1
|
Kiss L, Szikora B, Linnell KJ. Music in the eye of the beholder: a pupillometric study on preferred background music, attentional state, and arousal. PSYCHOLOGICAL RESEARCH 2024; 88:1616-1628. [PMID: 38652303 PMCID: PMC11281972 DOI: 10.1007/s00426-024-01963-8] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/06/2023] [Accepted: 03/25/2024] [Indexed: 04/25/2024]
Abstract
Although background music listening during attention-demanding tasks is common, there is little research on how it affects fluctuations in attentional state and how these fluctuations are linked to physiological arousal. The present study built on Kiss and Linnell (2021) - showing a decrease in mind-wandering and increase in task-focus states with background music - to explore the link between attentional state and arousal with and without background music. 39 students between the ages of 19-32 completed a variation of the Psychomotor Vigilance Task in silence and with their self-selected background music (music they would normally listen to during attention-demanding tasks). Objective arousal measures (pretrial pupil diameter and task-evoked pupillary responses) and subjective attentional state measures (mind-wandering, task-focus, and external-distraction states) were collected throughout the task. Results showed a link between attentional state and arousal and indicated that background music increased arousal. Importantly, arousal mediated the effect of music to decrease mind-wandering and increase task-focus attentional states, suggesting that the arousal increase induced by music was behind the changes in attentional states. These findings show, for the first time in the context of background music listening, that there is a link between arousal and attentional state.
Collapse
Affiliation(s)
- Luca Kiss
- Department of Psychology, Goldsmiths University of London, 8 Lewisham Way New Cross, London, SE14 6NW, UK.
| | | | - Karina J Linnell
- Department of Psychology, Goldsmiths University of London, 8 Lewisham Way New Cross, London, SE14 6NW, UK
| |
Collapse
|
2
|
Curzel F, Osiurak F, Trân E, Tillmann B, Ripollés P, Ferreri L. Enhancing musical pleasure through shared musical experience. iScience 2024; 27:109964. [PMID: 38832017 PMCID: PMC11145343 DOI: 10.1016/j.isci.2024.109964] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/13/2023] [Revised: 03/22/2024] [Accepted: 05/09/2024] [Indexed: 06/05/2024] Open
Abstract
Music and social interactions represent two of the most important sources of pleasure in our lives, both engaging the mesolimbic dopaminergic system. However, there is limited understanding regarding whether and how sharing a musical activity in a social context influences and modifies individuals' rewarding experiences. Here, we aimed at (1) modulating the pleasure derived from music under different social scenarios and (2) further investigating its impact on reward-related prosocial behavior and memory. Across three online experiments, we simulated a socially shared music listening and found that participants' music reward was significantly modulated by the social context, with higher reported pleasure for greater levels of social sharing. Furthermore, the increased pleasure reported by the participants positively influenced prosocial behavior and memory outcomes, highlighting the facilitating role of socially boosted reward. These findings provide evidence about the rewarding nature of socially driven music experiences, with important potential implications in educational and clinical settings.
Collapse
Affiliation(s)
- Federico Curzel
- Laboratoire d’Étude des Mécanismes Cognitifs (EMC), Université Lumière Lyon 2, 69500 Bron, Auvergne-Rhône-Alpes, France
- Lyon Neuroscience Research Center (CRNL), INSERM, U1028, CNRS, UMR 5292, Université Claude Bernard Lyon1, Université de Lyon, 69500 Bron, Auvergne-Rhône-Alpes, France
| | - François Osiurak
- Laboratoire d’Étude des Mécanismes Cognitifs (EMC), Université Lumière Lyon 2, 69500 Bron, Auvergne-Rhône-Alpes, France
- Institut Universitaire de France, 75005 Paris, Île-de-France, France
| | - Eléonore Trân
- Laboratoire d’Étude des Mécanismes Cognitifs (EMC), Université Lumière Lyon 2, 69500 Bron, Auvergne-Rhône-Alpes, France
| | - Barbara Tillmann
- Lyon Neuroscience Research Center (CRNL), INSERM, U1028, CNRS, UMR 5292, Université Claude Bernard Lyon1, Université de Lyon, 69500 Bron, Auvergne-Rhône-Alpes, France
- LEAD CNRS UMR5022, Université de Bourgogne-Franche Comté, 21000 Dijon, Bourgogne-Franche Comté, France
| | - Pablo Ripollés
- Department of Psychology, New York University, New York, NY 10003, USA
- Music and Audio Research Laboratory (MARL), New York University, New York, NY 11201, USA
- Center for Language, Music, and Emotion (CLaME), New York University, New York, NY 10003, USA
| | - Laura Ferreri
- Laboratoire d’Étude des Mécanismes Cognitifs (EMC), Université Lumière Lyon 2, 69500 Bron, Auvergne-Rhône-Alpes, France
- Department of Brain and Behavioural Sciences, Università di Pavia, 27100 Pavia, Lombardia, Italy
| |
Collapse
|
3
|
Palumbo A, Groves K, Munoz-Vidal EL, Turry A, Codio R, Raghavan P, Schambra H, Voelbel GT, Ripollés P. Improvisation and live accompaniment increase motor response and reward during a music playing task. Sci Rep 2024; 14:13112. [PMID: 38849348 PMCID: PMC11161496 DOI: 10.1038/s41598-024-62794-6] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/07/2023] [Accepted: 05/21/2024] [Indexed: 06/09/2024] Open
Abstract
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.
Collapse
Affiliation(s)
- Anna Palumbo
- Rehabilitation Sciences Program, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, 10003, USA.
- Department of Psychology, New York University, New York, NY, 10003, USA.
- Music and Audio Research Lab, New York University, New York, NY, 10003, USA.
- Center for Language, Music, and Emotion (CLaME), New York University, New York, NY, 10003, USA.
| | - Karleigh Groves
- Department of Psychology, New York University, New York, NY, 10003, USA
- Music and Audio Research Lab, New York University, New York, NY, 10003, USA
- Center for Language, Music, and Emotion (CLaME), New York University, New York, NY, 10003, USA
| | - Eva Luna Munoz-Vidal
- Rehabilitation Sciences Program, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, 10003, USA
- Department of Psychology, New York University, New York, NY, 10003, USA
- Music and Audio Research Lab, New York University, New York, NY, 10003, USA
- Center for Language, Music, and Emotion (CLaME), New York University, New York, NY, 10003, USA
| | - Alan Turry
- Department of Music and Performing Arts Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, 10003, USA
- Nordoff-Robbins Center for Music Therapy, New York University, New York, NY, 10003, USA
| | - Robert Codio
- Music and Audio Research Lab, New York University, New York, NY, 10003, USA
- Nordoff-Robbins Center for Music Therapy, New York University, New York, NY, 10003, USA
| | - Preeti Raghavan
- Department of Physical Medicine and Rehabilitation and Neurology, Johns Hopkins University School of Medicine, Baltimore, MD, 21287, USA
| | - Heidi Schambra
- New York University Grossman School of Medicine, New York, NY, 10016, USA
| | - Gerald T Voelbel
- Rehabilitation Sciences Program, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, 10003, USA
- Department of Occupational Therapy, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, 10003, USA
- Center of Health and Rehabilitation Research, New York University, New York, NY, 10003, USA
- Department of Rehabilitation Medicine, Rusk Rehabilitation, NYU Langone Health, New York, NY, 10016, USA
| | - Pablo Ripollés
- Department of Psychology, New York University, New York, NY, 10003, USA.
- Music and Audio Research Lab, New York University, New York, NY, 10003, USA.
- Center for Language, Music, and Emotion (CLaME), New York University, New York, NY, 10003, USA.
| |
Collapse
|
4
|
Etani T, Miura A, Kawase S, Fujii S, Keller PE, Vuust P, Kudo K. A review of psychological and neuroscientific research on musical groove. Neurosci Biobehav Rev 2024; 158:105522. [PMID: 38141692 DOI: 10.1016/j.neubiorev.2023.105522] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/18/2023] [Revised: 12/18/2023] [Accepted: 12/19/2023] [Indexed: 12/25/2023]
Abstract
When listening to music, we naturally move our bodies rhythmically to the beat, which can be pleasurable and difficult to resist. This pleasurable sensation of wanting to move the body to music has been called "groove." Following pioneering humanities research, psychological and neuroscientific studies have provided insights on associated musical features, behavioral responses, phenomenological aspects, and brain structural and functional correlates of the groove experience. Groove research has advanced the field of music science and more generally informed our understanding of bidirectional links between perception and action, and the role of the motor system in prediction. Activity in motor and reward-related brain networks during music listening is associated with the groove experience, and this neural activity is linked to temporal prediction and learning. This article reviews research on groove as a psychological phenomenon with neurophysiological correlates that link musical rhythm perception, sensorimotor prediction, and reward processing. Promising future research directions range from elucidating specific neural mechanisms to exploring clinical applications and socio-cultural implications of groove.
Collapse
Affiliation(s)
- Takahide Etani
- School of Medicine, College of Medical, Pharmaceutical, and Health, Kanazawa University, Kanazawa, Japan; Graduate School of Media and Governance, Keio University, Fujisawa, Japan; Advanced Research Center for Human Sciences, Waseda University, Tokorozawa, Japan.
| | - Akito Miura
- Faculty of Human Sciences, Waseda University, Tokorozawa, Japan
| | - Satoshi Kawase
- The Faculty of Psychology, Kobe Gakuin University, Kobe, Japan
| | - Shinya Fujii
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
| | - Peter E Keller
- Center for Music in the Brain, Aarhus University, Aarhus, Denmark/The Royal Academy of Music Aarhus/Aalborg, Denmark; The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, Australia
| | - Peter Vuust
- Center for Music in the Brain, Aarhus University, Aarhus, Denmark/The Royal Academy of Music Aarhus/Aalborg, Denmark
| | - Kazutoshi Kudo
- Graduate School of Arts and Sciences, The University of Tokyo, Tokyo, Japan
| |
Collapse
|
5
|
Fink L, Simola J, Tavano A, Lange E, Wallot S, Laeng B. From pre-processing to advanced dynamic modeling of pupil data. Behav Res Methods 2024; 56:1376-1412. [PMID: 37351785 PMCID: PMC10991010 DOI: 10.3758/s13428-023-02098-1] [Citation(s) in RCA: 4] [Impact Index Per Article: 4.0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Accepted: 02/20/2023] [Indexed: 06/24/2023]
Abstract
The pupil of the eye provides a rich source of information for cognitive scientists, as it can index a variety of bodily states (e.g., arousal, fatigue) and cognitive processes (e.g., attention, decision-making). As pupillometry becomes a more accessible and popular methodology, researchers have proposed a variety of techniques for analyzing pupil data. Here, we focus on time series-based, signal-to-signal approaches that enable one to relate dynamic changes in pupil size over time with dynamic changes in a stimulus time series, continuous behavioral outcome measures, or other participants' pupil traces. We first introduce pupillometry, its neural underpinnings, and the relation between pupil measurements and other oculomotor behaviors (e.g., blinks, saccades), to stress the importance of understanding what is being measured and what can be inferred from changes in pupillary activity. Next, we discuss possible pre-processing steps, and the contexts in which they may be necessary. Finally, we turn to signal-to-signal analytic techniques, including regression-based approaches, dynamic time-warping, phase clustering, detrended fluctuation analysis, and recurrence quantification analysis. Assumptions of these techniques, and examples of the scientific questions each can address, are outlined, with references to key papers and software packages. Additionally, we provide a detailed code tutorial that steps through the key examples and figures in this paper. Ultimately, we contend that the insights gained from pupillometry are constrained by the analysis techniques used, and that signal-to-signal approaches offer a means to generate novel scientific insights by taking into account understudied spectro-temporal relationships between the pupil signal and other signals of interest.
Collapse
Affiliation(s)
- Lauren Fink
- Department of Music, Max Planck Institute for Empirical Aesthetics, Grüneburgweg 14, 60322, Frankfurt am Main, Germany.
- Department of Psychology, Neuroscience & Behavior, McMaster University, 1280 Main St. West, Hamilton, Ontario, L8S 4L8, Canada.
| | - Jaana Simola
- Helsinki Collegium for Advanced Studies, University of Helsinki, Helsinki, Finland
- Department of Education, University of Helsinki, Helsinki, Finland
| | - Alessandro Tavano
- Department of Cognitive Neuropsychology, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
| | - Elke Lange
- Department of Music, Max Planck Institute for Empirical Aesthetics, Grüneburgweg 14, 60322, Frankfurt am Main, Germany
| | - Sebastian Wallot
- Department of Literature, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
- Institute for Sustainability Education and Psychologyy, Leuphana University, Lüneburg, Germany
| | - Bruno Laeng
- Department of Psychology, University of Oslo, Oslo, Norway
- RITMO Centre for Interdisciplinary studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway
| |
Collapse
|
6
|
T. Zaatar M, Alhakim K, Enayeh M, Tamer R. The transformative power of music: Insights into neuroplasticity, health, and disease. Brain Behav Immun Health 2024; 35:100716. [PMID: 38178844 PMCID: PMC10765015 DOI: 10.1016/j.bbih.2023.100716] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/07/2023] [Revised: 12/04/2023] [Accepted: 12/08/2023] [Indexed: 01/06/2024] Open
Abstract
Music is a universal language that can elicit profound emotional and cognitive responses. In this literature review, we explore the intricate relationship between music and the brain, from how it is decoded by the nervous system to its therapeutic potential in various disorders. Music engages a diverse network of brain regions and circuits, including sensory-motor processing, cognitive, memory, and emotional components. Music-induced brain network oscillations occur in specific frequency bands, and listening to one's preferred music can grant easier access to these brain functions. Moreover, music training can bring about structural and functional changes in the brain, and studies have shown its positive effects on social bonding, cognitive abilities, and language processing. We also discuss how music therapy can be used to retrain impaired brain circuits in different disorders. Understanding how music affects the brain can open up new avenues for music-based interventions in healthcare, education, and wellbeing.
Collapse
Affiliation(s)
- Muriel T. Zaatar
- Department of Biological and Physical Sciences, American University in Dubai, Dubai, United Arab Emirates
| | | | | | | |
Collapse
|
7
|
Bianco R, Zuk NJ, Bigand F, Quarta E, Grasso S, Arnese F, Ravignani A, Battaglia-Mayer A, Novembre G. Neural encoding of musical expectations in a non-human primate. Curr Biol 2024; 34:444-450.e5. [PMID: 38176416 DOI: 10.1016/j.cub.2023.12.019] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/28/2023] [Revised: 10/26/2023] [Accepted: 12/07/2023] [Indexed: 01/06/2024]
Abstract
The appreciation of music is a universal trait of humankind.1,2,3 Evidence supporting this notion includes the ubiquity of music across cultures4,5,6,7 and the natural predisposition toward music that humans display early in development.8,9,10 Are we musical animals because of species-specific predispositions? This question cannot be answered by relying on cross-cultural or developmental studies alone, as these cannot rule out enculturation.11 Instead, it calls for cross-species experiments testing whether homologous neural mechanisms underlying music perception are present in non-human primates. We present music to two rhesus monkeys, reared without musical exposure, while recording electroencephalography (EEG) and pupillometry. Monkeys exhibit higher engagement and neural encoding of expectations based on the previously seeded musical context when passively listening to real music as opposed to shuffled controls. We then compare human and monkey neural responses to the same stimuli and find a species-dependent contribution of two fundamental musical features-pitch and timing12-in generating expectations: while timing- and pitch-based expectations13 are similarly weighted in humans, monkeys rely on timing rather than pitch. Together, these results shed light on the phylogeny of music perception. They highlight monkeys' capacity for processing temporal structures beyond plain acoustic processing, and they identify a species-dependent contribution of time- and pitch-related features to the neural encoding of musical expectations.
Collapse
Affiliation(s)
- Roberta Bianco
- Neuroscience of Perception & Action Lab, Italian Institute of Technology, Viale Regina Elena 291, 00161 Rome, Italy.
| | - Nathaniel J Zuk
- Department of Psychology, Nottingham Trent University, 50 Shakespeare Street, Nottingham NG1 4FQ, UK
| | - Félix Bigand
- Neuroscience of Perception & Action Lab, Italian Institute of Technology, Viale Regina Elena 291, 00161 Rome, Italy
| | - Eros Quarta
- Department of Physiology and Pharmacology, Sapienza University of Rome, Piazzale Aldo Moro 5, 00185 Rome, Italy
| | - Stefano Grasso
- Department of Physiology and Pharmacology, Sapienza University of Rome, Piazzale Aldo Moro 5, 00185 Rome, Italy
| | - Flavia Arnese
- Neuroscience of Perception & Action Lab, Italian Institute of Technology, Viale Regina Elena 291, 00161 Rome, Italy
| | - Andrea Ravignani
- Comparative Bioacoustics Group, Max Planck Institute for Psycholinguistics, Wundtlaan 1, 6525 XD Nijmegen, the Netherlands; Center for Music in the Brain, Department of Clinical Medicine, Aarhus University & The Royal Academy of Music, Universitetsbyen 3, 8000 Aarhus, Denmark; Department of Human Neurosciences, Sapienza University of Rome, Piazzale Aldo Moro 5, 00185 Rome, Italy
| | - Alexandra Battaglia-Mayer
- Department of Physiology and Pharmacology, Sapienza University of Rome, Piazzale Aldo Moro 5, 00185 Rome, Italy
| | - Giacomo Novembre
- Neuroscience of Perception & Action Lab, Italian Institute of Technology, Viale Regina Elena 291, 00161 Rome, Italy.
| |
Collapse
|
8
|
Albury AW, Bianco R, Gold BP, Penhune VB. Context changes judgments of liking and predictability for melodies. Front Psychol 2023; 14:1175682. [PMID: 38034280 PMCID: PMC10684779 DOI: 10.3389/fpsyg.2023.1175682] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/27/2023] [Accepted: 10/23/2023] [Indexed: 12/02/2023] Open
Abstract
Predictability plays an important role in the experience of musical pleasure. By leveraging expectations, music induces pleasure through tension and surprise. However, musical predictions draw on both prior knowledge and immediate context. Similarly, musical pleasure, which has been shown to depend on predictability, may also vary relative to the individual and context. Although research has demonstrated the influence of both long-term knowledge and stimulus features in influencing expectations, it is unclear how perceptions of a melody are influenced by comparisons to other music pieces heard in the same context. To examine the effects of context we compared how listeners' judgments of two distinct sets of stimuli differed when they were presented alone or in combination. Stimuli were excerpts from a repertoire of Western music and a set of experimenter created melodies. Separate groups of participants rated liking and predictability for each set of stimuli alone and in combination. We found that when heard together, the Repertoire stimuli were more liked and rated as less predictable than if they were heard alone, with the opposite pattern being observed for the Experimental stimuli. This effect was driven by a change in ratings between the Alone and Combined conditions for each stimulus set. These findings demonstrate a context-based shift of predictability ratings and derived pleasure, suggesting that judgments stem not only from the physical properties of the stimulus, but also vary relative to other options available in the immediate context.
Collapse
Affiliation(s)
- Alexander W. Albury
- Department of Psychology, Concordia University, Montreal, QC, Canada
- International Laboratory for Brain, Music and Sound Research (BRAMS) and Center for Research in Brain, Language and Music (CRBLM), Montreal, QC, Canada
| | - Roberta Bianco
- Neuroscience of Perception and Action Laboratory, Italian Institute of Technology, Rome, Italy
| | - Benjamin P. Gold
- Department of Electrical and Computer Engineering, Vanderbilt University, Nashville, TN, United States
| | - Virginia B. Penhune
- Department of Psychology, Concordia University, Montreal, QC, Canada
- International Laboratory for Brain, Music and Sound Research (BRAMS) and Center for Research in Brain, Language and Music (CRBLM), Montreal, QC, Canada
| |
Collapse
|
9
|
Lisøy RS, Pfuhl G, Sunde HF, Biegler R. Sweet spot in music—Is predictability preferred among persons with psychotic-like experiences or autistic traits? PLoS One 2022; 17:e0275308. [PMID: 36174035 PMCID: PMC9521895 DOI: 10.1371/journal.pone.0275308] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/13/2021] [Accepted: 09/14/2022] [Indexed: 11/29/2022] Open
Abstract
People prefer music with an intermediate level of predictability; not so predictable as to be boring, yet not so unpredictable that it ceases to be music. This sweet spot for predictability varies due to differences in the perception of predictability. The symptoms of both psychosis and Autism Spectrum Disorder have been attributed to overestimation of uncertainty, which predicts a preference for predictable stimuli and environments. In a pre-registered study, we tested this prediction by investigating whether psychotic and autistic traits were associated with a higher preference for predictability in music. Participants from the general population were presented with twenty-nine pre-composed music excerpts, scored on their complexity by musical experts. A participant’s preferred level of predictability corresponded to the peak of the inverted U-shaped curve between music complexity and liking (i.e., a Wundt curve). We found that the sweet spot for predictability did indeed vary between individuals. Contrary to predictions, we did not find support for these variations being associated with autistic and psychotic traits. The findings are discussed in the context of the Wundt curve and the use of naturalistic stimuli. We also provide recommendations for further exploration.
Collapse
Affiliation(s)
- Rebekka Solvik Lisøy
- Department of Psychology, Faculty of Social and Educational Sciences, Norwegian University of Science and Technology, Trondheim, Norway
- * E-mail:
| | - Gerit Pfuhl
- Department of Psychology, Faculty of Social and Educational Sciences, Norwegian University of Science and Technology, Trondheim, Norway
- Department of Psychology, Faculty of Health Sciences, UiT–The Arctic University of Norway, Tromsø, Norway
| | - Hans Fredrik Sunde
- Centre for Fertility and Health, Norwegian Institute of Public Health, Oslo, Norway
| | - Robert Biegler
- Department of Psychology, Faculty of Social and Educational Sciences, Norwegian University of Science and Technology, Trondheim, Norway
| |
Collapse
|
10
|
Learning Chinese Classical Music with the Aid of Soundscape by Using Intelligent Network. COMPUTATIONAL INTELLIGENCE AND NEUROSCIENCE 2022; 2022:2085413. [PMID: 35602646 PMCID: PMC9122685 DOI: 10.1155/2022/2085413] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Subscribe] [Scholar Register] [Received: 01/20/2022] [Revised: 02/14/2022] [Accepted: 02/21/2022] [Indexed: 11/17/2022]
Abstract
A soundscape is a sound environment of the awareness of auditory perception and social or cultural understanding. To improve the subjective initiative of the Chinese classical music students, this study explores new learning modes and methods using soundscape and investigates its learning effect using intelligent music software. To examine the emotional experience of players in playing before and after learning, 50 students from music majors and 50 from non-music majors were selected. Results show that in the positive and negative emotional classical music experiment, most music majors and non-music majors have weak emotional experience at the beginning, and only a few have a strong emotional experience, which could reach 6 points. In the second scoring, most majors have a score of about 7 points, indicating strong emotional experience and a few have a score of about 4 points and 9 points, representing that there were relatively few majors with weak emotional experience and strong emotional experience. The overall emotional experience score is low in the comparison between non-music majors and music majors, and the second score in the entire experiment is significantly higher than the first score, signifying that the learning effect of players is obvious, and intelligent music software and soundscape play a role in the exploration of Chinese classical music.
Collapse
|
11
|
Fawcett C, Kreutz G. Twelve-month-old infants' physiological responses to music are affected by others' positive and negative reactions. INFANCY 2021; 26:784-797. [PMID: 34120402 DOI: 10.1111/infa.12415] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/29/2022]
Abstract
Infants show remarkable skills for processing music in the first year of life. Such skills are believed to foster social and communicative development, yet little is known about how infants' own preferences for music develop and whether social information plays a role. Here, we investigate whether the reactions of another person influence infants' responses to music. Specifically, 12-month-olds (N = 33) saw an actor react positively or negatively after listening to clips of instrumental music. Arousal (measured via pupil dilation) and attention (measured via looking time) were assessed when infants later heard the clips without the actor visible. Results showed greater pupil dilation when listening to music clips that had previously been reacted to negatively than those that had been reacted to positively (Exp. 1). This effect was not replicated when a similar, rather than identical, clip from the piece of music was used in the test phase (Exp. 2, N = 35 12-month-olds). There were no effects of the actor's positive or negative reaction on looking time. Together, our findings suggest that infants are sensitive to others' positive and negative reactions not only for concrete objects, such as food or toys, but also for more abstract stimuli including music.
Collapse
Affiliation(s)
- Christine Fawcett
- Uppsala Child and Baby Lab, Department of Psychology, Uppsala University, Uppsala, Sweden
| | - Gunter Kreutz
- Speech and Music Lab, Department of Music, Carl von Ossietzky University Oldenburg, Oldenburg, Sweden
| |
Collapse
|
12
|
Listeners with congenital amusia are sensitive to context uncertainty in melodic sequences. Neuropsychologia 2021; 158:107911. [PMID: 34102187 DOI: 10.1016/j.neuropsychologia.2021.107911] [Citation(s) in RCA: 7] [Impact Index Per Article: 2.3] [Reference Citation Analysis] [Abstract] [Key Words] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/15/2020] [Revised: 05/26/2021] [Accepted: 06/03/2021] [Indexed: 11/21/2022]
Abstract
In typical listeners, the perceptual salience of a surprising auditory event depends on the uncertainty of its context. For example, in melodies, pitch deviants are more easily detected and generate larger neural responses when the context is highly predictable than when it is less so. However, it is not known whether amusic listeners with abnormal pitch processing are sensitive to the degree of uncertainty of pitch sequences and, if so, whether they are to a different extent than typical non-musician listeners. To answer this question, we manipulated the uncertainty of short melodies while participants with and without congenital amusia underwent EEG recordings in a passive listening task. Uncertainty was manipulated by presenting melodies with different levels of complexity and familiarity, under the assumption that simpler and more familiar patterns would enhance pitch predictability. We recorded mismatch negativity (MMN) responses to pitch, intensity, timbre, location, and rhythm deviants as a measure of auditory surprise. In both participant groups, we observed reduced MMN amplitudes and longer peak latencies for all sound features with increasing levels of complexity, and putative familiarity effects only for intensity deviants. No significant group-by-complexity or group-by-familiarity interactions were detected. However, in contrast to previous studies, pitch MMN responses in amusics were disrupted in high complexity and unfamiliar melodies. The present results thus indicate that amusics are sensitive to the uncertainty of melodic sequences and that preattentive auditory change detection is greatly spared in this population across sound features and levels of predictability. However, our findings also hint at pitch-specific impairments in this population when uncertainty is high, thus suggesting that pitch processing under high uncertainty conditions requires an intact frontotemporal loop.
Collapse
|
13
|
Laeng B, Garvija L, Løseth G, Eikemo M, Ernst G, Leknes S. 'Defrosting' music chills with naltrexone: The role of endogenous opioids for the intensity of musical pleasure. Conscious Cogn 2021; 90:103105. [PMID: 33711654 DOI: 10.1016/j.concog.2021.103105] [Citation(s) in RCA: 13] [Impact Index Per Article: 4.3] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/14/2020] [Revised: 01/09/2021] [Accepted: 02/17/2021] [Indexed: 01/31/2023]
Abstract
The endogenous opioid system has been implicated during experiences of pleasure (i.e., from food or sex). Music can elicit intense emotional and bodily sensations of pleasure, called 'Chills'. We investigated the effects of an opioid antagonist (50 mg naltrexone) or placebo (40 μg d3-vitamin) while listening to self-selected music or other 'control' music selected by another participant. We used a novel technique of continuous measurement of pleasantness with an eye tracker system, where participants shifted their eyes along a visual analogue scale, in the semblance of a thermometer so that, as the music unfolded, gaze positions indicated the self-reported hedonic experience. Simultaneously, we obtained pupil diameters. Self-reported pleasure remained unchanged by naltrexone, which - however - selectively decreased pupillary diameters during 'Chills'. Hence, the endogenous μ-opioid signaling is not necessary for subjective enjoyment of music but an opioid blockade dampens pupil responses to peak pleasure, consistent with decreased arousal to the music.
Collapse
Affiliation(s)
- Bruno Laeng
- Department of Psychology, University of Oslo, Oslo, Norway; RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Norway.
| | - Lara Garvija
- Department of Psychology, University of Oslo, Oslo, Norway; RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Norway
| | - Guro Løseth
- Department of Psychology, University of Oslo, Oslo, Norway
| | - Marie Eikemo
- Department of Psychology, University of Oslo, Oslo, Norway
| | - Gernot Ernst
- Department of Psychology, University of Oslo, Oslo, Norway; Vestre Viken Health Trust, Kongsberg Hospital, Norway
| | - Siri Leknes
- Department of Psychology, University of Oslo, Oslo, Norway; Department of Diagnostic Physics, Oslo University Hospital, Norway
| |
Collapse
|
14
|
Olszewska AM, Gaca M, Herman AM, Jednoróg K, Marchewka A. How Musical Training Shapes the Adult Brain: Predispositions and Neuroplasticity. Front Neurosci 2021; 15:630829. [PMID: 33776638 PMCID: PMC7987793 DOI: 10.3389/fnins.2021.630829] [Citation(s) in RCA: 29] [Impact Index Per Article: 9.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/18/2020] [Accepted: 02/12/2021] [Indexed: 11/25/2022] Open
Abstract
Learning to play a musical instrument is a complex task that integrates multiple sensory modalities and higher-order cognitive functions. Therefore, musical training is considered a useful framework for the research on training-induced neuroplasticity. However, the classical nature-or-nurture question remains, whether the differences observed between musicians and non-musicians are due to predispositions or result from the training itself. Here we present a review of recent publications with strong focus on experimental designs to better understand both brain reorganization and the neuronal markers of predispositions when learning to play a musical instrument. Cross-sectional studies identified structural and functional differences between the brains of musicians and non-musicians, especially in regions related to motor control and auditory processing. A few longitudinal studies showed functional changes related to training while listening to and producing music, in the motor network and its connectivity with the auditory system, in line with the outcomes of cross-sectional studies. Parallel changes within the motor system and between the motor and auditory systems were revealed for structural connectivity. In addition, potential predictors of musical learning success were found including increased brain activation in the auditory and motor systems during listening, the microstructure of the arcuate fasciculus, and the functional connectivity between the auditory and the motor systems. We show that “the musical brain” is a product of both the natural human neurodiversity and the training practice.
Collapse
Affiliation(s)
- Alicja M Olszewska
- Laboratory of Brain Imaging, Nencki Institute of Experimental Biology of the Polish Academy of Sciences, Warsaw, Poland
| | - Maciej Gaca
- Laboratory of Brain Imaging, Nencki Institute of Experimental Biology of the Polish Academy of Sciences, Warsaw, Poland
| | - Aleksandra M Herman
- Laboratory of Brain Imaging, Nencki Institute of Experimental Biology of the Polish Academy of Sciences, Warsaw, Poland
| | - Katarzyna Jednoróg
- Laboratory of Language Neurobiology, Nencki Institute of Experimental Biology of the Polish Academy of Sciences, Warsaw, Poland
| | - Artur Marchewka
- Laboratory of Brain Imaging, Nencki Institute of Experimental Biology of the Polish Academy of Sciences, Warsaw, Poland
| |
Collapse
|
15
|
Quiroga-Martinez DR, Hansen NC, Højlund A, Pearce M, Brattico E, Vuust P. Decomposing neural responses to melodic surprise in musicians and non-musicians: Evidence for a hierarchy of predictions in the auditory system. Neuroimage 2020; 215:116816. [PMID: 32276064 DOI: 10.1016/j.neuroimage.2020.116816] [Citation(s) in RCA: 22] [Impact Index Per Article: 5.5] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/02/2019] [Revised: 02/18/2020] [Accepted: 03/24/2020] [Indexed: 01/20/2023] Open
Abstract
Neural responses to auditory surprise are typically studied with highly unexpected, disruptive sounds. Consequently, little is known about auditory prediction in everyday contexts that are characterized by fine-grained, non-disruptive fluctuations of auditory surprise. To address this issue, we used IDyOM, a computational model of auditory expectation, to obtain continuous surprise estimates for a set of newly composed melodies. Our main goal was to assess whether the neural correlates of non-disruptive surprising sounds in a musical context are affected by musical expertise. Using magnetoencephalography (MEG), auditory responses were recorded from musicians and non-musicians while they listened to the melodies. Consistent with a previous study, the amplitude of the N1m component increased with higher levels of computationally estimated surprise. This effect, however, was not different between the two groups. Further analyses offered an explanation for this finding: Pitch interval size itself, rather than probabilistic prediction, was responsible for the modulation of the N1m, thus pointing to low-level sensory adaptation as the underlying mechanism. In turn, the formation of auditory regularities and proper probabilistic prediction were reflected in later components: The mismatch negativity (MMNm) and the P3am, respectively. Overall, our findings reveal a hierarchy of expectations in the auditory system and highlight the need to properly account for sensory adaptation in research addressing statistical learning.
Collapse
Affiliation(s)
- D R Quiroga-Martinez
- Center for Music in the Brain, Aarhus University & The Royal Academy of Music, Denmark.
| | - N C Hansen
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Australia; Aarhus Institute of Advanced Studies (AIAS), Aarhus University, Denmark
| | - A Højlund
- Center of Functionally Integrative Neuroscience, Aarhus University, Denmark
| | - M Pearce
- Center for Music in the Brain, Aarhus University & The Royal Academy of Music, Denmark; School of Electronic Engineering and Computer Science, Queen Mary University of London, UK
| | - E Brattico
- Center for Music in the Brain, Aarhus University & The Royal Academy of Music, Denmark; Department of Educational Sciences, Psychology and Communication, University of Bari Aldo Moro, Italy
| | - P Vuust
- Center for Music in the Brain, Aarhus University & The Royal Academy of Music, Denmark
| |
Collapse
|