Rapid and flexible creativity in musical improvisation: review and a model

Children engage neural reward structures for creative musical improvisation

Children spontaneously engage in creative behaviors. However, little is known about the biological underpinnings of creativity in children. We identified neural substrates associated with musical improvisation in children aged 9-11. Participants played a non-ferromagnetic piano keyboard in a functional magnetic resonance imaging (fMRI) scanner using a musical paradigm that required no prior musical experience, in which they played a rote pattern from memory or improvised melodies using those same notes. fMRI analysis of children's brains during musical improvisation revealed (1) heightened functional connectivity between emotion and reward brain areas and (2) deactivation of auditory, limbic, and parietal structures, particularly the middle temporal gyrus, angular gyrus, precuneus, and cingulate cortex. Importantly, improvisation engaged reward structures more than the control condition. Neural results suggest that children possess nascent creativity networks that form the roots for later adult creativity networks.

Creativity and its link to epilepsy

Creative thinking represents one of our highest-order cognitive processes, involving multiple cortical structures and an intricate interplay between several cortical and subcortical networks. It results in novel ideas that translate to useful products or concepts. The evolutionary purpose of creativity is therefore apparent, as it advances our adaptation and survival. Elucidating the neurobiology and neuroanatomy of creative cognition is challenging because the construct of creativity is not clearly defined, and the many neuropsychological measures attempting to assess it are often biased, leading to imprecise findings. Using examples from the medical and music fields, creativity is demonstrably linked to the default mode network (DMN), which has the unique property of becoming activated at times of "quiet wakefulness," facilitating "defaulted" internally focused cognitive operations. Creative thoughts result from a process involving the activation and deactivation of the DMN as part of a dynamic interplay shared with the central executive network and affective salience network. The question is posed whether seizures originating from DMN-related cortical areas should be considered as having overlap with eloquent cortex, potentially exempting them from removal in epilepsy surgery. PLAIN LANGUAGE SUMMARY: Creative thinking is a higher-order cognitive process involving multiple brain structures and networks. It results in insightful and original thoughts that translate to useful products or concepts, which allow us to adapt to our surroundings. This Narrative Review presents conceptual, investigational, and neurobiological aspects of creativity, including information about a unique brain network termed "default mode network (DMN)," which activates at times of "quiet wakefulness," facilitating internally focused cognitive operations. The review ends with a discussion on whether regions of the DMN from which seizures originate should be regarded as "eloquent" and their removal should be deferred by epilepsy surgery.

De-sync: disruption of synchronization as a key factor in individual and collective creative processes

Creativity is a key skill for the twenty-first century, where the individual and collective imperative to adapt is omnipresent. Yet, it is still unclear how to put creativity theories into practice, which signals a lacuna in our understanding of the pragmatic means by which we get creative. This paper starts from the identification of a number of gaps in the literature. In particular, individual and group creativity are usually treated separately, and the emphasis on the search for novelty seems to overshadow the importance experts give to the disruption of their habitual patterns of behavior. To overcome these gaps, we propose foundations for a unifying framework that takes the perspective of dynamical systems. Specifically, we suggest that de-synchronization, a hallmark of disruption, is an integral part of the creative processes that operate across individual and collective levels of analysis. We show that by conjuring uncertainty, de-synchronized states provide opportunities for creative reorganization. In order to ground this framework, we survey and discuss existing literature, and focus on group improvisation practices (in particular, music and dance improvisation), where partners use the dynamics of their interaction to bring forth a collective performance in real-time. In these practices, disruption by de-synchronization, termed here as 'problematization of coordination', is a pragmatic approach used to push the creative process forward. We suggest that this approach might also be relevant in other types of individual and collective creative processes.

Operatic voices engage the default mode network in professional opera singers

Extensive research with musicians has shown that instrumental musical training can have a profound impact on how acoustic features are processed in the brain. However, less is known about the influence of singing training on neural activity during voice perception, particularly in response to salient acoustic features, such as the vocal vibrato in operatic singing. To address this gap, the present study employed functional magnetic resonance imaging (fMRI) to measure brain responses in trained opera singers and musically untrained controls listening to recordings of opera singers performing in two distinct styles: a full operatic voice with vibrato, and a straight voice without vibrato. Results indicated that for opera singers, perception of operatic voice led to differential fMRI activations in bilateral auditory cortical regions and the default mode network. In contrast, musically untrained controls exhibited differences only in bilateral auditory cortex. These results suggest that operatic singing training triggers experience-dependent neural changes in the brain that activate self-referential networks, possibly through embodiment of acoustic features associated with one's own singing style.

The rhythmic mind: brain functions of percussionists in improvisation

Introduction

Percussionists stand out for their expertise in rhythm, with the network for musical rhythm (NMR) serving a vital neurological function in their improvisation, which is deeply rooted in comprehensive musical knowledge. Our research examines the central representations of various improvisation tactics used by percussionists and investigates the interactions between the NMR and other relevant neural networks.

Methods

Twenty-five percussionists participated in functional magnetic resonance imaging (fMRI) sessions, which included two cognitive strategies of improvisation. Structural improvisation (SIMP) emphasized rhythmic patterns, while free improvisation (FIMP) focused on musical spontaneity. Sight-reading scenario served as the reference condition. Paired t-tests were utilized for comparative analyses.

Results

The findings revealed a dynamic interplay characterized by increased activity in the executive control network and NMR, along with decreased activity in the default mode network during SIMP. During FIMP, heightened activity was observed in the executive control network, NMR, limbic, and memory systems. In both SIMP vs. sight-reading and FIMP vs. sight-reading comparisons, the visual network's activity decreased, a trend also observed in the comparative analysis of FIMP vs. SIMP.

Discussion

In SIMP, percussionists leverage external rhythmic signals, resulting in heightened NMR and ECN activity and reduced DMN activity. In contrast, FIMP is characterized by a rise in activity within the NMR, ECN, limbic system, memory system, and reward system, underscoring the vital roles of motivation and memory in the rapid production of spontaneous musical ideas within set frameworks. The diminished activity in the visual network during FIMP compared to SIMP suggests less reliance on visual stimuli in FIMP. These findings suggest that various improvisational tactics may engage different neural pathways.

Interaction of motor practice and memory training in expressive piano performance: expanding the possibilities of improvisation

This paper aimed to investigate the influence of motor practice and music performance experiences on musicians' auditory memory, the effect of auditory distinctiveness on melody recognition, and the differences in the working memory of classical and jazz pianists. The study was conducted among 26 jazz and 24 classical music students at Shenyang Conservatory of Music. To achieve the goal set, a melody recognition ability was analyzed after listening, performing without sound, and simultaneous listening and performing using computer recordings and pianist-taken notes. The study was conducted following repeated measures mixed design. The within-group variable was the learning condition. As the within-participant variable, the number of melody practicing trials was chosen. The type of influence on auditory memory was chosen as a between-group variable. The dependent variables were auditory recognition score, motor imagery ability, and auditory imagery ability. Students' recognition of the heard melodies was assessed by means of a 3-point Likert scale. Pearson's correlation coefficient was calculated to investigate the relationship between working memory and other student characteristics. The study outcomes unveiled that pianists are much better at recognizing tunes they generate themselves in auditory-motor practice than auditory practice alone. It was pointed out that the ability to recognize melody in auditory-motor learning is influenced by its acoustic characteristics. Hence, melodies that are slow in tempo and regular in time and intensity are easier to recognize than more variable pieces.

Improvisation and live accompaniment increase motor response and reward during a music playing task

Music provides a reward that can enhance learning and motivation in humans. While music is often combined with exercise to improve performance and upregulate mood, the relationship between music-induced reward and motor output is poorly understood. Here, we study music reward and motor output at the same time by capitalizing on music playing. Specifically, we investigate the effects of music improvisation and live accompaniment on motor, autonomic, and affective responses. Thirty adults performed a drumming task while (i) improvising or maintaining the beat and (ii) with live or recorded accompaniment. Motor response was characterized by acceleration of hand movements (accelerometry), wrist flexor and extensor muscle activation (electromyography), and the drum strike count (i.e., the number of drum strikes played). Autonomic arousal was measured by tonic response of electrodermal activity (EDA) and heart rate (HR). Affective responses were measured by a 12-item Likert scale. The combination of improvisation and live accompaniment, as compared to all other conditions, significantly increased acceleration of hand movements and muscle activation, as well as participant reports of reward during music playing. Improvisation, regardless of type of accompaniment, increased the drum strike count and autonomic arousal (including tonic EDA responses and several measures of HR), as well as participant reports of challenge. Importantly, increased motor response was associated with increased reward ratings during music improvisation, but not while participants were maintaining the beat. The increased motor responses achieved with improvisation and live accompaniment have important implications for enhancing dose of movement during exercise and physical rehabilitation.

Creative therapy in health and disease: Inner vision

Can we better understand the unique mechanisms of de novo abilities in light of our current knowledge of the psychological and neuroscientific literature on creativity? This review outlines the state-of-the-art in the neuroscience of creativity and points out crucial aspects that still demand further exploration, such as brain plasticity. The progressive development of current neuroscience research on creativity presents a multitude of prospects and potentials for furnishing efficacious therapy in the context of health and illness. Therefore, we discuss directions for future studies, identifying a focus on pinpointing the neglected beneficial practices for creative therapy. We emphasize the neglected neuroscience perspective of creativity on health and disease and how creative therapy could offer limitless possibilities to improve our well-being and give hope to patients with neurodegenerative diseases to compensate for their brain injuries and cognitive impairments by expressing their hidden creativity.

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.

Brain-to-brain communication during musical improvisation: a performance case study

Understanding and predicting others' actions in ecological settings is an important research goal in social neuroscience. Here, we deployed a mobile brain-body imaging (MoBI) methodology to analyze inter-brain communication between professional musicians during a live jazz performance. Specifically, bispectral analysis was conducted to assess the synchronization of scalp electroencephalographic (EEG) signals from three expert musicians during a three-part 45 minute jazz performance, during which a new musician joined every five minutes. The bispectrum was estimated for all musician dyads, electrode combinations, and five frequency bands. The results showed higher bispectrum in the beta and gamma frequency bands (13-50 Hz) when more musicians performed together, and when they played a musical phrase synchronously. Positive bispectrum amplitude changes were found approximately three seconds prior to the identified synchronized performance events suggesting preparatory cortical activity predictive of concerted behavioral action. Moreover, a higher amount of synchronized EEG activity, across electrode regions, was observed as more musicians performed, with inter-brain synchronization between the temporal, parietal, and occipital regions the most frequent. Increased synchrony between the musicians' brain activity reflects shared multi-sensory processing and movement intention in a musical improvisation task.

Linked auditory and motor patterns in the improvisation vocabulary of an artist-level jazz pianist

Improvising musicians possess a stored library of musical patterns forming the basis for their improvisations. According to a prominent theoretical framework by Pressing (1988), this library includes linked auditory and motor information. Though examples of libraries of melodic patterns have been shown in extant recordings by some improvising musicians, the underlying motor component has not been experimentally investigated nor related to its auditory counterparts. Here we analyzed a large corpus of ∼100,000 notes from improvisations by one artist-level jazz pianist recorded during 11 live performances with audience. We compared the library identified from these recordings to a control corpus consisting of improvisations by 24 different advanced jazz pianists. In addition to pitch, our recordings included accurate micro-timing and key velocity (i.e., force) data. Following a previously validated procedure, this information was used to identify the underlying motor patterns through correlations between relative timing and velocity between notes in different iterations of the same pitch pattern. A computational model was, furthermore, used to estimate the information content and generated entropy exhibited by recurring pitch patterns with high and low timing and velocity correlations as perceived by a stylistically enculturated expert listener. Though both corpora contained a large number of recurring patterns, the single-player corpus showed stronger evidence that pitch patterns were linked to motor programs in that within-pattern timing and velocity correlations were significantly higher compared to the control corpus. Even when controlling for potentially greater baseline levels of motor self-consistency in the single-player corpus, this effect remained significant for velocity correlations. Amongst recurring 5-tone pitch patterns, those exhibiting more consistent motor schema also used less idiomatic pitch transitions that were both more unexpected and generated more uncertain expectations in enculturated experts than less consistently repeated patterns. Interestingly, we only found partial evidence for fixed pattern boundaries as predicted by the Pressing model and therefore suggest an expanded view in which the beginning and ends of idiomatic audio-motor patterns are not always clear-cut. Our results indicate that the library of melodic patterns may be idiosyncratic to the individual improviser and relies both on motor programming and predictive processing to promote stylistic distinctiveness.

Creativity and tradition: Music and bifocal stance theory

We argue that music can serve as a time-sensitive lens into the interplay between instrumental and ritual stances in cultural evolution. Over various timescales, music can switch between pursuing an end goal or not, and between presenting a causal opacity that is resolvable, or not. With these fluctuations come changes in the motivational structures that drive innovation versus copying.

Interhemispheric Brain Communication and the Evolution of Turn-Taking in Mammals

In the last 20 years, research on turn-taking and duetting has flourished in at least three, historically separate disciplines: animal behavior, language sciences, and music cognition. While different in scope and methods, all three ultimately share one goal—namely the understanding of timed interactions among conspecifics. In this perspective, we aim at connecting turn-taking and duetting across species from a neural perspective. While we are still far from a defined neuroethology of turn-taking, we argue that the human neuroscience of turn-taking and duetting can inform animal bioacoustics. For this, we focus on a particular concept, interhemispheric connectivity, and its main white-matter substrate, the corpus callosum. We provide an overview of the role of corpus callosum in human neuroscience and interactive music and speech. We hypothesize its mechanistic connection to turn-taking and duetting in our species, and a potential translational link to mammalian research. We conclude by illustrating empirical venues for neuroethological research of turn-taking and duetting in mammals.

Multimodal music training enhances executive functions in children: Results of a randomized controlled trial

Music training programs have shown mixed results on children's executive functions. The purpose of the present study was to evaluate the impact of a 10-week multimodal music program with vocal development, bimanual coordination, and musical improvisation, on children's executive functions. We hypothesized that a 10-week music program would enhance executive functions in working memory in 4- to 6-year-old children. Eighty-four children were randomly assigned to a multimodal music program, an active control Lego program, or no treatment control condition (i.e., randomized controlled design). All children completed measures of music aptitude, music achievement, and executive functions (i.e., EF Touch) pre- and post-training. Results revealed enhanced pitch accuracy and working memory for children in the music training group as compared to the other conditions. Children in the Lego condition demonstrated significant enhancements of spatial working memory. Tonal music aptitude significantly predicted performance on measures of working memory. Contributions to the literature include the randomized controlled design, group multimodal music program appropriate for 4- to 6-year-old children, and the use of executive function measures sensitive to individual differences.

Longitudinal changes in auditory and reward systems following receptive music-based intervention in older adults

Listening to pleasurable music is known to engage the brain’s reward system. This has motivated many cognitive-behavioral interventions for healthy aging, but little is known about the effects of music-based intervention (MBI) on activity and connectivity of the brain’s auditory and reward systems. Here we show preliminary evidence that brain network connectivity can change after receptive MBI in cognitively unimpaired older adults. Using a combination of whole-brain regression, seed-based connectivity analysis, and representational similarity analysis (RSA), we examined fMRI responses during music listening in older adults before and after an 8-week personalized MBI. Participants rated self-selected and researcher-selected musical excerpts on liking and familiarity. Parametric effects of liking, familiarity, and selection showed simultaneous activation in auditory, reward, and default mode network (DMN) areas. Functional connectivity within and between auditory and reward networks was modulated by participant liking and familiarity ratings. RSA showed significant representations of selection and novelty at both time-points, and an increase in striatal representation of musical stimuli following intervention. An exploratory seed-based connectivity analysis comparing pre- and post-intervention showed significant increase in functional connectivity between auditory regions and medial prefrontal cortex (mPFC). Taken together, results show how regular music listening can provide an auditory channel towards the mPFC, thus offering a potential neural mechanism for MBI supporting healthy aging.

A neurocomputational model of creative processes

Creativity is associated with finding novel, surprising, and useful solutions. We argue that creative cognitive processes, divergent thinking, abstraction, and improvisation are constructed on different novelty-based processes. The prefrontal cortex plays a role in creative ideation by providing a control mechanism. Moreover, thinking about novel solutions activates the distant or loosely connected neurons of a semantic network that involves the hippocampus. Novelty can also be interpreted as different combinations of earlier learned processes, such as the motor sequencing mechanism of the basal ganglia. In addition, the cerebellum is responsible for the precise control of movements, which is particularly important in improvisation. Our neurocomputational perspective is based on three creative processes centered on novelty seeking, subserved by the prefrontal cortex, hippocampus, cerebellum, basal ganglia, and dopamine. The algorithmic implementation of our model would enable us to describe commonalities and differences between these creative processes based on the proposed neural circuitry. Given that most previous studies have mainly provided theoretical and conceptual models of creativity, this article presents the first brain-inspired neural network model of creative cognition.

Neural Phenomenon in Musicality: The Interpretation of Dual-Processing Modes in Melodic Perception

The confluence of creativity in music performance finds itself in performance practices and cultural motifs, the communication of the human body along with the instrument it interacts with, and individual performers' perceptual, motor, and cognitive abilities that contribute to varied musical interpretations of the same piece or melodic line. The musical and artistic execution of a player, as well as the product of this phenomena can become determinant causes in a creative mental state. With advances in neurocognitive measures, the state of one's artistic intuition and execution has been a growing interest in understanding the creative thought process of human behavior, particularly in improvising artists. This article discusses the implementation on the concurrence of spontaneous (Type-1) and controlled (Type-2) processing modes that may be apparent in the perception of non-improvising artists on how melodic lines are perceived in music performance. Elucidating the cortical-subcortical activity in the dual-process model may extend to non-improvising musicians explored in the paradigm of neural correlates. These interactions may open new possibilities for expanding the repertoire of executive functions, creativity, and the coordinated activity of cortical-subcortical regions that regulate the free flow of artistic ideas and expressive spontaneity in future neuromusical research.

Music in the brain

Music is ubiquitous across human cultures - as a source of affective and pleasurable experience, moving us both physically and emotionally - and learning to play music shapes both brain structure and brain function. Music processing in the brain - namely, the perception of melody, harmony and rhythm - has traditionally been studied as an auditory phenomenon using passive listening paradigms. However, when listening to music, we actively generate predictions about what is likely to happen next. This enactive aspect has led to a more comprehensive understanding of music processing involving brain structures implicated in action, emotion and learning. Here we review the cognitive neuroscience literature of music perception. We show that music perception, action, emotion and learning all rest on the human brain's fundamental capacity for prediction - as formulated by the predictive coding of music model. This Review elucidates how this formulation of music perception and expertise in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music making. This in turn has important implications for human creativity as evinced by music improvisation. These recent advances shed new light on what makes music meaningful from a neuroscientific perspective.

Brain oscillation recordings of the audience in a live concert-like setting

There are only a few previous EEG studies that were conducted while the audience is listening to live music. However, in laboratory settings using music recordings, EEG frequency bands theta and alpha are connected to music improvisation and creativity. Here, we measured EEG of the audience in a concert-like setting outside the laboratory and compared the theta and alpha power evoked by partly improvised versus regularly performed familiar versus unfamiliar live classical music. To this end, partly improvised and regular versions of pieces by Bach (familiar) and Melartin (unfamiliar) were performed live by a chamber trio. EEG data from left and right frontal and central regions of interest were analysed to define theta and alpha power during each performance. After the performances, the participants rated how improvised and attractive each of the performances were. They also gave their affective ratings before and after each performance. We found that theta power was enhanced during the familiar improvised Bach piece and the unfamiliar improvised Melartin piece when compared with the performance of the same piece performed in a regular manner. Alpha power was not modulated by manner of performance or by familiarity of the piece. Listeners rated partly improvised performances of a familiar Bach and unfamiliar Melartin piece as more improvisatory and innovative than the regular performances. They also indicated more joy and less sadness after listening to the unfamiliar improvised piece of Melartin and less fearful and more enthusiastic after listening to the regular version of Melartin than before listening. Thus, according to our results, it is possible to study listeners’ brain functions with EEG during live music performances outside the laboratory, with theta activity reflecting the presence of improvisation in the performances.

Functional network connectivity during Jazz improvisation

One of the most complex forms of creativity is musical improvisation where new music is produced in real time. Brain behavior during music production has several dimensions depending on the conditions of the performance. The expression of creativity is suspected to be different whether novel ideas must be externalized using a musical instrument or can be imagined internally. This study explores whole brain functional network connectivity from fMRI data during jazz music improvisation compared against a baseline of prelearned score performance. Given that creativity might be affected by external execution, another dimension where musicians imagine or vocalize the music was also tested. We found improvisation was associated with a state of weak connectivity necessary for attenuated executive control network recruitment associated with a feeling of "flow" allowing unhindered musical creation. In addition, elicited connectivity for sensorimotor and executive control networks is not different whether musicians imagine or externalize (through vocalization) musical performance.

Spatiospectral brain networks reflective of improvisational experience

Musical improvisers are trained to categorize certain musical structures into functional classes, which is thought to facilitate improvisation. Using a novel auditory oddball paradigm (Goldman et al., 2020) which enables us to disassociate a deviant (i.e. musical chord inversion) from a consistent functional class, we recorded scalp EEG from a group of musicians who spanned a range of improvisational and classically trained experience. Using a spatiospectral based inter and intra network connectivity analysis, we found that improvisers showed a variety of differences in connectivity within and between large-scale cortical networks compared to classically trained musicians, as a function of deviant type. Inter-network connectivity in the alpha band, for a time window leading up to the behavioural response, was strongly linked to improvisation experience, with the default mode network acting as a hub. Spatiospectral networks post response were substantially different between improvisers and classically trained musicians, with greater inter-network connectivity (specific to the alpha and beta bands) seen in improvisers whereas those with more classical training had largely reduced inter-network activity (mostly in the gamma band). More generally, we interpret our findings in the context of network-level correlates of expectation violation as a function of subject expertise, and we discuss how these may generalize to other and more ecologically valid scenarios.

Impact of music-based intervention on verbal memory: an experimental behavioral study with older adults

Normal age-related declines have been reported in different cognitive functions, such as episodic memory. Some environmental factors have the potential to reduce cognitive decline and promote healthy aging. In this research, we employed musical improvisation as a focal music-based intervention to explore its effects as a modulator of verbal memory. We evaluated two types of verbal memory: a neutral one, employing the Rey Auditory Verbal Learning Test (Study 1), and an emotional one, implementing the Spanish version of Affective Norms for English Words (Study 2) in a volunteer group of older adults. After the acquisition of neutral (Study 1) or emotional (Study 2) verbal information, the participants were exposed to musical improvisation (experimental condition) or two control conditions (rhythmic reproduction as a musically active control condition or a rest condition as a passive control condition) for 3 min. Then, memory was evaluated through two memory tasks (immediate and deferred free-recall and recognition tests). In both studies, we compared memory performance among musicians (with five or more years of music training) and non-musicians. We found a significant improvement in neutral verbal memory among participants involved in musical improvisation, who remembered more words than those in the control conditions. Differences were also found according to the musical experience of the sample, with musicians outperforming non-musicians. The current research supports the late-life cognitive benefits of music-based intervention and music training.

Resting state functional connectivity underlying musical creativity

While the behavior of "being musically creative"- improvising, composing, songwriting, etc.-is undoubtedly a complex and highly variable one, recent neuroscientific investigation has offered significant insight into the neural underpinnings of many of the creative processes contributing to such behavior. A previous study from our research group (Bashwiner et al., 2016), which examined two aspects of brain structure as a function of creative musical experience, found significantly increased cortical surface area or subcortical volume in regions of the default-mode network, a motor planning network, and a "limbic" network. The present study sought to determine how these regions coordinate with one another and with other regions of the brain in a large number of participants (n ​= ​218) during a task-neutral period, i.e., during the "resting state." Deriving from the previous study's results a set of eleven regions of interest (ROIs), the present study analyzed the resting-state functional connectivity (RSFC) from each of these seed regions as a function of creative musical experience (assessed via our Musical Creativity Questionnaire). Of the eleven ROIs investigated, nine showed significant correlations with a total of 22 clusters throughout the brain, the most significant being located in bilateral cerebellum, right inferior frontal gyrus, midline thalamus (particularly the mediodorsal nucleus), and medial premotor regions. These results support prior reports (by ourselves and others) implicating regions of the default-mode, executive, and motor-planning networks in musical creativity, while additionally-and somewhat unanticipatedly-including a potentially much larger role for the salience network than has been previously reported in studies of musical creativity.

New Perspectives on Music in Rehabilitation of Executive and Attention Functions

Modern music therapy, starting around the middle of the twentieth century was primarily conceived to promote emotional well-being and to facilitate social group association and integration. Therefore, it was rooted mostly in social science concepts. More recently, music as therapy began to move decidedly toward perspectives of neuroscience. This has been facilitated by the advent of neuroimaging techniques that help uncover the therapeutic mechanisms for non-musical goals in the brain processes underlying music perception, cognition, and production. In this paper, we focus on executive function (EF) and attentional processes (AP) that are central for cognitive rehabilitation efforts. To this end, we summarize existing behavioral as well as neuroimaging and neurophysiological studies in musicians, non-musicians, and clinical populations. Musical improvisation and instrumental playing may have some potential for EF/AP stimulation and neurorehabilitation. However, more neuroimaging studies are needed to investigate the neural mechanisms for the active musical performance. Furthermore, more randomized clinical trials combined with neuroimaging techniques are warranted to demonstrate the specific efficacy and neuroplasticity induced by music-based interventions.

Different role of the supplementary motor area and the insula between musicians and non-musicians in a controlled musical creativity task

The ability to compose creative musical ideas depends on the cooperation of brain mechanisms involved in multiple processes, including controlled creative cognition, which is a type of creativity that has so far been poorly researched. Therefore, the objective of this study was to examine the brain evoked activations by using fMRI, in both musicians and non-musicians, during a general task of controlled musical creativity and its relationship with general creativity. Results revealed that during a rhythmic improvisation task, musicians show greater activation of the motor supplementary area, the anterior cingulate cortex, the dorsolateral prefrontal cortex, and the insula, along with greater deactivation of the default mode network in comparison with non-musicians. For the group of musicians, we also found a positive correlation between the time improvising and the activation of the supplementary motor area, whilst in the non-musicians group improvisation time correlated with the activation of the insula. The results found for the musicians support the notion that the supplementary motor area plays a role in the representation and execution of musical behaviour, while the results in non-musicians reveal the role of the insula in the processing of novel musical information.

Gray Matter Correlates of Creativity in Musical Improvisation

Creativity has been defined as requiring both novelty and effectiveness, but little is known about how this standard definition applies in music. Here, we present results from a pilot study in which we combine behavioral testing in musical improvisation and structural neuroimaging to relate brain structure to performance in a creative musical improvisation task. Thirty-eight subjects completed a novel improvisation continuation task and underwent T1 MRI. Recorded performances were rated by expert jazz instructors for creativity. Voxel-based morphometric analyses on T1 data showed that creativity ratings were negatively associated with gray matter volume in the right inferior temporal gyrus and bilateral hippocampus. The duration of improvisation training, which was significantly correlated with creativity ratings, was negatively associated with gray matter volume in the rolandic operculum. Together, results show that musical improvisation ability and training are associated with gray matter volume in regions that are previously linked to learning and memory formation, perceptual categorization, and sensory integration. The present study takes a first step towards understanding the neuroanatomical basis of musical creativity by relating creative musical improvisation to individual differences in gray matter structure.

Network Neuroscience of Creative Cognition: Mapping Cognitive Mechanisms and Individual Differences in the Creative Brain

Network neuroscience research is providing increasing specificity on the contribution of large-scale brain networks to creative cognition. Here, we summarize recent experimental work examining cognitive mechanisms of network interactions and correlational studies assessing network dynamics associated with individual creative abilities. Our review identifies three cognitive processes related to network interactions during creative performance: goal-directed memory retrieval, prepotent-response inhibition, and internally-focused attention. Correlational work using prediction modeling indicates that functional connectivity between networks-particularly the executive control and default networks-can reliably predict an individual's creative thinking ability. We discuss potential directions for future network neuroscience, including assessing creative performance in specific domains and using brain stimulation to test causal hypotheses regarding network interactions and cognitive mechanisms of creative thought.