Cognitive interference can be mitigated by consonant music and facilitated by dissonant music

Differential Background Music as Attentional Resources Interacting with Cognitive Control

We examined the effects of background music on cognitive task performances using different musical arrangements from an excerpt of Mozart's Piano Sonata K.448. The participants were 126 university students: 70 music majors and 56 nonmusic majors. Three types of musical arrangements were used as background conditions: rhythm-only, melody, and original music conditions. Participants were asked to perform cognitive tasks in the presence of each music condition. The participants' percentage of completed items and accuracy on these tasks were compared for music and nonmusic majors, controlling for the effect of perceived level of arousal and their performance during no background music. Whether a participant's perceptions of background music predicted their cognitive performance was also analyzed. We found that music majors demonstrated decreased task performance for the original background condition, while nonmusic majors demonstrated no significant differences in performance across the arrangements. When pitch or rhythm information was modified, emotional valence and arousal were perceived differently. Perception of the complexity of the background music depending on the arrangement type differed between music majors and nonmusic majors. While the perceived complexity significantly predicted nonmusic majors' cognitive performance, its predictive effect was not found in music majors. The findings imply that perceptions of musical arrangements in terms of expectancy and complexity can be critical factors in determining how arrangements affect concurrent cognitive activity, while suggesting that music itself is not a facilitating or detrimental factor for cognitive performance.

Dissociable effects of music and white noise on conflict-induced behavioral adjustments

Auditory stimuli, encompassing a continually expanding collection of musical genres and sonic hues, present a safe and easily administrable therapeutic option for alleviating cognitive deficits associated with neuropsychological disorders, but their effects on executive control are yet to be completely understood. To better understand how the processing of certain acoustic properties can influence conflict processing, we had a large of cohort of undergraduate students complete the Stroop colour and word test in three different background conditions: classical music, white noise, and silence. Because of pandemic guidelines and the necessity to run the experiment remotely, participants also completed the Wisconsin card sorting test (WCST), so that the reliability and consistency of acquired data could be assessed. We found that white noise, but not classical music increased the response time difference between congruent (low conflict) and incongruent (high conflict) trials (conflict cost), hence impairing performance. Results from the WCST indicated that home-based data collection was reliable, replicating a performance bias reported in our previous laboratory-based experiments. Both the auditory stimuli were played at a similar intensity, thus their dissociable effects may have resulted from differing emotional responses within participants, where white noise, but not music elicited a negative response. Integrated with previous literature, our findings indicate that outside of changes in tempo and valence, classical music does not affect cognitive functions associated with conflict processing, whilst white noise impairs these functions in a manner similar to other stressors, and hence requires further research before its implementation into neuropsychiatric care.

The Emotional Effect of Background Music on Selective Attention of Adults

Daily activities can often be performed while listening to music, which could influence the ability to select relevant stimuli while ignoring distractors. Previous studies have established that the level of arousal of music (e.g., relaxing/stimulating) has the ability to modulate mood and affect the performance of cognitive tasks. The aim of this research was to explore the effect of relaxing and stimulating background music on selective attention. To this aim, 46 healthy adults performed a Stroop-type task in five different sound environments: relaxing music, stimulating music, relaxing music-matched noise, stimulating music-matched noise, and silence. Results showed that response times for incongruent and congruent trials as well as the Stroop interference effect were similar across conditions. Interestingly, results revealed a decreased error rate for congruent trials in the relaxing music condition as compared to the relaxing music-matched noise condition, and a similar tendency between relaxing music and stimulating music-matched noise. Taken together, the absence of difference between background music and silence conditions suggest that they have similar effects on adult’s selective attention capacities, while noise seems to have a detrimental impact, particularly when the task is easier cognitively. In conclusion, the type of sound stimulation in the environment seems to be a factor that can affect cognitive tasks performance.

Memorisation and implicit perceptual learning are enhanced for preferred musical intervals and chords

Is it true that we learn better what we like? Current neuroaesthetic and neurocomputational models of aesthetic appreciation postulate the existence of a correlation between aesthetic appreciation and learning. However, even though aesthetic appreciation has been associated with attentional enhancements, systematic evidence demonstrating its influence on learning processes is still lacking. Here, in two experiments, we investigated the relationship between aesthetic preferences for consonance versus dissonance and the memorisation of musical intervals and chords. In Experiment 1, 60 participants were first asked to memorise and evaluate arpeggiated triad chords (memorisation phase), then, following a distraction task, chords’ memorisation accuracy was measured (recognition phase). Memorisation resulted to be significantly enhanced for subjectively preferred as compared with non-preferred chords. To explore the possible neural mechanisms underlying these results, we performed an EEG study, directed to investigate implicit perceptual learning dynamics (Experiment 2). Through an auditory mismatch detection paradigm, electrophysiological responses to standard/deviant intervals were recorded, while participants were asked to evaluate the beauty of the intervals. We found a significant trial-by-trial correlation between subjective aesthetic judgements and single trial amplitude fluctuations of the ERP attention-related N1 component. Moreover, implicit perceptual learning, expressed by larger mismatch detection responses, was enhanced for more appreciated intervals. Altogether, our results showed the existence of a relationship between aesthetic appreciation and implicit learning dynamics as well as higher-order learning processes, such as memorisation. This finding might suggest possible future applications in different research domains such as teaching and rehabilitation of memory and attentional deficits.

Dissonance in Music Impairs Spatial Gait Parameters in Patients with Parkinson's Disease

BACKGROUND

It is known that music influences gait parameters in Parkinson's disease (PD). However, it remains unclear whether this effect is merely due to temporal aspects of music (rhythm and tempo) or other musical parameters.

OBJECTIVE

To examine the influence of pleasant and unpleasant music on spatiotemporal gait parameters in PD, while controlling for rhythmic aspects of the musical signal.

METHODS

We measured spatiotemporal gait parameters of 18 patients suffering from mild PD (50%men, mean±SD age of 64±6 years; mean disease duration of 6±5 years; mean Unified PD Rating scale [UPDRS] motor score of 15±7) who listened to eight different pieces of music. Music pieces varied in harmonic consonance/dissonance to create the experience of pleasant/unpleasant feelings. To measure gait parameters, we used an established analysis of spatiotemporal gait, which consists of a walkway containing pressure-receptive sensors (GAITRite®). Repeated measures analyses of variance were used to evaluate effects of auditory stimuli. In addition, linear regression was used to evaluate effects of valence on gait.

RESULTS

Sensory dissonance modulated spatiotemporal and spatial gait parameters, namely velocity and stride length, while temporal gait parameters (cadence, swing duration) were not affected. In contrast, valence in music as perceived by patients was not associated with gait parameters. Motor and musical abilities did not relevantly influence the modulation of gait by auditory stimuli.

CONCLUSION

Our observations suggest that dissonant music negatively affects particularly spatial gait parameters in PD by yet unknown mechanisms, but putatively through increased cognitive interference reducing attention in auditory cueing.

Supine body posture reduces cognitive conflict processing: Evidence from N450 Stroop interference

Previous research has revealed that a supine body posture, as compared to a sitting upright posture, decreases approach motivation and cognitive dissonance reduction. The present research was designed to test whether a supine body posture would decrease cognitive conflict processing, the process that occurs prior to cognitive dissonance reduction. Previous research using the Stroop task has found event-related potentials (N450, error-related negativity [ERN]) that are associated with cognitive conflict processing. In the current experiment, participants (N = 35) completed a color-naming Stroop task while sitting upright or supine (within-subjects, counterbalanced). Results revealed that as compared to the upright posture, the supine posture reduced the N450 Stroop interference effect but not the ERN.

Modulatory role of background music on cognitive interference task in young people

BACKGROUND

The Stroop Colour and Word Test (SCWT) is the most extensively used neuropsychological test in humans to evaluate the ability to inhibit cognitive interference. Any music played while the listener's primary attention is focused on another activity is known as background music and its effects on SCWT have not been studied well.

OBJECTIVE

The current study was designed to evaluate the influence of different background music (classical and heavy metal) on inhibiting cognitive interference in young adults by using the Stroop Colour and Word Test.

METHODS

Eighty student volunteers were invited for the study after obtaining their informed consent. They were first tested for colour blindness using Ishihara's colour test, and once passed, they were recruited to perform a computerised Stroop colour-word interference test. Each participant was requested to take part in four reading exercises: monochrome words, rectangle colours, coloured words and colour naming, respectively. These exercises were performed under three different conditions such as silence (absence of background music), presence of heavy metal and classical music, respectively. The participants' reaction time, errors made and heart rate were recorded and compared.

RESULTS

The participants' reaction time was found to be significantly decreased with classical and heavy metal background music compared with the silence condition. The heart rate and errors made by the participants did not significantly change during any of the study conditions.

CONCLUSIONS

Results of this study indicate the positive impact of background music on a cognitive interference task. Further studies are warranted to elucidate the underlying neural mechanisms.

"Stopping for knowledge": The sense of beauty in the perception-action cycle

According to a millennial-old philosophical debate, aesthetic emotions have been connected to knowledge acquisition. Recent scientific evidence, collected across different disciplinary domains, confirms this link, but also reveals that motor inhibition plays a crucial role in the process. In this review, we discuss multidisciplinary results and propose an original account of aesthetic appreciation (the stopping for knowledge hypothesis) framed within the predictive coding theory. We discuss evidence showing that aesthetic emotions emerge in correspondence with an inhibition of motor behavior (i.e., minimizing action), promoting a simultaneous perceptual processing enhancement, at the level of sensory cortices (i.e., optimizing learning). Accordingly, we suggest that aesthetic appreciation may represent a hedonic feedback over learning progresses, motivating the individual to inhibit motor routines to seek further knowledge acquisition. Furthermore, the neuroimaging and neuropsychological studies we review reveal the presence of a strong association between aesthetic appreciation and the activation of the dopaminergic reward-related circuits. Finally, we propose a number of possible applications of the stopping for knowledge hypothesis in the clinical and education domains.

Aesthetic appreciation of musical intervals enhances behavioural and neurophysiological indexes of attentional engagement and motor inhibition

From Kant to current perspectives in neuroaesthetics, the experience of beauty has been described as disinterested, i.e. focusing on the stimulus perceptual features while neglecting self-referred concerns. At a neurophysiological level, some indirect evidence suggests that disinterested aesthetic appreciation might be associated with attentional enhancement and inhibition of motor behaviour. To test this hypothesis, we performed three auditory-evoked potential experiments, employing consonant and dissonant two-note musical intervals. Twenty-two volunteers judged the beauty of intervals (Aesthetic Judgement task) or responded to them as fast as possible (Detection task). In a third Go-NoGo task, a different group of twenty-two participants had to refrain from responding when hearing intervals. Individual aesthetic judgements positively correlated with response times in the Detection task, with slower motor responses for more appreciated intervals. Electrophysiological indexes of attentional engagement (N1/P2) and motor inhibition (N2/P3) were enhanced for more appreciated intervals. These findings represent the first experimental evidence confirming the disinterested interest hypothesis and may have important applications in research areas studying the effects of stimulus features on learning and motor behaviour.

Scaling behaviour in music and cortical dynamics interplay to mediate music listening pleasure

The pleasure of music listening regulates daily behaviour and promotes rehabilitation in healthcare. Human behaviour emerges from the modulation of spontaneous timely coordinated neuronal networks. Too little is known about the physical properties and neurophysiological underpinnings of music to understand its perception, its health benefit and to deploy personalized or standardized music-therapy. Prior studies revealed how macroscopic neuronal and music patterns scale with frequency according to a 1/f^α relationship, where a is the scaling exponent. Here, we examine how this hallmark in music and neuronal dynamics relate to pleasure. Using electroencephalography, electrocardiography and behavioural data in healthy subjects, we show that music listening decreases the scaling exponent of neuronal activity and-in temporal areas-this change is linked to pleasure. Default-state scaling exponents of the most pleased individuals were higher and approached those found in music loudness fluctuations. Furthermore, the scaling in selective regions and timescales and the average heart rate were largely proportional to the scaling of the melody. The scaling behaviour of heartbeat and neuronal fluctuations were associated during music listening. Our results point to a 1/f resonance between brain and music and a temporal rescaling of neuronal activity in the temporal cortex as mechanisms underlying music appreciation.

Physics of mind: Experimental confirmations of theoretical predictions

What is common among Newtonian mechanics, statistical physics, thermodynamics, quantum physics, the theory of relativity, astrophysics and the theory of superstrings? All these areas of physics have in common a methodology, which is discussed in the first few lines of the review. Is a physics of the mind possible? Is it possible to describe how a mind adapts in real time to changes in the physical world through a theory based on a few basic laws? From perception and elementary cognition to emotions and abstract ideas allowing high-level cognition and executive functioning, at nearly all levels of study, the mind shows variability and uncertainties. Is it possible to turn psychology and neuroscience into so-called "hard" sciences? This review discusses several established first principles for the description of mind and their mathematical formulations. A mathematical model of mind is derived from these principles. This model includes mechanisms of instincts, emotions, behavior, cognition, concepts, language, intuitions, and imagination. We clarify fundamental notions such as the opposition between the conscious and the unconscious, the knowledge instinct and aesthetic emotions, as well as humans' universal abilities for symbols and meaning. In particular, the review discusses in length evolutionary and cognitive functions of aesthetic emotions and musical emotions. Several theoretical predictions are derived from the model, some of which have been experimentally confirmed. These empirical results are summarized and we introduce new theoretical developments. Several unsolved theoretical problems are proposed, as well as new experimental challenges for future research.

Neurodiversity, Giftedness, and Aesthetic Perceptual Judgment of Music in Children with Autism

The author investigated the capability of aesthetic perceptual judgment of music in male children diagnosed with autism spectrum disorder (ASD) when compared to age-matched typically developing (TD) male children. Nineteen boys between 4 and 7 years of age with ASD were compared to 28 TD boys while listening to musical stimuli of different aesthetic levels. The results from two musical experiments using the above participants, are described here. In the first study, responses to a Mozart minuet and a dissonant altered version of the same Mozart minuet were compared. In this first study, the results indicated that both ASD and TD males preferred listening to the original consonant version of the minuet over the altered dissonant version. With the same participants, the second experiment included musical stimuli from four renowned composers: Mozart and Bach’s musical works, both considered consonant in their harmonic structure, were compared with music from Schoenberg and Albinoni, two composers who wrote musical works considered exceedingly harmonically dissonant. In the second study, when the stimuli included consonant or dissonant musical stimuli from different composers, the children with ASD showed greater preference for the aesthetic quality of the highly dissonant music compared to the TD children. While children in both of the groups listened to the consonant stimuli of Mozart and Bach music for the same amount of time, the children with ASD listened to the dissonant music of Schoenberg and Albinoni longer than the TD children. As preferring dissonant music is more aesthetically demanding perceptually, these results suggest that ASD male children demonstrate an enhanced capability of aesthetic judgment of music. Subsidiary data collected after the completion of the experiment revealed that absolute pitch ability was prevalent only in the children with ASD, some of whom also possessed extraordinary musical memory. The implications of these results are discussed with reference to the broader notion of neurodiversity, a term coined to capture potentially gifted qualities in individuals diagnosed with ASD.

Physics of the Mind

Is it possible to turn psychology into “hard science”? Physics of the mind follows the fundamental methodology of physics in all areas where physics have been developed. What is common among Newtonian mechanics, statistical physics, quantum physics, thermodynamics, theory of relativity, astrophysics… and a theory of superstrings? The common among all areas of physics is a methodology of physics discussed in the first few lines of the paper. Is physics of the mind possible? Is it possible to describe the mind based on the few first principles as physics does? The mind with its variabilities and uncertainties, the mind from perception and elementary cognition to emotions and abstract ideas, to high cognition. Is it possible to turn psychology and neuroscience into “hard” sciences? The paper discusses established first principles of the mind, their mathematical formulations, and a mathematical model of the mind derived from these first principles, mechanisms of concepts, emotions, instincts, behavior, language, cognition, intuitions, conscious and unconscious, abilities for symbols, functions of the beautiful and musical emotions in cognition and evolution. Some of the theoretical predictions have been experimentally confirmed. This research won national and international awards. In addition to summarizing existing results the paper describes new development theoretical and experimental. The paper discusses unsolved theoretical problems as well as experimental challenges for future research.

Inharmonic music elicits more negative affect and interferes more with a concurrent cognitive task than does harmonic music

We evaluated whether task-irrelevant inharmonic music produces greater interference with cognitive performance than task-irrelevant harmonic music. Participants completed either an auditory (Experiment 1) or a visual (Experiment 2) version of the cognitively demanding 2-back task in which they were required to categorize each digit in a sequence of digits as either being a target (a digit also presented two positions earlier in the sequence) or a distractor (all other items). They were concurrently exposed to either task-irrelevant harmonic music (judged to be consonant), task-irrelevant inharmonic music (judged to be dissonant), or no music at all as a distraction. The main finding across both experiments was that performance on the 2-back task was worse when participants were exposed to inharmonic music than when they were exposed to harmonic music. Interestingly, performance on the 2-back task was generally the same regardless of whether harmonic music or no music was played. We suggest that inharmonic, dissonant music interferes with cognitive performance by requiring greater cognitive processing than harmonic, consonant music, and speculate about why this might be.

Early auditory processing in musicians and dancers during a contemporary dance piece

The neural responses to simple tones and short sound sequences have been studied extensively. However, in reality the sounds surrounding us are spectrally and temporally complex, dynamic and overlapping. Thus, research using natural sounds is crucial in understanding the operation of the brain in its natural environment. Music is an excellent example of natural stimulation which, in addition to sensory responses, elicits vast cognitive and emotional processes in the brain. Here we show that the preattentive P50 response evoked by rapid increases in timbral brightness during continuous music is enhanced in dancers when compared to musicians and laymen. In dance, fast changes in brightness are often emphasized with a significant change in movement. In addition, the auditory N100 and P200 responses are suppressed and sped up in dancers, musicians and laymen when music is accompanied with a dance choreography. These results were obtained with a novel event-related potential (ERP) method for natural music. They suggest that we can begin studying the brain with long pieces of natural music using the ERP method of electroencephalography (EEG) as has already been done with functional magnetic resonance (fMRI), these two brain imaging methods complementing each other.

Aesthetic Chills: Knowledge-Acquisition, Meaning-Making, and Aesthetic Emotions

This article addresses the relation between aesthetic emotions, knowledge-acquisition, and meaning-making. We briefly review theoretical foundations and present experimental data related to aesthetic chills. These results suggest that aesthetic chills are inhibited by exposing the subject to an incoherent prime prior to the chill-eliciting stimulation and that a meaningful prime makes the aesthetic experience more pleasurable than a neutral or an incoherent one. Aesthetic chills induced by narrative structures seem to be related to the pinnacle of the story, to have a significant calming effect and subjects describe a strong empathy for the characters. We discuss the relation between meaning-making and aesthetic emotions at the psychological, physiological, narratological, and mathematical levels and propose a series of hypotheses to be tested in future research.

Processing structure in language and music: a case for shared reliance on cognitive control

The relationship between structural processing in music and language has received increasing interest in the past several years, spurred by the influential Shared Syntactic Integration Resource Hypothesis (SSIRH; Patel, Nature Neuroscience, 6, 674-681, 2003). According to this resource-sharing framework, music and language rely on separable syntactic representations but recruit shared cognitive resources to integrate these representations into evolving structures. The SSIRH is supported by findings of interactions between structural manipulations in music and language. However, other recent evidence suggests that such interactions also can arise with nonstructural manipulations, and some recent neuroimaging studies report largely nonoverlapping neural regions involved in processing musical and linguistic structure. These conflicting results raise the question of exactly what shared (and distinct) resources underlie musical and linguistic structural processing. This paper suggests that one shared resource is prefrontal cortical mechanisms of cognitive control, which are recruited to detect and resolve conflict that occurs when expectations are violated and interpretations must be revised. By this account, musical processing involves not just the incremental processing and integration of musical elements as they occur, but also the incremental generation of musical predictions and expectations, which must sometimes be overridden and revised in light of evolving musical input.

Bach Is the Father of Harmony: Revealed by a 1/f Fluctuation Analysis across Musical Genres

Harmony is a fundamental attribute of music. Close connections exist between music and mathematics since both pursue harmony and unity. In music, the consonance of notes played simultaneously partly determines our perception of harmony; associates with aesthetic responses; and influences the emotion expression. The consonance could be considered as a window to understand and analyze harmony. Here for the first time we used a 1/f fluctuation analysis to investigate whether the consonance fluctuation structure in music with a wide range of composers and genres followed the scale free pattern that has been found for pitch, melody, rhythm, human body movements, brain activity, natural images and geographical features. We then used a network graph approach to investigate which composers were the most influential both within and across genres. Our results showed that patterns of consonance in music did follow scale-free characteristics, suggesting that this feature is a universally evolved one in both music and the living world. Furthermore, our network analysis revealed that Bach’s harmony patterns were having the most influence on those used by other composers, followed closely by Mozart.

The relationship between the neural computations for speech and music perception is context-dependent: an activation likelihood estimate study

The relationship between the neurobiology of speech and music has been investigated for more than a century. There remains no widespread agreement regarding how (or to what extent) music perception utilizes the neural circuitry that is engaged in speech processing, particularly at the cortical level. Prominent models such as Patel's Shared Syntactic Integration Resource Hypothesis (SSIRH) and Koelsch's neurocognitive model of music perception suggest a high degree of overlap, particularly in the frontal lobe, but also perhaps more distinct representations in the temporal lobe with hemispheric asymmetries. The present meta-analysis study used activation likelihood estimate analyses to identify the brain regions consistently activated for music as compared to speech across the functional neuroimaging (fMRI and PET) literature. Eighty music and 91 speech neuroimaging studies of healthy adult control subjects were analyzed. Peak activations reported in the music and speech studies were divided into four paradigm categories: passive listening, discrimination tasks, error/anomaly detection tasks and memory-related tasks. We then compared activation likelihood estimates within each category for music vs. speech, and each music condition with passive listening. We found that listening to music and to speech preferentially activate distinct temporo-parietal bilateral cortical networks. We also found music and speech to have shared resources in the left pars opercularis but speech-specific resources in the left pars triangularis. The extent to which music recruited speech-activated frontal resources was modulated by task. While there are certainly limitations to meta-analysis techniques particularly regarding sensitivity, this work suggests that the extent of shared resources between speech and music may be task-dependent and highlights the need to consider how task effects may be affecting conclusions regarding the neurobiology of speech and music.

Music improves verbal memory encoding while decreasing prefrontal cortex activity: an fNIRS study

Listening to music engages the whole brain, thus stimulating cognitive performance in a range of non-purely musical activities such as language and memory tasks. This article addresses an ongoing debate on the link between music and memory for words. While evidence on healthy and clinical populations suggests that music listening can improve verbal memory in a variety of situations, it is still unclear what specific memory process is affected and how. This study was designed to explore the hypothesis that music specifically benefits the encoding part of verbal memory tasks, by providing a richer context for encoding and therefore less demand on the dorsolateral prefrontal cortex (DLPFC). Twenty-two healthy young adults were subjected to functional near-infrared spectroscopy (fNIRS) imaging of their bilateral DLPFC while encoding words in the presence of either a music or a silent background. Behavioral data confirmed the facilitating effect of music background during encoding on subsequent item recognition. fNIRS results revealed significantly greater activation of the left hemisphere during encoding (in line with the HERA model of memory lateralization) and a sustained, bilateral decrease of activity in the DLPFC in the music condition compared to silence. These findings suggest that music modulates the role played by the DLPFC during verbal encoding, and open perspectives for applications to clinical populations with prefrontal impairments, such as elderly adults or Alzheimer's patients.