1
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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.
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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
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2
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Kawase S. Is happier music groovier? The influence of emotional characteristics of musical chord progressions on groove. PSYCHOLOGICAL RESEARCH 2024; 88:438-448. [PMID: 37615754 PMCID: PMC10858120 DOI: 10.1007/s00426-023-01869-x] [Citation(s) in RCA: 1] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/01/2023] [Accepted: 08/07/2023] [Indexed: 08/25/2023]
Abstract
Specific rhythmic patterns in music have been reported to induce an urge to move with feelings of pleasure or enjoyment, called "groove." However, it is unclear how the emotional characteristics of music (e.g., happiness or sadness) affect groove. To address this issue I investigated the effects of the emotional characteristics of music on groove by altering the chord progressions accompanying drum breaks composed by a professional composer while manipulating independent tempo and rhythmic patterns. An online listening experiment was conducted using pieces composed by a professional composer but comprising different types of chord progressions that lead to happiness or sadness. Participants evaluated the nine items on a 7-point scale, including urge to move (i.e., groove), felt emotions, nori, and liking. The experiment found that: (1) chord progressions that evoke happiness were more likely to induce groove, (2) emotional characteristics did not interact with tempi and syncopation in terms of groove ratings, and (3) the accompaniment of drum breaks enhanced groove in both happy and sad chord progressions. Musical pieces with chord progressions that induce happiness were more likely to evoke groove, namely the urge to move. This implies that considering the emotional characteristics of musical pieces and rhythms is crucial when creating music for movement during rehabilitation, therapy, or dance.
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Affiliation(s)
- Satoshi Kawase
- The Faculty of Psychology, Kobe Gakuin University, 518 Arise, Ikawadani-cho, Nishi-ku, Kobe, Hyogo, 651-2180, Japan.
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3
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Huang XT, Wang J, Wang Z, Wang L, Cheng C. Experimental study on the influence of virtual tourism spatial situation on the tourists' temperature comfort in the context of metaverse. Front Psychol 2023; 13:1062876. [PMID: 36687952 PMCID: PMC9846819 DOI: 10.3389/fpsyg.2022.1062876] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/06/2022] [Accepted: 11/30/2022] [Indexed: 01/06/2023] Open
Abstract
The Metaverse is a new application of the internet and social form which integrates a myriad of new technologies. It can not only create a parallel space that is closely connected to the real world while highly independent, but also bring the immersive experience of virtual scenarios without delay. The virtual tourism space situations that integrate realistic visual, audio, and temperature sensations can restore the real tourism environment to the greatest extent, and improve tourists' perception and satisfaction with the experience. The purpose of this experimental lab study is to examine the effects of the virtual tourism audio-visual conditions and environmental temperature on tourists' thermal sensation and temperature comfort. VR equipment and microclimate simulation technology was applied in a 3 × 2 × 2 experimental design (n = 180), simulating the virtual tourism scenarios. Electrocardiogram devices were also employed to assess participants' physiological indicators. Study results suggest that: (1) Virtual tourism spatial situations (environmental temperature and audio-visual conditions) significantly affect participants' thermal sensation and part of the physiological indicators; (2) Virtual tourism spatial situations (environmental temperature and audio-visual conditions) significantly affect participants' temperature comfort; and (3) Physiological responses (indicators) mediate the effect from tourism spatial situations to temperature comfort. The study mainly contributes to the literature about virtual tourism experience and spatial situations under the concept of the Metaverse, as well as provides theoretical and managerial implications for the development of "immersive" virtual tourism scenarios.
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Affiliation(s)
- Xiao-Ting Huang
- Department of Culture and Tourism Management, School of Management, Shandong University, Jinan, Shandong, China
| | - Jiahui Wang
- Isenberg School of Management, University of Massachusetts, Amherst, MA, United States
| | - Zhihui Wang
- Department of Culture and Tourism Management, School of Management, Shandong University, Jinan, Shandong, China
| | - Linqiang Wang
- Department of Culture and Tourism Management, School of Management, Shandong University, Jinan, Shandong, China,*Correspondence: Linqiang Wang, ✉
| | - Chenfei Cheng
- Department of Culture and Tourism Management, School of Management, Shandong University, Jinan, Shandong, China
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4
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O’Connell SR, Nave-Blodgett JE, Wilson GE, Hannon EE, Snyder JS. Elements of musical and dance sophistication predict musical groove perception. Front Psychol 2022; 13:998321. [PMID: 36467160 PMCID: PMC9712211 DOI: 10.3389/fpsyg.2022.998321] [Citation(s) in RCA: 2] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/26/2022] [Accepted: 10/21/2022] [Indexed: 11/02/2023] Open
Abstract
Listening to groovy music is an enjoyable experience and a common human behavior in some cultures. Specifically, many listeners agree that songs they find to be more familiar and pleasurable are more likely to induce the experience of musical groove. While the pleasurable and dance-inducing effects of musical groove are omnipresent, we know less about how subjective feelings toward music, individual musical or dance experiences, or more objective musical perception abilities are correlated with the way we experience groove. Therefore, the present study aimed to evaluate how musical and dance sophistication relates to musical groove perception. One-hundred 24 participants completed an online study during which they rated 20 songs, considered high- or low-groove, and completed the Goldsmiths Musical Sophistication Index, the Goldsmiths Dance Sophistication Index, the Beat and Meter Sensitivity Task, and a modified short version of the Profile for Music Perception Skills. Our results reveal that measures of perceptual abilities, musical training, and social dancing predicted the difference in groove rating between high- and low-groove music. Overall, these findings support the notion that listeners' individual experiences and predispositions may shape their perception of musical groove, although other causal directions are also possible. This research helps elucidate the correlates and possible causes of musical groove perception in a wide range of listeners.
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Affiliation(s)
- Samantha R. O’Connell
- Caruso Department of Otolaryngology, Head and Neck Surgery, Keck School of Medicine of USC, University of Southern California, Los Angeles, CA, United States
| | | | - Grace E. Wilson
- Department of Psychology, University of Nevada, Las Vegas, NV, United States
| | - Erin E. Hannon
- Department of Psychology, University of Nevada, Las Vegas, NV, United States
| | - Joel S. Snyder
- Department of Psychology, University of Nevada, Las Vegas, NV, United States
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5
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Zelechowska A, Gonzalez-Sanchez VE, Laeng B, Jensenius AR. Headphones or Speakers? An Exploratory Study of Their Effects on Spontaneous Body Movement to Rhythmic Music. Front Psychol 2020; 11:698. [PMID: 32373030 PMCID: PMC7187959 DOI: 10.3389/fpsyg.2020.00698] [Citation(s) in RCA: 3] [Impact Index Per Article: 0.8] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/29/2019] [Accepted: 03/23/2020] [Indexed: 11/28/2022] Open
Abstract
Previous studies have shown that music may lead to spontaneous body movement, even when people try to stand still. But are spontaneous movement responses to music similar if the stimuli are presented using headphones or speakers? This article presents results from an exploratory study in which 35 participants listened to rhythmic stimuli while standing in a neutral position. The six different stimuli were 45 s each and ranged from a simple pulse to excerpts from electronic dance music (EDM). Each participant listened to all the stimuli using both headphones and speakers. An optical motion capture system was used to calculate their quantity of motion, and a set of questionnaires collected data about music preferences, listening habits, and the experimental sessions. The results show that the participants on average moved more when listening through headphones. The headphones condition was also reported as being more tiresome by the participants. Correlations between participants' demographics, listening habits, and self-reported body motion were observed in both listening conditions. We conclude that the playback method impacts the level of body motion observed when people are listening to music. This should be taken into account when designing embodied music cognition studies.
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Affiliation(s)
- Agata Zelechowska
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Oslo, Norway.,Department of Musicology, University of Oslo, Oslo, Norway
| | - Victor E Gonzalez-Sanchez
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Oslo, Norway.,Department of Musicology, University of Oslo, Oslo, Norway
| | - Bruno Laeng
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Oslo, Norway.,Department of Psychology, University of Oslo, Oslo, Norway
| | - Alexander Refsum Jensenius
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Oslo, Norway.,Department of Musicology, University of Oslo, Oslo, Norway
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6
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Câmara GS, Nymoen K, Lartillot O, Danielsen A. Effects of instructed timing on electric guitar and bass sound in groove performance. THE JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA 2020; 147:1028. [PMID: 32113267 DOI: 10.1121/10.0000724] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.5] [Reference Citation Analysis] [Abstract] [Track Full Text] [Subscribe] [Scholar Register] [Received: 08/26/2019] [Accepted: 01/24/2020] [Indexed: 06/10/2023]
Abstract
This paper reports on two experiments that investigated the expressive means through which musicians well versed in groove-based music signal the intended timing of a rhythmic event. Data were collected from 21 expert electric guitarists and 21 bassists, who were instructed to perform a simple rhythmic pattern in three different timing styles-"laid-back," "on-the-beat," and "pushed"-in tandem with a metronome. As expected, onset and peak timing locations corresponded to the instructed timing styles for both instruments. Regarding sound, results for guitarists revealed systematic differences across participants in the duration and brightness [spectral centroid (SC)] of the guitar strokes played using these different timing styles. In general, laid-back strokes were played with a longer duration and a lower SC relative to on-the-beat and pushed strokes. Results for the bassists indicated systematic differences in intensity (sound-pressure level): pushed strokes were played with higher intensity than on-the-beat and laid-back strokes. These results lend further credence to the hypothesis that both temporal and sound-related features are important indications of the intended timing of a rhythmic event, and together these features offer deeper insight into the ways in which musicians communicate at the microrhythmic level in groove-based music.
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Affiliation(s)
- Guilherme Schmidt Câmara
- RITMO Center for Interdisciplinary Studies in Time, Rhythm and Motion, Department of Musicology, University of Oslo, Oslo, Norway
| | - Kristian Nymoen
- RITMO Center for Interdisciplinary Studies in Time, Rhythm and Motion, Department of Musicology, University of Oslo, Oslo, Norway
| | - Olivier Lartillot
- RITMO Center for Interdisciplinary Studies in Time, Rhythm and Motion, Department of Musicology, University of Oslo, Oslo, Norway
| | - Anne Danielsen
- RITMO Center for Interdisciplinary Studies in Time, Rhythm and Motion, Department of Musicology, University of Oslo, Oslo, Norway
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7
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Datseris G, Ziereis A, Albrecht T, Hagmayer Y, Priesemann V, Geisel T. Microtiming Deviations and Swing Feel in Jazz. Sci Rep 2019; 9:19824. [PMID: 31882842 PMCID: PMC6934603 DOI: 10.1038/s41598-019-55981-3] [Citation(s) in RCA: 6] [Impact Index Per Article: 1.2] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/30/2019] [Accepted: 12/04/2019] [Indexed: 11/08/2022] Open
Abstract
Jazz music that swings has the fascinating power to elicit a pleasant sensation of flow in listeners and the desire to synchronize body movements with the music. Whether microtiming deviations (MTDs), i.e. small timing deviations below the bar or phrase level, enhance the swing feel is highly debated in the current literature. Studies on other groove related genres did not find evidence for a positive impact of MTDs. The present study addresses jazz music and swing in particular, as there is some evidence that microtiming patterns are genre-specific. We recorded twelve piano jazz standards played by a professional pianist and manipulated the natural MTDs of the recordings in systematic ways by quantizing, expanding and inverting them. MTDs were defined with respect to a grid determined by the average swing ratio. The original and manipulated versions were presented in an online survey and evaluated by 160 listeners with various musical skill levels and backgrounds. Across pieces the quantized versions (without MTDs) were rated slightly higher and versions with expanded MTDs were rated lower with regard to swing than the original recordings. Unexpectedly, inversion had no impact on swing ratings except for two pieces. Our results suggest that naturally fluctuating MTDs are not an essential factor for the swing feel.
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Affiliation(s)
- George Datseris
- Max Planck Institute for Dynamics and Self-Organization, 37077, Göttingen, Germany.
- Department of Physics, Georg-August-University Göttingen, 37073, Göttingen, Germany.
| | - Annika Ziereis
- Georg-Elias-Mueller Institute for Psychology, Georg-August-University Göttingen, 37073, Göttingen, Germany
| | - Thorsten Albrecht
- Georg-Elias-Mueller Institute for Psychology, Georg-August-University Göttingen, 37073, Göttingen, Germany
| | - York Hagmayer
- Georg-Elias-Mueller Institute for Psychology, Georg-August-University Göttingen, 37073, Göttingen, Germany
| | - Viola Priesemann
- Max Planck Institute for Dynamics and Self-Organization, 37077, Göttingen, Germany
- Department of Physics, Georg-August-University Göttingen, 37073, Göttingen, Germany
- Bernstein Center for Computational Neuroscience, 37077, Göttingen, Germany
| | - Theo Geisel
- Max Planck Institute for Dynamics and Self-Organization, 37077, Göttingen, Germany
- Department of Physics, Georg-August-University Göttingen, 37073, Göttingen, Germany
- Bernstein Center for Computational Neuroscience, 37077, Göttingen, Germany
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8
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González Sánchez V, Żelechowska A, Jensenius AR. Analysis of the Movement-Inducing Effects of Music through the Fractality of Head Sway during Standstill. J Mot Behav 2019; 52:734-749. [PMID: 31718527 DOI: 10.1080/00222895.2019.1689909] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.4] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 10/25/2022]
Abstract
The links between music and human movement have been shown to provide insight into crucial aspects of human's perception, cognition, and sensorimotor systems. In this study, we examined the influence of music on movement during standstill, aiming at further characterizing the correspondences between movement, music, and perception, by analyzing head sway fractality. Eighty seven participants were asked to stand as still as possible for 500 seconds while being presented with alternating silence and audio stimuli. The audio stimuli were all rhythmic in nature, ranging from a metronome track to complex electronic dance music. The head position of each participant was captured with an optical motion capture system. Long-range correlations of head movement were estimated by detrended fluctuation analysis (DFA). Results agree with previous work on the movement-inducing effect of music, showing significantly greater head sway and lower head sway fractality during the music stimuli. In addition, patterns across stimuli suggest a two-way adaptation process to the effects of music, with musical stimuli influencing head sway while at the same time fractality modulated movement responses. Results indicate that fluctuations in head movement in both conditions exhibit long-range correlations, suggesting that the effects of music on head movement depended not only on the value of the most recent measured intervals, but also on the values of those intervals at distant times.
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Affiliation(s)
- Victor González Sánchez
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion Department of Musicology, University of Oslo, Oslo, Norway
| | - Agata Żelechowska
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion Department of Musicology, University of Oslo, Oslo, Norway
| | - Alexander Refsum Jensenius
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion Department of Musicology, University of Oslo, Oslo, Norway
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9
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Cameron DJ, Zioga I, Lindsen JP, Pearce MT, Wiggins GA, Potter K, Bhattacharya J. Neural entrainment is associated with subjective groove and complexity for performed but not mechanical musical rhythms. Exp Brain Res 2019; 237:1981-1991. [PMID: 31152188 PMCID: PMC6647194 DOI: 10.1007/s00221-019-05557-4] [Citation(s) in RCA: 10] [Impact Index Per Article: 2.0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/14/2018] [Accepted: 05/07/2019] [Indexed: 11/29/2022]
Abstract
Both movement and neural activity in humans can be entrained by the regularities of an external stimulus, such as the beat of musical rhythms. Neural entrainment to auditory rhythms supports temporal perception, and is enhanced by selective attention and by hierarchical temporal structure imposed on rhythms. However, it is not known how neural entrainment to rhythms is related to the subjective experience of groove (the desire to move along with music or rhythm), the perception of a regular beat, the perception of complexity, and the experience of pleasure. In two experiments, we used musical rhythms (from Steve Reich’s Clapping Music) to investigate whether rhythms that are performed by humans (with naturally variable timing) and rhythms that are mechanical (with precise timing), elicit differences in (1) neural entrainment, as measured by inter-trial phase coherence, and (2) subjective ratings of the complexity, preference, groove, and beat strength of rhythms. We also combined results from the two experiments to investigate relationships between neural entrainment and subjective perception of musical rhythms. We found that mechanical rhythms elicited a greater degree of neural entrainment than performed rhythms, likely due to the greater temporal precision in the stimulus, and the two types only elicited different ratings for some individual rhythms. Neural entrainment to performed rhythms, but not to mechanical ones, correlated with subjective desire to move and subjective complexity. These data, therefore, suggest multiple interacting influences on neural entrainment to rhythms, from low-level stimulus properties to high-level cognition and perception.
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Affiliation(s)
- Daniel J Cameron
- Department of Psychology, Neuroscience and Behaviour, McMaster University, Hamilton, ON, Canada.
| | - Ioanna Zioga
- School of Biological and Chemical Sciences, Queen Mary University of London, London, UK
| | - Job P Lindsen
- Department of Psychology, Goldsmiths, University of London, London, UK
| | - Marcus T Pearce
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark
- School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK
| | - Geraint A Wiggins
- AI Lab, Vrije Universiteit Brussel, Brussels, Belgium
- School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK
| | - Keith Potter
- Department of Music, Goldsmiths, University of London, London, UK
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10
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Swarbrick D, Bosnyak D, Livingstone SR, Bansal J, Marsh-Rollo S, Woolhouse MH, Trainor LJ. How Live Music Moves Us: Head Movement Differences in Audiences to Live Versus Recorded Music. Front Psychol 2019; 9:2682. [PMID: 30687158 PMCID: PMC6336707 DOI: 10.3389/fpsyg.2018.02682] [Citation(s) in RCA: 35] [Impact Index Per Article: 7.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/21/2018] [Accepted: 12/13/2018] [Indexed: 11/13/2022] Open
Abstract
A live music concert is a pleasurable social event that is among the most visceral and memorable forms of musical engagement. But what inspires listeners to attend concerts, sometimes at great expense, when they could listen to recordings at home? An iconic aspect of popular concerts is engaging with other audience members through moving to the music. Head movements, in particular, reflect emotion and have social consequences when experienced with others. Previous studies have explored the affiliative social engagement experienced among people moving together to music. But live concerts have other features that might also be important, such as that during a live performance the music unfolds in a unique and not predetermined way, potentially increasing anticipation and feelings of involvement for the audience. Being in the same space as the musicians might also be exciting. Here we controlled for simply being in an audience to examine whether factors inherent to live performance contribute to the concert experience. We used motion capture to compare head movement responses at a live album release concert featuring Canadian rock star Ian Fletcher Thornley, and at a concert without the performers where the same songs were played from the recorded album. We also examined effects of a prior connection with the performers by comparing fans and neutral-listeners, while controlling for familiarity with the songs, as the album had not yet been released. Head movements were faster during the live concert than the album-playback concert. Self-reported fans moved faster and exhibited greater levels of rhythmic entrainment than neutral-listeners. These results indicate that live music engages listeners to a greater extent than pre-recorded music and that a pre-existing admiration for the performers also leads to higher engagement.
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Affiliation(s)
- Dana Swarbrick
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada
| | - Dan Bosnyak
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada
| | - Steven R Livingstone
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada
| | - Jotthi Bansal
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada.,Digital Music Lab, School of the Arts, McMaster University, Hamilton, ON, Canada
| | - Susan Marsh-Rollo
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada
| | - Matthew H Woolhouse
- McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada.,Digital Music Lab, School of the Arts, McMaster University, Hamilton, ON, Canada
| | - Laurel J Trainor
- Department of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton, ON, Canada.,McMaster Institute for Music and the Mind, McMaster University, Hamilton, ON, Canada.,Rotman Research Institute, Baycrest Hospital, Toronto, ON, Canada
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11
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Gonzalez-Sanchez VE, Zelechowska A, Jensenius AR. Correspondences Between Music and Involuntary Human Micromotion During Standstill. Front Psychol 2018; 9:1382. [PMID: 30131742 PMCID: PMC6090462 DOI: 10.3389/fpsyg.2018.01382] [Citation(s) in RCA: 10] [Impact Index Per Article: 1.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/25/2018] [Accepted: 07/17/2018] [Indexed: 11/13/2022] Open
Abstract
The relationships between human body motion and music have been the focus of several studies characterizing the correspondence between voluntary motion and various sound features. The study of involuntary movement to music, however, is still scarce. Insight into crucial aspects of music cognition, as well as characterization of the vestibular and sensorimotor systems could be largely improved through a description of the underlying links between music and involuntary movement. This study presents an analysis aimed at quantifying involuntary body motion of a small magnitude (micromotion) during standstill, as well as assessing the correspondences between such micromotion and different sound features of the musical stimuli: pulse clarity, amplitude, and spectral centroid. A total of 71 participants were asked to stand as still as possible for 6 min while being presented with alternating silence and music stimuli: Electronic Dance Music (EDM), Classical Indian music, and Norwegian fiddle music (Telespringar). The motion of each participant's head was captured with a marker-based, infrared optical system. Differences in instantaneous position data were computed for each participant and the resulting time series were analyzed through cross-correlation to evaluate the delay between motion and musical features. The mean quantity of motion (QoM) was found to be highest across participants during the EDM condition. This musical genre is based on a clear pulse and rhythmic pattern, and it was also shown that pulse clarity was the metric that had the most significant effect in induced vertical motion across conditions. Correspondences were also found between motion and both brightness and loudness, providing some evidence of anticipation and reaction to the music. Overall, the proposed analysis techniques provide quantitative data and metrics on the correspondences between micromotion and music, with the EDM stimulus producing the clearest music-induced motion patterns. The analysis and results from this study are compatible with embodied music cognition and sensorimotor synchronization theories, and provide further evidence of the movement inducing effects of groove-related music features and human response to sound stimuli. Further work with larger data sets, and a wider range of stimuli, is necessary to produce conclusive findings on the subject.
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Affiliation(s)
- Victor E Gonzalez-Sanchez
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo, Oslo, Norway
| | - Agata Zelechowska
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo, Oslo, Norway
| | - Alexander Refsum Jensenius
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo, Oslo, Norway
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12
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Senn O, Kilchenmann L, Bechtold T, Hoesl F. Groove in drum patterns as a function of both rhythmic properties and listeners' attitudes. PLoS One 2018; 13:e0199604. [PMID: 29958289 PMCID: PMC6025871 DOI: 10.1371/journal.pone.0199604] [Citation(s) in RCA: 16] [Impact Index Per Article: 2.7] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/15/2018] [Accepted: 06/11/2018] [Indexed: 11/22/2022] Open
Abstract
Music psychology defines groove as humans’ pleasureable urge to move their body in synchrony with music. Past research has found that rhythmic syncopation, event density, beat salience, and rhythmic variability are positively associated with groove. This exploratory study investigates the groove effect of 248 reconstructed drum patterns from different popular music styles (pop, rock, funk, heavy metal, rock’n’roll, hip hop, soul, R&B). It aims at identifying factors that might be relevant for groove and worth investigating in a controlled setting in the future. Drum patterns of eight bars duration, chosen from 248 popular music tracks, have been transcribed and audio reconstructions have been created on the basis of sound samples. During an online listening experiment, 665 participants rated the reconstructions a total of 8,329 times using a groove questionnaire. Results show that, among 15 tested variables, syncopation (R2 = 0.010) and event density (R2 = 0.011) were positively associated with the groove ratings. These effects were stronger in participants who were music professionals, compared to amateur musicians or mere listeners. A categorisation of the stimuli according to structural aspects was also associated with groove (R2 = 0.018). Beat salience, residual microtiming and rhythmic variability showed no effect on the groove ratings. Participants’ familiarity with a drum pattern had a positive influence on the groove ratings (η2 = 0.051). The largest isolated effect was measured for participants’ style bias (R2 = 0.123): groove ratings tended to be high if participants had the impression that the drum pattern belonged to a style they liked. Combined, the effects of style bias and familiarity (R2 = 0.152) exceeded the other effects as predictors for groove by a wide margin. We conclude that listeners’ taste, musical biographies and expertise have a strong effect on their groove experience. This motivates groove research not to focus on the music alone, but to take the listeners into account as well.
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Affiliation(s)
- Olivier Senn
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
- * E-mail:
| | - Lorenz Kilchenmann
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Toni Bechtold
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Florian Hoesl
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
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Etani T, Marui A, Kawase S, Keller PE. Optimal Tempo for Groove: Its Relation to Directions of Body Movement and Japanese nori. Front Psychol 2018; 9:462. [PMID: 29692747 PMCID: PMC5902701 DOI: 10.3389/fpsyg.2018.00462] [Citation(s) in RCA: 21] [Impact Index Per Article: 3.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/24/2017] [Accepted: 03/19/2018] [Indexed: 12/05/2022] Open
Abstract
The tendency for groove-based music to induce body movements has been linked to multiple acoustical factors. However, it is unclear how or whether tempo affects groove, although tempo significantly affects other aspects of music perception. To address this issue, the present study investigated effects of tempo, specific rhythmic organizations of patterns, and syncopation on groove and the induction of the sensation of wanting to move. We focused on the directions of body movement in particular by taking into account nori, which is an indigenous Japanese musical term used not only synonymously with groove, but also as a spatial metaphor indicating vertical or horizontal movement directions. Thus, the present study explored how groove was felt and defined, as well as how musical factors induced the sensation of wanting to move in cross-cultural context. A listening experiment was conducted using drum breaks as stimuli. Stimuli consisted of various rhythm patterns at six tempi from 60 to 200 BPM. The main findings are that: (1) an optimal tempo for groove existed for drum breaks at around 100–120 BPM, (2) an optimal tempo existed for the sensation of wanting to move the body in specific directions (i.e., back-and-forth and side-to-side), (3) groove and nori shared a similar concept of wanting to move but differed on several points (i.e., association with sense of pulse and fast tempo). Overall, the present study suggests that there is an optimal tempo for body movement related to groove. This finding has implications for the use of music or rhythmic stimuli to induce smooth motion in rehabilitation, therapy, or dance.
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Affiliation(s)
- Takahide Etani
- Graduate School of Music, Tokyo University of the Arts, Tokyo, Japan
| | - Atsushi Marui
- Faculty of Music, Tokyo University of the Arts, Tokyo, Japan
| | - Satoshi Kawase
- Graduate School of Engineering, Nagoya Institute of Technology, Nagoya, Japan
| | - Peter E Keller
- Music Cognition and Action Research Program, The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Sydney, NSW, Australia
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Senn O, Bullerjahn C, Kilchenmann L, von Georgi R. Rhythmic Density Affects Listeners' Emotional Response to Microtiming. Front Psychol 2017; 8:1709. [PMID: 29075210 PMCID: PMC5643849 DOI: 10.3389/fpsyg.2017.01709] [Citation(s) in RCA: 5] [Impact Index Per Article: 0.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/26/2017] [Accepted: 09/19/2017] [Indexed: 11/13/2022] Open
Abstract
Microtiming has been assumed to be vital for the experience of groove, but past research presented conflicting results: some studies found that microtiming is irrelevant for groove, others reported that microtiming has a detrimental effect on the groove experience, yet others described circumstances under which microtiming has no negative impact on groove. The three studies in this paper aim at explaining some of these discrepancies by clarifying to what extent listeners' emotional responses to microtiming depend on the distribution of microtiming deviations across instrumental parts (voicing) or other moderating factors like tempo or rhythmic density. The studies use data from two listening experiments involving expert bass and drums duo recordings in swing and funk style. - Study A investigates the effect of fixed time displacements within and between the parts played by different musicians. Listeners (n = 160) reacted negatively to irregularities within the drum track, but the mutual displacement of bass vs. drums did not have an effect.- Study B develops three metrics to calculate the average microtiming magnitude in a musical excerpt. The experiment showed that listeners' (n = 160) emotional responses to expert performance microtiming aligned with each other across styles, when microtiming magnitude was adjusted for rhythmic density. This indicates that rhythmic density is a unifying moderator for listeners' emotional response to microtiming in swing and funk.- Study C used the data from both experiments in order to compare the effect of fixed microtiming displacements (from Study A) with scaled versions of the originally performed microtiming patterns (from Study B). It showed that fixed snare drum displacements irritated expert listeners more than the more flexible deviations occurring in the original performances. This provides some evidence that listeners' emotional response to microtiming deviations not only depends on the magnitude of the deviations, but also on the kind and origin of the microtiming patterns (fixed lab displacements vs. flexible performance microtiming).
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Affiliation(s)
- Olivier Senn
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Claudia Bullerjahn
- Department of Social Sciences and Cultural Studies, Institute of Musicology and Music Education, Justus-Liebig-University Giessen, Giessen, Germany
| | - Lorenz Kilchenmann
- School of Music, Lucerne University of Applied Sciences and Arts, Lucerne, Switzerland
| | - Richard von Georgi
- Department of Social Sciences and Cultural Studies, Institute of Musicology and Music Education, Justus-Liebig-University Giessen, Giessen, Germany.,Media Psychology Department, SRH Hochschule der Populären Künste, Berlin, Germany
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Hofmann A, Wesolowski BC, Goebl W. The Tight-interlocked Rhythm Section: Production and Perception of Synchronisation in Jazz Trio Performance. JOURNAL OF NEW MUSIC RESEARCH 2017; 46:329-341. [PMID: 29238387 PMCID: PMC5706983 DOI: 10.1080/09298215.2017.1355394] [Citation(s) in RCA: 9] [Impact Index Per Article: 1.3] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Figures] [Subscribe] [Scholar Register] [Received: 12/16/2016] [Accepted: 07/07/2017] [Indexed: 06/07/2023]
Abstract
This study investigates the production and perception of timing, synchronisation and dynamics in jazz trio performances. In a production experiment, six trio combinations of one saxophonist, two bassists, and three drummers were recorded while they performed three popular jazz songs. Onset timing and dynamics of each performer were extracted and analysed. Results showed that the tempo was significantly influenced by the timing of the drummers and all performers showed higher temporal precision on the backbeats. The drummers demonstrated individual swing-ratios, accentuations of beats and intrapersonal asynchronies between simultaneous hi-hat and ride cymbal onsets, which resulted in a hi-hat played 2-26 ms ahead of the pulse of the music. In a subsequent perception test, participants ([Formula: see text]) rated 12 excerpts of the jazz recordings. They selected their preferred version from a pool of stimuli containing the original version, but also manipulations with artificially increased or reduced asynchronies. Stimuli with reduced asynchronies smaller than 19 ms were preferred by the listeners over the original or the fully quantised timing. This suggests that listeners endorse a 'tight-interlocked' jazz rhythm section, with asynchronies smaller than the perceptual threshold (temporal masking), but with natural timing variabilities that makes it distinguishable from a computer-generated playback.
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Affiliation(s)
- Alex Hofmann
- University of Music and Performing Arts Vienna, Austria
- Austrian Research Institute for Artificial Intelligence (OFAI), Austria
| | | | - Werner Goebl
- University of Music and Performing Arts Vienna, Austria
- Austrian Research Institute for Artificial Intelligence (OFAI), Austria
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Brattico P, Brattico E, Vuust P. Global Sensory Qualities and Aesthetic Experience in Music. Front Neurosci 2017; 11:159. [PMID: 28424573 PMCID: PMC5380758 DOI: 10.3389/fnins.2017.00159] [Citation(s) in RCA: 15] [Impact Index Per Article: 2.1] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/30/2016] [Accepted: 03/13/2017] [Indexed: 11/13/2022] Open
Abstract
A well-known tradition in the study of visual aesthetics holds that the experience of visual beauty is grounded in global computational or statistical properties of the stimulus, for example, scale-invariant Fourier spectrum or self-similarity. Some approaches rely on neural mechanisms, such as efficient computation, processing fluency, or the responsiveness of the cells in the primary visual cortex. These proposals are united by the fact that the contributing factors are hypothesized to be global (i.e., they concern the percept as a whole), formal or non-conceptual (i.e., they concern form instead of content), computational and/or statistical, and based on relatively low-level sensory properties. Here we consider that the study of aesthetic responses to music could benefit from the same approach. Thus, along with local features such as pitch, tuning, consonance/dissonance, harmony, timbre, or beat, also global sonic properties could be viewed as contributing toward creating an aesthetic musical experience. Several such properties are discussed and their neural implementation is reviewed in the light of recent advances in neuroaesthetics.
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Affiliation(s)
| | - Elvira Brattico
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University and The Royal Academy of Music Aarhus/AalborgAarhus, Denmark
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Abstract
Zusammenfassung. Ziel der vorliegenden Studie war zu überprüfen, ob Swingtanz glücklich macht und wenn ja, welche Faktoren dafür verantwortlich sind. Konkret wurde betrachtet, inwieweit er 1) eine Steigerung des subjektiven Wohlbefindens bewirkt sowie 2) ob und welcher der drei Wirkfaktoren am stärksten ist: die Swing-Musik, die Tanzbewegung des „Bouncings“ oder das Einheitserleben mit dem Partner. Um Wirkung und Wirkfaktoren zu ermitteln, füllten 115 Personen der Swingtanz-Community vor und nach dem Tanzen in zehn natürlichen Settings einen Fragebogen zur Befindlichkeit aus. Die Resultate zeigten eine signifikante Steigerung der Befindlichkeit nach dem Swingtanz. Es konnte jedoch keine Hierarchie zwischen den drei Faktoren festgestellt werden: alle drei schienen den Tänzern ähnlich wichtig, mit einem leichten Vorsprung von Musik und „Bouncing“. Aufgrund der fehlenden Kontrollgruppe war eine Mediationsanalyse nicht möglich. Elemente des Swingtanzes könnten für die Tanztherapie nützlich sein. Deshalb wären Studien in klinischem Kontext der nächste Schritt.
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Senn O, Kilchenmann L, von Georgi R, Bullerjahn C. The Effect of Expert Performance Microtiming on Listeners' Experience of Groove in Swing or Funk Music. Front Psychol 2016; 7:1487. [PMID: 27761117 PMCID: PMC5050221 DOI: 10.3389/fpsyg.2016.01487] [Citation(s) in RCA: 16] [Impact Index Per Article: 2.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/23/2016] [Accepted: 09/15/2016] [Indexed: 11/13/2022] Open
Abstract
This study tested the influence of expert performance microtiming on listeners' experience of groove. Two professional rhythm section performances (bass/drums) in swing and funk style were recorded, and the performances' original microtemporal deviations from a regular metronomic grid were scaled to several levels of magnitude. Music expert (n = 79) and non-expert (n = 81) listeners rated the groove qualities of stimuli using a newly developed questionnaire that measures three dimensions of the groove experience (Entrainment, Enjoyment, and the absence of Irritation). Findings show that music expert listeners were more sensitive to microtiming manipulations than non-experts. Across both expertise groups and for both styles, groove ratings were high for microtiming magnitudes equal or smaller than those originally performed and decreased for exaggerated microtiming magnitudes. In particular, both the fully quantized music and the music with the originally performed microtiming pattern were rated equally high on groove. This means that neither the claims of PD theory (that microtiming deviations are necessary for groove) nor the opposing exactitude hypothesis (that microtiming deviations are detrimental to groove) were supported by the data.
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Affiliation(s)
- Olivier Senn
- School of Music, Lucerne University of Applied Sciences and Arts Lucerne, Switzerland
| | - Lorenz Kilchenmann
- School of Music, Lucerne University of Applied Sciences and Arts Lucerne, Switzerland
| | - Richard von Georgi
- Department of Social Sciences and Cultural Studies, Institute of Musicology and Music Education, Justus-Liebig-University GiessenGiessen, Germany; SRH Hochschule der populären KünsteBerlin, Germany
| | - Claudia Bullerjahn
- Department of Social Sciences and Cultural Studies, Institute of Musicology and Music Education, Justus-Liebig-University Giessen Giessen, Germany
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