improvisation to individual differences in gray matter structure.

Cognitive Benefits From a Musical Activity in Older Adults

The aging population is growing rapidly. Proposing interventions that enhance the cognitive functions or strategies that delay the onset of disabilities associated with age is a topic of capital interest for the biopsychosocial health of our species. In this work, we employed musical improvisation as a focal environmental activity to explore its ability to improve memory in older adults. We present two studies: the first one evaluated neutral memory using the Rey Complex Figure (RCF) and the second one evaluated emotional memory using International Affective Picture System (IAPS). A group of 132 volunteers, between the ages of 60 and 90, participated in this investigation. Fifty-one of them were musicians with more than 5 years of formal musical training. After acquisition of neutral (Study 1) or emotional (Study 2) information, the groups of older adults were exposed to music improvisation (experimental intervention) or music imitation (control intervention) for 3 min. We then evaluated memory through two tasks (free recall and recognition), by means of immediate and deferred measures (after a week). We found a significant improvement in memory among participants involved in music improvisation, who remembered more items of the RCF and images from IAPS than the imitation group, both in the immediate and deferred evaluation. On the other hand, participants who had musical knowledge had a better performance in neutral visual memory than non-musicians. Our results suggest that a focal musical activity can be a useful intervention in older adults to promote an enhancement in memory.

Neuroanatomical Correlates of Creativity: Evidence From Voxel-Based Morphometry

Creativity was a special cognitive capacity which was crucial to human survival and prosperity. Remote associates test (RAT), identifying the relationships among remote ideas, was one of the most frequently used methods of measuring creativity. However, the structural characteristics associated with RAT remains unclear. In the present study, the relationship between gray matter density (GMD)/white matter density (WMD) and RAT was explored using voxel-based morphometry (VBM) in a larger healthy college student sample (144 women and 117 men). Results showed that the score of RAT was significantly positively related with the GMD in the right anterior superior temporal gyrus (aSTG) and negatively correlated with the GMD in the right dorsal anterior cingulate cortex (dACC). Meanwhile, results also showed that the score of RAT was significantly positively related with the WMD in the right dACC and negatively correlated with the WMD in the left inferior frontal gyrus (IFG). These findings indicate that individual creativity, as measured by the RAT, was mainly related to the regional gray /white matter density of brain regions in the aSTG, dACC and IFG, which might have been involved in the forming of novel combinations, breaking of mental set, monitoring of conflict and semantic integration.

Do musicians learn a fine sequential hand motor skill differently than non-musicians?

Do professional musicians learn a fine sequential hand motor skill more efficiently than non-musicians? Is this also the case when they perform motor imagery, which implies that they only mentally simulate these movements? Musicians and non-musicians performed a Go/NoGo discrete sequence production (DSP) task, which allows to separate sequence-specific from a-specific learning effects. In this task five stimuli, to be memorized during a preparation interval, signaled a response sequence. In a practice phase, different response sequences had to be either executed, imagined, or inhibited, which was indicated by different response cues. In a test phase, responses were required to familiar (previously executed, imagined, or inhibited) and unfamiliar sequences. In both phases, response times and response accuracy were measured while the electroencephalogram (EEG) was only registered during the practice phase to compare activity between motor imagery, motor execution, and motor inhibition for both groups. Results in the practice phase revealed that musicians learned the response sequences faster and more accurately than non-musicians although no difference in initiation time was found. EEG analyses revealed similar lateralized activity during learning a motor skill for both groups. Our results from the test phase showed better sequence-a-specific learning effects (i.e., faster response times and increased accuracy) for musicians than for non-musicians. Moreover, we revealed that non-musicians benefit more from physical execution while learning a required motor sequence, whereas sequence-specific learning effects due to learning with motor imagery were very similar for musicians and non-musicians.

Investigating the Role of the Primary Motor Cortex in Musical Creativity: A Transcranial Direct Current Stimulation Study

Neuroscientific research has revealed interconnected brain networks implicated in musical creativity, such as the executive control network, the default mode network, and premotor cortices. The present study employed brain stimulation to evaluate the role of the primary motor cortex (M1) in creative and technically fluent jazz piano improvisations. We implemented transcranial direct current stimulation (tDCS) to alter the neural activation patterns of the left hemispheric M1 whilst pianists performed improvisations with their right hand. Two groups of expert jazz pianists (n = 8 per group) performed five improvisations in each of two blocks. In Block 1, they improvised in the absence of brain stimulation. In Block 2, one group received inhibitory tDCS and the second group received excitatory tDCS while performing five new improvisations. Three independent expert-musicians judged the 160 performances on creativity and technical fluency using a 10-point Likert scale. As the M1 is involved in the acquisition and consolidation of motor skills and the control of hand orientation and velocity, we predicted that excitatory tDCS would increase the quality of improvisations relative to inhibitory tDCS. Indeed, improvisations under conditions of excitatory tDCS were rated as significantly more creative than those under conditions of inhibitory tDCS. A music analysis indicated that excitatory tDCS elicited improvisations with greater pitch range and number/variety of notes. Ratings of technical fluency did not differ significantly between tDCS groups. We discuss plausible mechanisms by which the M1 region contributes to musical creativity.

Openness to experience and psychophysiological interaction patterns during divergent thinking

Creativity is the ability to produce something novel and useful. Various tasks have been used to explore the neural bases of creativity. However, studies exploring the relationship between the brain regions during divergent thinking are still rare. Given that the brain works in networks, exploring the functional connectivity (FC) patterns during divergent thinking is important. The present study explored the FC patterns during alternative uses task and its relationship with openness to experience. Psychophysiological interaction results corroborated that the inferior parietal lobule was positively connected to the precuneus and middle temporal gyrus. Middle frontal gyrus/superior frontal gyrus was positively connected to the precuneus and supramarginal gyrus. Individual difference analysis revealed that openness to experience was positively related to the strength of FCs between some key regions of default mode, cognitive control and salience networks. Findings confirmed the network-based mechanisms underlying creativity and the neural basis of individual differences of openness to experience.

The association between visual creativity and cortical thickness in healthy adults

Creativity is necessary to human survival, human prosperity, civilization and well-being. Visual creativity is an important part of creativity and is the ability to create products of novel and useful visual forms, playing important role in many fields such as art, painting and sculpture. There have been several neuroimaging studies exploring the neural basis of visual creativity. However, to date, little is known about the relationship between cortical structure and visual creativity as measured by the Torrance Tests of Creative Thinking. Here, we investigated the association between cortical thickness and visual creativity in a large sample of 310 healthy adults. We used multiple regression to analyze the correlation between cortical thickness and visual creativity, adjusting for gender, age and general intelligence. The results showed that visual creativity was significantly negatively correlated with cortical thickness in the left middle frontal gyrus (MFG), right inferior frontal gyrus (IFG), right supplementary motor cortex (SMA) and the left insula. These observations have implications for understanding that a thinner prefrontal cortex (PFC) (e.g. IFG, MFG), SMA and insula correspond to higher visual creative performance, presumably due to their role in executive attention, cognitive control, motor planning and dynamic switching.

Spectral-Spatial Differentiation of Brain Activity During Mental Imagery of Improvisational Music Performance Using MEG

Group musical improvisation is thought to be akin to conversation, and therapeutically has been shown to be effective at improving communicativeness, sociability, creative expression, and overall psychological health. To understand these therapeutic effects, clarifying the nature of brain activity during improvisational cognition is important. Some insight regarding brain activity during improvisational music cognition has been gained via functional magnetic resonance imaging (fMRI) and electroencephalography (EEG). However, we have found no reports based on magnetoencephalography (MEG). With the present study, we aimed to demonstrate the feasibility of improvisational music performance experimentation in MEG. We designed a novel MEG-compatible keyboard, and used it with experienced musicians (N = 13) in a music performance paradigm to spectral-spatially differentiate spontaneous brain activity during mental imagery of improvisational music performance. Analyses of source activity revealed that mental imagery of improvisational music performance induced greater theta (5–7 Hz) activity in left temporal areas associated with rhythm production and communication, greater alpha (8–12 Hz) activity in left premotor and parietal areas associated with sensorimotor integration, and less beta (15–29 Hz) activity in right frontal areas associated with inhibition control. These findings support the notion that musical improvisation is conversational, and suggest that creation of novel auditory content is facilitated by a more internally-directed, disinhibited cognitive state.

Only-child and non-only-child exhibit differences in creativity and agreeableness: evidence from behavioral and anatomical structural studies

Different family composition and size inevitably make only-children different from non-only-children. Previous studies have focused on the differences in behaviors, such as cognitive function and personality traits, between the only-child and the non-only-child. However, there are few studies that have focused on the topic of whether different family environments influence children's brain structural development and whether behavior differentially has its neural basis between only-child and non-only-child status. Thus, in the present study, we investigated the differences in cognition (e.g., intelligence and creativity) and personality and the anatomical structural differences of gray matter volume (GMV) using voxel-based morphometry (VBM) between only-children and non-only-children. The behavioral results revealed that only-children exhibited higher flexibility scores (a dimension of creativity) and lower agreeableness scores (a dimension of personality traits) than non-only-children. Most importantly, the GMV results revealed that there were significant differences in the GMV between only-children and non-only-children that occurred mainly in the brain regions of the supramarginal gyrus, which was positively correlated with flexibility scores; the medial prefrontal cortex (mPFC), which was positively correlated with agreeableness scores; and the parahippocampal gyrus. These findings may suggest that family environment (i.e., only-child vs. non-only-child), may play important roles in the development of the behavior and brain structure of individuals.

Taking two to tango: fMRI analysis of improvised joint action with physical contact

Many forms of joint action involve physical coupling between the participants, such as when moving a sofa together or dancing a tango. We report the results of a novel two-person functional MRI study in which trained couple dancers engaged in bimanual contact with an experimenter standing next to the bore of the magnet, and in which the two alternated between being the leader and the follower of joint improvised movements. Leading showed a general pattern of self-orientation, being associated with brain areas involved in motor planning, navigation, sequencing, action monitoring, and error correction. In contrast, following showed a far more sensory, externally-oriented pattern, revealing areas involved in somatosensation, proprioception, motion tracking, social cognition, and outcome monitoring. We also had participants perform a "mutual" condition in which the movement patterns were pre-learned and the roles were symmetric, thereby minimizing any tendency toward either leading or following. The mutual condition showed greater activity in brain areas involved in mentalizing and social reward than did leading or following. Finally, the analysis of improvisation revealed the dual importance of motor-planning and working-memory areas. We discuss these results in terms of theories of both joint action and improvisation.

The Multiple-Demand System in the Novelty of Musical Improvisation: Evidence from an MRI Study on Composers

The multiple-demand (MD) system has proven to be associated with creating structured mental programs in comprehensive behaviors, but the functional mechanisms of this system have not been clarified in the musical domain. In this study, we explored the hypothesis that the MD system is involved in a comprehensive music-related behavior known as musical improvisation. Under a functional magnetic resonance imaging (fMRI) paradigm, 29 composers were recruited to improvise melodies through visual imagery tasks according to familiar and unfamiliar cues. We found that the main regions of the MD system were significantly activated during both musical improvisation conditions. However, only a greater involvement of the intraparietal sulcus (IPS) within the MD system was shown when improvising with unfamiliar cues. Our results revealed that the MD system strongly participated in musical improvisation through processing the novelty of melodies, working memory, and attention. In particular, improvising with unfamiliar cues required more musical transposition manipulations. Moreover, both functional and structural analyses indicated evidence of neuroplasticity in MD regions that could be associated with musical improvisation training. These findings can help unveil the functional mechanisms of the MD system in musical cognition, as well as improve our understanding of musical improvisation.

Music and the brain - design of an MEG compatible piano

Magnetoencephalography (MEG) neuroimaging has been used to study subjects' responses when listening to music, but research into the effects of playing music has been limited by the lack of MEG compatible instruments that can operate in a magnetically shielded environment without creating electromagnetic interference. This paper describes the design and preliminary testing of an MEG compatible piano keyboard with 25 full size keys that employs a novel 3-state optical encoder design and electronics to provide realistic velocity-controlled volume modulation. This instrument will allow researchers to study musical performance on a finer timescale than fMRI and enable a range of MEG studies.

Brain structure links everyday creativity to creative achievement

Although creativity is commonly considered to be a cornerstone of human progress and vital to all realms of our lives, its neural basis remains elusive, partly due to the different tasks and measurement methods applied in research. In particular, the neural correlates of everyday creativity that can be experienced by everyone, to some extent, are still unexplored. The present study was designed to investigate the brain structure underlying individual differences in everyday creativity, as measured by the Creative Behavioral Inventory (CBI) (N=163). The results revealed that more creative activities were significantly and positively associated with larger gray matter volume (GMV) in the regional premotor cortex (PMC), which is a motor planning area involved in the creation and selection of novel actions and inhibition. In addition, the gray volume of the PMC had a significant positive relationship with creative achievement and Art scores, which supports the notion that training and practice may induce changes in brain structures. These results indicate that everyday creativity is linked to the PMC and that PMC volume can predict creative achievement, supporting the view that motor planning may play a crucial role in creative behavior.

Training your brain to be more creative: brain functional and structural changes induced by divergent thinking training

Creativity is commonly defined as the ability to produce something both novel and useful. Stimulating creativity has great significance for both individual success and social improvement. Although increasing creative capacity has been confirmed to be possible and effective at the behavioral level, few longitudinal studies have examined the extent to which the brain function and structure underlying creativity are plastic. A cognitive stimulation (20 sessions) method was used in the present study to train subjects and to explore the neuroplasticity induced by training. The behavioral results revealed that both the originality and the fluency of divergent thinking were significantly improved by training. Furthermore, functional changes induced by training were observed in the dorsal anterior cingulate cortex (dACC), dorsal lateral prefrontal cortex (DLPFC), and posterior brain regions. Moreover, the gray matter volume (GMV) was significantly increased in the dACC after divergent thinking training. These results suggest that the enhancement of creativity may rely not only on the posterior brain regions that are related to the fundamental cognitive processes of creativity (e.g., semantic processing, generating novel associations), but also on areas that are involved in top-down cognitive control, such as the dACC and DLPFC. Hum Brain Mapp 37:3375-3387, 2016. © 2016 Wiley Periodicals, Inc.

Chunking as the result of an efficiency computation trade-off

How to move efficiently is an optimal control problem, whose computational complexity grows exponentially with the horizon of the planned trajectory. Breaking a compound movement into a series of chunks, each planned over a shorter horizon can thus reduce the overall computational complexity and associated costs while limiting the achievable efficiency. This trade-off suggests a cost-effective learning strategy: to learn new movements we should start with many short chunks (to limit the cost of computation). As practice reduces the impediments to more complex computation, the chunking structure should evolve to allow progressively more efficient movements (to maximize efficiency). Here we show that monkeys learning a reaching sequence over an extended period of time adopt this strategy by performing movements that can be described as locally optimal trajectories. Chunking can thus be understood as a cost-effective strategy for producing and learning efficient movements.

Creative Activities in Music--A Genome-Wide Linkage Analysis

Creative activities in music represent a complex cognitive function of the human brain, whose biological basis is largely unknown. In order to elucidate the biological background of creative activities in music we performed genome-wide linkage and linkage disequilibrium (LD) scans in musically experienced individuals characterised for self-reported composing, arranging and non-music related creativity. The participants consisted of 474 individuals from 79 families, and 103 sporadic individuals. We found promising evidence for linkage at 16p12.1-q12.1 for arranging (LOD 2.75, 120 cases), 4q22.1 for composing (LOD 2.15, 103 cases) and Xp11.23 for non-music related creativity (LOD 2.50, 259 cases). Surprisingly, statistically significant evidence for linkage was found for the opposite phenotype of creative activity in music (neither composing nor arranging; NCNA) at 18q21 (LOD 3.09, 149 cases), which contains cadherin genes like CDH7 and CDH19. The locus at 4q22.1 overlaps the previously identified region of musical aptitude, music perception and performance giving further support for this region as a candidate region for broad range of music-related traits. The other regions at 18q21 and 16p12.1-q12.1 are also adjacent to the previously identified loci with musical aptitude. Pathway analysis of the genes suggestively associated with composing suggested an overrepresentation of the cerebellar long-term depression pathway (LTD), which is a cellular model for synaptic plasticity. The LTD also includes cadherins and AMPA receptors, whose component GSG1L was linked to arranging. These results suggest that molecular pathways linked to memory and learning via LTD affect music-related creative behaviour. Musical creativity is a complex phenotype where a common background with musicality and intelligence has been proposed. Here, we implicate genetic regions affecting music-related creative behaviour, which also include genes with neuropsychiatric associations. We also propose a common genetic background for music-related creative behaviour and musical abilities at chromosome 4.