Pupil drift rate indexes groove ratings

The perceived catchiness of music affects the experience of groove

Catchiness and groove are common phenomena when listening to popular music. Catchiness may be a potential factor for experiencing groove but quantitative evidence for such a relationship is missing. To examine whether and how catchiness influences a key component of groove-the pleasurable urge to move to music (PLUMM)-we conducted a listening experiment with 450 participants and 240 short popular music clips of drum patterns, bass lines or keys/guitar parts. We found four main results: (1) catchiness as measured in a recognition task was only weakly associated with participants' perceived catchiness of music. We showed that perceived catchiness is multi-dimensional, subjective, and strongly associated with pleasure. (2) We found a sizeable positive relationship between PLUMM and perceived catchiness. (3) However, the relationship is complex, as further analysis showed that pleasure suppresses perceived catchiness' effect on the urge to move. (4) We compared common factors that promote perceived catchiness and PLUMM and found that listener-related variables contributed similarly, while the effects of musical content diverged. Overall, our data suggests music perceived as catchy is likely to foster groove experiences.

Oscillatory attention in groove

Attention is not constant but rather fluctuates over time and these attentional fluctuations may prioritize the processing of certain events over others. In music listening, the pleasurable urge to move to music (termed 'groove' by music psychologists) offers a particularly convenient case study of oscillatory attention because it engenders synchronous and oscillatory movements which also vary predictably with stimulus complexity. In this study, we simultaneously recorded pupillometry and scalp electroencephalography (EEG) from participants while they listened to drumbeats of varying complexity that they rated in terms of groove afterwards. Using the intertrial phase coherence of the beat frequency, we found that while subjects were listening, their pupil activity became entrained to the beat of the drumbeats and this entrained attention persisted in the EEG even as subjects imagined the drumbeats continuing through subsequent silent periods. This entrainment in both the pupillometry and EEG worsened with increasing rhythmic complexity, indicating poorer sensory precision as the beat became more obscured. Additionally, sustained pupil dilations revealed the expected, inverted U-shaped relationship between rhythmic complexity and groove ratings. Taken together, this work bridges oscillatory attention to rhythmic complexity in relation to musical groove.

A review of psychological and neuroscientific research on musical groove

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.

Syncopation as structure bootstrapping: the role of asymmetry in rhythm and language

Syncopation - the occurrence of a musical event on a metrically weak position preceding a rest on a metrically strong position - represents an important challenge in the study of the mapping between rhythm and meter. In this contribution, we present the hypothesis that syncopation is an effective strategy to elicit the bootstrapping of a multi-layered, hierarchically organized metric structure from a linear rhythmic surface. The hypothesis is inspired by a parallel with the problem of linearization in natural language syntax, which is the problem of how hierarchically organized phrase-structure markers are mapped onto linear sequences of words. The hypothesis has important consequences for the role of meter in music perception and cognition and, more particularly, for its role in the relationship between rhythm and bodily entrainment.

Dopamine dysregulation in Parkinson's disease flattens the pleasurable urge to move to musical rhythms

The pleasurable urge to move to music (PLUMM) activates motor and reward areas of the brain and is thought to be driven by predictive processes. Dopamine in motor and limbic networks is implicated in beat-based timing and music-induced pleasure, suggesting a central role of basal ganglia (BG) dopaminergic systems in PLUMM. This study tested this hypothesis by comparing PLUMM in participants with Parkinson's disease (PD), age-matched controls, and young controls. Participants listened to musical sequences with varying rhythmic and harmonic complexity (low, medium and high), and rated their experienced pleasure and urge to move to the rhythm. In line with previous results, healthy younger participants showed an inverted U-shaped relationship between rhythmic complexity and ratings, with preference for medium complexity rhythms, while age-matched controls showed a similar, but weaker, inverted U-shaped response. Conversely, PD showed a significantly flattened response for both the urge to move and pleasure. Crucially, this flattened response could not be attributed to differences in rhythm discrimination and did not reflect an overall decrease in ratings. For harmonic complexity, PD showed a negative linear pattern for both the urge to move and pleasure while healthy age-matched controls showed the same pattern for pleasure and an inverted U for the urge to move. This contrasts with the pattern observed in young healthy controls in previous studies, suggesting that both healthy aging and PD also influence affective responses to harmonic complexity. Together, these results support the role of dopamine within cortico-striatal circuits in the predictive processes that form the link between the perceptual processing of rhythmic patterns and the affective and motor responses to rhythmic music.

The Pleasurable Urge to Move to Music Through the Lens of Learning Progress

Interacting with music is a uniquely pleasurable activity that is ubiquitous across human cultures. Current theories suggest that a prominent driver of musical pleasure responses is the violation and confirmation of temporal predictions. For example, the pleasurable urge to move to music (PLUMM), which is associated with the broader concept of groove, is higher for moderately complex rhythms compared to simple and complex rhythms. This inverted U-shaped relation between PLUMM and rhythmic complexity is thought to result from a balance between predictability and uncertainty. That is, moderately complex rhythms lead to strongly weighted prediction errors which elicit an urge to move to reinforce the predictive model (i.e., the meter). However, the details of these processes and how they bring about positive affective responses are currently underspecified. We propose that the intrinsic motivation for learning progress drives PLUMM and informs the music humans choose to listen to, dance to, and create. Here, learning progress reflects the rate of prediction error minimization over time. Accordingly, reducible prediction errors signal the potential for learning progress, producing a pleasurable, curious state characterized by the mobilization of attentional and memory resources. We discuss this hypothesis in the context of current psychological and neuroscientific research on musical pleasure and PLUMM. We propose a theoretical neuroscientific model focusing on the roles of dopamine and norepinephrine within a feedback loop linking prediction-based learning, curiosity, and memory. This perspective provides testable predictions that will motivate future research to further illuminate the fundamental relation between predictions, movement, and reward.

Knee flexion of saxophone players anticipates tonal context of music

Music performance requires high levels of motor control. Professional musicians use body movements not only to accomplish and help technical efficiency, but to shape expressive interpretation. Here, we recorded motion and audio data of twenty participants performing four musical fragments varying in the degree of technical difficulty to analyze how knee flexion is employed by expert saxophone players. Using a computational model of the auditory periphery, we extracted emergent acoustical properties of sound to inference critical cognitive patterns of music processing and relate them to motion data. Results showed that knee flexion is causally linked to tone expectations and correlated to rhythmical density, suggesting that this gesture is associated with expressive and facilitative purposes. Furthermore, when instructed to play immobile, participants tended to microflex (>1 Hz) more frequently compared to when playing expressively, possibly indicating a natural urge to move to the music. These results underline the robustness of body movement in musical performance, providing valuable insights for the understanding of communicative processes, and development of motor learning cues.

Human voices escape the auditory attentional blink: Evidence from detections and pupil responses

Attentional selection of a second target in a rapid stream of stimuli embedding two targets tends to be briefly impaired when two targets are presented in close temporal proximity, an effect known as an attentional blink (AB). Two target sounds (T1 and T2) were embedded in a rapid serial auditory presentation of environmental sounds with a short (Lag 3) or long lag (Lag 9). Participants were to first identify T1 (bell or sine tone) and then to detect T2 (present or absent). Individual stimuli had durations of either 30 or 90 ms, and were presented in streams of 20 sounds. The T2 varied in category: human voice, cello, or dog sound. Previous research has introduced pupillometry as a useful marker of the intensity of cognitive processing and attentional allocation in the visual AB paradigm. Results suggest that the interplay of stimulus factors is critical for target detection accuracy and provides support for the hypothesis that the human voice is the least likely to show an auditory AB (in the 90 ms condition). For the other stimuli, accuracy for T2 was significantly worse at Lag 3 than at Lag 9 in the 90 ms condition, suggesting the presence of an auditory AB. When AB occurred (at Lag 3), we observed smaller pupil dilations, time-locked to the onset of T2, compared to Lag 9, reflecting lower attentional processing when 'blinking' during target detection. Taken together, these findings support the conclusion that human voices escape the AB and that the pupillary changes are consistent with the so-called T2 attentional deficit. In addition, we found some indication that salient stimuli like human voices could require a less intense allocation of attention, or noradrenergic potentiation, compared to other auditory stimuli.

Beat alignment ability is associated with formal musical training not current music playing

The ability to perceive the beat in music is crucial for both music listeners and players with expert musicians being notably skilled at noticing fine deviations in the beat. However, it is unclear whether this beat perception ability is enhanced in trained musicians who continue to practice relative to musicians who no longer play. Thus, we investigated this by comparing active musicians', inactive musicians', and nonmusicians' beat alignment ability scores on the Computerized Adaptive Beat Alignment Test (CA-BAT). 97 adults with diverse musical experience participated in the study, reporting their years of formal musical training, number of instruments played, hours of weekly music playing, and hours of weekly music listening, in addition to their demographic information. While initial tests between groups indicated active musicians outperformed inactive musicians and nonmusicians on the CA-BAT, a generalized linear regression analysis showed that there was no significant difference once differences in musical training had been accounted for. To ensure that our results were not impacted by multicollinearity between music-related variables, nonparametric and nonlinear machine learning regressions were employed and confirmed that years of formal musical training was the only significant predictor of beat alignment ability. These results suggest that expertly perceiving fine differences in the beat is not a use-dependent ability that degrades without regular maintenance through practice or musical engagement. Instead, better beat alignment appears to be associated with more musical training regardless of continued use.

Caressed by music: Related preferences for velocity of touch and tempo of music?

Given that both hearing and touch are 'mechanical senses' that respond to physical pressure or mechanical energy and that individuals appear to have a characteristic internal or spontaneous tempo, individual preferences in musical and touch rhythms might be related. We explored this in two experiments probing individual preferences for tempo in the tactile and auditory modalities. Study 1 collected ratings of received stroking on the forearm and measured the velocity the participants used for stroking a fur. Music tempo preferences were assessed as mean beats per minute of individually selected music pieces and via the adjustment of experimenter-selected music to a preferred tempo. Heart rate was recorded to measure levels of physiological arousal. We found that the preferred tempo of favorite (self-selected) music correlated positively with the velocity with which each individual liked to be touched. In Study 2, participants rated videos of repeated touch on someone else's arm and videos of a drummer playing with brushes on a snare drum, both at a variety of tempos. We found that participants with similar rating patterns for the different stroking speeds did not show similar rating patterns for the different music beats. The results suggest that there may be a correspondence between preferences for favorite music and felt touch, but this is either weak or it cannot be evoked effectively with vicarious touch and/or mere drum beats. Thus, if preferences for touch and music are related, this is likely to be dependent on the specific type of stimulation.