Music performance as knowledge acquisition: a review and preliminary conceptual framework.

To what extent does playing a musical instrument contribute to an individual's construction of knowledge? This paper aims to address this question by examining music performance from an embodied perspective and offering a narrative-style review of the main literature on the topic. Drawing from both older theoretical frameworks on motor learning and more recent theories on sensorimotor coupling and integration, this paper seeks to challenge and juxtapose established ideas with contemporary views inspired by recent work on embodied cognitive science. By doing so we advocate a centripetal approach to music performance, contrasting the prevalent centrifugal perspective: the sounds produced during performance not only originate from bodily action (centrifugal), but also cyclically return to it (centripetal). This perspective suggests that playing music involves a dynamic integration of both external and internal factors, transcending mere output-oriented actions and revealing music performance as a form of knowledge acquisition based on real-time sensorimotor experience.

Exploring the Decision-Making Process behind Illicit Drug Use at Music Festivals.

Background: Illicit substance use is common at music festivals. One could question whether festival attendees deliberately plan to take drugs at such events or whether their illicit (poly)drug use is provoked by specific circumstances, such as the presence of peers or a general belief that others are using drugs at the festival. Objectives: The present study implemented the prototype willingness model, which is a model that assesses whether illicit drug use at music festivals is rather a rational or a more spontaneous decision-making process. Results: A three-wave panel survey was conducted, questioning festival attendees before (n = 304, 60.86% males), during, and after music festival visits. In total, 186 people (59.68% males) between 18 and 55 years (M = 27.80 years; SD = 8.19) completed all three surveys, of which 62.9% had taken one or more different illicit substances at the festival. Positive attitudes toward illicit drug consumption were most firmly related to attendees' intentions to take drugs at festivals. Additionally, the more festival visitors identified themselves with the prototype of an attendee using drugs, the more likely they were to be willing to use them. The perceived presence of illicit substances at such events was also strongly related to the actual behavior. Conclusion: The findings suggest that illicit drug use at music festivals relates to both a rational choice and an unplanned one.

Musical Enjoyment and Reward: From Hedonic Pleasure to Eudaimonic Listening.

This article is a hypothesis and theory paper. It elaborates on the possible relation between music as a stimulus and its possible effects, with a focus on the question of why listeners are experiencing pleasure and reward. Though it is tempting to seek for a causal relationship, this has proven to be elusive given the many intermediary variables that intervene between the actual impingement on the senses and the reactions/responses by the listener. A distinction can be made, however, between three elements: (i) an objective description of the acoustic features of the music and their possible role as elicitors; (ii) a description of the possible modulating factors-both external/exogenous and internal/endogenous ones; and (iii) a continuous and real-time description of the responses by the listener, both in terms of their psychological reactions and their physiological correlates. Music listening, in this broadened view, can be considered as a multivariate phenomenon of biological, psychological, and cultural factors that, together, shape the overall, full-fledged experience. In addition to an overview of the current and extant research on musical enjoyment and reward, we draw attention to some key methodological problems that still complicate a full description of the musical experience. We further elaborate on how listening may entail both adaptive and maladaptive ways of coping with the sounds, with the former allowing a gentle transition from mere hedonic pleasure to eudaimonic enjoyment.

Meaning in Music Is Intentional, but in Soundscape It Is Not-A Naturalistic Approach to the Qualia of Sounds.

The sound environment and music intersect in several ways and the same holds true for the soundscape and our internal response to listening to music. Music may be part of a sound environment or take on some aspects of environmental sound, and therefore some of the soundscape response may be experienced alongside the response to the music. At a deeper level, coping with music, spoken language, and the sound environment may all have influenced our evolution, and the cognitive-emotional structures and responses evoked by all three sources of acoustic information may be, to some extent, the same. This paper distinguishes and defines the extent of our understanding about the interplay of external sound and our internal response to it in both musical and real-world environments. It takes a naturalistic approach to music/sound and music-listening/soundscapes to describe in objective terms some mechanisms of sense-making and interactions with the sounds. It starts from a definition of sound as vibrational and transferable energy that impinges on our body and our senses, with a dynamic tension between lower-level coping mechanisms and higher-level affective and cognitive functioning. In this way, we establish both commonalities and differences between musical responses and soundscapes. Future research will allow this understanding to grow and be refined further.

Neural Correlates of Music Listening: Does the Music Matter?

The last decades have seen a proliferation of music and brain studies, with a major focus on plastic changes as the outcome of continuous and prolonged engagement with music. Thanks to the advent of neuroaesthetics, research on music cognition has broadened its scope by considering the multifarious phenomenon of listening in all its forms, including incidental listening up to the skillful attentive listening of experts, and all its possible effects. These latter range from objective and sensorial effects directly linked to the acoustic features of the music to the subjectively affective and even transformational effects for the listener. Of special importance is the finding that neural activity in the reward circuit of the brain is a key component of a conscious listening experience. We propose that the connection between music and the reward system makes music listening a gate towards not only hedonia but also eudaimonia, namely a life well lived, full of meaning that aims at realizing one's own "daimon" or true nature. It is argued, further, that music listening, even when conceptualized in this aesthetic and eudaimonic framework, remains a learnable skill that changes the way brain structures respond to sounds and how they interact with each other.

Music Listening and Homeostatic Regulation: Surviving and Flourishing in a Sonic World.

This paper argues for a biological conception of music listening as an evolutionary achievement that is related to a long history of cognitive and affective-emotional functions, which are grounded in basic homeostatic regulation. Starting from the three levels of description, the acoustic description of sounds, the neurological level of processing, and the psychological correlates of neural stimulation, it conceives of listeners as open systems that are in continuous interaction with the sonic world. By monitoring and altering their current state, they can try to stay within the limits of operating set points in the pursuit of a controlled state of dynamic equilibrium, which is fueled by interoceptive and exteroceptive sources of information. Listening, in this homeostatic view, can be adaptive and goal-directed with the aim of maintaining the internal physiology and directing behavior towards conditions that make it possible to thrive by seeking out stimuli that are valued as beneficial and worthy, or by attempting to avoid those that are annoying and harmful. This calls forth the mechanisms of pleasure and reward, the distinction between pleasure and enjoyment, the twin notions of valence and arousal, the affect-related consequences of music listening, the role of affective regulation and visceral reactions to the sounds, and the distinction between adaptive and maladaptive listening.

Music Listening as Coping Behavior: From Reactive Response to Sense-Making.

Coping is a survival mechanism of living organisms. It is not merely reactive, but also involves making sense of the environment by rendering sensory information into percepts that have meaning in the context of an organism's cognitions. Music listening, on the other hand, is a complex task that embraces sensory, physiological, behavioral, and cognitive levels of processing. Being both a dispositional process that relies on our evolutionary toolkit for coping with the world and a more elaborated skill for sense-making, it goes beyond primitive action-reaction couplings by the introduction of higher-order intermediary variables between sensory input and effector reactions. Consideration of music-listening from the perspective of coping treats music as a sound environment and listening as a process that involves exploration of this environment as well as interactions with the sounds. Several issues are considered in this regard such as the conception of music as a possible stressor, the role of adaptive listening, the relation between coping and reward, the importance of self-regulation strategies in the selection of music, and the instrumental meaning of music in the sense that it can be used to modify the internal and external environment of the listener.

Optimizing Performative Skills in Social Interaction: Insights From Embodied Cognition, Music Education, and Sport Psychology.

Embodied approaches to cognition conceive of mental life as emerging from the ongoing relationship between neural and extra-neural resources. The latter include, first and foremost, our entire body, but also the activity patterns enacted within a contingent milieu, cultural norms, social factors, and the features of the environment that can be used to enhance our cognitive capacities (e.g., tools, devices, etc.). Recent work in music education and sport psychology has applied general principles of embodiment to a number of social contexts relevant to their respective fields. In particular, both disciplines have contributed fascinating perspectives to our understanding of how skills are acquired and developed in groups; how musicians, athletes, teachers, and coaches experience their interactions; and how empathy and social action participate in shaping effective performance. In this paper, we aim to provide additional grounding for this research by comparing and further developing original themes emerging from this cross-disciplinary literature and empirical works on how performative skills are acquired and optimized. In doing so, our discussion will focus on: (1) the feeling of being together, as meaningfully enacted in collective musical and sport events; (2) the capacity to skillfully adapt to the contextual demands arising from the social environment; and (3) the development of distributed forms of bodily memory. These categories will be discussed from the perspective of embodied cognitive science and with regard to their relevance for music education and sport psychology. It is argued that because they play a key role in the acquisition and development of relevant skills, they can offer important tools to help teachers and coaches develop novel strategies to enhance learning and foster new conceptual and practical research in the domains of music and sport.

Music and Noise: Same or Different? What Our Body Tells Us.

In this article, we consider music and noise in terms of vibrational and transferable energy as well as from the evolutionary significance of the hearing system of Homo sapiens. Music and sound impinge upon our body and our mind and we can react to both either positively or negatively. Much depends, in this regard, on the frequency spectrum and the level of the sound stimuli, which may sometimes make it possible to set music apart from noise. There are, however, two levels of description: the physical-acoustic description of the sound and the subjective-psychological reactions by the listeners. Starting from a vibrational approach to sound and music, we first investigate how sound may activate the sense of touch and the vestibular system of the inner ear besides the sense of hearing. We then touch upon distinct issues such as the relation between low-frequency sounds and annoyance, the harmful effect of loud sound and noise, the direct effects of overstimulation with sound, the indirect effects of unwanted sounds as related to auditory neurology, and the widespread phenomenon of liking loud sound and music, both from the point of view of behavioral and psychological aspects.

Preconceptual Spectral and Temporal Cues as a Source of Meaning in Speech and Music.

This paper explores the importance of preconceptual meaning in speech and music, stressing the role of affective vocalizations as a common ancestral instrument in communicative interactions. Speech and music are sensory rich stimuli, both at the level of production and perception, which involve different body channels, mainly the face and the voice. However, this bimodal approach has been challenged as being too restrictive. A broader conception argues for an action-oriented embodied approach that stresses the reciprocity between multisensory processing and articulatory-motor routines. There is, however, a distinction between language and music, with the latter being largely unable to function referentially. Contrary to the centrifugal tendency of language to direct the attention of the receiver away from the text or speech proper, music is centripetal in directing the listener's attention to the auditory material itself. Sound, therefore, can be considered as the meeting point between speech and music and the question can be raised as to the shared components between the interpretation of sound in the domain of speech and music. In order to answer these questions, this paper elaborates on the following topics: (i) The relationship between speech and music with a special focus on early vocalizations in humans and non-human primates; (ii) the transition from sound to meaning in speech and music; (iii) the role of emotion and affect in early sound processing; (iv) vocalizations and nonverbal affect burst in communicative sound comprehension; and (v) the acoustic features of affective sound with a special emphasis on temporal and spectrographic cues as parts of speech prosody and musical expressiveness.

Brain Connectivity Networks and the Aesthetic Experience of Music.

Listening to music is above all a human experience, which becomes an aesthetic experience when an individual immerses himself/herself in the music, dedicating attention to perceptual-cognitive-affective interpretation and evaluation. The study of these processes where the individual perceives, understands, enjoys and evaluates a set of auditory stimuli has mainly been focused on the effect of music on specific brain structures, as measured with neurophysiology and neuroimaging techniques. The very recent application of network science algorithms to brain research allows an insight into the functional connectivity between brain regions. These studies in network neuroscience have identified distinct circuits that function during goal-directed tasks and resting states. We review recent neuroimaging findings which indicate that music listening is traceable in terms of network connectivity and activations of target regions in the brain, in particular between the auditory cortex, the reward brain system and brain regions active during mind wandering.

Gazing at the partner in musical trios: a mobile eye-tracking study.

Few investigations into the nonverbal communication in ensemble playing have focused on gaze behaviour up to now. In this study, the gaze behaviour of musicians playing in trios was recorded using the recently developed technique of mobile eye-tracking. Four trios (clarinet, violin, piano) were recorded while rehearsing and while playing several runs through the same musical fragment. The current article reports on an initial exploration of the data in which we describe how often gazing at the partner occurred. On the one hand, we aim to identify possible contrasting cases. On the other, we look for tendencies across the run-throughs. We discuss the quantified gaze behaviour in relation to the existing literature and the current research design.

Music and Its Inductive Power: A Psychobiological and Evolutionary Approach to Musical Emotions.

The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background is provided in order to bring together the findings of music and emotion studies and the evolutionary approach to musical meaning. The theoretical grounding elaborates on the transition from referential to affective semantics, the distinction between expression and induction of emotions, and the tension between discrete-digital and analog-continuous processing of the sounds. The empirical background provides evidence from several findings such as infant-directed speech, referential emotive vocalizations and separation calls in lower mammals, the distinction between the acoustic and vehicle mode of sound perception, and the bodily and physiological reactions to the sounds. It is argued, finally, that early affective processing reflects the way emotions make our bodies feel, which in turn reflects on the emotions expressed and decoded. As such there is a dynamic tension between nature and nurture, which is reflected in the nature-nurture-nature cycle of musical sense-making.

Neuroplasticity beyond Sounds: Neural Adaptations Following Long-Term Musical Aesthetic Experiences.

Capitalizing from neuroscience knowledge on how individuals are affected by the sound environment, we propose to adopt a cybernetic and ecological point of view on the musical aesthetic experience, which includes subprocesses, such as feature extraction and integration, early affective reactions and motor actions, style mastering and conceptualization, emotion and proprioception, evaluation and preference. In this perspective, the role of the listener/composer/performer is seen as that of an active "agent" coping in highly individual ways with the sounds. The findings concerning the neural adaptations in musicians, following long-term exposure to music, are then reviewed by keeping in mind the distinct subprocesses of a musical aesthetic experience. We conclude that these neural adaptations can be conceived of as the immediate and lifelong interactions with multisensorial stimuli (having a predominant auditory component), which result in lasting changes of the internal state of the "agent". In a continuous loop, these changes affect, in turn, the subprocesses involved in a musical aesthetic experience, towards the final goal of achieving better perceptual, motor and proprioceptive responses to the immediate demands of the sounding environment. The resulting neural adaptations in musicians closely depend on the duration of the interactions, the starting age, the involvement of attention, the amount of motor practice and the musical genre played.

Music as environment: an ecological and biosemiotic approach.

This paper provides an attempt to conceive of music in terms of a sounding environment. Starting from a definition of music as a collection of vibrational events, it introduces the distinction between discrete-symbolic representations as against analog-continuous representations of the sounds. The former makes it possible to conceive of music in terms of a Humboldt system, the latter in terms of an experiential approach. Both approaches, further, are not opposed to each other, but are complementary to some extent. There is, however, a distinction to be drawn between the bottom-up approach to auditory processing of environmental sounds and music, which is continuous and proceeding in real time, as against the top-down approach, which is proceeding at a level of mental representation by applying discrete symbolic labels to vibrational events. The distinction is discussed against the background of phylogenetic and ontogenetic claims, with a major focus on the innate auditory capabilities of the fetus and neonate and the gradual evolution from mere sensory perception of sound to sense-making and musical meaning. The latter, finally, is elaborated on the basis of the operational concepts of affordance and functional tone, thus bringing together some older contributions from ecology and biosemiotics.