Goal-independent mechanisms for free response generation: creative and pseudo-random performance share neural substrates

The neuroscience of music – towards ecological validity

Studies in the neuroscience of music gained momentum in the 1990s as an integrated part of the well-controlled experimental research tradition. However, during the past two decades, these studies have moved toward more naturalistic, ecologically valid paradigms. Here, I introduce this move in three frameworks: (i) sound stimulation and empirical paradigms, (ii) study participants, and (iii) methods and contexts of data acquisition. I wish to provide a narrative historical overview of the development of the field and, in parallel, to stimulate innovative thinking to further advance the ecological validity of the studies without overlooking experimental rigor.

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.

Instruction effects on randomness in sequence generation

Randomness is a fundamental property of human behavior. It occurs both in the form of intrinsic random variability, say when repetitions of a task yield slightly different behavioral outcomes, or in the form of explicit randomness, say when a person tries to avoid being predicted in a game of rock, paper and scissors. Randomness has frequently been studied using random sequence generation tasks (RSG). A key finding has been that humans are poor at deliberately producing random behavior. At the same time, it has been shown that people might be better randomizers if randomness is only an implicit (rather than an explicit) requirement of the task. We therefore hypothesized that randomization performance might vary with the exact instructions with which randomness is elicited. To test this, we acquired data from a large online sample (n = 388), where every participant made 1,000 binary choices based on one of the following instructions: choose either randomly, freely, irregularly, according to an imaginary coin toss or perform a perceptual guessing task. Our results show significant differences in randomness between the conditions as quantified by conditional entropy and estimated Markov order. The randomization scores were highest in the conditions where people were asked to be irregular or mentally simulate a random event (coin toss) thus yielding recommendations for future studies on randomization behavior.

Effect of Group Impromptu Music Therapy on Emotional Regulation and Depressive Symptoms of College Students: A Randomized Controlled Study

Difficulty in emotional regulation is significantly correlated with depression. Depression is a psychological disease that seriously affects the physical and mental health of college students. Therefore, it is of great importance to develop diversified preventive interventions such as group impromptu music therapy (GIMT). The main purpose of this study was to evaluate the effect of GIMT on the improvement of emotional regulation ability and the reduction of depressive symptoms in college students. A 71 college students (36 in the experimental group and 35 in the control group) were recruited to carry out randomized controlled trial was used. The experimental group was intervened by GIMT. After the 4th week of intervention, follow-up and scale measurement were carried out. In the experimental group, emotional regulation difficulty scales (DERS) showed significant difference before and after GIMT, implying the improvement in the emotional regulation. But there was no significant improvement in the control group. In addition, the depressive symptoms of experimental group were relieved. All findings showed that GIMT can effectively improve college students’ emotional regulation and reduce depressive symptoms.

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.

Stationary EEG pattern relates to large-scale resting state networks - An EEG-fMRI study connecting brain networks across time-scales

Relating brain dynamics acting on time scales that differ by at least an order of magnitude is a fundamental issue in brain research. The same is true for the observation of stable dynamical structures in otherwise highly non-stationary signals. The present study addresses both problems by the analysis of simultaneous resting state EEG-fMRI recordings of 53 patients with epilepsy. Confirming previous findings, we observe a generic and temporally stable average correlation pattern in EEG recordings. We design a predictor for the General Linear Model describing fluctuations around the stationary EEG correlation pattern and detect resting state networks in fMRI data. The acquired statistical maps are contrasted to several surrogate tests and compared with maps derived by spatial Independent Component Analysis of the fMRI data. By means of the proposed EEG-predictor we observe core nodes of known fMRI resting state networks with high specificity in the default mode, the executive control and the salience network. Our results suggest that both, the stationary EEG pattern as well as resting state fMRI networks are different expressions of the same brain activity. This activity is interpreted as the dynamics on (or close to) a stable attractor in phase space that is necessary to maintain the brain in an efficient operational mode. We discuss that this interpretation is congruent with the theoretical framework of complex systems as well as with the brain's energy balance.

Subcortical structures and visual divergent thinking: a resting-state functional MRI analysis

An increasing number of studies have found that a few, specific subcortical regions are involved in creative visual divergent thinking. In addition, creative thinking is heavily reliant on the fronto-striatal dopaminergic pathways. This study aimed to explore whether spontaneous fluctuations in the subcortex, which contribute to our creative abilities, showed significant differences between individuals with different levels of creativity based on resting-state functional magnetic resonance imaging data. We calculated subcortical regions' seed-wise and dynamic functional connectivity (dFC), and then examined the differences between the high and low visual creativity groups. Furthermore, the topological properties of the subcortical network were measured, and their relationship with creative visual divergent thinking was calculated using brain-behavior correlation analyses. The results showed that functional connectivity (FC) between the putamen, pallidum, and thalamus indicated group differences within the subcortex. Whole-brain FC results showed group differences across subcortical (i.e., the thalamus and pallidum) and cerebral regions (i.e., the insula, middle frontal gyrus, and middle temporal gyrus). In addition, subcortical FC demonstrated a positive correlation with visual divergent thinking scores across the pallidum, putamen, and thalamus. Our findings provide novel insights into the relationship between visual divergent thinking and the activities of the subcortex. It is likely that not only fronto-striatal dopaminergic pathways, but also "motor" pathways, are involved in creative visual divergent thinking processing.

Brain Entropy is Associated with Divergent Thinking

Creativity is the ability to generate original and useful products, and it is considered central to the progression of human civilization. As a noninherited emerging process, creativity may stem from temporally dynamic brain activity, which, however, has not been well studied. The purpose of this study was to measure brain dynamics using entropy and to examine the associations between brain entropy (BEN) and divergent thinking in a large healthy sample. The results showed that divergent thinking was consistently positively correlated with regional BEN in the left dorsal anterior cingulate cortex/pre-supplementary motor area and left dorsolateral prefrontal cortex, suggesting that creativity is closely related to the functional dynamics of the control networks involved in cognitive flexibility and inhibitory control. Importantly, our main results were cross-validated in two independent cohorts from two different cultures. Additionally, three dimensions of divergent thinking (fluency, flexibility, and originality) were positively correlated with regional BEN in the left inferior frontal gyrus and left middle temporal gyrus, suggesting that more highly creative individuals possess more flexible semantic associative networks. Taken together, our findings provide the first evidence of the associations of regional BEN with individual variations in divergent thinking and show that BEN is sensitive to detecting variations in important cognitive abilities in healthy subjects.

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.

Disruption of the Prefrontal Cortex Improves Implicit Contextual Memory-Guided Attention: Combined Behavioral and Electrophysiological Evidence

Many studies have shown that the dorsolateral prefrontal cortex (DLPFC) plays an important role in top-down cognitive control over intentional and deliberate behavior. However, recent studies have reported that DLPFC-mediated top-down control interferes with implicit forms of learning. Here we used continuous theta-burst stimulation (cTBS) combined with electroencephalography to investigate the causal role of DLPFC in implicit contextual memory-guided attention. We aimed to test whether transient disruption of the DLPFC would interfere with implicit learning performance and related electrical brain activity. We applied neuronavigation-guided cTBS to the DLPFC or to the vertex as a control region prior to the performance of an implicit contextual learning task. We found that cTBS applied over the DLPFC significantly improved performance during implicit contextual learning. We also noted that beta-band (13-19 Hz) oscillatory power was reduced at fronto-central channels about 140 to 370 ms after visual stimulus onset in cTBS DLPFC compared with cTBS vertex. Taken together, our results provide evidence that DLPFC-mediated top-down control interferes with contextual memory-guided attention and beta-band oscillatory activity.

The indispensable role of the cerebellum in visual divergent thinking

Recent research has shown that the cerebellum is involved not only in motor control but also in higher-level activities, which are closely related to creativity. This study aimed to explore the role of the cerebellum in visual divergent thinking based on its intrinsic activity. To this end, we selected the resting-state fMRI data of high- (n = 22) and low-level creativity groups (n = 22), and adopted the voxel-wise, seed-wise, and dynamic functional connectivity to identify the differences between the two groups. Furthermore, the topological properties of the cerebello-cerebral network and their relations with visual divergent thinking were calculated. The voxel-wise functional connectivity results indicated group differences across the cerebellar (e.g. lobules VI, VIIb, Crus I, and Crus II) and cerebral regions (e.g. superior frontal cortex, middle frontal cortex, and inferior parietal gyrus), as well as the cerebellar lobules (e.g. lobules VIIIa, IX, and X) and the cerebral brain regions (the cuneus and precentral gyrus). We found a significant correlation between visual divergent thinking and activities of the left lobules VI, VIIb, Crus I, and Crus II, which are associated with executive functions. Our overall results provide novel insight into the important role of the cerebellum in visual divergent thinking.

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.

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.

Brain hemispheric involvement in visuospatial and verbal divergent thinking

Hemispheric lateralization for creative thinking remains a controversial topic. Early behavioral and neuroimaging research supported right hemisphere dominance in creative thinking, but more recent evidence suggests the left hemisphere plays an equally important role. In addition, the extent to which hemispheric lateralization in specific brain regions relates to individual creative ability, and whether hemispheric dominance relates to distinct task performance, remain poorly understood. Here, using multivariate predictive modeling of resting-state functional MRI data in a large sample of adults (N = 502), we estimated hemispheric segregation and integration for each brain region and investigated these lateralization indices with respect to individual differences in visuospatial and verbal divergent thinking. Our analyses revealed that individual visuospatial divergent thinking performance could be predicted by right-hemispheric segregation within the visual network, sensorimotor network, and some regions within the default mode network. High visuospatial divergent thinking was related to stronger functional connectivity between the visual network, fronto-parietal network, and default mode network within the right hemisphere. In contrast, high verbal divergent thinking performance could be predicted by inter-hemispheric balance within regions mainly involved in complex semantic processing (e.g., lateral temporal cortex and inferior frontal gyrus) and cognitive control processing (e.g., inferior frontal gyrus, middle frontal cortex, and superior parietal lobule). The current study suggests that two distinct forms of functional lateralization support individual differences in visuospatial and verbal divergent thinking. These findings have important implications for our understanding of hemispheric interaction mechanisms of creative thinking.

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.

Toward a Unification of the Arts

This article presents a manifesto for the scientific exploration of the arts in their totality, rather than conceiving of each artform independently on its own terms. In order to achieve this, I present an analytical procedure that is comprised of two related steps. The first step is to identify instances of sharing in the production mechanisms across artforms, for example the occurrence of rhythmic structure in music, dance, and poetry. The second is to examine how this sharing creates "affordances for combinations," making it possible for music to be set to a poem or for dance movements to be choreographed to music. By elucidating the neurocognitive mechanisms of sharing across arts domains and the affordances that they offer for creating combinations, it should be possible to achieve a unification of the arts.

Longitudinal Alterations of Frontoparietal and Frontotemporal Networks Predict Future Creative Cognitive Ability

Creative cognition is important to academic performance and career success during late adolescence and adulthood. However, there is a lack of longitudinal data on whether brain structural development could predict improvements in creative thinking, and how such changes interact with other cognitive abilities to support creative performance. Here we examined longitudinal alterations of brain structure and their relation to creative cognitive ability in a sample of 159 healthy young adults who were scanned using magnetic resonance imaging 2-3 times over the course of 3 years. The most robust predictor of future creative ability was the right dorsolateral prefrontal cortex (DLPFC), which in conjunction with baseline creative capacity showed a 31% prediction rate. Longitudinal analysis revealed that slower decreases in gray matter density within left frontoparietal and right frontotemporal clusters predicted enhanced creative ability. Moreoever, the relationship between longitudinal alterations within frontal-related clusters and improved creative ability was moderated by the right DLPFC and working memory ability. We conclude that continuous goal-directed planning and accumulated knowledge are implemented in the right DLPFC and temporal areas, respectively, which in turn support longitudinal gains in creative cognitive ability.

Rapid and flexible creativity in musical improvisation: review and a model

Creativity has been defined as the ability to produce output that is novel, useful, beneficial, and desired by an audience. But what is musical creativity, and relatedly, to what extent does creativity depend on domain-general or domain-specific neural and cognitive processes? To what extent can musical creativity be taught? To answer these questions from a reductionist scientific approach, we must attempt to isolate the creative process as it pertains to music. Recent work in the neuroscience of creativity has turned to musical improvisation as a window into real-time musical creative process in the brain. Here, I provide an overview of recent research in the neuroscience of musical improvisation, especially focusing on multimodal neuroimaging studies. This research informs a model of creativity as a combination of generative and reactive processes that coordinate their functions to give rise to perpetually novel and aesthetically rewarding improvised musical output.

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.

High transition frequencies of dynamic functional connectivity states in the creative brain

Creativity is thought to require the flexible reconfiguration of multiple brain regions that interact in transient and complex communication patterns. In contrast to prior emphases on searching for specific regions or networks associated with creative performance, we focused on exploring the association between the reconfiguration of dynamic functional connectivity states and creative ability. We hypothesized that a high frequency of dynamic functional connectivity state transitions will be associated with creative ability. To test this hypothesis, we recruited a high-creative group (HCG) and a low-creative group (LCG) of participants and collected resting-state fMRI (R-fMRI) data and Torrance Tests of Creative Thinking (TTCT) scores from each participant. By combining an independent component analysis with a dynamic network analysis approach, we discovered the HCG had more frequent transitions between dynamic functional connectivity (dFC) states than the LCG. Moreover, a confirmatory analysis using multiplication of temporal derivatives also indicated that there were more frequent dFC state transitions in the HCG. Taken together, these results provided empirical evidence for a linkage between the flexible reconfiguration of dynamic functional connectivity states and creative ability. These findings have the potential to provide new insights into the neural basis of creativity.

Review on Neural Correlates of Emotion Regulation and Music: Implications for Emotion Dysregulation

Previous studies have examined the neural correlates of emotion regulation and the neural changes that are evoked by music exposure. However, the link between music and emotion regulation is poorly understood. The objectives of this review are to (1) synthesize what is known about the neural correlates of emotion regulation and music-evoked emotions, and (2) consider the possibility of therapeutic effects of music on emotion dysregulation. Music-evoked emotions can modulate activities in both cortical and subcortical systems, and across cortical-subcortical networks. Functions within these networks are integral to generation and regulation of emotions. Since dysfunction in these networks are observed in numerous psychiatric disorders, a better understanding of neural correlates of music exposure may lead to more systematic and effective use of music therapy in emotion dysregulation.

Common and distinct brain networks underlying verbal and visual creativity

Creativity is imperative to the progression of human civilization, prosperity, and well-being. Past creative researches tends to emphasize the default mode network (DMN) or the frontoparietal network (FPN) somewhat exclusively. However, little is known about how these networks interact to contribute to creativity and whether common or distinct brain networks are responsible for visual and verbal creativity. Here, we use functional connectivity analysis of resting-state functional magnetic resonance imaging data to investigate visual and verbal creativity-related regions and networks in 282 healthy subjects. We found that functional connectivity within the bilateral superior parietal cortex of the FPN was negatively associated with visual and verbal creativity. The strength of connectivity between the DMN and FPN was positively related to both creative domains. Visual creativity was negatively correlated with functional connectivity within the precuneus of the pDMN and right middle frontal gyrus of the FPN, and verbal creativity was negatively correlated with functional connectivity within the medial prefrontal cortex of the aDMN. Critically, the FPN mediated the relationship between the aDMN and verbal creativity, and it also mediated the relationship between the pDMN and visual creativity. Taken together, decreased within-network connectivity of the FPN and DMN may allow for flexible between-network coupling in the highly creative brain. These findings provide indirect evidence for the cooperative role of the default and executive control networks in creativity, extending past research by revealing common and distinct brain systems underlying verbal and visual creative cognition. Hum Brain Mapp 38:2094-2111, 2017. © 2017 Wiley Periodicals, Inc.

Cultural Evolutionary Perspectives on Creativity and Human Innovation

Cultural traits originate through creative or innovative processes, which might be crucial to understanding how culture evolves and accumulates. However, because of its complexity and apparent subjectivity, creativity has remained largely unexplored as the dynamic underpinning of cultural evolution. Here, we explore the approach to innovation commonly taken in theoretical studies of cultural evolution and discuss its limitations. Drawing insights from cognitive science, psychology, archeology, and even animal behavior, it is possible to generate a formal description of creativity and to incorporate a dynamic theory of creativity into models of cultural evolution. We discuss the implications of such models for our understanding of the archaeological record and the history of hominid culture.

Creative Cognition and Brain Network Dynamics

Creative thinking is central to the arts, sciences, and everyday life. How does the brain produce creative thought? A series of recently published papers has begun to provide insight into this question, reporting a strikingly similar pattern of brain activity and connectivity across a range of creative tasks and domains, from divergent thinking to poetry composition to musical improvisation. This research suggests that creative thought involves dynamic interactions of large-scale brain systems, with the most compelling finding being that the default and executive control networks, which can show an antagonistic relation, tend to cooperate during creative cognition and artistic performance. These findings have implications for understanding how brain networks interact to support complex cognitive processes, particularly those involving goal-directed, self-generated thought.

Creative Cognition and Brain Network Dynamics

Creative thinking is central to the arts, sciences, and everyday life. How does the brain produce creative thought? A series of recently published papers has begun to provide insight into this question, reporting a strikingly similar pattern of brain activity and connectivity across a range of creative tasks and domains, from divergent thinking to poetry composition to musical improvisation. This research suggests that creative thought involves dynamic interactions of large-scale brain systems, with the most compelling finding being that the default and executive control networks, which can show an antagonistic relation, tend to cooperate during creative cognition and artistic performance. These findings have implications for understanding how brain networks interact to support complex cognitive processes, particularly those involving goal-directed, self-generated thought.

Where do bright ideas occur in our brain? Meta-analytic evidence from neuroimaging studies of domain-specific creativity

Many studies have assessed the neural underpinnings of creativity, failing to find a clear anatomical localization. We aimed to provide evidence for a multi-componential neural system for creativity. We applied a general activation likelihood estimation (ALE) meta-analysis to 45 fMRI studies. Three individual ALE analyses were performed to assess creativity in different cognitive domains (Musical, Verbal, and Visuo-spatial). The general ALE revealed that creativity relies on clusters of activations in the bilateral occipital, parietal, frontal, and temporal lobes. The individual ALE revealed different maximal activation in different domains. Musical creativity yields activations in the bilateral medial frontal gyrus, in the left cingulate gyrus, middle frontal gyrus, and inferior parietal lobule and in the right postcentral and fusiform gyri. Verbal creativity yields activations mainly located in the left hemisphere, in the prefrontal cortex, middle and superior temporal gyri, inferior parietal lobule, postcentral and supramarginal gyri, middle occipital gyrus, and insula. The right inferior frontal gyrus and the lingual gyrus were also activated. Visuo-spatial creativity activates the right middle and inferior frontal gyri, the bilateral thalamus and the left precentral gyrus. This evidence suggests that creativity relies on multi-componential neural networks and that different creativity domains depend on different brain regions.

Addressing a Paradox: Dual Strategies for Creative Performance in Introspective and Extrospective Networks

Neuroimaging studies of internally generated behaviors have shown seemingly paradoxical results regarding the dorsolateral prefrontal cortex (DLPFC), which has been found to activate, not activate or even deactivate relative to control conditions. On the one hand, the DLPFC has been argued to exert top-down control over generative thought by inhibiting habitual responses; on the other hand, a deactivation and concomitant decrease in monitoring and focused attention has been suggested to facilitate spontaneous associations and novel insights. Here, we demonstrate that prefrontal engagement in creative cognition depends dramatically on experimental conditions, that is, the goal of the task. We instructed professional pianists to perform improvisations on a piano keyboard during fMRI and play, either with a certain emotional content (happy/fearful), or using certain keys (tonal/atonal pitch-sets). We found lower activity in primarily the right DLPFC, dorsal premotor cortex and inferior parietal cortex during emotional conditions compared with pitch-set conditions. Furthermore, the DLPFC was functionally connected to the default mode network during emotional conditions and to the premotor network during pitch-set conditions. The results thus support the notion of two broad cognitive strategies for creative problem solving, relying on extrospective and introspective neural circuits, respectively.

Default and Executive Network Coupling Supports Creative Idea Production

The role of attention in creative cognition remains controversial. Neuroimaging studies have reported activation of brain regions linked to both cognitive control and spontaneous imaginative processes, raising questions about how these regions interact to support creative thought. Using functional magnetic resonance imaging (fMRI), we explored this question by examining dynamic interactions between brain regions during a divergent thinking task. Multivariate pattern analysis revealed a distributed network associated with divergent thinking, including several core hubs of the default (posterior cingulate) and executive (dorsolateral prefrontal cortex) networks. The resting-state network affiliation of these regions was confirmed using data from an independent sample of participants. Graph theory analysis assessed global efficiency of the divergent thinking network, and network efficiency was found to increase as a function of individual differences in divergent thinking ability. Moreover, temporal connectivity analysis revealed increased coupling between default and salience network regions (bilateral insula) at the beginning of the task, followed by increased coupling between default and executive network regions at later stages. Such dynamic coupling suggests that divergent thinking involves cooperation between brain networks linked to cognitive control and spontaneous thought, which may reflect focused internal attention and the top-down control of spontaneous cognition during creative idea production.

Neural correlates of creative thinking and schizotypy

Empirical studies indicate a link between creativity and schizotypal personality traits, where individuals who score highly on schizotypy measures also display greater levels of creative behaviour. However, the exact nature of this relationship is not yet clear, with only a few studies examining this association using neuroimaging methods. In the present study, the neural substrates of creative thinking were assessed with a drawing task paradigm in healthy individuals using fMRI. These regions were then statistically correlated with the participants' level of schizotypy as measured by the Oxford-Liverpool Inventory of Feelings and Experiences (O-LIFE), which is a questionnaire consisting of four dimensions. Neural activations associated with the creativity task were observed in bilateral inferior temporal gyri, left insula, left parietal lobule, right angular gyrus, as well as regions in the prefrontal cortex. This widespread pattern of activation suggests that creative thinking utilises multiple neurocognitive networks, with creative production being the result of collaboration between these regions. Furthermore, the correlational analyses found the Unusual Experiences factor of the O-LIFE to be the most common dimension associated with these areas, followed by the Impulsive Nonconformity dimension. These correlations were negative, indicating that individuals who scored the highest in these factors displayed the least amount of activation when performing the creative task. This is in line with the idea that 'less is more' for creativity, where the deactivation of specific cortical areas may facilitate creativity. Thus, these findings contribute to the evidence of a common neural basis between creativity and schizotypy.

The neuroscience of musical improvisation

Researchers have recently begun to examine the neural basis of musical improvisation, one of the most complex forms of creative behavior. The emerging field of improvisation neuroscience has implications not only for the study of artistic expertise, but also for understanding the neural underpinnings of domain-general processes such as motor control and language production. This review synthesizes functional magnetic resonance imagining (fMRI) studies of musical improvisation, including vocal and instrumental improvisation, with samples of jazz pianists, classical musicians, freestyle rap artists, and non-musicians. A network of prefrontal brain regions commonly linked to improvisatory behavior is highlighted, including the pre-supplementary motor area, medial prefrontal cortex, inferior frontal gyrus, dorsolateral prefrontal cortex, and dorsal premotor cortex. Activation of premotor and lateral prefrontal regions suggests that a seemingly unconstrained behavior may actually benefit from motor planning and cognitive control. Yet activation of cortical midline regions points to a role of spontaneous cognition characteristic of the default network. Together, such results may reflect cooperation between large-scale brain networks associated with cognitive control and spontaneous thought. The improvisation literature is integrated with Pressing's theoretical model, and discussed within the broader context of research on the brain basis of creative cognition.

Neural correlates of self-deception and impression-management

Self-deception and impression-management comprise two types of deceptive, but generally socially acceptable behaviours, which are common in everyday life as well as being present in a number of psychiatric disorders. We sought to establish and dissociate the 'normal' brain substrates of self-deception and impression-management. Twenty healthy participants underwent fMRI scanning at 3T whilst completing the 'Balanced Inventory of Desirable Responding' test under two conditions: 'fake good', giving the most desirable impression possible and 'fake bad' giving an undesirable impression. Impression-management scores were more malleable to manipulation via 'faking' than self-deception scores. Response times to self-deception questions and 'fake bad' instructions were significantly longer than to impression-management questions and 'fake good' instructions respectively. Self-deception and impression-management manipulation and 'faking bad' were associated with activation of medial prefrontal cortex (mPFC) and left ventrolateral prefrontal cortex (vlPFC). Impression-management manipulation was additionally associated with activation of left dorsolateral prefrontal cortex and left posterior middle temporal gyrus. 'Faking bad' was additionally associated with activation of right vlPFC, left temporo-parietal junction and right cerebellum. There were no supra-threshold activations associated with 'faking good'. Our neuroimaging data suggest that manipulating self-deception and impression-management and more specifically 'faking bad' engages a common network comprising mPFC and left vlPFC. Shorter response times and lack of dissociable neural activations suggests that 'faking good', particularly when it comes to impression-management, may be our most practiced 'default' mode.

The causal inference of cortical neural networks during music improvisations

We present an EEG study of two music improvisation experiments. Professional musicians with high level of improvisation skills were asked to perform music either according to notes (composed music) or in improvisation. Each piece of music was performed in two different modes: strict mode and "let-go" mode. Synchronized EEG data was measured from both musicians and listeners. We used one of the most reliable causality measures: conditional Mutual Information from Mixed Embedding (MIME), to analyze directed correlations between different EEG channels, which was combined with network theory to construct both intra-brain and cross-brain networks. Differences were identified in intra-brain neural networks between composed music and improvisation and between strict mode and "let-go" mode. Particular brain regions such as frontal, parietal and temporal regions were found to play a key role in differentiating the brain activities between different playing conditions. By comparing the level of degree centralities in intra-brain neural networks, we found a difference between the response of musicians and the listeners when comparing the different playing conditions.

Frontal lobe neurology and the creative mind

Concepts from cognitive neuroscience strongly suggest that the prefrontal cortex (PFC) plays a crucial role in the cognitive functions necessary for creative thinking. Functional imaging studies have repeatedly demonstrated the involvement of PFC in creativity tasks. Patient studies have demonstrated that frontal damage due to focal lesions or neurodegenerative diseases are associated with impairments in various creativity tasks. However, against all odds, a series of clinical observations has reported the facilitation of artistic production in patients with neurodegenerative diseases affecting PFC, such as frontotemporal dementia (FTD). An exacerbation of creativity in frontal diseases would challenge neuroimaging findings in controls and patients, as well as the theoretical role of prefrontal functions in creativity processes. To explore this paradox, we reported the history of a FTD patient who exhibited the emergence of visual artistic productions during the course of the disease. The patient produced a large amount of drawings, which have been evaluated by a group of professional artists who were blind to the diagnosis. We also reviewed the published clinical cases reporting a change in the artistic abilities in patients with neurological diseases. We attempted to reconcile these clinical observations to previous experimental findings by addressing several questions raised by our review. For instance, to what extent can the cognitive, conative, and affective changes following frontal damage explain changes in artistic abilities? Does artistic exacerbation truly reflect increased creative capacities? These considerations could help to clarify the place of creativity—as it has been defined and explored by cognitive neuroscience—in artistic creation and may provide leads for future lesion studies.