We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to quantify (...) the effect of seeing the performances on participants' overall subjective experience of the music. In addition to traditional statistics, functional data analysis techniques were employed to analyze time-varying aspects of the data. The auditory and visual channels were found to convey similar experiences of phrasing but different experiences of tension through much of the performances. We found that visual information served both to augment and to reduce the experience of tension at different points in the musical piece (as revealed by functional linear modeling and functional significance testing). In addition, the musicians' movements served to extend the sense of phrasing, to cue the beginning of new phrases, to indicate musical interpretation, and to anticipate changes in emotional content. Evidence for an interaction effect suggests that there may exist an emergent quality when musical performances are both seen and heard. The investigation augments knowledge of human communicative processes spanning language and music, and involving multiple modalities of emotion and information transfer. (shrink)

Our ability to acknowledge and recognise our own identity - our 'self' - is a characteristic doubtless unique to humans. Where does this feeling come from? How does the combination of neurophysiological processes coupled with our interaction with the outside world construct this coherent identity? We know that our social interactions contribute via the eyes, ears etc. However, our self is not only influenced by our senses. It is also influenced by the actions we perform and those we see others (...) perform. Our brain anticipates the effects of our own actions and simulates the actions of others. In this way, we become able to understand ourselves and to understand the actions and emotions of others. -/- This book is the first to describe the new field of 'Motor Cognition' - one to which the author's contribution has been seminal. Though motor actions have long been studied by neuroscientists and physiologists, it is only recently that scientists have considered the role of actions in building the self. How consciousness of action is part of self-consciousness, how one's own actions determine the sense of being an agent, how actions performed by others impact on ourselves for understanding others, differentiating ourselves from them and learning from them: these questions are raised and discussed throughout the book, drawing on experimental, clinical, and theoretical bases. -/- The advent of new neuroscience techniques, like neuroimaging and direct electrical brain stimulation, together with a renewal of behavioral methods in cognitive psychology, provide new insights into this area. Mental imagery of action, self-recognition, consciousness of actions, imitation can be objectively studied using these new tools. The results of these investigations shed light on clinical disorders in neurology, psychiatry and in neuro-development. -/- This is a major new work that will lay down the foundations for the field of motor cognition. (shrink)

The field of neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here, we present the first neuroscientific study of aesthetic perception in the context of the performing (...) arts. We investigated brain areas whose activity during passive viewing of dance stimuli was related to later, independent aesthetic evaluation of the same stimuli. Brain activity of six naïve male subjects was measured using fMRI, while they watched 24 dance movements, and performed an irrelevant task. In a later session, participants rated each movement along a set of established aesthetic dimensions. The ratings were used to identify brain regions that were more active when viewing moves that received high average ratings than moves that received low average ratings. This contrast revealed bilateral activity in the occipital cortices and in right premotor cortex. Our results suggest a possible role of visual and sensorimotor brain areas in an automatic aesthetic response to dance. This sensorimotor response may explain why dance is widely appreciated in so many human cultures. (shrink)

In the absence of pre‐established communicative conventions, people create novel communication systems to successfully coordinate their actions toward a joint goal. In this study, we address two types of such novel communication systems: sensorimotor communication, where the kinematics of instrumental actions are systematically modulated, versus symbolic communication. We ask which of the two systems co‐actors preferentially create when aiming to communicate about hidden object properties such as weight. The results of three experiments consistently show that actors who knew the weight (...) of an object transmitted this weight information to their uninformed co‐actors by systematically modulating their instrumental actions, grasping objects of particular weights at particular heights. This preference for sensorimotor communication was reduced in a fourth experiment where co‐actors could communicate with weight‐related symbols. Our findings demonstrate that the use of sensorimotor communication extends beyond the communication of spatial locations to non‐spatial, hidden object properties. (shrink)

The influence of movement skill on action representations and identification of agency was investigated. Point-light displays were created of highly skilled gestures of thirteen orchestral conductors in visual, auditory, and audiovisual versions and compared to two control conditions . In subsequent experimental sessions, participants indicated whether displays presented them or other conductors, whether the soundtrack contained their or others’ musical interpretations, and rated the quality and emotional content of the gestures. Self-recognition was more accurate in conditions presenting highly skilled conducting (...) movements as compared to other displays. Participants judged the quality of their own movements to be better than those of others, independently of whether or not they recognized movement agency. Emotional content was perceived accurately across conditions both for own and others’ actions. These results point to the influence of dynamical characteristics of motor skill, rather than merely type of movement or emotional content, on action representations and self-other identification. (shrink)

Self–other discrimination was investigated with point-light displays in which actions were presented with or without additional auditory information. Participants first executed different actions in time with music. In two subsequent experiments, they watched point-light displays of their own or another participant’s recorded actions, and were asked to identify the agent . Manipulations were applied to the visual information and to the auditory information . Results indicate that self-recognition was better than chance in all conditions and was highest when observing relatively (...) unconstrained patterns of movement. Auditory information did not increase accuracy even with the most ambiguous visual displays, suggesting that judgments of agent identity depend much more on motor cues than on auditory or audiovisual information. (shrink)

Ensemble musicians play in synchrony despite expressively motivated irregularities in timing. We hypothesized that synchrony is achieved by each performer internally simulating the concurrent actions of other ensemble members, relying initially on how they would perform in their stead. Hence, musicians should be better at synchronizing with recordings of their own earlier performances than with others’ recordings. We required pianists to record one part from each of several piano duets, and later to play the complementary part in synchrony with their (...) own or others’ recordings. The pianists were also asked to identify their own recordings. The pianists were better at synchronizing with their own than with others’ performances, and they were able to recognize their own recordings. Furthermore, synchronization accuracy and recognition were correlated: Pianists who were relatively accurate at synchronizing with their own performances were also good at recognizing them. Thus, action simulation may underlie both synchronization and self-recognition. (shrink)