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Palumbo A, Groves K, Munoz-Vidal EL, Turry A, Codio R, Raghavan P, Schambra H, Voelbel GT, Ripollés P. Improvisation and live accompaniment increase motor response and reward during a music playing task. Sci Rep 2024; 14:13112. [PMID: 38849348 PMCID: PMC11161496 DOI: 10.1038/s41598-024-62794-6] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/07/2023] [Accepted: 05/21/2024] [Indexed: 06/09/2024] Open
Abstract
Music provides a reward that can enhance learning and motivation in humans. While music is often combined with exercise to improve performance and upregulate mood, the relationship between music-induced reward and motor output is poorly understood. Here, we study music reward and motor output at the same time by capitalizing on music playing. Specifically, we investigate the effects of music improvisation and live accompaniment on motor, autonomic, and affective responses. Thirty adults performed a drumming task while (i) improvising or maintaining the beat and (ii) with live or recorded accompaniment. Motor response was characterized by acceleration of hand movements (accelerometry), wrist flexor and extensor muscle activation (electromyography), and the drum strike count (i.e., the number of drum strikes played). Autonomic arousal was measured by tonic response of electrodermal activity (EDA) and heart rate (HR). Affective responses were measured by a 12-item Likert scale. The combination of improvisation and live accompaniment, as compared to all other conditions, significantly increased acceleration of hand movements and muscle activation, as well as participant reports of reward during music playing. Improvisation, regardless of type of accompaniment, increased the drum strike count and autonomic arousal (including tonic EDA responses and several measures of HR), as well as participant reports of challenge. Importantly, increased motor response was associated with increased reward ratings during music improvisation, but not while participants were maintaining the beat. The increased motor responses achieved with improvisation and live accompaniment have important implications for enhancing dose of movement during exercise and physical rehabilitation.
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Affiliation(s)
- Anna Palumbo
- Rehabilitation Sciences Program, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, 10003, USA.
- Department of Psychology, New York University, New York, NY, 10003, USA.
- Music and Audio Research Lab, New York University, New York, NY, 10003, USA.
- Center for Language, Music, and Emotion (CLaME), New York University, New York, NY, 10003, USA.
| | - Karleigh Groves
- Department of Psychology, New York University, New York, NY, 10003, USA
- Music and Audio Research Lab, New York University, New York, NY, 10003, USA
- Center for Language, Music, and Emotion (CLaME), New York University, New York, NY, 10003, USA
| | - Eva Luna Munoz-Vidal
- Rehabilitation Sciences Program, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, 10003, USA
- Department of Psychology, New York University, New York, NY, 10003, USA
- Music and Audio Research Lab, New York University, New York, NY, 10003, USA
- Center for Language, Music, and Emotion (CLaME), New York University, New York, NY, 10003, USA
| | - Alan Turry
- Department of Music and Performing Arts Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, 10003, USA
- Nordoff-Robbins Center for Music Therapy, New York University, New York, NY, 10003, USA
| | - Robert Codio
- Music and Audio Research Lab, New York University, New York, NY, 10003, USA
- Nordoff-Robbins Center for Music Therapy, New York University, New York, NY, 10003, USA
| | - Preeti Raghavan
- Department of Physical Medicine and Rehabilitation and Neurology, Johns Hopkins University School of Medicine, Baltimore, MD, 21287, USA
| | - Heidi Schambra
- New York University Grossman School of Medicine, New York, NY, 10016, USA
| | - Gerald T Voelbel
- Rehabilitation Sciences Program, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, 10003, USA
- Department of Occupational Therapy, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, 10003, USA
- Center of Health and Rehabilitation Research, New York University, New York, NY, 10003, USA
- Department of Rehabilitation Medicine, Rusk Rehabilitation, NYU Langone Health, New York, NY, 10016, USA
| | - Pablo Ripollés
- Department of Psychology, New York University, New York, NY, 10003, USA.
- Music and Audio Research Lab, New York University, New York, NY, 10003, USA.
- Center for Language, Music, and Emotion (CLaME), New York University, New York, NY, 10003, USA.
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2
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Albury AW, Bianco R, Gold BP, Penhune VB. Context changes judgments of liking and predictability for melodies. Front Psychol 2023; 14:1175682. [PMID: 38034280 PMCID: PMC10684779 DOI: 10.3389/fpsyg.2023.1175682] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/27/2023] [Accepted: 10/23/2023] [Indexed: 12/02/2023] Open
Abstract
Predictability plays an important role in the experience of musical pleasure. By leveraging expectations, music induces pleasure through tension and surprise. However, musical predictions draw on both prior knowledge and immediate context. Similarly, musical pleasure, which has been shown to depend on predictability, may also vary relative to the individual and context. Although research has demonstrated the influence of both long-term knowledge and stimulus features in influencing expectations, it is unclear how perceptions of a melody are influenced by comparisons to other music pieces heard in the same context. To examine the effects of context we compared how listeners' judgments of two distinct sets of stimuli differed when they were presented alone or in combination. Stimuli were excerpts from a repertoire of Western music and a set of experimenter created melodies. Separate groups of participants rated liking and predictability for each set of stimuli alone and in combination. We found that when heard together, the Repertoire stimuli were more liked and rated as less predictable than if they were heard alone, with the opposite pattern being observed for the Experimental stimuli. This effect was driven by a change in ratings between the Alone and Combined conditions for each stimulus set. These findings demonstrate a context-based shift of predictability ratings and derived pleasure, suggesting that judgments stem not only from the physical properties of the stimulus, but also vary relative to other options available in the immediate context.
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Affiliation(s)
- Alexander W. Albury
- Department of Psychology, Concordia University, Montreal, QC, Canada
- International Laboratory for Brain, Music and Sound Research (BRAMS) and Center for Research in Brain, Language and Music (CRBLM), Montreal, QC, Canada
| | - Roberta Bianco
- Neuroscience of Perception and Action Laboratory, Italian Institute of Technology, Rome, Italy
| | - Benjamin P. Gold
- Department of Electrical and Computer Engineering, Vanderbilt University, Nashville, TN, United States
| | - Virginia B. Penhune
- Department of Psychology, Concordia University, Montreal, QC, Canada
- International Laboratory for Brain, Music and Sound Research (BRAMS) and Center for Research in Brain, Language and Music (CRBLM), Montreal, QC, Canada
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Czepiel A, Fink LK, Seibert C, Scharinger M, Kotz SA. Aesthetic and physiological effects of naturalistic multimodal music listening. Cognition 2023; 239:105537. [PMID: 37487303 DOI: 10.1016/j.cognition.2023.105537] [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: 07/04/2022] [Revised: 05/31/2023] [Accepted: 06/24/2023] [Indexed: 07/26/2023]
Abstract
Compared to audio only (AO) conditions, audiovisual (AV) information can enhance the aesthetic experience of a music performance. However, such beneficial multimodal effects have yet to be studied in naturalistic music performance settings. Further, peripheral physiological correlates of aesthetic experiences are not well-understood. Here, participants were invited to a concert hall for piano performances of Bach, Messiaen, and Beethoven, which were presented in two conditions: AV and AO. They rated their aesthetic experience (AE) after each piece (Experiment 1 and 2), while peripheral signals (cardiorespiratory measures, skin conductance, and facial muscle activity) were continuously measured (Experiment 2). Factor scores of AE were significantly higher in the AV condition in both experiments. LF/HF ratio, a heart rhythm that represents activation of the sympathetic nervous system, was higher in the AO condition, suggesting increased arousal, likely caused by less predictable sound onsets in the AO condition. We present partial evidence that breathing was faster and facial muscle activity was higher in the AV condition, suggesting that observing a performer's movements likely enhances motor mimicry in these more voluntary peripheral measures. Further, zygomaticus ('smiling') muscle activity was a significant predictor of AE. Thus, we suggest physiological measures are related to AE, but at different levels: the more involuntary measures (i.e., heart rhythms) may reflect more sensory aspects, while the more voluntary measures (i.e., muscular control of breathing and facial responses) may reflect the liking aspect of an AE. In summary, we replicate and extend previous findings that AV information enhances AE in a naturalistic music performance setting. We further show that a combination of self-report and peripheral measures benefit a meaningful assessment of AE in naturalistic music performance settings.
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Affiliation(s)
- Anna Czepiel
- Department of Music, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany; Department of Neuropsychology and Psychopharmacology, Faculty of Psychology and Neuroscience, Maastricht University, Maastricht, the Netherlands.
| | - Lauren K Fink
- Department of Music, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany; Max Planck-NYU Center for Language, Music, and Emotion, Frankfurt am Main, Germany
| | - Christoph Seibert
- Institute for Music Informatics and Musicology, University of Music Karlsruhe, Karlsruhe, Germany
| | - Mathias Scharinger
- Research Group Phonetics, Department of German Linguistics, University of Marburg, Marburg, Germany; Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
| | - Sonja A Kotz
- Department of Neuropsychology and Psychopharmacology, Faculty of Psychology and Neuroscience, Maastricht University, Maastricht, the Netherlands; Department of Neuropsychology, Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany
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4
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Onderdijk KE, Bouckaert L, Van Dyck E, Maes PJ. Concert experiences in virtual reality environments. VIRTUAL REALITY 2023; 27:1-14. [PMID: 37360813 PMCID: PMC10239717 DOI: 10.1007/s10055-023-00814-y] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Figures] [Subscribe] [Scholar Register] [Received: 05/23/2022] [Accepted: 05/22/2023] [Indexed: 06/28/2023]
Abstract
Spurred by recent advances in digital technologies, virtual concerts have become established modes for event attendance and represent a rapidly growing segment of the music industry. Yet, up to now, general experience of virtual concert attendees remains largely underexplored. Here, we focus on a subcategory in this domain: music concerts in virtual reality (VR). Our approach is situated within the theoretical framework of embodied music cognition and entailed investigation through a survey study. Responses of seventy-four VR concert attendees were collected, consisting of demographics, motivations, experiences, and future perspectives. In contrast to previous research, which generally identified social connectedness as a main motivator for concert attendance, our sample regarded it as one of the least important incentives. On the other hand, in line with previous studies, 'seeing specific artists perform' and 'uniqueness of the experience', were pivotal. The latter was mostly fueled by the possibility to experience/interact with visuals and environments considered as unconceivable in the real world. Furthermore, 70% of our sample regarded VR concerts as 'the future of the music industry', mainly relating to the accessibility of such events. Positive evaluations of VR concert experiences, as well as future perspectives regarding the medium, were significantly influenced by the level of experienced immersivity. To our knowledge, this is the first study to provide such an account. Supplementary Information The online version contains supplementary material available at 10.1007/s10055-023-00814-y.
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Affiliation(s)
- Kelsey E. Onderdijk
- IPEM, Department of Arts, Music and Theatre Sciences, Ghent University, Ghent, Belgium
| | - Lies Bouckaert
- IPEM, Department of Arts, Music and Theatre Sciences, Ghent University, Ghent, Belgium
| | - Edith Van Dyck
- IPEM, Department of Arts, Music and Theatre Sciences, Ghent University, Ghent, Belgium
| | - Pieter-Jan Maes
- IPEM, Department of Arts, Music and Theatre Sciences, Ghent University, Ghent, Belgium
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5
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Frame J, Gugliano M, Bai E, Brielmann A, Belfi AM. Your ears don't change what your eyes like: People can independently report the pleasure of music and images. J Exp Psychol Hum Percept Perform 2023; 49:774-785. [PMID: 37141037 PMCID: PMC10247479 DOI: 10.1037/xhp0001118] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 05/05/2023]
Abstract
Observers can make independent aesthetic judgments of at least two images presented briefly and simultaneously. However, it is unknown whether this is the case for two stimuli of different sensory modalities. Here, we investigated whether individuals can judge auditory and visual stimuli independently, and whether stimulus duration influences such judgments. Participants (N = 120, across two experiments and a replication) saw images of paintings and heard excerpts of music, presented simultaneously for 2 s (Experiment 1) or 5 s (Experiment 2). After the stimuli were presented, participants rated how much pleasure they felt from the stimulus (music, image, or combined pleasure of both, depending on which was cued) on a 9-point scale. Finally, participants completed a baseline rating block where they rated each stimulus in isolation. We used the baseline ratings to predict ratings of audiovisual presentations. Across both experiments, the root mean square errors (RMSEs) obtained from leave-one-out-cross-validation analyses showed that people's ratings of music and images were unbiased by the simultaneously presented other stimulus, and ratings of both were best described as the arithmetic mean of the ratings from the individual presentations at the end of the experiment. This pattern of results replicates previous findings on simultaneously presented images, indicating that participants can ignore the pleasure of an irrelevant stimulus regardless of the sensory modality and duration of stimulus presentation. (PsycInfo Database Record (c) 2023 APA, all rights reserved).
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Affiliation(s)
- Jessica Frame
- Department of Psychological Science, Missouri University of Science and Technology
| | | | - Elena Bai
- Department of Psychological Science, Missouri University of Science and Technology
| | - Aenne Brielmann
- Department of Computational Neuroscience, Max-Planck Institute for Biological Cybernetics
| | - Amy M. Belfi
- Department of Psychological Science, Missouri University of Science and Technology
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6
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Kragness HE, Berezowska B, Cirelli LK. A concert for babies: Attentional, affective, and motor responses in an infant audience. Dev Sci 2023; 26:e13297. [PMID: 35713569 DOI: 10.1111/desc.13297] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/27/2021] [Revised: 05/30/2022] [Accepted: 05/31/2022] [Indexed: 11/28/2022]
Abstract
Many of our most powerful musical experiences are shared with others, and researchers have increasingly investigated responses to music in group contexts. Though musical performances for infants are growing in popularity, most research on infants' responses to live music has focused on solitary caregiver-infant pairs. Here, we report infants' attentional, affective, and motor responses to live music as audience members. Two groups of caregiver-infant (6-18 months) pairs (50 total) watched a short musical performance with two song styles - lullaby and playsong. Caregivers were instructed to watch passively or interactively. The playsong captured more infant attention and, especially in the interactive condition, elicited more infant smiles. Notably, infant attention was more coordinated with their own caregiver than a random caregiver, and infants with no experience attending group musical events in the past were especially attentive to the performance. Infants were more likely to generate movements when parents remained still. Overall, infants' responses to live musical performance in an audience were influenced by song style, caregiver behavior, and their own musical histories. A video abstract of this article can be viewed at https://www.youtube.com/watch?v=q61qnDMW8dU. RESEARCH HIGHLIGHTS: Infants' responses to live musical performances are shaped by the music, by their caregivers, and by their own musical histories During a concert for babies, a playsong more effectively elicited infant attention and smiles than a lullaby, especially when caregivers were interactive Infant attention was more coordinated with their own caregiver than with other caregivers watching the same show.
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Affiliation(s)
- Haley E Kragness
- Department of Psychology, University of Toronto Scarborough, Scarborough, Ontario, Canada
| | - Bryna Berezowska
- CultureLink, Department of Settlement & Community Services, Toronto, Ontario, Canada
| | - Laura K Cirelli
- Department of Psychology, University of Toronto Scarborough, Scarborough, Ontario, Canada
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