The aim of this review is to highlight the most relevant contributions on dance in neuroscientific research. Neuroscience has analyzed the mirror system through neuroimaging techniques, testing its role in imitative learning, in the recognition of other people's emotions and especially in the understanding of the motor behavior of others. This review analyses the literature related to five general areas: breakthrough studies on the mirror system, and subsequent studies on its involvement in the prediction, the execution, the control of movement, (...) and in the process of “embodied simulation” within the intersubjective relationship; research focused on investigating the neural networks in action observation, and the neural correlates of motor expertise highlighted by comparative studies on different dance styles; studies dealing with the viewer's experience of dance according to specific dance repertoires, which revealed the relevance of choreographic choices for aesthetic appreciation; studies focused on dance as an aesthetic experience, where both the emotional and the cultural dimension play a significant role, and whose investigation paves the way to further progress both in empirical and in phenomenological research methodologies; collaboration-based experiments, in which neuroscientists and choreographers developed expertise-related questions, especially focusing on the multiple phenomena that underlie motor imagery. (shrink)

The two target articles agree that processes of cultural evolution generate richness and diversity in music, but neither address this question in a focused way. We sketch one way to proceed – and hence suggest how the target articles differ not only in empirical claims, but also in their tacit, prior assumptions about the relationship between cognition and culture.

Implicit learning is a core process for the acquisition of a complex, rule‐based environment from mere interaction, such as motor action, skill acquisition, or language. A body of evidence suggests that implicit knowledge governs music acquisition and perception in nonmusicians and musicians, and that both expert and nonexpert participants acquire complex melodic, harmonic, and other features from mere exposure. While current findings and computational modeling largely support the learning of chunks, some results indicate learning of more complex structures. Despite the (...) body of evidence, more research is required to support the cross‐cultural validity of implicit learning and to show that core and more complex music theoretical features are acquired implicitly. (shrink)

Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non-Western music. The present study investigated implicit learning of modal melodic features in North Indian classical music in a realistic and ecologically valid way. (...) It employed a cross-grammar design, using melodic materials from two modes that use the same scale. Findings indicated that Western participants unfamiliar with Indian music incidentally learned to identify distinctive features of each mode. Confidence ratings suggest that participants' performance was consistently correlated with confidence, indicating that they became aware of whether they were right in their responses; that is, they possessed explicit judgment knowledge. Altogether our findings show incidental learning in a realistic ecologically valid context during only a very short exposure, they provide evidence that incidental learning constitutes a powerful mechanism that plays a fundamental role in musical acquisition. (shrink)

The relationship between the neurobiology of speech and music has been investigated for more than a century. There remains no widespread agreement regarding how (or to what extent) music perception utilizes the neural circuitry that is engaged in speech processing, particularly at the cortical level. Prominent models such as Patel’s Shared Syntactic Integration Resource Hypothesis (SSIRH) and Koelsch’s neurocognitive model of music perception suggest a high degree of overlap, particularly in the frontal lobe, but also perhaps more distinct representations in (...) the temporal lobe with hemispheric asymmetries. The present meta-analysis study used activation likelihood estimate analyses to identify the brain regions consistently activated for music as compared to speech across the functional neuroimaging (fMRI and PET) literature. Eighty music and 91 speech neuroimaging studies of healthy adult control subjects were analyzed. Peak activations reported in the music and speech studies were divided into four paradigm categories: passive listening, discrimination tasks, error/anomaly detection tasks and memory-related tasks. We then compared activation likelihood estimates within each category for music versus speech, and each music condition with passive listening. We found that listening to music and to speech preferentially activate distinct temporo-parietal bilateral cortical networks. We also found music and speech to have shared resources in the left pars opercularis but speech-specific resources in the left pars triangularis. The extent to which music recruited speech-activated frontal resources was modulated by task. While there are certainly limitations to meta-analysis techniques particularly regarding sensitivity, this work suggests that the extent of shared resources between speech and music may be task-dependent and highlights the need to consider how task effects may be affecting conclusions regarding the neurobiology of speech and music. (shrink)

Summary In the current cognitive theory of music, concepts of Gestalt psychology are referred to in various ways. For example, neurocognitive models of music perception address the formation of auditory Gestalts as a stage in the formation of meaning. However, this view runs counter to central premises of Gestalt psychology of Carl Stumpf’s school, which precisely did not describe Gestalts as synthesized phenomena. Nevertheless, it is argued here, borrowing from Gestalt concepts can promote current non-reductionist positions. They conceptualize musical perception (...) not in the ways of information theory, but of phenomenology and action theory. Here the theory of affordance developed by J.J. Gibson in close collaboration with his wife Eleanor J. Gibson stands out. It was explicitly introduced into musicological research by Eric Clarke, but without reference to its Gestalt psychological roots. The article explores theories of musical affordance with the help of further methodological tools, which can be assigned to the philosophical schools of direct realism and constructivism. They open up the possibility of a non-cognitivist and non-representational perspective on musical perception. It turns out that Gestalt psychological concepts also have a catalytic effect on the expansion of our understanding of musical perception in this constellation, although this connection has hardly been visible so far. (shrink)

Among the many lines of research that have been exploring how embodiment contributes to cognition, one focuses on how the neural substrates of language may be shared, or at least closely coupled, with those of action. This paper revisits a particular proposal that has received considerable attention—namely, that the forms of hierarchical sequencing that characterize both linguistic syntax and goal-directed action are underpinned partly by common mechanisms in left Brodmann area (BA) 44, a cortical region that is not only classically (...) regarded as part of Broca’s area, but is also a core component of the human Mirror Neuron System. First, a recent multi-participant, multi-round debate about this proposal is summarized together with some other relevant findings. This review reveals that while the proposal is supported by a variety of theoretical arguments and empirical results, it still faces several challenges. Next, a narrower application of the proposal is discussed, specifically involving the basic word order of subject (S), object (O), and verb (V) in simple transitive clauses. Most languages are either SOV or SVO, and, building on prior work, it is argued that these strong syntactic tendencies derive from how left BA44 represents the sequential-hierarchical structure of goal-directed actions. Finally, with the aim of clarifying what it might mean for syntax and action to have “common” neural mechanisms in left BA44, two different versions of the main proposal are distinguished. Hypothesis 1 states that the very same neural mechanisms in left BA44 subserve some aspects of hierarchical sequencing for syntax and action, whereas Hypothesis 2 states that anatomically distinct but functionally parallel neural mechanisms in left BA44 subserve some aspects of hierarchical sequencing for syntax and action. Although these two hypotheses make different predictions, at this point neither one has significantly more explanatory power than the other, and further research is needed to elaborate and test them. (shrink)

In spite of their striking differences with real-life perception, films are perceived and understood without effort. Cognitive film theory attributes this to the system of continuity editing, a system of editing guidelines outlining the effect of different cuts and edits on spectators. A major principle in this framework is the 180° rule, a rule recommendation that, to avoid spectators’ attention to the editing, two edited shots of the same event or action should not be filmed from angles differing in a (...) way that expectations of spatial continuity are strongly violated. In the present study, we used high-density EEG to explore the neural underpinnings of this rule. In particular, our analysis shows that cuts and edits in general elicit early ERP component indicating the registration of syntactic violations as known from language, music, and action processing. However, continuity edits and cuts-across the line differ from each other regarding later components likely to be indicating the differences in spatial remapping as well as in the degree of conscious awareness of one's own perception. Interestingly, a time–frequency analysis of the occipital alpha rhythm did not support the hypothesis that such differences in processing routes are mainly linked to visual attention. On the contrary, our study found specific modulations of the central mu rhythm ERD as an indicator of sensorimotor activity, suggesting that sensorimotor networks might play an important role. We think that these findings shed new light on current discussions about the role of attention and embodied perception in film perception and should be considered when explaining spectators’ different experience of different kinds of cuts. (shrink)

A new construct, termed music receptivity, is introduced and discussed in this work. Music receptivity can be defined as a measure of the extent of internalization that an individual has, to a given piece of music, as measured at the point of listening. Through three studies, we demonstrate the psychometric properties of the construct—the Music Receptivity Scale. Exploratory factor analysis on a sample of 313 revealed good psychometric validity, with a four-factor solution, with a Cronbach’s alpha of 0.89, and a (...) two-factor solution, with a Cronbach’s alpha of 0.87. The tool also had a good test–retest reliability. Overall, the tool had 20 items in the long form and 12 items in the short version. The MRS could distinguish musicians and non-musicians supporting its discriminant validity. We have also discussed the implication of the MRS in the field of music psychology. (shrink)

According to sensorimotor theory perceiving is a bodily skill involving exercise of an implicit know-how of the systematic ways that sensations change as a result of potential movements, that is, of sensorimotor contingencies. The theory has been most successfully applied to vision and touch, while perceptual modalities that rely less on overt exploration of the environment have not received as much attention. In addition, most research has focused on philosophically grounding the theory and on psychologically elucidating sensorimotor laws, but the (...) theory’s ramifications for neuroscience still remain underexamined. Here we sketch the beginnings of a research program that could address these two outstanding challenges in terms of auditory perception. We review the neuroscience literature on passive listening, which is defined as listening without overt bodily movement, and conclude that sensorimotor theory provides a unique perspective on the consistent finding of motor system activation. In contrast to competing theories, this activation is predicted to be involved not only in the perception of speech- and action-related sounds, but in auditory perception in general. More specifically, we propose that the auditory processing associated with supplementary motor areas forms part of the neural basis of the exercise of sensorimotor know-how: these areas’ recognized role in facilitating spontaneous motor responses to sound and supporting flexible engagement of sensorimotor processes to guide auditory experience and enable auditory imagery, can be understood in terms of two key characteristics of sensorimotor interaction, its “alerting capacity” and “corporality”, respectively. We also highlight that there is more to the inside of the body than the brain: there is an opportunity to develop sensorimotor theory into new directions in terms of the still poorly understood active processes of the peripheral auditory system. (shrink)

Cognitive Science, Volume 46, Issue 7, July 2022.