Affect-matching music improves cognitive performance in adults and young children for both positive and negative emotions

Three experiments assessed the hypothesis that cognitive benefits associated with exposure to music only occur when the perceived emotion expression of the music and the participant’s affective state match. Experiment 1 revealed an affect-matching pattern modulated by gender when assessing high-arousal states of opposite valence (happy/angry) in an adult sample (n=94) in which mood classification was based on self-report, and affective valence in music was differentiated by mode and other expressive cues whilst keeping tempo constant (139 BPM). The affect-matching hypothesis was then tested in two experiments with children using a mood-induction procedure: Experiment 2 tested happy/angry emotions with, respectively, 3-5- (n=40) and 6-9-year-old (n=40) children, and Experiment 3 compared happy/sad emotions (i.e., states differing both for valence and arousal profiles) with 3-5-year-old children (n=40), using music pieces differentiated also by fast vs. slow tempo. While young children failed to discriminate systematically between fast tempo music conveying different emotions, they did display cognitive benefits from exposure to affect-matching music when both valence (e.g., mode) and arousal level (e.g., tempo) differentiated the musical excerpts, with no gender effects

Redesign and initial validation of an instrument to assess the motivational qualities of music in exercise: The Brunel Music Rating Inventory-2

In the present study, a measure to assess the motivational qualities of music in exercise was redesigned, extending previous research efforts (Karageorghis et al., 1999). The original measure, the Brunel Music Rating Inventory (BMRI), had shown limitations in its factor structure and its applicability to non-experts in music selection. Redesign of the BMRI used in-depth interviews with eight participants (mean age 31.9 years, s¼8.9 years) to establish the initial item pool, which was examined using a series of confirmatory factor analyses. A single-factor model provided a good fit across three musical selections with different motivational qualities (comparative fit index, CFI: 0.95 – 0.98; standardized root mean residual, SRMR: 0.03 – 0.05). The single-factor model also demonstrated acceptable fit across two independent samples and both sexes using one piece of music (CFI: 0.86 – 1.00; SRMR: 0.04 – 0.07). The BMRI was designed for experts in selecting music for exercise (e.g. dance aerobic instructors), whereas the BMRI-2 can be used both by exercise instructors and participants. The psychometric properties of the BMRI-2 are stronger than those of the BMRI and it is easier to use. The BMRI-2 provides a valid and internally consistent tool by which music can be selected to accompany a bout of exercise or a training session. Furthermore, the BMRI-2 enables researchers to standardize music in experimental protocols involving exercise-related tasks

A computational study on outliers in world music

The comparative analysis of world music cultures has been the focus of several ethnomusicological studies in the last century. With the advances of Music Information Retrieval and the increased accessibility of sound archives, large-scale analysis of world music with computational tools is today feasible. We investigate music similarity in a corpus of 8200 recordings of folk and traditional music from 137 countries around the world. In particular, we aim to identify music recordings that are most distinct compared to the rest of our corpus. We refer to these recordings as ‘outliers’. We use signal processing tools to extract music information from audio recordings, data mining to quantify similarity and detect outliers, and spatial statistics to account for geographical correlation. Our findings suggest that Botswana is the country with the most distinct recordings in the corpus and China is the country with the most distinct recordings when considering spatial correlation. Our analysis includes a comparison of musical attributes and styles that contribute to the ‘uniqueness’ of the music of each country

Beat synchronization across the lifespan: intersection of development and musical experience

Rhythmic entrainment, or beat synchronization, provides an opportunity to understand how multiple systems operate together to integrate sensory-motor information. Also, synchronization is an essential component of musical performance that may be enhanced through musical training. Investigations of rhythmic entrainment have revealed a developmental trajectory across the lifespan, showing synchronization improves with age and musical experience. Here, we explore the development and maintenance of synchronization in childhood through older adulthood in a large cohort of participants (N = 145), and also ask how it may be altered by musical experience. We employed a uniform assessment of beat synchronization for all participants and compared performance developmentally and between individuals with and without musical experience. We show that the ability to consistently tap along to a beat improves with age into adulthood, yet in older adulthood tapping performance becomes more variable. Also, from childhood into young adulthood, individuals are able to tap increasingly close to the beat (i.e., asynchronies decline with age), however, this trend reverses from younger into older adulthood. There is a positive association between proportion of life spent playing music and tapping performance, which suggests a link between musical experience and auditory-motor integration. These results are broadly consistent with previous investigations into the development of beat synchronization across the lifespan, and thus complement existing studies and present new insights offered by a different, large cross-sectional sample

Pitch and timing in the songs of deaf children with cochlear implants

journal articl

Culture and Evolution

This chapter captures extensive discussions between people with different forms of expertise and viewpoints. It explores the relationships between language and music in evolutionary and cultural context. Rather than trying to essentialize either, they are characterized pragmatically in terms of features that appear to distinguish them (such as language’s compositional propositionality as opposed to music’s foregrounding of isochronicity), and those that they evidently share. Factors are considered that consti- tute proximate motivations for humans to communicate through language and music, ranging from language’s practical value in the organization of collective behavior to music’s significant role in eliciting and managing prosocial attitudes. Possible distal motivations are reviewed for music and language, in terms of the potentially adap- tive functions of human communication systems, and an assessment is made of the advantages which might accrue to flexible communicators in the light of ethological and archaeological evidence concerning the landscape of selection. Subsequently, the possible evolutionary relationships between music and language are explored, within a framework supplied by six possible models of their emergence. Issues of the roles of culture and of biology in the evolution of communication systems are then addressed within the framework of triadic niche construction, and the chapter concludes by sur- veying available comparative and phylogenetic issues that might inform the debate

The Neurocognitive Components of Pitch Processing: Insights from Absolute Pitch

The natural variability of pitch naming ability in the population (known as absolute pitch or AP) provides an ideal method for investigating individual differences in pitch processing and auditory knowledge formation and representation. We have demonstrated the involvement of different cognitive processes in AP ability that reflects varying skill expertise in the presence of similar early age of onset of music tuition. These processes were related to different regions of brain activity, including those involved in pitch working memory (right prefrontal cortex) and the long-term representation of pitch (superior temporal gyrus). They reflected expertise through the use of context dependent pitch cues and the level of automaticity of pitch naming. They impart functional significance to structural asymmetry differences in the planum temporale of musicians and establish a neurobiological basis for an AP template. More generally, they indicate variability of knowledge representation in the presence of environmental fostering of early cognitive development that translates to differences in cognitive ability

The Neurocognitive Components of Pitch Processing: Insights from Absolute Pitch

The natural variability of pitch naming ability in the population (known as absolute pitch or AP) provides an ideal method for investigating individual differences in pitch processing and auditory knowledge formation and representation. We have demonstrated the involvement of different cognitive processes in AP ability that reflects varying skill expertise in the presence of similar early age of onset of music tuition. These processes were related to different regions of brain activity, including those involved in pitch working memory (right prefrontal cortex) and the long-term representation of pitch (superior temporal gyrus). They reflected expertise through the use of context dependent pitch cues and the level of automaticity of pitch naming. They impart functional significance to structural asymmetry differences in the planum temporale of musicians and establish a neurobiological basis for an AP template. More generally, they indicate variability of knowledge representation in the presence of environmental fostering of early cognitive development that translates to differences in cognitive ability