Music Performance

Music performance involves precise motor control that is coordinated with higher order planning to convey complex structural information. In addition, music performance usually involves motor tasks that are not learned spontaneously (as in the use of the vocal apparatus), the reproduction of preestablished sequences (notated or from memory), and synchronized joint performance with one or more other musicians. Music performance also relies on a rich repertoire of musical knowledge that can be used for purposes of expressive variation and improvisation. As such, the study of music performance provides a way to explore learning, motor control, memory, and interpersonal coordination in the context of a real-world behavior. Music performance skills vary considerably in the population and reflect interactions between genetic predispositions and the effect of intensive practice. At the same time, research suggests that most individuals have the capacity to perform music through singing or learning an instrument, and in this sense music performance taps into a universal human propensity for communication and coordination with conspecifics.

Shared musical activity and perceptions of relationship commitment

Sharing music with another person involves the potential for profound emotional connection, rhythmic synchronization and coordination, and the expression of shared social and political values (among other things). We explore whether experiences of shared musical activity are associated with perceptions of communication and positive outcomes in friendships and romantic relationships, using reports from one member of the dyad. Reports of musical activities in the relationship were associated with higher levels of commitment to the relationship, with those effects mediated by perceptions of interpersonal coordination and positive communication. Surprisingly, structured musical activities (e.g., actively playing music together) were associated with lower levels of commitment, both directly and via interpersonal coordination, positive communication, and shared social values. All findings persist when controlling for other forms of shared relationship activities, thus demonstrating effects that are unique to shared musical engagement. The findings are discussed in a framework of music’s potential relational power—the Shared Musical Activities in Relationships (SMAR) model.

The arts and their functions

In asking the question ‘What is art?’, four major conceptions of a work of art can be considered: an object; an indicator of beauty; an indicator of craftsmanship or creativity; and a process of performance. This chapter contends that the two principal functions of the arts are re-creation and interpersonal coordination. Re-creation reflects the inherently narrative and symbolic function of the arts, as conveyed through storytelling, acting, narrative dance, and figurative forms of visual art. Interpersonal coordination—as seen in artforms such as dance and music—occurs in the three domains of time, physical space (dance), and tonal pitch space (music). A unified view of the arts reveals not only the cognitive similarities among artforms, but the widespread ability of artforms to combine with one another to form syntheses, as seen in songs with words and dances choreographed to music. A comparative analysis of the arts provides greater insight into each artform than is possible by looking at artforms in isolation.

Music

2The defining feature of music as a cognitive function is tonality (scale structure), since rhythmic structure is a shared feature with dance and poetry. In this chapter, the author develops a 4T (tonality/timing/texture/text) model of music, which views music as a suite of coordinative features in which rhythm provides time slots for interpersonal coordination and scale structure provides pitch slots for coordination. An important topic for the study of music’s evolution is its connection with both speech and language. Music and speech share a significant number of prosodic properties. However, a unique feature of music that is not found in speech is the process by which scale types are able to convey emotional meanings. Such scale/emotion associations allow music to modulate the interpretive meaning of narrative artforms, such as film, dance, and written texts (i.e. songs).

Exploring the “Dark Matter” of Social Interaction: Systematic Review of a Decade of Research in Spontaneous Interpersonal Coordination

Interpersonal coordination is a research topic that has attracted considerable attention this last decade both due to a theoretical shift from intra-individual to inter-individual processes and due to the development of new methods for recording and analyzing movements in ecological settings. Encompassing spatiotemporal behavioral matching, interpersonal coordination is considered as “social glue” due to its capacity to foster social bonding. However, the mechanisms underlying this effect are still unclear and recent findings suggest a complex picture. Goal-oriented joint action and spontaneous coordination are often conflated, making it difficult to disentangle the role of joint commitment from unconscious mutual attunement. Consequently, the goals of the present article are twofold: (1) to illustrate the rapid expansion of interpersonal coordination as a research topic and (2) to conduct a systematic review of spontaneous interpersonal coordination, summarizing its latest developments and current challenges this last decade. By applying Rapid Automatic Keyword Extraction and Latent Dirichlet Allocation algorithms, keywords were extracted from PubMed and Scopus databases revealing the large diversity of research topics associated with spontaneous interpersonal coordination. Using the same databases and the keywords “behavioral matching,” “interactional synchrony,” and “interpersonal coordination,” 1,213 articles were identified, extracted, and screened following the Preferred Reporting Items for Systematic Reviews and Meta-Analyses protocol. A total of 19 articles were selected using the following inclusion criteria: (1) dynamic and spontaneous interactions between two unacquainted individuals (2) kinematic analyses, and (3) non-clinical and non-expert adult populations. The results of this systematic review stress the proliferation of various definitions and experimental paradigms that study perceptual and/or social influences on the emergence of spontaneous interpersonal coordination. As methods and indices used to quantify interpersonal coordination differ from one study to another, it becomes difficult to establish a coherent picture. This review highlights the need to reconsider interpersonal coordination not as the pinnacle of social interactions but as a complex dynamical process that requires cautious interpretation. An interdisciplinary approach is necessary for building bridges across scattered research fields through opening a dialogue between different theoretical frameworks and consequently provides a more ecological and holistic understanding of human social cognition.

Collective rhythm as an emergent property during human social coordination

The literature on social interactions has shown that participants coordinate not only at the behavioral but also at the physiological and neural levels, and that this coordination gives a temporal structure to the individual and to the social dynamics. However, it has not been fully explored whether such temporal patterns emerge during interpersonal coordination beyond dyads, whether this phenomenon arises from complex cognitive mechanisms or from relatively simple rules of behavior, or the sociocultural processes that underlie this phenomenon. We review the evidence for the existence of group-level rhythmic patterns that result from social interactions and argue that, by imposing a temporal structure at the individual and interaction levels, interpersonal coordination in groups leads to temporal regularities that cannot be predicted from the individual periodicities: a collective rhythm. Moreover, we use this interpretation of the literature to discuss how taking into account the sociocultural niche in which individuals develop can help explain the seemingly divergent results that have been reported on the social influences and consequences of interpersonal coordination. We make recommendations on further research to test these arguments and their relationship to the feeling of belonging and assimilation experienced during group dynamics.

Lost in the crowd: Imagining walking in synchrony with a crowd increases affiliation and deindividuation

Moving in time with others—interpersonal coordination—increases affiliation, helping behaviours and gives rise to a host of other prosocial outcomes. Recent research suggests that merely imagining coordination may lead to similar social effects. In the present study, participants were asked to imagine walking with a crowd in a coordinated (versus uncoordinated) way to explore the effects of imagined coordination on individuals’ perceptions of themselves and the crowd. Imagined coordination led to greater levels of deindividuation and affiliation. That is, participants were less likely to report seeing themselves as unique individuals, instead viewing themselves as a part of a group (deindividuation) and more likely to report a sense of emotional closeness (affiliation) with the imagined group. Deindividuation partially mediated the effect of imagined coordination on affiliation. This work establishes that imagined synchrony can be employed online to foster prosocial attitudes towards groups of people, and that a process of deindividuation might mediate this effect.