The Role of Emotion in Musical Improvisation: An Analysis of Structural Features

One of the primary functions of music is to convey emotion, yet how music accomplishes this task remains unclear. For example, simple correlations between mode (major vs. minor) and emotion (happy vs. sad) do not adequately explain the enormous range, subtlety or complexity of musically induced emotions. In this study, we examined the structural features of unconstrained musical improvisations generated by jazz pianists in response to emotional cues. We hypothesized that musicians would not utilize any universal rules to convey emotions, but would instead combine heterogeneous musical elements together in order to depict positive and negative emotions. Our findings demonstrate a lack of simple correspondence between emotions and musical features of spontaneous musical improvisation. While improvisations in response to positive emotional cues were more likely to be in major keys, have faster tempos, faster key press velocities and more staccato notes when compared to negative improvisations, there was a wide distribution for each emotion with components that directly violated these primary associations. The finding that musicians often combine disparate features together in order to convey emotion during improvisation suggests that structural diversity may be an essential feature of the ability of music to express a wide range of emotion.     

Musical Expertise and the Ability to Imagine Loudness

Most perceived parameters of sound (e.g. pitch, duration, timbre) can also be imagined in the absence of sound. These parameters are imagined more veridically by expert musicians than non-experts. Evidence for whether loudness is imagined, however, is conflicting. In music, the question of whether loudness is imagined is particularly relevant due to its role as a principal parameter of performance expression. This study addressed the hypothesis that the veridicality of imagined loudness improves with increasing musical expertise. Experts, novices and non-musicians imagined short passages of well-known classical music under two counterbalanced conditions: 1) while adjusting a slider to indicate imagined loudness of the music and 2) while tapping out the rhythm to indicate imagined timing. Subtests assessed music listening abilities and working memory span to determine whether these factors, also hypothesised to improve with increasing musical expertise, could account for imagery task performance. Similarity between each participant’s imagined and listening loudness profiles and reference recording intensity profiles was assessed using time series analysis and dynamic time warping. The results suggest a widespread ability to imagine the loudness of familiar music. The veridicality of imagined loudness tended to be greatest for the expert musicians, supporting the predicted relationship between musical expertise and musical imagery ability.     

Electrical Brain Responses to an Auditory Illusion and the Impact of Musical Expertise

The presentation of two sinusoidal tones, one to each ear, with a slight frequency mismatch yields an auditory illusion of a beating frequency equal to the frequency difference between the two tones; this is known as binaural beat (BB). The effect of brief BB stimulation on scalp EEG is not conclusively demonstrated. Further, no studies have examined the impact of musical training associated with BB stimulation, yet musicians'' brains are often associated with enhanced auditory processing. In this study, we analysed EEG brain responses from two groups, musicians and non-musicians, when stimulated by short presentation (1 min) of binaural beats with beat frequency varying from 1 Hz to 48 Hz. We focused our analysis on alpha and gamma band EEG signals, and they were analysed in terms of spectral power, and functional connectivity as measured by two phase synchrony based measures, phase locking value and phase lag index. Finally, these measures were used to characterize the degree of centrality, segregation and integration of the functional brain network. We found that beat frequencies belonging to alpha band produced the most significant steady-state responses across groups. Further, processing of low frequency (delta, theta, alpha) binaural beats had significant impact on cortical network patterns in the alpha band oscillations. Altogether these results provide a neurophysiological account of cortical responses to BB stimulation at varying frequencies, and demonstrate a modulation of cortico-cortical connectivity in musicians'' brains, and further suggest a kind of neuronal entrainment of a linear and nonlinear relationship to the beating frequencies.     

When Music and Long-Term Memory Interact: Effects of Musical Expertise on Functional and Structural Plasticity in the Hippocampus

The development of musical skills by musicians results in specific structural and functional modifications in the brain. Surprisingly, no functional magnetic resonance imaging (fMRI) study has investigated the impact of musical training on brain function during long-term memory retrieval, a faculty particularly important in music. Thus, using fMRI, we examined for the first time this process during a musical familiarity task (i.e., semantic memory for music). Musical expertise induced supplementary activations in the hippocampus, medial frontal gyrus, and superior temporal areas on both sides, suggesting a constant interaction between episodic and semantic memory during this task in musicians. In addition, a voxel-based morphometry (VBM) investigation was performed within these areas and revealed that gray matter density of the hippocampus was higher in musicians than in nonmusicians. Our data indicate that musical expertise critically modifies long-term memory processes and induces structural and functional plasticity in the hippocampus.     

From Musical Experience to Personality Transformation: The Practice of Musical Movement

This article explores the mechanisms of musical experience and how they are revealed in the practice of plastic improvisation in response to music. Musical movement creates conditions that activate and organize the processes of the emotional perception and experiencing of music in an outwardly expressed motoric form. Musical motor activity not only reflects but also transforms a person’s life experience and, thereby, initiates the complex work of becoming aware of, and reinterpreting, one’s values and motives and relating them to one’s capabilities and to the restructuring of one’s self-image on a mental and corporal level.     

Improvisation and authority in illness meaning

Culture, Medicine, and Psychiatry -     

The Nature and Value of Bioethics Expertise

In this article, I address the extent to which experts in bioethics can contribute to healthcare delivery by way of aid in clinical decision‐making and policy‐formation. I argue that experts in bioethics are moral experts, in that their substantive moral views are more likely to be correct than those of non‐bioethicists, all else being equal, but that such expertise is of use in a relatively limited class of cases. In so doing, I respond to two recent arguments against the view that bioethicists are moral experts, one by Christopher Cowley and another by David Archard. I further argue that bioethics experts have significant additional contributions to make to healthcare delivery, and highlight a hitherto neglected aspect of that contribution: amelioration of moral misconception among clinicians. I describe in detail several aspects of moral misconception, and show how the bioethicist is in a prime position to resolve that sort of error.     

Genome-Wide Copy Number Variation Analysis in Extended Families and Unrelated Individuals Characterized for Musical Aptitude and Creativity in Music

Music perception and practice represent complex cognitive functions of the human brain. Recently, evidence for the molecular genetic background of music related phenotypes has been obtained. In order to further elucidate the molecular background of musical phenotypes we analyzed genome wide copy number variations (CNVs) in five extended pedigrees and in 172 unrelated subjects characterized for musical aptitude and creative functions in music. Musical aptitude was defined by combination of the scores of three music tests (COMB scores): auditory structuring ability, Seashores test for pitch and for time. Data on creativity in music (herein composing, improvising and/or arranging music) was surveyed using a web-based questionnaire.Several CNVRs containing genes that affect neurodevelopment, learning and memory were detected. A deletion at 5q31.1 covering the protocadherin-α gene cluster (Pcdha 1-9) was found co-segregating with low music test scores (COMB) in both sample sets. Pcdha is involved in neural migration, differentiation and synaptogenesis. Creativity in music was found to co-segregate with a duplication covering glucose mutarotase gene (GALM) at 2p22. GALM has influence on serotonin release and membrane trafficking of the human serotonin transporter. Interestingly, genes related to serotonergic systems have been shown to associate not only with psychiatric disorders but also with creativity and music perception. Both, Pcdha and GALM, are related to the serotonergic systems influencing cognitive and motor functions, important for music perception and practice. Finally, a 1.3 Mb duplication was identified in a subject with low COMB scores in the region previously linked with absolute pitch (AP) at 8q24. No differences in the CNV burden was detected among the high/low music test scores or creative/non-creative groups. In summary, CNVs and genes found in this study are related to cognitive functions. Our result suggests new candidate genes for music perception related traits and supports the previous results from AP study.     

The Influence of Various Depressive States on the Emotional Evaluation of Short Musical Fragments in Humans

Emotional evaluation of short musical fragments was compared for healthy people, patients with endogenous or neurotic depression, and opium addicts with affective disorders. Substantial differences in emotional preferences were observed between the healthy people and the patients. Moreover, emotional evaluations differed in the three groups of patients with different affective disorders. The cause of the difference in emotional evaluation was discussed, and the possibility of using the observed differences as a criterion of differential diagnostics was considered.     

Music in Our Ears: The Biological Bases of Musical Timbre Perception

Timbre is the attribute of sound that allows humans and other animals to distinguish among different sound sources. Studies based on psychophysical judgments of musical timbre, ecological analyses of sound''s physical characteristics as well as machine learning approaches have all suggested that timbre is a multifaceted attribute that invokes both spectral and temporal sound features. Here, we explored the neural underpinnings of musical timbre. We used a neuro-computational framework based on spectro-temporal receptive fields, recorded from over a thousand neurons in the mammalian primary auditory cortex as well as from simulated cortical neurons, augmented with a nonlinear classifier. The model was able to perform robust instrument classification irrespective of pitch and playing style, with an accuracy of 98.7%. Using the same front end, the model was also able to reproduce perceptual distance judgments between timbres as perceived by human listeners. The study demonstrates that joint spectro-temporal features, such as those observed in the mammalian primary auditory cortex, are critical to provide the rich-enough representation necessary to account for perceptual judgments of timbre by human listeners, as well as recognition of musical instruments.     

The Evolution of Musical Diversity: The Key Role of Vertical Transmission

Music, like languages, is one of the key components of our culture, yet musical evolution is still poorly known. Numerous studies using computational methods derived from evolutionary biology have been successfully applied to varied subset of linguistic data. One of the major drawback regarding musical studies is the lack of suitable coded musical data that can be analysed using such evolutionary tools. Here we present for the first time an original set of musical data coded in a way that enables construction of trees classically used in evolutionary approaches. Using phylogenetic methods, we test two competing theories on musical evolution: vertical versus horizontal transmission. We show that, contrary to what is currently believed, vertical transmission plays a key role in shaping musical diversity. The signal of vertical transmission is particularly strong for intrinsic musical characters such as metrics, rhythm, and melody. Our findings reveal some of the evolutionary mechanisms at play for explaining musical diversity and open a new field of investigation in musical evolution.     

Return of the Native: Cognition and Site-Specific Expertise in Orangutan Rehabilitation

Ex-captive orangutans that have returned to free forest life in Bornean forests offer exceptional opportunities to assess the cognitive challenges facing feral great apes. They also provide opportunities to track readaptation, which requires building expertise to survive in tropical rain forests and to integrate into orangutan communities. I outline some of the foraging problems that ex-captive orangutans encounter, the cognitive processes used in their solutions, and acquisition patterns. Evidence derives primarily from observational studies of feeding behavior in free-ranging ex-captives. Discussion focuses on implications for conservation initiatives.     

Experience Does Not Equal Expertise in Recognizing Infrequent Incoming Gunfire: Neural Markers for Experience and Task Expertise at Peak Behavioral Performance

For a soldier, decisions to use force can happen rapidly and sometimes lead to undesired consequences. In many of these situations, there is a rapid assessment by the shooter that recognizes a threat and responds to it with return fire. But the neural processes underlying these rapid decisions are largely unknown, especially amongst those with extensive weapons experience and expertise. In this paper, we investigate differences in weapons experts and non-experts during an incoming gunfire detection task. Specifically, we analyzed the electroencephalography (EEG) of eleven expert marksmen/soldiers and eleven non-experts while they listened to an audio scene consisting of a sequence of incoming and non-incoming gunfire events. Subjects were tasked with identifying each event as quickly as possible and committing their choice via a motor response. Contrary to our hypothesis, experts did not have significantly better behavioral performance or faster response time than novices. Rather, novices indicated trends of better behavioral performance than experts. These group differences were more dramatic in the EEG correlates of incoming gunfire detection. Using machine learning, we found condition-discriminating EEG activity among novices showing greater magnitude and covering longer periods than those found in experts. We also compared group-level source reconstruction on the maximum discriminating neural correlates and found that each group uses different neural structures to perform the task. From condition-discriminating EEG and source localization, we found that experts perceive more categorical overlap between incoming and non-incoming gunfire. Consequently, the experts did not perform as well behaviorally as the novices. We explain these unexpected group differences as a consequence of experience with gunfire not being equivalent to expertise in recognizing incoming gunfire.