Global Sensory Qualities and Aesthetic Experience in Music

Loop and Enjoy: A Scoping Review of the Research on the Effects of Processing Fluency on Aesthetic Reactions to Auditory Stimuli

Processing fluency has been shown to affect how people aesthetically evaluate stimuli. While this effect is well documented for visual stimuli, the evidence accumulated for auditory stimuli has not yet been integrated. Our aim was to examine the relevant research on how processing fluency affects the aesthetic appreciation of auditory stimuli and to identify the extant knowledge gaps in this body of evidence. This scoping review of 19 studies reported across 13 articles found that, similarly to visual stimuli, fluency has a positive effect on liking of auditory stimuli. Additionally, we identified certain elements that impede the generalizability of the current research on the relationship between fluency and aesthetic reactions to auditory stimuli, such as a lack of consistency in the number of repeated exposures, the tendency to omit the affective component and the failure to account for personal variables such as musical abilities developed through musical training or the participants' personality or preferences. These results offer a starting point in developing novel and proper processing fluency manipulations of auditory stimuli and suggest several avenues for future research aiming to clarify the impact and importance of processing fluency and disfluency in this domain.

The impact of crossmodal predictions on the neural processing of aesthetic stimuli

Neuroaesthetic research has focused on neural predictive processes involved in the encounter with art stimuli or the related evaluative judgements, and it has been mainly conducted unimodally. Here, with electroencephalography, magnetoencephalography and an affective priming protocol, we investigated whether and how the neural responses to non-representational aesthetic stimuli are top-down modulated by affective representational (i.e. semantically meaningful) predictions between audition and vision. Also, the neural chronometry of affect processing of these aesthetic stimuli was investigated. We hypothesized that the early affective components of crossmodal aesthetic responses are dependent on the affective and representational predictions formed in another sensory modality resulting in differentiated brain responses, and that audition and vision indicate different processing latencies for affect. The target stimuli were aesthetic visual patterns and musical chords, and they were preceded by a prime from the opposing sensory modality. We found that early auditory-cortex responses to chords were more affected by valence than the corresponding visual-cortex ones. Furthermore, the assessments of visual targets were more facilitated by affective congruency of crossmodal primes than the acoustic targets. These results indicate, first, that the brain uses early affective information for predictively guiding aesthetic responses; second, that an affective transfer of information takes place crossmodally, mainly from audition to vision, impacting the aesthetic assessment. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

A listener preference model for spatial sound reproduction, incorporating affective response

This work presents results and models for listener preference to music delivered via different spatial reproduction formats, here via mono, stereo and multichannel (5.1-ch) reproduction. Although this problem has been researched in the past, the current work introduces an elaborate multistage experimental procedure which considers the contribution of listener-specific emotional responses (valence and arousal) to his/hers Overall Listening Experience (OLE). The test procedure registers the individual listener preference and familiarization with the content of each test audio sample. A spatial envelopment metric, extracted directly from each audio signal sample is utilized as attribute for the perceived differences between the 3 different systems. This attribute, along with listener content preference (for each music sample) and his/hers affective response attributes are combined into linear regression model(s) which can predict the dominant trends for rating OLE. A novel linear tree approach is also proposed which highlights additional associations between the attributes within this multidimensional space. Comparative performance analysis shows that the proposed linear tree approach also achieves improved predictions for OLE ratings.

Do some languages sound more beautiful than others?

Italian is sexy, German is rough-but how about Páez or Tamil? Are there universal phonesthetic judgments based purely on the sound of a language, or are preferences attributable to language-external factors such as familiarity and cultural stereotypes? We collected 2,125 recordings of 228 languages from 43 language families, including 5 to 11 speakers of each language to control for personal vocal attractiveness, and asked 820 native speakers of English, Chinese, or Semitic languages to indicate how much they liked these languages. We found a strong preference for languages perceived as familiar, even when they were misidentified, a variety of cultural-geographical biases, and a preference for breathy female voices. The scores by English, Chinese, and Semitic speakers were weakly correlated, indicating some cross-cultural concordance in phonesthetic judgments, but overall there was little consensus between raters about which languages sounded more beautiful, and average scores per language remained within ±2% after accounting for confounds related to familiarity and voice quality of individual speakers. None of the tested phonetic features-the presence of specific phonemic classes, the overall size of phonetic repertoire, its typicality and similarity to the listener's first language-were robust predictors of pleasantness ratings, apart from a possible slight preference for nontonal languages. While population-level phonesthetic preferences may exist, their contribution to perceptual judgments of short speech recordings appears to be minor compared to purely personal preferences, the speaker's voice quality, and perceived resemblance to other languages culturally branded as beautiful or ugly.

Do we enjoy what we sense and perceive? A dissociation between aesthetic appreciation and basic perception of environmental objects or events

This integrative review rearticulates the notion of human aesthetics by critically appraising the conventional definitions, offerring a new, more comprehensive definition, and identifying the fundamental components associated with it. It intends to advance holistic understanding of the notion by differentiating aesthetic perception from basic perceptual recognition, and by characterizing these concepts from the perspective of information processing in both visual and nonvisual modalities. To this end, we analyze the dissociative nature of information processing in the brain, introducing a novel local-global integrative model that differentiates aesthetic processing from basic perceptual processing. This model builds on the current state of the art in visual aesthetics as well as newer propositions about nonvisual aesthetics. This model comprises two analytic channels: aesthetics-only channel and perception-to-aesthetics channel. The aesthetics-only channel primarily involves restricted local processing for quality or richness (e.g., attractiveness, beauty/prettiness, elegance, sublimeness, catchiness, hedonic value) analysis, whereas the perception-to-aesthetics channel involves global/extended local processing for basic feature analysis, followed by restricted local processing for quality or richness analysis. We contend that aesthetic processing operates independently of basic perceptual processing, but not independently of cognitive processing. We further conjecture that there might be a common faculty, labeled as aesthetic cognition faculty, in the human brain for all sensory aesthetics albeit other parts of the brain can also be activated because of basic sensory processing prior to aesthetic processing, particularly during the operation of the second channel. This generalized model can account not only for simple and pure aesthetic experiences but for partial and complex aesthetic experiences as well.

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

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

Prediction under uncertainty: Dissociating sensory from cognitive expectations in highly uncertain musical contexts

Predictive models in the brain rely on the continuous extraction of regularities from the environment. These models are thought to be updated by novel information, as reflected in prediction error responses such as the mismatch negativity (MMN). However, although in real life individuals often face situations in which uncertainty prevails, it remains unclear whether and how predictive models emerge in high-uncertainty contexts. Recent research suggests that uncertainty affects the magnitude of MMN responses in the context of music listening. However, musical predictions are typically studied with MMN stimulation paradigms based on Western tonal music, which are characterized by relatively high predictability. Hence, we developed an MMN paradigm to investigate how the high uncertainty of atonal music modulates predictive processes as indexed by the MMN and behavior. Using MEG in a group of 20 subjects without musical training, we demonstrate that the magnetic MMN in response to pitch, intensity, timbre, and location deviants is evoked in both tonal and atonal melodies, with no significant differences between conditions. In contrast, in a separate behavioral experiment involving 39 non-musicians, participants detected pitch deviants more accurately and rated confidence higher in the tonal than in the atonal musical context. These results indicate that contextual tonal uncertainty modulates processing stages in which conscious awareness is involved, although deviants robustly elicit low-level pre-attentive responses such as the MMN. The achievement of robust MMN responses, despite high tonal uncertainty, is relevant for future studies comparing groups of listeners' MMN responses to increasingly ecological music stimuli.

Neural Correlates of Music Listening: Does the Music Matter?

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

Effects of Mindfulness Meditation on Musical Aesthetic Emotion Processing

Mindfulness meditation is a form of self-regulatory training for the mind and the body. The relationship between mindfulness meditation and musical aesthetic emotion processing (MAEP) remains unclear. This study aimed to explore the effect of temporary mindfulness meditation on MAEP while listening to Chinese classical folk instrumental musical works. A 2 [(groups: mindfulness meditation group (MMG); control group (CG)] × 3 (music emotions: calm music, happy music, and sad music) mixed experimental design and a convenience sample of university students were used to verify our hypotheses, which were based on the premise that temporary mindfulness meditation may affect MAEP (MMG vs. CG). Sixty-seven non-musically trained participants (65.7% female, age range: 18–22 years) were randomly assigned to two groups (MMG or CG). Participants in MMG were given a single 10-min recorded mindfulness meditation training before and when listening to music. The instruments for psychological measurement comprised of the Five Facet Mindfulness Questionnaire (FFMQ) and the Positive and Negative Affect Schedule (PANAS). Self-report results showed no significant between-group differences for PANAS and for the scores of four subscales of the FFMQ (p > 0.05 throughout), except for the non-judging of inner experience subscale. Results showed that temporary mindfulness meditation training decreased the negative emotional experiences of happy and sad music and the positive emotional experiences of calm music during recognition and experience and promoted beautiful musical experiences in individuals with no musical training. Maintaining a state of mindfulness while listening to music enhanced body awareness and led to experiencing a faster passage of musical time. In addition, it was found that Chinese classical folk instrumental musical works effectively induced aesthetic emotion and produced multidimensional aesthetic experiences among non-musically trained adults. This study provides new insights into the relationship between mindfulness and music emotion.

Functional connectivity of music-induced analgesia in fibromyalgia

Listening to self-chosen, pleasant and relaxing music reduces pain in fibromyalgia (FM), a chronic centralized pain condition. However, the neural correlates of this effect are fairly unknown. In our study, we wished to investigate the neural correlates of music-induced analgesia (MIA) in FM patients. To do this, we studied 20 FM patients and 20 matched healthy controls (HC) acquiring rs-fMRI with a 3T MRI scanner, and pain data before and after two 5-min auditory conditions: music and noise. We performed resting state functional connectivity (rs-FC) seed-based correlation analyses (SCA) using pain and analgesia-related ROIs to determine the effects before and after the music intervention in FM and HC, and its correlation with pain reports. We found significant differences in baseline rs-FC between FM and HC. Both groups showed changes in rs-FC after the music condition. FM patients reported MIA that was significantly correlated with rs-FC decrease between the angular gyrus, posterior cingulate cortex and precuneus, and rs-FC increase between amygdala and middle frontal gyrus. These areas are related to autobiographical and limbic processes, and auditory attention, suggesting MIA may arise as a consequence of top-down modulation, probably originated by distraction, relaxation, positive emotion, or a combination of these mechanisms.

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

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

Decomposing Complexity Preferences for Music

Recently, we demonstrated complexity as a major factor for explaining individual differences in visual preferences for abstract digital art. We have shown that participants could best be separated into two groups based on their liking ratings for abstract digital art comprising geometric patterns: one group with a preference for complex visual patterns and another group with a preference for simple visual patterns. In the present study, building up on these results, we extended our investigations for complexity preferences from highly controlled visual stimuli to ecologically valid stimuli in the auditory modality. Similar to visual preferences, we showed that music preferences are highly influenced by stimulus complexity. We demonstrated this by clustering a large number of participants based on their liking ratings for song excerpts from various musical genres. Our results show that, based on their liking ratings, participants can best be separated into two groups: one group with a preference for more complex songs and another group with a preference for simpler songs. Finally, we considered various demographic and personal characteristics to explore differences between the groups, and reported that at least for the current data set age and gender to be significant factors separating the two groups.

Atonal Music: Can Uncertainty Lead to Pleasure?

In recent years, the field of neuroaesthetics has gained considerable attention with music being a favored object of study. The majority of studies concerning music have, however, focused on the experience of Western tonal music (TM), which is characterized by tonal hierarchical organization, a high degree of consonance, and a tendency to provide the listener with a tonic as a reference point during the listening experience. We argue that a narrow focus on Western TM may have led to a one-sided view regarding the qualities of the aesthetic experience of music since Western art music from the 20th and 21st century like atonal music (AM) – while lacking a tonal hierarchical structure, and while being highly dissonant and hard to predict – is nevertheless enjoyed by a group of avid listeners. We propose a research focus that investigates, in particular, the experience of AM as a novel and compelling way with which to enhance our understanding of both the aesthetic appreciation of music and the role of predictive models in the context of musical pleasure. We use music theoretical analysis and music information retrieval methods to demonstrate how AM presents the listener with a highly uncertain auditory environment. Specifically, an analysis of a corpus of 100 musical segments is used to illustrate how tonal classical music and AM differ quantitatively in terms of both key and pulse clarity values. We then examine person related, extrinsic and intrinsic factors, that point to potential mechanisms underlying the appreciation and pleasure derived from AM. We argue that personality traits like “openness to experience,” the framing of AM as art, and the mere exposure effect are key components of such mechanisms. We further argue that neural correlates of uncertainty estimation could represent a central mechanism for engaging with AM and that such contexts engender a comparatively weak predictive model in the listener. Finally we argue that in such uncertain contexts, correct predictions may be more subjectively rewarding than prediction errors since they signal to the individual that their predictive model is improving.

Preference test of sound among multiple alternatives in rats

Conditioned place preference (CPP) tests in rodents have been well established to measure preference induced by secondary reinforcing properties, but conventional assays are not sensitive enough to measure innate, weak preference, or the primary reinforcing property of a conditioned stimulus. We designed a novel CPP assay with better sensitivity and efficiency in quantifying and ranking preference of particular sounds among multiple alternatives. Each test tone was presented according to the location of free-moving rats in the arena, where assignment of location to each tone changed in every 20-s session. We demonstrated that our assay was able to rank tone preference among 4 alternatives within 12.5 min (125 s (habituation) + 25 s/sessions × 25 sessions). In order to measure and rank sound preference, we attempted to use sojourn times with each test sound ([Formula: see text]), and a preference index (PI) based on transition matrices of initial and end sounds in every session. Both [Formula: see text] and PI revealed similar trends of innate preference in which rats preferred test conditions in the following order: silence, 40-, 20-, then 10-kHz tones. Further, rats exhibited a change in preference after an classical conditioning of the 20-kHz tone with a rewarding microstimulation of the dopaminergic system. We also demonstrated that PI was a more robust and sensitive indicator than [Formula: see text] when the locomotion activity level of rats became low due to habituation to the assay repeated over sessions. Thus, our assay offers a novel method of evaluating auditory preference that is superior to conventional CPP assays, offering promising prospects in the field of sensory neuroscience.

Brain Connectivity Networks and the Aesthetic Experience of Music

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

Using CNN Features to Better Understand What Makes Visual Artworks Special

One of the goal of computational aesthetics is to understand what is special about visual artworks. By analyzing image statistics, contemporary methods in computer vision enable researchers to identify properties that distinguish artworks from other (non-art) types of images. Such knowledge will eventually allow inferences with regard to the possible neural mechanisms that underlie aesthetic perception in the human visual system. In the present study, we define measures that capture variances of features of a well-established Convolutional Neural Network (CNN), which was trained on millions of images to recognize objects. Using an image dataset that represents traditional Western, Islamic and Chinese art, as well as various types of non-art images, we show that we need only two variance measures to distinguish between the artworks and non-art images with a high classification accuracy of 93.0%. Results for the first variance measure imply that, in the artworks, the subregions of an image tend to be filled with pictorial elements, to which many diverse CNN features respond (richness of feature responses). Results for the second measure imply that this diversity is tied to a relatively large variability of the responses of individual CNN feature across the subregions of an image. We hypothesize that this combination of richness and variability of CNN feature responses is one of properties that makes traditional visual artworks special. We discuss the possible neural underpinnings of this perceptual quality of artworks and propose to study the same quality also in other types of aesthetic stimuli, such as music and literature.