A functional magnetic resonance imaging examination of audiovisual observation of a point-light string quartet using intersubject correlation and physical feature analysis.

We use functional Magnetic Resonance Imaging (fMRI) to explore synchronized neural responses between observers of audiovisual presentation of a string quartet performance during free viewing. Audio presentation was accompanied by visual presentation of the string quartet as stick figures observed from a static viewpoint. Brain data from 18 musical novices were obtained during audiovisual presentation of a 116 s performance of the allegro of String Quartet, No. 14 in D minor by Schubert played by the 'Quartetto di Cremona.' These data were analyzed using intersubject correlation (ISC). Results showed extensive ISC in auditory and visual areas as well as parietal cortex, frontal cortex and subcortical areas including the medial geniculate and basal ganglia (putamen). These results from a single fixed viewpoint of multiple musicians are greater than previous reports of ISC from unstructured group activity but are broadly consistent with related research that used ISC to explore listening to music or watching solo dance. A feature analysis examining the relationship between brain activity and physical features of the auditory and visual signals yielded findings of a large proportion of activity related to auditory and visual processing, particularly in the superior temporal gyrus (STG) as well as midbrain areas. Motor areas were also involved, potentially as a result of watching motion from the stick figure display of musicians in the string quartet. These results reveal involvement of areas such as the putamen in processing complex musical performance and highlight the potential of using brief naturalistic stimuli to localize distinct brain areas and elucidate potential mechanisms underlying multisensory integration.

[Interprofessional simulation in emergency medicine]. / Simulation interprofessionnelle en médecine d'urgence.

Teamwork is essential in emergency medicine, but in practice it can be polluted by communication difficulties, a lack of understanding of everyone's roles and responsibilities, and a discordant definition of operating methods and objectives. Today, there is a strong awareness of the need to train medical and healthcare teams in interprofessional collaborative practice to learn how to work as a team, reduce medical errors and improve patient safety. Simulation is a recognized and effective pedagogical modality for achieving these objectives. It is now permanently established in pre- and postgraduate medical-nursing training courses in emergency medicine.

Le travail en équipe est indispensable en médecine d'urgence mais, dans la pratique, il peut être pollué par des difficultés de communication, une méconnaissance des rôles et responsabilités de chacun, et une définition discordante des modes de fonctionnement et des objectifs. Aujourd'hui, il y a une forte prise de conscience de la nécessité de former les équipes médico­soignantes à la pratique collaborative interprofessionnelle pour apprendre à travailler en équipe, réduire les erreurs médicales et améliorer la sécurité des patient-e-s. La simulation est une modalité pédagogique reconnue et efficace pour atteindre ces objectifs. Elle est désormais implantée de façon pérenne dans les cursus de formation médico-soignante pré et postgraduée en médecine d'urgence.

Linking musical metaphors and emotions evoked by the sound of classical music.

Musical meaning is often described in terms of emotions and metaphors. While many theories encapsulate one or the other, very little empirical data is available to test a possible link between the two. In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors. It resulted in each metaphor being associated with different specific emotions, subjective levels of entrainment, and acoustic and perceptual characteristics. How these constructs relate to one another could be based on the embodied knowledge and the perception of movement in space. For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results. Finally, we suggest that music researchers consider musical metaphors in their work as we provide an empirical method for it.

Simulation as a Training Method for Electricity Workers' Safety.

BACKGROUND: Simulation is a useful method to improve learning and increase the safety of work operations, both for technical and non-technical skills. However, the observation, assessment, and feedback about these skills is particularly complex, because the process needs expert observers, and the feedback could be judgmental and ineffective. Therefore, a structured process to develop effective simulation scenarios and tools for the observation and feedback about performance is crucial. To this aim, in the present research, we developed a training model for electricity distribution workers, based on high fidelity simulation. METHODS: We designed simulation scenarios based on real cases, developed, and tested a set of observation and rating forms for the non-technical skills behavioral markers, and we tracked behaviors based on non-verbal cues (physiological and head orientation parameters). RESULTS: The training methodology proved to be highly appreciated by the participants and effective in fostering reflexivity. An in-depth analysis of physiological indexes and behaviors compliant to safety procedures revealed that breath rate and heart rate patterns commonly related with mindful and relaxed states were correlated with compliant behaviors, and patterns typical of stress and anxiety were correlated with non-compliant behaviors. CONCLUSIONS: a new training method based on high fidelity simulation, addressing both technical and non-technical skills is now available for fostering self-reflection and safety for electricity distribution workers. Future research should assess the long-term effectiveness of high-fidelity simulation for electricity workers, and should investigate non-invasive and real-time methods for tracking physiological parameters.

Language is the missing link in action-perception coupling: an EEG study.

The paper reports an electrophysiological (EEG) study investigating how language is involved in perception-action relations in musically trained and untrained participants. Using an original backward priming paradigm, participants were exposed to muted point-light videos of violinists performing piano or forte nuances followed by a congruent vs. incongruent word. After the video presentation, participants were asked to decide whether the musician was playing a piano or forte musical nuance. EEG results showed a greater P200 event-related potential for trained participants at the occipital site, and a greater N400 effect for untrained participants at the central site. Musically untrained participants were more accurate when the word was semantically congruent with the gesture than when it was incongruent. Overall, language seems to influence the performance of untrained participants, for which perception-action couplings are less automatized.

Music Ensemble as a Resilient System. Managing the Unexpected through Group Interaction.

The present contribution provides readers from diverse fields of psychology with a new and comprehensive model for the understanding of the characteristics of music ensembles. The model is based on a novel heuristic approach whose key construct is resilience, intended here as the ability of a system to adapt to external perturbations and anticipate future events. The paper clarifies the specificity of music ensemble as an original social and creative activity, and how some mechanisms, at an individual (cognitive) and group (coordination) level, are enacted in a particular way that endows these groups with exceptional capacity for resilience. There is now a wealth of evidence isolating the psychological mechanisms involved in these processes. However, there is much less focus on conditions in which the group has to face unexpected and potentially performance-disruptive events. The resilience approach offers a more thorough explanation of the regulatory strategies that musicians may resort to in order to maintain their performance at an optimal level. Music ensembles of different size are presented as case studies of how such systems (and their individual members) resist error and maintain joint performance. Three hypothetical scenarios are further proposed that epitomize resilient or non-resilient musical teams. The present contribution further proposes hypotheses and formulates predictions on which combinations of individual and group factors foster team resilience. This model further accommodates the most recent findings in neuroscience and experimental psychology. Besides highlighting the potential of music ensemble for psychological research, it offers hints about how resilience could be trained.

Is he playing solo or within an ensemble? How the context, visual information, and expertise may impact upon the perception of musical expressivity.

Visual information is imperative when developing a concrete and context-sensitive understanding of how music performance is perceived. Recent studies highlight natural, automatic, and nonconscious dependence on visual cues that ultimately refer to body expressions observed in the musician. The current study investigated how the social context of a performing musician (eg playing alone or within an ensemble) and the musical expertise of the perceivers influence the strategies used to understand and decode the visual features of music performance. Results revealed that both perceiver groups, nonmusicians and musicians, have a higher sensitivity towards gaze information; therefore, an impoverished stimulus such as a point-light display is insufficient to understand the social context in which the musician is performing. Implications for these findings are discussed.

Sensorimotor communication in professional quartets.

Non-verbal group dynamics are often opaque to a formal quantitative analysis of communication flow. In this context, ensemble musicians can be a reliable model of expert group coordination. In fact, bodily motion is a critical component of inter-musician coordination and thus could be used as a valuable index of sensorimotor communication. Here we measured head movement kinematics of an expert quartet of musicians and, by applying Granger Causality analysis, we numerically described the causality patterns between participants. We found a clear positive relationship between the amount of communication and complexity of the score segment. Furthermore, we also applied temporal and dynamical changes to the musical score, known by the first violin only. The perturbations were devised in order to force unidirectional communication between the leader of the quartet and the other participants. Results show that in these situations, unidirectional influence from the leader decreased, thus implying that effective leadership may require prior sharing of information between participants. In conclusion, we could measure the amount of information flow and sensorimotor group dynamics suggesting that the fabric of leadership is not built upon exclusive information knowledge but rather on sharing it.

The movements made by performers in a skilled quartet: a distinctive pattern, and the function that it serves.

When people perform a task as part of a joint action, their behavior is not the same as it would be if they were performing the same task alone, since it has to be adapted to facilitate shared understanding (or sometimes to prevent it). Joint performance of music offers a test bed for ecologically valid investigations of the way non-verbal behavior facilitates joint action. Here we compare the expressive movement of violinists when playing in solo and ensemble conditions. The first violinists of two string quartets (SQs), professional and student, were asked to play the same musical fragments in a solo condition and with the quartet. Synchronized multimodal recordings were created from the performances, using a specially developed software platform. Different patterns of head movement were observed. By quantifying them using an appropriate measure of entropy, we showed that head movements are more predictable in the quartet scenario. Rater evaluations showed that the change does not, as might be assumed, entail markedly reduced expression. They showed some ability to discriminate between solo and ensemble performances, but did not distinguish them in terms of emotional content or expressiveness. The data raise provocative questions about joint action in realistically complex scenarios.