The application of eye-tracking in music research

Impact of Leading Line Composition on Visual Cognition: An Eye-Tracking Study

Leading lines, a fundamental composition technique in photography, are crucial to guiding the viewer's visual attention. Leading line composition is an effective visual strategy for influencing viewers' cognitive processes. However, in-depth research on the impact of leading line composition on cognitive psychology is lacking. This study investigated the cognitive effects of leading line composition on perception and behavior. The eye movement behaviors of 34 participants while they viewed photographic works with leading lines were monitored through eye-tracking experiments. Additionally, subjective assessments were conducted to collect the participants' perceptions of the images in terms of aesthetics, complexity, and directional sense. The results revealed that leading lines significantly influenced the participants' attention to key elements of the work, particularly when prominent subject elements were present. This led to greater engagement, longer viewing times, and enhanced ratings on aesthetics and directional sense. These findings suggest that skilled photographers can employ leading lines to guide the viewer's gaze and create visually compelling and aesthetically pleasing works. This research offers specific compositional strategies for photography applications and underscores the importance of leading lines and subject elements in enhancing visual impact and artistic expression.

Influence of Complexity and Gestalt Principles on Aesthetic Preferences for Building Façades: An Eye Tracking Study

Buildings are an integral part of our physical environment and have aesthetic significance with respect to the organizational integrity of architectural elements. While Gestalt principles are essential in design education, their relationship with architectural features remains understudied. The present study explored how Gestalt principles and complexity levels influence evaluations of building façades through the use of questionnaires and eye tracking. Twenty-four two-dimensional black and white façade drawings, manipulated using selected Gestalt principles (similarity and proximity) to achieve different levels of complexity (low, medium & high), were presented to 79 participants. The results suggested a negative linear relationship between aesthetic ratings and complexity levels across selected Gestalt principles. In addition, as expected, participants had the highest number of fixations, shortest fixation durations, and lowest aesthetic ratings for higher levels of complexity. Results involving Gestalt principles revealed that proximity-based designs received higher aesthetic ratings, demanded less time, elicited lower number of fixations, and resulted in shorter fixation durations. Conversely, similarity-based designs received lower aesthetic ratings, demanded more time, elicited higher number of fixations, and resulted in longer fixation durations. These findings offer insights into architectural aesthetic experiences and inform future research directions.

Gaze behavior reveals automaticity and attention allocation during music teaching vs. observing

In a unique case-study approach in which I served as both the research participant and the experimenter, I wore eye-tracking glasses while teaching a brief music lesson to two university students learning trumpet, then approximately two weeks later, I watched a video of the lesson and tracked my gaze again. To investigate unconscious perceptual processes engaged during music teaching, I compared my attention allocation while teaching to my attention allocation during selfobservation. My gaze behavior while teaching revealed a high level of automaticity regarding lesson sequencing and allocation of attention. Strategic moment-to-moment shifts in attention between the two students occurred entirely below my conscious awareness, yet post hoc analyses revealed precisely timed changes that were related to momentary goals. While watching the video, absent the demands of behavioral interaction and momentary decision-making, I directed more sustained attention to both students than I had while teaching. These results reveal important features of "teacher thinking" that are not directly observable or typically construed as conscious behavior. That this component of teaching practice does not involve volitional control suggests that teachers' descriptions of their thinking may not reveal to novices important elements of pedagogical expertise.

Eye-Tracking Technology in Dentistry: A Review of Literature

This narrative review explores the integration of eye-tracking technology in dentistry, aiming to provide a comprehensive overview of its current applications and potential benefits. The review begins by elucidating the fundamental principles of eye tracking, encompassing the various eye-tracking methods and devices commonly used in dental research. It then delves into the role of eye tracking in dental education, where the technology offers a unique perspective on students' visual attention during training and skill acquisition. Moreover, the review examines how eye tracking can aid in assessing and improving dental practitioners' clinical performance, shedding light on areas of improvement and expertise. In patient care, the application of eye-tracking technology offers significant potential. By analyzing patients' gaze patterns and visual focus during dental procedures, clinicians can gain valuable insights into their experiences, identifying sources of anxiety and discomfort. This newfound understanding can pave the way for more patient-centric care and optimized treatment plans. The review also explores the application of eye-tracking technology in designing and evaluating dental interfaces and equipment. By assessing visual ergonomics and usability, researchers can develop user-friendly instruments that enhance dental professionals' workflow and efficiency. However, despite its promise, integrating eye tracking in dentistry is not without challenges. Technical limitations, data analysis complexities, and ethical considerations require careful attention to ensure this technology's ethical and responsible use. In conclusion, this narrative review highlights the growing significance of eye-tracking technology in dentistry. Its applications span dental education, clinical practice, and patient care, holding immense potential to revolutionize how dental procedures are conducted, evaluated, and experienced. Nevertheless, further research and collaboration between dental professionals and eye-tracking experts are necessary to unlock the technology's benefits and ensure its seamless integration into dental practices.

An eye tracking study of the application of gestalt theory in photography

Photography is an art form where integration of the human visual perception and psychological experiences result in aesthetic pleasure. This research utilizes eye tracking to explore the impact of the properties of Gestalt in photography on people's visual cognitive process in order to understand the psychological processes and patterns of photography appreciation. This study found that images with Gestalt qualities can significantly affect fixation, sightline distribution, and subjective evaluation of aesthetics and complexity. Closure composition images seem to make cognition simpler, resulting in the least number of fixation and saccades, longer fixation duration, and more concentrated sightline indicating stronger feeling of beauty, while images which portray similarity results in the greatest fixation and saccades, longest saccade duration, and greater scattering of sightline, indicating feelings of complexity and unsightliness. The results of this research are closely related to the theories of art and design, and have reference value for photography theory and application.

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

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

A Meta-analysis on the Effect of Expertise on Eye Movements during Music Reading

The current meta-analysis was conducted on 12 studies comparing the eye movements of expert versus non-expert musicians and attempted to determine which eye movement measures are expertise dependent during music reading. The total dataset of 61 comparisons was divided into four subsets, each concerning one eye-movement variable (i.e., fixation duration, number of fixations, saccade amplitude, and gaze duration). We used a variance estimation method to aggregate the effect sizes. The results support the robust finding of reduced fixation duration in expert musicians (Subset 1, g = -0.72). Due to low statistical power because of limited effect sizes, the results on the number of fixations, saccade amplitude, and gaze duration were not reliable. We conducted meta-regression analyses to determine potential moderators of the effect of expertise on eye movements (i.e., definition of experimental groups, type of musical task performed, type of musical material used or tempo control). Moderator analyses did not yield any reliable results. The need for consistency in the experimental methodology is discussed.

Time perception in film is modulated by sensory modality and arousal

Considerable research has shown that the perception of time can be distorted subjectively, but little empirical work has examined what factors affect time perception in film, a naturalistic multimodal stimulus. Here, we explore the effect of sensory modality, arousal, and valence on how participants estimate durations in film. Using behavioral ratings combined with pupillometry in a within-participants design, we analyzed responses to and duration estimates of film clips in three experimental conditions: audiovisual (containing music and sound effects), visual (without music and sound effects), and auditory (music and sound effects without a visual scene). Participants viewed clips from little-known nature documentaries, fiction, animation, and experimental films. They were asked to judge clip duration and to report subjective arousal and valence, as their pupil sizes were recorded. Data were analyzed using linear mixed-effects models. Results reveal duration estimates varied between experimental conditions. Clip durations were judged to be shorter than actual durations in all three conditions, with visual-only clips perceived as longer (i.e., less distorted in time) than auditory-only and audiovisual clips. High levels of Composite Arousal (an average of self-reported arousal and pupil size changes) were correlated with longer (more accurate) estimates of duration, particularly in the audiovisual modality. This effect may reflect stimulus complexity or greater cognitive engagement. Increased ratings of valence were correlated with longer estimates of duration. The use of naturalistic, complex stimuli such as film can enhance our understanding of the psychology of time perception.

Pupillary response to moving stimuli of different speeds

To investigate the pupillary response to moving stimuli of different speeds and the influence of different luminance environments, 28 participants with normal or corrected-to-normal vision were included. The participants were required to track moving optotypes horizontally, and their pupils were recorded on video with an infrared camera. Stimuli of different speeds from 10 to 60 degree per seconds were presented in low (0.01 cd/m2) and moderate (30 cd/m2) luminance environments. Experiment 1 demonstrated that the motion stimuli induced pupil dilation in a speed-dependent pattern. The pupil dilation increased as the speed increased, and the pupil dilation gradually increased, then reached saturation. Experiment 2 showed that a stimulus targeting the rod- or cone-mediated pathway could induce pupil dilation in a similar speed-dependent pattern. The absolute but not relative pupil dilation in the cone paradigm was significantly larger than that in the rod paradigm. As the speed increased, the pupil dilation in the cone paradigm reached saturation at speed slower than the rod paradigm. Motion stimuli induced pupil dilation in a speed-dependent pattern, and as the motion speed increased, the pupil dilation gradually increased and reached saturation. The speed required to reach saturation in the cone paradigm was slower than in the rod paradigm.

Review on Eye-Hand Span in Sight-Reading of Music

In a sight-reading task, the position of the eyes on the score is generally further ahead than the note being produced by the instrument. This anticipation allows musicians to identify the upcoming notes and possible difficulties and to plan their gestures accordingly. The eye-hand span (EHS) corresponds to this offset between the eye and the hand and measures the distance or latency between an eye fixation on the score and the production of the note on the instrument. While EHS is mostly quite short, the variation in its size can depend on multiple factors. EHS increases in line with the musician's expertise level, diminishes as a function of the complexity of the score and can vary depending on the context in which it is played. By summarizing the main factors that affect EHS and the methodologies used in this field of study, the present review of the literature highlights the fact that a) to ensure effective sight reading, the EHS must be adaptable and optimized in size (neither too long not too short), with the best sight readers exhibiting a high level of perceptual flexibility in adapting their span to the complexity of the score; b) it is important to interpret EHS in the light of the specificities of the score, given that it varies so much both within and between scores; and c) the flexibility of EHS can be a good indicator of the perceptual and cognitive capacities of musicians, showing that a musician's gaze can be attracted early by a complexity in a still distant part of the score. These various points are discussed in the light of the literature on music-reading expertise. Promising avenues of research using the eye tracking method are proposed in order to further our knowledge of the construction of an expertise that requires multisensory integration.

'Defrosting' music chills with naltrexone: The role of endogenous opioids for the intensity of musical pleasure

The endogenous opioid system has been implicated during experiences of pleasure (i.e., from food or sex). Music can elicit intense emotional and bodily sensations of pleasure, called 'Chills'. We investigated the effects of an opioid antagonist (50 mg naltrexone) or placebo (40 μg d3-vitamin) while listening to self-selected music or other 'control' music selected by another participant. We used a novel technique of continuous measurement of pleasantness with an eye tracker system, where participants shifted their eyes along a visual analogue scale, in the semblance of a thermometer so that, as the music unfolded, gaze positions indicated the self-reported hedonic experience. Simultaneously, we obtained pupil diameters. Self-reported pleasure remained unchanged by naltrexone, which - however - selectively decreased pupillary diameters during 'Chills'. Hence, the endogenous μ-opioid signaling is not necessary for subjective enjoyment of music but an opioid blockade dampens pupil responses to peak pleasure, consistent with decreased arousal to the music.