Social Affective Neuroscience of Musical Rhythm - Dr. Rie Asano CIMTR Lecture 2024

Summary

Dr. Ria Asano presents on the social affective neuroscience of musical rhythm, exploring how music intertwines social and emotional components, with rhythm playing a key role in movement and emotional contagion. She delves into hierarchical and social cognition in music, discussing the impact of rhythmic structures on emotional responses and social interaction. The lecture also touches on the use of hyperscanning in social neuroscience research, the importance of ecological validity in studying music's social effects, and the integration of computational and phenomenological perspectives on the mind.

Takeaways

• 🎓 Dr. Rano is presenting on the social affective Neuroscience of musical rhythm, a topic that intersects her background in language, music, and cognitive science.
• 🎵 The social and affective components of music are intertwined and inseparable, with emotional contagion being a key aspect of musical experiences.
• 💃 Music can be seen as movement-based emotional engagement, with rhythm playing a significant role in engaging motor systems of the brain and inducing group movement.
• 🎶 Hierarchical cognition and social cognition are linked through the effect of musical rhythm, with hierarchical metrical structures influencing emotional responses.
• 👀 Expectancy and prediction error are important mechanisms in the perception of rhythm, with syncopation being a key example of how musical rhythm can create tension and relaxation.
• 🤝 Entrainment is a central mechanism for rhythmic interaction, both within individuals and between individuals in social settings.
• 🧠 Hyperscanning is a key method in social Neuroscience research, allowing for the simultaneous measurement of multiple brains' activity, which is used to study interpersonal synchrony in musical contexts.
• 🌐 The integration of different brain, body imaging, and behavioral methods is crucial for studying musical rhythm and effect, capturing the multidimensionality of responses during social interaction.
• 🏞 The ecological validity of research is a central challenge for social affective Neuroscience, with the need to develop experimental settings that reflect naturalistic social interactions.
• 🔄 A three-stage cycle framework integrating classical laboratory, naturalistic laboratory, and real-life research is suggested for advancing understanding in the field.
• 🎨 The Mind-Body problem is still relevant, but the talk also introduces the Mind-Mind problem, highlighting the need to consider both the computational and phenomenological aspects of the mind in the study of musical rhythm.

Q & A

What is the main topic of Dr. Ria Asano's presentation?

Dr. Ria Asano's presentation focuses on the social affective neuroscience of musical rhythm.

What are the five research areas of the Cambrid Institute for Music Therapy Research?

The five research areas are aging and dementia, neuroscience of music therapy, neurorehabilitation and stroke, mental health, and children, young people, and families.

What degrees does Dr. Ria Asano hold and from which institutions?

Dr. Ria Asano holds a bachelor's degree in foreign study and linguistics from a university in Japan and a master's degree in musicology, German linguistics, and phonetics from the University of Cologne in Germany. She also completed her PhD at the University of Cologne.

What is the relationship between social and affective components in music according to Dr. Asano?

Dr. Asano explains that social and affective components in music are intertwined and cannot be separated. Music can cause emotional contagion and create a feeling of social and emotional connection between individuals.

How does musical rhythm engage the brain's motor systems?

Listening to musical rhythm engages the motor systems of the brain, including cortical structures such as the premotor cortex, supplementary and primary motor areas, as well as subcortical structures like the basal ganglia and cerebellum.

What is syncopation and how does it affect listeners?

Syncopation involves accentuating a metrically weak beat instead of a strong one, leading to prediction errors and a pleasurable drive towards body movement, known as groove.

What is entrainment and how does it relate to social interactions in music?

Entrainment is the process by which independent rhythmic systems interact and synchronize with each other. In music, this occurs when people make music or dance together, promoting prosocial effects through interpersonal synchrony.

How does the hierarchical metrical structure of music affect tension and relaxation patterns?

The hierarchical metrical structure, which consists of regular patterns of strong and weak beats, affects tension and relaxation patterns in music. Expectancy violations, such as syncopation, can create tension, while alignment with the expected beats causes relaxation.

What is the significance of hyperscanning in social neuroscience research?

Hyperscanning allows researchers to measure brain activity in multiple individuals simultaneously, providing insights into synchrony of brain activities within and between interacting individuals. It is used to study interpersonal synchrony and coordination in social neuroscience of music.

Why is ecological validity important in social affective neuroscience research?

Ecological validity is crucial because social and emotional components of cognition cannot be isolated from real-life contexts. Research settings that closely resemble real-life situations provide more accurate insights into how people experience and interact with music in social settings.

Outlines

00:00

🎓 Introduction to Social Neuroscience of Musical Rhythm

The lecture begins with an introduction to the topic of social neuroscience, focusing on the effects of musical rhythm. Dr. Riano is introduced as the presenter, and Dr. Smof provides background on the Cambridge Institute for Music Therapy Research, highlighting its establishment in 2017 and its five research areas. Dr. Riano's academic background is outlined, including her work in comparative biomusicology and her current research interests in the social affective neuroscience of musical rhythm. The talk's outline is presented, which includes theoretical research, methods, and the broader implications for computational and phenomenological mind perspectives.

05:01

🎵 The Interplay of Social and Affective Components in Music

This paragraph delves into the intricate relationship between social and affective components in music, emphasizing that they cannot be separated. Examples such as emotional contagion, joint music-making, and attachment-related effects are given to illustrate the social and emotional connections music can create. The role of movement and musical rhythm in emotional engagement is highlighted, with the motor system's involvement in listening to rhythm and the potential for rhythm to mediate emotional alignment between individuals through movement synchronization.

10:04

🎶 Hierarchical and Social Cognition in Musical Rhythm

The discussion shifts to the hierarchical and social cognition aspects of musical rhythm. The hierarchical metrical structure of music and its impact on rhythmic interpretation are explained. The paragraph provides examples of how different hierarchical structures can lead to varied interpretations of the same rhythmic sequence, affecting the tension and relaxation patterns experienced by listeners. The role of expectancy and prediction error in generating emotional responses such as groove is explored, with syncopation as a key example of manipulating predictive processing in rhythm.

15:05

🤝 Entrainment and Social Interaction in Musical Rhythm

Entrainment, the process of rhythmic synchronization between individuals, is introduced as a central mechanism linking the social and affective dimensions of musical rhythm. The paragraph explains how entrainment can promote pro-social effects and align emotional states between individuals through movement synchronization. The potential of entrainment as a mechanism that connects social and hierarchical aspects of musical rhythm is discussed, highlighting its occurrence at various levels of hierarchical metrical structure.

20:08

🧠 Hyperscanning and Social Neuroscience of Music

The paragraph introduces hyperscanning, a technique used in social neuroscience to measure the brain activity of multiple individuals simultaneously. It discusses the application of hyperscanning in studying interpersonal synchrony and coordination in the context of music. The importance of integrating different methods, including brain, body imaging, and behavioral measures, is emphasized to capture the multi-dimensionality and dynamics of affective responses during rhythmic social interaction.

25:08

🌳 Ecological Validity in Social Affective Neuroscience

The importance of ecological validity in research is highlighted, discussing the need for experimental settings that reflect real-life social and emotional contexts. The limitations of traditional laboratory settings are critiqued for their lack of real-life context, and the benefits of naturalistic and real-life research approaches are explored. A framework integrating classical laboratory, naturalistic laboratory, and real-life research is suggested to inform each other and advance understanding in a complementary manner.

30:08

🎼 The Mind-Mind Problem and Situated Cognition in Music

The talk concludes with a discussion on the 'Mind-Mind problem,' which addresses the relationship between mental phenomena and physical phenomena in the context of social affective neuroscience of musical rhythm. The computational mind, focused on information processing, and the phenomenological mind, concerned with personal experience, are contrasted. The limitations of the information processing approach are acknowledged, and the situated cognition approach, which emphasizes the brain-body-environment interaction, is introduced as a more holistic perspective for understanding musical rhythm's effects.

35:12

🔄 Linking Perspectives on Musical Rhythm and Social Interaction

The final paragraph synthesizes the discussion by proposing potential linking hypotheses between different cognitive approaches to musical rhythm and social interaction. It suggests that entrainment could be a mechanism that connects rhythmic effects and social interaction across different theoretical perspectives. The importance of integrating music theoretical research, empirical laboratory research, and real-life research, such as in music therapy, is emphasized to gain a comprehensive understanding of the dynamics involved.

40:13

🤔 Open Discussion on Music Therapy and Rhythmic Interaction

The script concludes with an open discussion on the integration of real-life and laboratory research, particularly in the context of music therapy. The potential for studying expectancy violation, a key concept in music therapy, in a laboratory setting is suggested. The role of entrainment in shared emotional experiences and its relevance to music therapy is highlighted, with a call for more research in this area.

Keywords

💡Social Affective Neuroscience

Social Affective Neuroscience is an interdisciplinary field that explores the neural mechanisms underlying social interactions and emotional processes. In the context of the video, it is central to understanding how musical rhythm influences social behaviors and emotional responses. The script discusses the role of this field in studying the social and emotional effects of music, such as emotional contagion and attachment-related effects.

💡Musical Rhythm

Musical Rhythm refers to the organized pattern of beats and accents in music that create a sense of temporal structure. The script emphasizes the importance of rhythm in engaging motor systems of the brain and its role in social and emotional interactions through movement synchronization. It is a key component in the social affective neuroscience of music, as it can mediate the alignment of emotional states between individuals.

💡Hierarchical Cognition

Hierarchical Cognition involves the processing of information in a structured, layered manner. In the script, hierarchical cognition is related to the way individuals process temporal sequences within music, such as the hierarchical metrical structure that determines how we interpret rhythmic sequences. This concept is essential for understanding the cognitive processes behind rhythmic interpretation and its emotional impact.

💡Social Cognition

Social Cognition is the study of how individuals perceive, process, and attribute meaning to social information. The script discusses social cognition in the context of social interaction between individuals, particularly how musical rhythm can influence social practices and interactions, such as joint music making and emotional contagion.

💡Emotional Contagion

Emotional Contagion is the phenomenon where individuals 'catch' or mirror the emotions of others, leading to similar emotional states. In the video script, it is mentioned as an example of how music can transmit emotions from performers to listeners, highlighting the social and affective power of musical rhythm.

💡Syncopation

Syncopation is a rhythmic technique in music where the regular pattern of beats is disrupted by placing accents on weak beats, creating a sense of surprise or tension. The script explains syncopation as a generator of prediction error, which can lead to the pleasurable sensation of Groove and is related to the degree of expectation violation.

💡Groove

Groove refers to the sense of rhythmic 'feel' or 'pocket' in music that compels people to move or tap along. The script discusses groove in relation to the hierarchical structure of rhythm and syncopation, suggesting that middle degrees of syncopation are most associated with positive affective responses like groove.

💡Entrainment

Entrainment is the process of synchronizing one's rhythmic movements or cycles with those of another individual or group. The script describes social entrainment as a central mechanism for interpersonal rhythmic interaction, which can promote positive effects and align emotional states between individuals.

💡Hierarchical Metrical Structure

Hierarchical Metrical Structure is the organization of rhythmic elements into a hierarchy of strong and weak beats at different levels. The script uses this concept to explain how the interpretation of rhythmic sequences in music depends on the underlying hierarchical representation, which influences the experience of tension and relaxation.

💡Ecological Validity

Ecological Validity refers to the extent to which experimental conditions and results can be generalized to real-world situations. The script discusses the importance of ecological validity in studying the social affective neuroscience of musical rhythm, emphasizing the need for research settings that more closely resemble naturalistic social interactions.

💡Mobile Brain-Body Imaging (MOBI)

Mobile Brain-Body Imaging (MOBI) is a technology that allows for the measurement of brain activity in freely moving participants. The script highlights MOBI as a significant advancement in empirical research, offering insights into brain dynamics during active and interactive behaviors, which is crucial for studying rhythmic social interaction in ecologically valid settings.

Highlights

Introduction of Dr. Rano's lecture on the social affective Neuroscience of musical rhythm.

Dr. Smof provides background on the Cambridge Institute for Music Therapy Research and its five research areas.

Dr. Rano's academic journey from Linguistics to Musicology and her PhD in comparative biomusicology.

The intertwining of social and affective components in music, emphasizing emotional contagion and attachment effects.

The role of movement and musical rhythm in emotional engagement and social interaction.

Hierarchical cognition and social cognition's connection through the affective neuroscience of musical rhythm.

Explanation of hierarchical metrical structure in music and its impact on rhythmic interpretation.

Demonstration of how different hierarchical structures can alter the perception of rhythm.

The concept of syncopation and its effect on creating prediction errors and groove in music.

Entrainment as a central mechanism for rhythmic interaction and its relation to positive social effects.

Hyperscanning technique's role in studying synchrony of brain activity in social neuroscience.

Importance of integrating brain, body, and behavioral methods for a comprehensive study of musical rhythm and affect.

Discussion on ecological validity in social affective neuroscience and the need for real-life experimental settings.

The three-stage cycle framework integrating classical laboratory, naturalistic laboratory, and real-life research.

Potential of music research to advance real-life approaches due to the continuum of ecological interaction in music.

The Mind-Body problem and the extension to the Mind-Mind problem in the context of social affective neuroscience of music.

Dr. Rano's closing thoughts on integrating music theoretical research, empirical research, and real-life research for a comprehensive understanding.

Transcripts

hello everyone welcome to today's

lecture we will have Riano Dr Riano

presenting to us today presenting about

social effective Neuroscience of musical

Rhythm we'll put in the link to sign up

for our newsletter in the chat and you

will be up to date for any upcoming

lectures like that so I am very proud to

be introducing Dr Rano and but first I

want to pass it over to Dr smof a senior

fellow researcher here at Sim who's

going to give a bit more

background yes hello and welcome

everybody uh from me and thanks for

joining uh tonight at this uh on this

bank holiday in the UK I'm clevens smov

I'm a senior research fellow here at our

cambrid Institute for music therapy

research and um our Institute was

founded in 2017 and we currently have I

think 13 staff members working on

different different research projects uh

which fall into our five research areas

which are at the aging and dementia

Neuroscience of music therapy neuro

Rehabilitation and stroke mental health

children young people and families and

we also have a very active PhD student

community so if you're interested in

pursuing a PhD in music therapy please

do get in touch with

us and yeah tonight it is my pleasure to

welcome and introduce my former

colleague and co-author Dr Ria asano who

is currently with the max Blan Institute

for empirical Aesthetics in Frankfurt

Germany and also with the advanced

comprehensive research organization at

uh Teo University

Japan and uh Rio R earned a bachelor

degree in foreign study and Linguistics

in Japan and then completed a master's

degree in musicology uh German

Linguistics and phonetics at the

University of of cologne in

Germany and there is also where she did

her PhD which was about principled

explanations in comparative

biomusicology and for that she

introduced a comparative framework

investigating the relationship between

language and music from cognitive

science and biological

perspectives and uh Ria has many

research interests uh for example syntax

in language music and action or the

relationship between linguistic

syntactic processing and musical Rhythm

and tonight she will give a presentation

about one of our more recent I'd say uh

research interests uh which are the

social effective Neuroscience of musical

Rhythm to which I'm very much looking

forward to so without further Ado um my

pleasure to hand over to you

Ria thank you very much then um I will

share my

screen uh this

one okay can you see the presentation

yeah

great okay um thank you very much for

inviting me to this lecture series um

today I will give you an overview of the

social affective Neuroscience of musical

Rhythm and usually I'm actually language

and music person uh but today as Clemens

uh said right now I will talk about uh

my relatively new interest uh in the

research um yeah so social effective

Neuroscience of musical Rhythm and I

hope you find some aspects which are

interesting for music therapy research

and

practice and this is the outline of my

talk um in today's talk I will first

introduce uh music theoretical research

on hierarchical and social component of

musical Rhythm then um I will give a

quick overview of the methods relevant

for the social affective Neuroscience of

musical Rhythm and introduce the

framework uh finally I will uh discuss a

big picture behind the social affective

Neuroscience of musical Rhythm

concerning computational mind and

phenomenological

mind okay let me begin with the

theoretical

research and first of all it is

important to note that social and

affective components are intertwined in

music and cannot be

separated and one example is emotional

contagion caused by music as you may

know from your experience um of a

concert emotion can be transmitted from

the performers to uh the listeners also

joint music making is a social affective

medium uh in which emotional contagion

between co-performers plays a crucial

role another example is attachment

related effect um evoked by music um

attachment created effect is a feeling

of socially and emotionally linked to

someone else so similar to grooming or

um nursing of Offspring music can

emotionally connect

individual so the tight link between

social and affective components of music

has kept being emphasized over the

decades but the question is um how do

music or features affect and social

interaction relate to each other

um to tackle this uh issue one important

com component linking emotional and

social aspect of music is movement

because music can be seen as a movement

based emotional

engagement and in this context musical

Rhythm plays the most significant role

because of its tight Ling to

movement for example just listening to

musical Rhythm engages motor systems of

the brain uh this include cortical

structures such as premotor cortex U

supplementary and prary motor area as

well as uh subcortical structur such as

basa gangria and

cerebelum um myal Rhythm also uh induces

Group which is a pleasurable drive

toward body

movement and the motor system of the

brain is strongly engaged or modulated

when listening to High group

music also Musical M can mediate

alignment of emotional states between

individuals via movement synchronization

in a group and in a caregiver um child

diet so um the study of the social

acceptive component of musical Rhythm

Can Shed light on the link between

musical features effect and social

interaction because uh music is both

complex hierarchical structured sequence

and social practice

uh musical rhythm is investigated from

the perspective of hierarchical

cognition and social

cognition here hierarchical cognition

deals with hierarchical processing of

temporal sequence within the individual

while social cognition concerns um

social interaction between

individuals well those two domains of

musical Rhythm seem very different from

each other but they have an important

commonality and her charism structure of

music and jointly coordinated rhythmic

actions in music making both R to affect

including emotion mood Pro sociality

approach avoidance motivation and

pattern of tension and

relaxation so now uh let me discuss how

hierarchical and social aspects of

musical Rhythm relate to each other via

effect the most uh basic level of hker

rythmic structure in music is

hierarchical metrical structure which

represents a regular pattern of strong

and weak Beats at different hierarchical

levels okay um let's listen to this very

simple

[Music]

example okay um those dots uh you can

see here um represents the metrical

structure of this simple rhythmic

sequence first uh the beats are assigned

at the first level and here the interbit

interval corresponds to the onset of the

shortest notes here are eight notes in

this case um then um those beats are

grouped together and the strongest beat

of each group is projected onto the

higher level one of those levels

represents the beat to which we clap our

hands so the interpretation of rythmic

sequence in music depends on um the

underlying hierarchical

representation let me introduce another

example to strengthen this idea please

listen to this example and try to clap

your hands at regular

intervals I hope you did it um okay so

this was an some except of Moz Piano

Sonata number

331 in a terrible Med quality I'm sorry

for this um well I guess that most of

you have clapped your hands like this or

maybe

[Music]

faster okay I took a slow but maybe you

had double double Tempo uh it's also

possible um but this is also a possible

[Music]

interpretation I don't know if some of

you had this interpretation uh it sounds

funny but uh it's also possible

interpretation oops sorry um those two

interpretation are based on two

different hierarchical structures um as

you can see here um so the same rhythmic

sequence can be interpreted differently

according to the underlying Hier

structures and those two interpretations

um are based on the same musical

sequence but they feel very differently

right um this is because strong beats

correspond to the note onsets in the

first representation as first

interpretation sorry while there are

some strong um beads on the empty slot

in the second

interpretation um okay those uh points

where the strong beats do not correspond

um to the onset cause tension like

here and then the next place where the

strong beats correspond to the note

onset called Su

relaxation so the tangent relaxation

patterns of those two interpretations um

are different let's listen to those two

interpretations once more with this

[Music]

graph so all clicks corresponded to a

note onsets

[Music]

here there were some um clicks that were

uh not on the um note on sets so there

was some tension I hope now it is clear

when I say that the interpretation of a

rhythmic sequence in music depends on

the underlying H representation I also

hope that it uh that now it is clear um

how the har metrical structure relates

to tangent relaxation pattern which is

one component of

effect so now uh what is uh the

mechanism underlying the generation of

tangent relaxation patterns based on um

Hier chometric

structures here expectancy is a

candidate mechanism because the

manipulation of expectancy is known to

uh leads to effective responses such as

Groove in the current music cognition

research um depending on your

theoretical approach this issue is also

discussed in terms of predictive

processing in the domain of Rhythm

syncopation involves the manipulation of

predictive processing and is one

phenomenal known as causing Groove and

syncopation is generated by an

accentuation of a metrically weak beat

instead of a strong beat as you can see

here uh because those two nodes are tied

the note onset occurs on the weak

beat instead of on the strong

beat because we usually expect that an

accentuation occurs on a strong beit and

accentuation of a weak bit leads to a

prediction error also syncopation occurs

um in different degrees and can lead to

different degrees of prediction error

Okay let's listen to this example

sequence first

the degrees of syncopation are

determined by the

syncopation index based on her

geometrical structure uh first of all um

the strength of the synop syncopated

rhythm is calculated as the weight of R

this one minus the weight of n so this

one so the syncopation in index of the

rthm a is 3 minus 2 =

1 and and the syncopation index of the

Rhythm C is

3- 1 = 2 this means that the Rhythm a is

less syncopated than the RM

C and let's listen to this example once

again

maybe you notice that the surprisal

effect is a bit larger in the Rhythm C

than a and also the syncopation index of

the RM two rym B is minus two so this

means that the rym B is not

syncopated Okay let's listen to some

other examples

[Music]

[Music]

[Music]

uh I hope you noticed that the rism get

more and more unexpected uh this is

because the syncopation index of the

Rhythm uh

increased and several studies show that

there is an inverted use shaped

relationship between different degrees

of syncopation and positive effective

measur such as Groove uh middle degrees

of syncopation were most associated with

positive effect while the lowest and

highest um extremes of syncopation

degree um show the lowest rating of

positive effect um middle degree of

syncopation are also associated with the

brain networks linked to bit perception

and entainment reward as well as uh

prediction um so maybe you wanted to

move to The rhythms in the middle of the

exam examples I saw some of you did uh

more than to The rhythms at the

beginning of uh or the

end

okay so far um research on Groove uh

mainly focused on the relationship

between musical structure and affective

responses within an

individual uh but group also had social

component for example um Groove

generated by syncopation affords active

participation uh because it invites you

to fill in the prediction Gap um through

your own body movements so this is the

movement that you wanted to do um during

listening to this middle syncopation

Rhythm uh so this is why you um right

this is also why you would like to uh

moving along um groovy

music

okay okay so far uh we saw how

hierarchical structure of rism can

relate to effect and positive uh

possibly link to social interaction via

Groove um now let me quickly introduce

um how social aspect of Rhythm can

relate to effect and possibly to um

hierarchical aspect

here um entrainment is a central

mechanism entrainment is the process by

which um independent rhythmical systems

interact with each

other and can be observed uh in several

biological physical and social context

in the context of physics an example of

entrainment is this

um here independent rant systems U

metronomes in this case interacted with

each other and

synchronized um in the context of Music

enterment occurs in making music or

dancing together in a group and here

each individual is is a rhythmic system

and enterment happens through an

interaction between individuals this

kind of enterment is called uh is called

social

entrainment several experimental studies

shows that being in synchrony with a

group induces positive effect for

example interpersonal synchrony via

social entainment promotes pro-social

effect this can be Ed by aligning

representations of self and

other

synchronization finally entainment

occurs at all levels of high chometric

structure um taking the mo pianos

example um if you have clapped your hand

faster than my example was then you have

entrained to the lower level of har

metrical structure so entrainment is a

potential mechanism that links social

and heal component of musical

Rhythm so um to conclude the theoretical

part of this talk um hierarchical

cognition and social cognition are

linked via effect from a perspective of

hierarchical cognition interpretation of

musical Rhythm depends on underlying

hierarchical metrical structure based on

hierarchical metrical structure several

degrees of prediction error can be

created as we saw it with the example of

syncopation the degree of prediction

error is associated with positive effect

such as Groove and group can act as an

interface between hierarchical and

social component of musical Rhythm

because uh of its participatory

nature from a perspective of social

cognition entainment is a central

mechanism for um inter individual

rhythmic interaction enterment is also

associated with positive effect and

enterment can act as an interface

between social and hierarchical

component because it can happen at all

levels of hierarchical metrical

structure so um now let me continue with

experimental research on rmic social

interaction uh which continues making

remarkable progress um here I will give

you an overview of methods and current

discussions um one method which plays a

central role for social Neuroscience

research is

hyperscanning and the hyperscanning

technique allows researchers um to

measure activity of multiple brains

simultaneously as you can see

here with this technique for example um

it is possible to study synchrony of

brain activity activities within and

between interacting individuals

hyperscanning is also used in Social

Neuroscience of music to study

interpersonal synchrony and

coordination but experimental research

on rhythmic social interaction often um

go separate ways from emotion research

so approaches underlying both aspects in

an experimental paradigms are very

rare but good news is that there is

already some effort to investigate

effective component in social

interaction of course uh we need

significantly more uh but at least there

is some

effort example includes research on

romantic kissing interpersonal touch

music therapeutic interaction music

Ensemble performance and music listening

of concert audience um those studies uh

show that there is a higher degree of

synchrony in the brain rhythms of two or

more people during social effective

setting in addition to the development

development of hypers scanic paradigms

um it is important to integrate

different brain body Imaging and

behavioral methods to study Musical rism

and effect and by integrating the

measures of the brain and the body we

can investigate the brain as one part of

the body generating behaviors situated

in the environment and interacting with

others also the combination of um neural

physiological and behavioral measures is

important to capture multiple

dimensionalities and dynamics of

effective responses during rhythmic

social interaction in in their full

complexity examples of different body

Imaging and behavioral methods are

physiological measures um such as heart

rate computational emotion recognition

using facial cues computational um

analysis of um uh emotion expression

based on body posture and

gesture and continuous measurement of

self-reported emotion

especially um mobile brain Imaging

called Mobi plays a central role for the

progress of um Empirical research in the

social affective Neuroscience of musical

Rhythm um in contrast to the

conventional Imaging Technologies um M

Technologies allow participants to uh

move freely so um they provide new

insights into the brain Dynamics in

actively behaving and interactive acting

agents um here you can see an example of

traditional laboratory setting as you

can see the participant is tied to

devices with a number of cables um and

they cannot freely move here on the

other hand you can see a mob setting um

as you can see um here the participants

carry devices but they are small and

portable so that the participants can

freely move uh when you see those two

pictures um maybe you could imagine that

experimental setting could affect

participants emotional

states so um I think that uh research on

effective component in rhythmic social

interaction could profit from the recent

technical progress in developing compact

lightweight Wireless and easy to wear

systems uh which facilitate research in

ecologically uh valid

settings ecological Varity is a now

frequently discussed topic and is often

associated with naturalistic stimul and

responses as well as generalizability of

the results to different context and uh

groups of people um okay um now let me

elaborate on the discussion about

ecological validity because this is a

central challenge for social affective

Neuroscience of musical

Rhythm real life approach um and

ecological validity are Central to

social affective miral sense of

Music um because um social emotional uh

component of cognition cannot be

isolated from the real life context as

you may know from your experience uh

listening music

alone with friends or in a concert make

a large

difference um so we need to develop

experimental setting for studying

effective component of musical rhythm in

naturalistic social

interaction especially because emotional

experiences and social behaviors a

dynamic context uh embedded tightly

linked to actions and based on

multimodal cues the traditional um

static and controlled experimental

paradigms without interpersonal

interaction face a serious limitation um

first classical laboratory setting often

Limits The participants uh in their

ability to act and uh interact with the

environment so um it suppresses

participant sense of agency and

embodiment second it mostly um does not

include contextual cues associated with

specific situations so that the richness

of the real life uh experiences is not

considered we cannot ignore those

limitations because um recently there is

evidence showing that social and

emotional processes differ in

experiments with and without real life

context or active social effective

engagement uh but I also would like uh

to add a note of caution um to this

discussion um although there is a

constantly increas increasing number of

real world experimental paradigms uh

claiming more naturalistic and

ecologically more valid experimental

settings naturalistic or ecologically

valid and not clearly

defined so the interpretation of those

terms is based on nonobjective judgments

and does not specify what perp inputs

behaviors and environmental contexts are

considered as real life

phenomena for example an experiment

experimental Paradigm using excepts from

the existing piece of music it's

sometimes regarded as more naturalistic

or ecologically valid

um of course this is true in terms of

the stimul in comparison with the

previously used um artificially create

it simple and Abstract stimul but those

experiments are still conducted in um a

laboratory setting often with some

movement restriction uh Which is far

from real life music listening

situations the use of uh more

naturalistic ecologically valid stimuli

is a necessary step toward and um toward

and the reasonable approximation to the

um real life approach but it is not

sufficient also the real life approach

is uh rather complementary to the

classical paradigms uh in laboratory

settings so the real life approach does

not fully replace the classical

laboratory approach this means that we

need a framework integrating the

classical laboratory and real life

approach and one um such framework

integrating the classical laboratory and

real life research was suggested by

matush and colleagues in 20 19 um this

is a three-stage cycle framework and

integrates uh classical laboratory

research naturalistic laboratory

research and fly naturalistic real life

research and those three strategies uh

build a cycle of um complementary and

interrelated research strategies

informing each

other the classical laboratory research

is based on um highly detailed

hypothesis High experimental control and

maximized statistical power and offers

insights into neurocognitive mechanisms

underlying perception and action and

this is only possible because cognition

is DEC composed and isolated into basic

experiment testable components and the

experimental designs are kept kept as

simple as possible

possible the naturalistic laboratory

research is um considered as an

intermediate point on the Continuum

between the maximal experimental control

and the maximum real life relevance um

it studies cognition in laboratory

settings resembling real real life

situations so it keeps a certain degree

of experimental control but uh considers

a part of the complexity of real life

situations

then um the real life research um mainly

refers to a research conducted in real

life situations outside the rber Tre

where no experimental control is

possible um those three approaches U

build a bir directional feedback cycle

um similar to the exploration

confirmation cycle um of the scientific

method as may you know um uh for example

um the prediction

on cognitive mechanism uh confirmed by

the classical laboratory research uh can

be tested by the naturalistic laboratory

research to validate if the results hold

under more complex situations stimul or

tasks emulating the real life

setting then um the presence and or

relevance of those neurocognitive

mechanisms in the real life situations

can be studied by the real life approach

which in turn generates new uh questions

that can be investigated by the

classical um or naturalistic laboratory

research and I think that this framework

um can be applied in music uh research

because music is a unique case offering

a Continuum of ecological

interaction as you can see here an

individual um can interact with a

recording a virtual

partner another person in Duo um

multiple people in The Ensemble and also

with

audience from a perspective of studying

uh effective uh component in rhythmic

social interaction the interaction with

um a recording is um the most

experimentally controlled and the least

ecologically valid condition while the

interaction uh with uh in a Duo or an

ensemble is the most ecologically valid

condition so music research has

potential to advance a real life

approach and also in music uh making at

least in the western culture performers

often interact based on the musical

score so there is some degree of control

uh even in ecological valid condition

this makes it possible to predict

performance effective responses in

ecologically uh valid rhythmic social

interaction as we saw in the theoretical

session um music theory predicts

effective responses based on the

expectancy

violations so um jointly performing

musical phrase um containing expectancy

violation such as syncopation could be

associated with shared effective

experience that can be potentially

captured by experimental

methods moreover um music provides an

opportunity to study effect in real life

Dynamic interactive settings for example

um musical improvisation in a duo or an

ensemble is a promising domain of

Investigation because it requires a

constant coordination between group

members I think that uh musical

improvisation is also uh very

interesting from a music therapeutic

perspective because improvisation is

similar to every they communicative

interactions and through musical

improvisation patient and therapist can

intuitively uh interact and build a

social and affective relationship to

each other um also there are some hypers

scanning studies on interpers affective

Dynamics in the brain during

improvisation and music therapy session

as Clemens

did so um in some social affective

Neuroscience of musical Rhythm can

profit from the um combination of the

hypers scanning methods the mobile um

brain body Imaging mob the three um

stage cycle framework and also from

music theoretical work uh which predicts

effective responses in ecologically

valid rhythmic social

interaction now let me close this talk

uh by discussing the big picture uh be

behind the theoretical and Empirical

research I introduced so

far many of you might know um the Mind

Body problem um which which is about a

relationship between mental phenomena

and physical uh phenomena concerning the

social affective Neuroscience of musical

Rhythm um this Mind Body problem is

certainly still

relevant but I I'd like to point out

another problem uh namely the Mind mind

problem uh okay what's this as some of

you might have noticed during my talk um

social affective neurosci of music has

to do with two types of the

mind on the one hand um it deals with a

computational mind so uh the mind as an

information processing

system maybe you remember that I talked

about Hier structure underly musical

Rhythm um here the idea is that rhythmic

sequence is hierarchically processed and

is represented as hcal structure and

this is one example of information

processing that the computational Mind

does and the relationship between

incoming information and mental

representations is often determined by

abstract

rules according to this uh kind of

information processing approach effect

is a result of hierarchical processing

and is based on hierarchical

representations so uh my claim that your

experience of tangent relaxation

patterns of Rhythm sequence depends on

the underlying hierarchical structures

is based on this kind of information

processing

approach um one Central Assumption of

the information processing approach is

that this kind of par processing is

universal to Human

so according to cultural background for

example we might represent different her

structures but the fact that we

hierarchically process rmic sequences

and represent them as hierarchal

structure is the same for all of

us also um information processing

approach assumes that cognitive process

say um hierarchical processing can be

isolated from the environmental social

or bodily context

as a consequence uh researchers try to

experimentally test a cognitive process

of interest and the highly controlled

laboratory

setting also they uh mainly focus on uh

how a particular cognitive process is

implemented in the

brain here social component is also

treated as a type of information

processed by and represented in the

brain on the other hand we also have a

phenomenological mind for our personal

experience of musical Rhythm this is

particularly relevant uh for research on

the effective component of musical

Rhythm because effect effect is

something that we personally

experience I also think that uh from the

perspective of music therapy the

phenomenological mind plays a central

role because each person has uh maybe

different experience of Music theraputic

sessions

here um information processing approach

faces limitations because um to study

personal experience um the acting

sensing and feeling bodies and the

environment cannot be ignored so um to

study the phenomenological mind another

approach um called situated cognition is

considered to be better um because it

puts more emphasis on the role of the

body and its Dynamic interaction with

environment

um situated cognition assumes that the

brain body and environment are connected

or even intertwined and

Inseparable um according to this

approach the brain is not a system

processing and representing abstract

rules or structures um the brain is a

predictive system controlling the way

the body interacts with the environment

or one part of uh the acting sensing and

feeling body coupled with the

environment so a real life approach is

of particular importance for situated

cognition because it takes the full

complexity of the environment um into

account also um social interaction um as

a part of the environment is a

constituent part of the cognition so

social component is not static abstract

representation in the brain but a a part

of dynamically changing

environment and at first glance these

approaches uh seem to be too different

to be integrated into a a coherent

framework but uh there are some possible

uh linking hypothesis which can be

investigated in the future

research for example one um on the one

hand uh information processing approach

examines how expectancy is built and

expectancy violation is processed on the

basis of abstract rules on the other

hand um there is also approach with

insuated cognition which studies how

prediction and prediction error are

processed on the basis of our sensory

motor systems and so of course it is an

important difference if it deals with

abstract rules or sensory motor systems

but both approaches consider similar

phenomena

I also think that um entrainment could

act as a potential mechanism linking

musical Rhythm effect and social

interaction beyond the borders of

different approaches uh for information

processing approach entainment is a

neural mechanism associated with Hier

structure building and here entainment

is understood as F synchronization or

coupling of neural

oscillations and for situated cognition

entainment is a central mechanism for

the within and between individual

sensory motor and social affective

coupling um here entertainment can act

as a basis for shared emotional

experience between individuals because

the brain the body and the environment

um can be coupled VI entrainment and the

emotional experience can be distributed

across uh multiple

people so in general um I think that the

situation is very similar to this

drawing uh from Asia this is my favorite

drawing and as you can see here uh from

one perspective uh for example here the

other perspectives um do not make any

sense but at the same time all those

perspectives coexist and are linked to

each other um so as this drawing shows I

think that each approach captures

cognition from its um ideosyncratic

perspective and all approaches

contribute to research on the

relationship between musical Rhythm

effect and social interaction in a

complimentary

Manner and um I think that uh we can

link those perspectives once we

integrate music theoretical research

Empirical research in the laboratory and

real life research such as music therapy

research okay so um this is my end of my

talk and I would like to thank my

co-author CL smof K okanoya and Daniela

zla who are currently supporting my

research H and also my son now Bastian

Ruma uh he is now nine months old who

had slept long enough uh in the past

week so that I was able to prepare for

this talk and my husband uh who um

always supports me okay and thank you

very much to you and I'm happy to take

uh any questions and critical comments

and we were thinking about social

interactive studies you want to say

something about

that how uh we um combine real life

research and this laboratory research

one you mean yeah um I think um yeah for

example incubation index um is something

that predicts um uh predict rhythmic um

yeah rhythmic prediction and prediction

error and this can be um studied in

laboratory research um and there is

already uh much research done on this

and I think uh this is something that we

can also see um in real life research

for example if you interact how is you

are how complex is your interaction with

the others and then you can uh compare

the result with the laboratory um

research for example um or maybe in the

um music therapy there is also something

like expectancy violation which is

manipulated I don't know um if there is

such thing and then uh we can see okay

can we uh take this uh expectancy

violation from um yeah music therapy um

technique can we um test this part in

the laboratory for example um maybe this

kind of thing um or also enterment um uh

if people interact uh each other and

there is some um synchronization of

movement um um we know from the

laboratory research that is also um

relate yeah this is related to um uh

some effective or Pro pro-social effect

and then we can also check this kind of

stuff in real life research um yeah and

I think music research uh went in this

direction uh very much with the

entainment and effect but I think um we

can also do something with expectancy

violation and expectancy uh because we

can um connect very well to music uh

theoretical work and then there is not

so much research done in that direction

yeah some of you may know um because

um Clem said I'm doing syntax research

and this is um a very yeah a perspective

from information processing as I told

you because syntax uh is something uh

yeah based on um abstract rules right

maybe you know the name chsky and uh I'm

from this part and then I got uh to this

discour and discussion with sated

cognition um as I was discussing all

stuffs with Clemens and uh also York and

uh yeah I I I find it's really important

to um to consider um this the

relationship between entainment um and

the body environment and the Brain uh

because many people are still doing

research um uh on the brain entrainment

or how we entrain to Medical stimuli or

how we entrain each other on that level

yes but uh not really um how we uh use

or how entent can act as um a mechanism

connecting people or connecting some

experience uh between people how uh it

distributes possibly um some effective

experiences between interacting agents

and I think um this is something that uh

we can do and I think uh this is very

relevant for music therapetic research

because um if I understood it correctly

um patient and um um therapist share

some emotional experiences and there

should be some mechanism um underlying

this shared experience and um I think

entrainment could be one uh that we can

um uh we can um

study yeah thank

you I ask question syncopation As the

metric for uh synchrony you've kind of

mentioned this um there there's a

u inverted U shape curve for positive

aect do you think this is the same for

entrainments um okay so I think um

entrainment is something that also

generates expectancy so this is why we

can synchronize because we can expect

when the other people um move right um

and then syncopation is more about

expectancy violation because on the mo

at the moment where we expect the

movement or sound of others we don't get

it so um I think entainment and

expectancy violation are also relate

also relate to each other in terms of

entainment as kind of expectancy

generating mechanism and then

syncopation relates to expectancy

violation so um I think um yeah inment

of of course connect people but the

thing is uh if uh it's uh the all the

story then we just crap our hand you

know in very simple uh piles and then we

are satisfied right but it's not the

case but uh but music is more complex

and if we um start interacting in some

music impation or music interaction uh

people um tend to somehow modulate the

Rhythm so not just uh you know clapping

hand in in your P um so so I think this

is uh yeah those are both aspects that

we have to uh consider if we um uh talk

about positive effect or con connecting

people with rhythm I think uh on one

hand expectancy with the simple piles

with ENT

on the other hand something that um

violates expectancy to um yeah to induce

uh even more movements um yeah in this

interaction so I think they are kind of

uh uh different side of one coin

yeah just to finish on that point you

talked about Groove do you think if you

can maximize Groove you could uh

maximize I don't know

entrainment yeah I think so yeah so this

is um one prediction based on Theory

because um yeah there is study showing

that groovy music um um activates a

motor area of the brain uh which also

which is also um involved in in training

uh on on body movement to music so I

think um yeah it should somehow relate

it um it should be somehow related

yeah re says thank you but she sent it

to the host and panelist but it was for

everyone okay yeah thank you thank you

everyone and see you soon