Dual-process contributions to creativity in jazz improvisations: An SPM-EEG study

Music and states of consciousness: A narrative review of the broader significance of music to understanding absorption, mind wandering and creative thought

Due to music's extraordinary capacity to temporarily alter mental and physical states, the domain of musical experience offers a natural and accessible field of investigation for the study of states of consciousness. However, despite the continued emergence of music-related investigations into conscious experience, their research paradigms remain on the fringes of consciousness research, with the broader significance of their contributions often overlooked. In this narrative review, we aimed to address this gap by offering a twofold contribution. Firstly, we have highlighted and critically assessed key contributions of empirical research in music psychology and music neuroscience to our understanding of non-ordinary states of consciousness, such as absorption, mind wandering and creative thought, emphasizing the broader significance of exploring consciousness through music. Secondly, we have identified the unique aspects of music that offer special insight into consciousness and discussed how these aspects can shape future investigations. Overall, our review underscores the importance of integrating music into consciousness research and highlights avenues for future exploration in this interdisciplinary field.

Competition during verbal creative processes influences on ERS/ERD

Humans are social creatures, and many tasks in our daily lives are solved together. The two main forms of social interaction in problem solving could be defined as competition and cooperation. In our study, we compared the ERS/ERD when performing a creative task (Alternative Uses Test, AUT) and a control task ("naming the objects from the presented category") under competitive conditions in dyads (22 dyads, m-m, f-f, 18-23 years old) compared to the performance of tasks individually. The number of answers given by subjects under competitive conditions was significantly lower than during the execution of the tasks individually. The solving of the creative task in competition versus individual performance was accompanied by EEG synchronization (9-30 hz) clusters: 140-1220 ms and 900-1780 ms after stimulus presentation; 13.5-30 hz (1800-1980 ms), reflecting the creative thinking mode, and expected cognitive, emotional answers' assessment. The control task under competitive conditions was accompanied by pronounced synchronization of low frequencies in the frontal areas (2-7 hz, 0-1980 ms), due to a greater working memory load; synchronization clusters in broadband (10-30 hz, 100-320 ms, 400-860 ms) and in the beta EEG band (17-30 hz, 1140-1980 ms). The competitive conditions significantly modulated the brain activity underlying creative and non-creative cognitive task performance, and resulted in greater induced EEG synchronization.

A framework for neurophysiological experiments on flow states

Csikszentmihalyi's concept of the "flow state" was initially discovered in experts deeply engaged in self-rewarding activities. However, recent neurophysiology research often measures flow in constrained and unfamiliar activities. In this perspective article, we address the challenging yet necessary considerations for studying flow state's neurophysiology. We aggregate an activity-autonomy framework with several testable hypotheses to induce flow, expanding the traditional "challenge skill balance" paradigm. Further, we review and synthesise the best methodological practices from neurophysiological flow studies into a practical 24-item checklist. This checklist offers detailed guidelines for ensuring consistent reporting, personalising and testing isolated challenge types, factoring in participant skills, motivation, and individual differences, and processing self-report data. We argue for a cohesive approach in neurophysiological studies to capture a consistent representation of flow states.

The rhythmic mind: brain functions of percussionists in improvisation

Introduction

Percussionists stand out for their expertise in rhythm, with the network for musical rhythm (NMR) serving a vital neurological function in their improvisation, which is deeply rooted in comprehensive musical knowledge. Our research examines the central representations of various improvisation tactics used by percussionists and investigates the interactions between the NMR and other relevant neural networks.

Methods

Twenty-five percussionists participated in functional magnetic resonance imaging (fMRI) sessions, which included two cognitive strategies of improvisation. Structural improvisation (SIMP) emphasized rhythmic patterns, while free improvisation (FIMP) focused on musical spontaneity. Sight-reading scenario served as the reference condition. Paired t-tests were utilized for comparative analyses.

Results

The findings revealed a dynamic interplay characterized by increased activity in the executive control network and NMR, along with decreased activity in the default mode network during SIMP. During FIMP, heightened activity was observed in the executive control network, NMR, limbic, and memory systems. In both SIMP vs. sight-reading and FIMP vs. sight-reading comparisons, the visual network's activity decreased, a trend also observed in the comparative analysis of FIMP vs. SIMP.

Discussion

In SIMP, percussionists leverage external rhythmic signals, resulting in heightened NMR and ECN activity and reduced DMN activity. In contrast, FIMP is characterized by a rise in activity within the NMR, ECN, limbic system, memory system, and reward system, underscoring the vital roles of motivation and memory in the rapid production of spontaneous musical ideas within set frameworks. The diminished activity in the visual network during FIMP compared to SIMP suggests less reliance on visual stimuli in FIMP. These findings suggest that various improvisational tactics may engage different neural pathways.

Interaction of motor practice and memory training in expressive piano performance: expanding the possibilities of improvisation

This paper aimed to investigate the influence of motor practice and music performance experiences on musicians' auditory memory, the effect of auditory distinctiveness on melody recognition, and the differences in the working memory of classical and jazz pianists. The study was conducted among 26 jazz and 24 classical music students at Shenyang Conservatory of Music. To achieve the goal set, a melody recognition ability was analyzed after listening, performing without sound, and simultaneous listening and performing using computer recordings and pianist-taken notes. The study was conducted following repeated measures mixed design. The within-group variable was the learning condition. As the within-participant variable, the number of melody practicing trials was chosen. The type of influence on auditory memory was chosen as a between-group variable. The dependent variables were auditory recognition score, motor imagery ability, and auditory imagery ability. Students' recognition of the heard melodies was assessed by means of a 3-point Likert scale. Pearson's correlation coefficient was calculated to investigate the relationship between working memory and other student characteristics. The study outcomes unveiled that pianists are much better at recognizing tunes they generate themselves in auditory-motor practice than auditory practice alone. It was pointed out that the ability to recognize melody in auditory-motor learning is influenced by its acoustic characteristics. Hence, melodies that are slow in tempo and regular in time and intensity are easier to recognize than more variable pieces.

Creative flow as optimized processing: Evidence from brain oscillations during jazz improvisations by expert and non-expert musicians

Using a creative production task, jazz improvisation, we tested alternative hypotheses about the flow experience: (A) that it is a state of domain-specific processing optimized by experience and characterized by minimal interference from task-negative default-mode network (DMN) activity versus (B) that it recruits domain-general task-positive DMN activity supervised by the fronto-parietal control network (FPCN) to support ideation. We recorded jazz guitarists' electroencephalograms (EEGs) while they improvised to provided chord sequences. Their flow-states were measured with the Core Flow State Scale. Flow-related neural sources were reconstructed using SPM12. Over all musicians, high-flow (relative to low-flow) improvisations were associated with transient hypofrontality. High-experience musicians' high-flow improvisations showed reduced activity in posterior DMN nodes. Low-experience musicians showed no flow-related DMN or FPCN modulation. High-experience musicians also showed modality-specific left-hemisphere flow-related activity while low-experience musicians showed modality-specific right-hemisphere flow-related deactivations. These results are consistent with the idea that creative flow represents optimized domain-specific processing enabled by extensive practice paired with reduced cognitive control.

Exploring Spatio-Spectral Electroencephalogram Modulations of Imbuing Emotional Intent During Active Piano Playing

Imbuing emotional intent serves as a crucial modulator of music improvisation during active musical instrument playing. However, most improvisation-related neural endeavors have been gained without considering the emotional context. This study attempts to exploit reproducible spatio-spectral electroencephalogram (EEG) oscillations of emotional intent using a data-driven independent component analysis framework in an ecological multiday piano playing experiment. Through the four-day 32-ch EEG dataset of 10 professional players, we showed that EEG patterns were substantially affected by both intra- and inter-individual variability underlying the emotional intent of the dichotomized valence (positive vs. negative) and arousal (high vs. low) categories. Less than half (3-4) of the 10 participants analogously exhibited day-reproducible ( ≥ three days) spectral modulations at the right frontal beta in response to the valence contrast as well as the frontal central gamma and the superior parietal alpha to the arousal counterpart. In particular, the frontal engagement facilitates a better understanding of the frontal cortex (e.g., dorsolateral prefrontal cortex and anterior cingulate cortex) and its role in intervening emotional processes and expressing spectral signatures that are relatively resistant to natural EEG variability. Such ecologically vivid EEG findings may lead to better understanding of the development of a brain-computer music interface infrastructure capable of guiding the training, performance, and appreciation for emotional improvisatory status or actuating music interaction via emotional context.

Brain-to-brain communication during musical improvisation: a performance case study

Understanding and predicting others' actions in ecological settings is an important research goal in social neuroscience. Here, we deployed a mobile brain-body imaging (MoBI) methodology to analyze inter-brain communication between professional musicians during a live jazz performance. Specifically, bispectral analysis was conducted to assess the synchronization of scalp electroencephalographic (EEG) signals from three expert musicians during a three-part 45 minute jazz performance, during which a new musician joined every five minutes. The bispectrum was estimated for all musician dyads, electrode combinations, and five frequency bands. The results showed higher bispectrum in the beta and gamma frequency bands (13-50 Hz) when more musicians performed together, and when they played a musical phrase synchronously. Positive bispectrum amplitude changes were found approximately three seconds prior to the identified synchronized performance events suggesting preparatory cortical activity predictive of concerted behavioral action. Moreover, a higher amount of synchronized EEG activity, across electrode regions, was observed as more musicians performed, with inter-brain synchronization between the temporal, parietal, and occipital regions the most frequent. Increased synchrony between the musicians' brain activity reflects shared multi-sensory processing and movement intention in a musical improvisation task.

EEG Phase Can Be Predicted with Similar Accuracy across Cognitive States after Accounting for Power and Signal-to-Noise Ratio

EEG phase is increasingly used in cognitive neuroscience, brain-computer interfaces, and closed-loop stimulation devices. However, it is unknown how accurate EEG phase prediction is across cognitive states. We determined the EEG phase prediction accuracy of parieto-occipital alpha waves across rest and task states in 484 participants over 11 public datasets. We were able to track EEG phase accurately across various cognitive conditions and datasets, especially during periods of high instantaneous alpha power and signal-to-noise ratio (SNR). Although resting states generally have higher accuracies than task states, absolute accuracy differences were small, with most of these differences attributable to EEG power and SNR. These results suggest that experiments and technologies using EEG phase should focus more on minimizing external noise and waiting for periods of high power rather than inducing a particular cognitive state.

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.

EEG Connectivity during Active Emotional Musical Performance

The neural correlates of intentional emotion transfer by the music performer are not well investigated as the present-day research mainly focuses on the assessment of emotions evoked by music. In this study, we aim to determine whether EEG connectivity patterns can reflect differences in information exchange during emotional playing. The EEG data were recorded while subjects were performing a simple piano score with contrasting emotional intentions and evaluated the subjectively experienced success of emotion transfer. The brain connectivity patterns were assessed from the EEG data using the Granger Causality approach. The effective connectivity was analyzed in different frequency bands—delta, theta, alpha, beta, and gamma. The features that (1) were able to discriminate between the neutral baseline and the emotional playing and (2) were shared across conditions, were used for further comparison. The low frequency bands—delta, theta, alpha—showed a limited number of connections (4 to 6) contributing to the discrimination between the emotional playing conditions. In contrast, a dense pattern of connections between regions that was able to discriminate between conditions (30 to 38) was observed in beta and gamma frequency ranges. The current study demonstrates that EEG-based connectivity in beta and gamma frequency ranges can effectively reflect the state of the networks involved in the emotional transfer through musical performance, whereas utility of the low frequency bands (delta, theta, alpha) remains questionable.

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.

Network oscillations imply the highest cognitive workload and lowest cognitive control during idea generation in open-ended creation tasks

Design is a ubiquitous, complex, and open-ended creation behaviour that triggers creativity. The brain dynamics underlying design is unclear, since a design process consists of many basic cognitive behaviours, such as problem understanding, idea generation, idea analysis, idea evaluation, and idea evolution. In this present study, we simulated the design process in a loosely controlled setting, aiming to quantify the design-related cognitive workload and control, identify EEG-defined large-scale brain networks, and uncover their temporal dynamics. The effectiveness of this loosely controlled setting was tested through comparing the results with validated findings available in the literature. Task-related power (TRP) analysis of delta, theta, alpha and beta frequency bands revealed that idea generation was associated with the highest cognitive workload and lowest cognitive control, compared to other design activities in the experiment, including problem understanding, idea evaluation, and self-rating. EEG microstate analysis supported this finding as microstate class C, being negatively associated with the cognitive control network, was the most prevalent in idea generation. Furthermore, EEG microstate sequence analysis demonstrated that idea generation was consistently associated with the shortest temporal correlation times concerning finite entropy rate, autoinformation function, and Hurst exponent. This finding suggests that during idea generation the interplay of functional brain networks is less restricted and the brain has more degrees of freedom in choosing the next network configuration than during other design activities. Taken together, the TRP and EEG microstate results lead to the conclusion that idea generation is associated with the highest cognitive workload and lowest cognitive control during open-ended creation task.

Creativity in an Affective Context

Abstract. Everyday life often requires considerable creativity in dealing with challenging circumstances. This implies that creativity regularly operates in an affective context, however, this “C” of creativity is rarely addressed in contemporary research. In this brief review article, we address some important milestones in this nascent field of research. Starting with early accounts on emotional creativity, we discuss seminal research intertwining creativity and mood states, and finally introduce two recent developments in this field: reappraisal inventiveness as the capacity to generate manifold cognitive reappraisals for aversive situations, and malevolent creativity as creative ideation intentionally used to damage others. We discuss the conceptual origins of reappraisal inventiveness and malevolent creativity and provide an extensive review of past behavioral and neuroscientific findings regarding these differently motivated instances of affective creativity. Additionally, novel pilot findings and prospects on both lines of research will be provided, which may help to advance investigations into more real-world applications of creative cognition.

Spectral Characteristics of EEG during Active Emotional Musical Performance

The research on neural correlates of intentional emotion communication by the music performer is still limited. In this study, we attempted to evaluate EEG patterns recorded from musicians who were instructed to perform a simple piano score while manipulating their manner of play to express specific contrasting emotions and self-rate the emotion they reflected on the scales of arousal and valence. In the emotional playing task, participants were instructed to improvise variations in a manner by which the targeted emotion is communicated. In contrast, in the neutral playing task, participants were asked to play the same piece precisely as written to obtain data for control over general patterns of motor and sensory activation during playing. The spectral analysis of the signal was applied as an initial step to be able to connect findings to the wider field of music-emotion research. The experimental contrast of emotional playing vs. neutral playing was employed to probe brain activity patterns differentially involved in distinct emotional states. The tasks of emotional and neutral playing differed considerably with respect to the state of intended-to-transfer emotion arousal and valence levels. The EEG activity differences were observed between distressed/excited and neutral/depressed/relaxed playing.

Spatiospectral brain networks reflective of improvisational experience

Musical improvisers are trained to categorize certain musical structures into functional classes, which is thought to facilitate improvisation. Using a novel auditory oddball paradigm (Goldman et al., 2020) which enables us to disassociate a deviant (i.e. musical chord inversion) from a consistent functional class, we recorded scalp EEG from a group of musicians who spanned a range of improvisational and classically trained experience. Using a spatiospectral based inter and intra network connectivity analysis, we found that improvisers showed a variety of differences in connectivity within and between large-scale cortical networks compared to classically trained musicians, as a function of deviant type. Inter-network connectivity in the alpha band, for a time window leading up to the behavioural response, was strongly linked to improvisation experience, with the default mode network acting as a hub. Spatiospectral networks post response were substantially different between improvisers and classically trained musicians, with greater inter-network connectivity (specific to the alpha and beta bands) seen in improvisers whereas those with more classical training had largely reduced inter-network activity (mostly in the gamma band). More generally, we interpret our findings in the context of network-level correlates of expectation violation as a function of subject expertise, and we discuss how these may generalize to other and more ecologically valid scenarios.

Evaluating Human-Computer Co-creative Processes in Music: A Case Study on the CHAMELEON Melodic Harmonizer

CHAMELEON is a computational melodic harmonization assistant. It can harmonize a given melody according to a number of independent harmonic idioms or blends between idioms based on principles of conceptual blending theory. Thus, the system is capable of offering a wealth of possible solutions and viewpoints for melodic harmonization. This study investigates how human creativity may be influenced by the use of CHAMELEON in a melodic harmonization task. Professional and novice music composers participated in an experiment where they were asked to harmonize two similar melodies under two different conditions: one with and one without computational support. A control group harmonized both melodies without computational assistance. The influence of the system was examined both behaviorally, by comparing metrics of user-experience, and in terms of the properties of the artifacts (i.e., pitch class distribution and number of chord types characterizing each harmonization) that were created between the two experimental conditions. Results suggest that appreciation of the system was expertise-dependent (i.e., novices appreciated the computational support more than professionals). At the same time, users seemed to adopt more explorative strategies as a result of interaction with CHAMELEON based on the fact that the harmonizations created this way were more complex, diverse, and unexpected in comparison to the ones of the control group.

Taking the Humanities Seriously

As the humanities suffer decline in the academy, some psychologists have turned to them as an especially apt way to advance a psychological science that reflects lived experience more accurately and robustly. Disciplinary psychology’s adoption of the ontological and epistemological underpinnings of the natural sciences is often seen as a misapplication that has resulted in a science that diminishes if not demolishes subjectivity and misrepresents many. By contrast, the humanities are taken to be well positioned to infuse scientific psychology with myriad aspects of lived experience. I applaud all efforts to take the humanities seriously, by incorporating the theories, methods, and observations of the humanities in psychological science; the question is, how best to do this. On what understanding of the humanities should scientific psychology proceed? With these questions in mind, I review arguments about how psychological science can benefit from attention to the humanities. I also consider worries about a scientistic turn within the humane disciplines themselves, which turn mirrors worries about scientism in psychology. Contemporary examples of scholarship on the origins of ancient Greek philosophy and depictions of Christ in Renaissance art illustrate how the wars over truth and evidence that plague psychology are no less fierce in the humanities. I conclude that if psychologists apprehend the humanities with the critical understandings called for in psychological science, we may not only appreciate their contributions more completely and accurately, but may also deploy those contributions more substantially, in working to broaden and deepen psychological science.

Programming experience associated with neural efficiency during figural reasoning

In the present study, we investigated neural processes underlying programming experience. Individuals with high programming experience might develop a form of computational thinking, which they can apply on complex problem-solving tasks such as reasoning tests. Therefore, N = 20 healthy young participants with previous programming experience and N = 21 participants without any programming experience performed three reasoning tests: Figural Inductive Reasoning (FIR), Numerical Inductive Reasoning (NIR), Verbal Deductive Reasoning (VDR). Using multi-channel EEG measurements, task-related changes in alpha and theta power as well as brain connectivity were investigated. Group differences were only observed in the FIR task. Programmers showed an improved performance in the FIR task as compared to non-programmers. Additionally, programmers exhibited a more efficient neural processing when solving FIR tasks, as indicated by lower brain activation and brain connectivity especially in easy tasks. Hence, behavioral and neural measures differed between groups only in tasks that are similar to mental processes required during programming, such as pattern recognition and algorithmic thinking by applying complex rules (FIR), rather than in tasks that require more the application of mathematical operations (NIR) or verbal tasks (VDR). Our results provide new evidence for neural efficiency in individuals with higher programming experience in problem-solving tasks.