What is musical empathy?

This chapter starts with a review of the definitions, meanings, and uses of the concept of empathy in the domains of ethnomusicology, interpersonal relationships, aesthetics, and embodied musical cognition. The following five issues are then addressed: (1) How does the notion of empathy impact the classic theories of musical emotion? (2) It is possible to define different types of musical empathy, depending on the nature of its referent? (3) Do different performance contexts foster different types of musical empathy? (4) What light do theories of empathy shed on the process of association between persons and tunes? (5) Is there any connection between an empathic disposition and the musical form of de jale (“sorrowful”) tunes?

The scalar property during isochronous tapping is disrupted by a D2-like agonist in the nonhuman primate

Dopamine, and specifically the D2 system, has been implicated in timing tasks where the absolute duration of individual time intervals is encoded discretely, yet the role of D2 during beat perception and entrainment remains largely unknown. In this type of timing, a beat is perceived as the pulse that marks equally spaced points in time and, once extracted, produces the tendency in humans to entrain or synchronize their movements to it. Hence, beat-based timing is crucial for musical execution. In this study we investigated the effects of systemic injections of quinpirole (0.005–0.05 mg/kg), a D2-like agonist, on the isochronous rhythmic tapping of rhesus monkeys, a classical task for the study of beat entrainment. We compared the rhythmic timing accuracy, precision, and the asynchronies of the monkeys with or without the effects of quinpirole, as well as their reaction times in a control serial reaction time task (SRTT). The results showed a dose-dependent disruption in the scalar property of rhythmic timing due to quinpirole administration. Specifically, we found similar temporal variabilities as a function of the metronome tempo at the largest dose, instead of the increase in variability across durations that is characteristic of the timing Weber law. Notably, these effects were not due to alterations in the basic sensorimotor mechanism for tapping to a sequence of flashing stimuli, because quinpirole did not change the reaction time of the monkeys during SRTT. These findings support the notion of a key role of the D2 system in the rhythmic timing mechanism, especially in the control of temporal precision. NEW & NOTEWORTHY Perceiving and moving to the beat of music is a fundamental trait of musical cognition. We measured the effect of quinpirole, a D2-like agonist, on the precision and accuracy of rhythmic tapping to a metronome in two rhesus monkeys. Quinpirole produced a flattening of the temporal variability as a function of tempo duration, instead of the increase in variability across durations that is characteristic of the scalar property, a hallmark property of timing.

The amplitude in periodic neural state trajectories underlies the tempo of rhythmic tapping

Our motor commands can be exquisitely timed according to the demands of the environment, and the ability to generate rhythms of different tempos is a hallmark of musical cognition. Yet, the neuronal basis behind rhythmic tapping remains elusive. Here we found that the activity of hundreds of primate MPC neurons show a strong periodic pattern that becomes evident when their activity is projected into a lower dimensional state space. We show that different tempos are encoded by circular trajectories that travelled at a constant speed but with different radii, and that this neuronal code is highly resilient to the number of participating neurons. Crucially, the changes in the amplitude of the oscillatory dynamics in neuronal state space are a signature of beat-based timing, regardless of whether it is guided by an external metronome or is internally controlled and is not the result of repetitive motor commands. Furthermore, the increase in amplitude and variability of the neural trajectories accounted for the scalar property of interval timing. In addition, we found that the interval-dependent increments in the radius of periodic neural trajectories are the result of larger number of neurons engaged in the production of longer intervals. Our results support the notion that beat-based timing during rhythmic behaviors is encoded in the radial curvature of periodic MPC neural population trajectories.

PITCH MEMORY AND EXPOSURE EFFECTS: Statistical learning and the effects of implicit "absolute pitch" on the perception and evaluation of music

Recent studies indicate that the ability to represent absolute pitch values in long-term memory (LTM), long believed to be the possession of a small minority of trained musicians endowed with "absolute pitch" (AP), is in fact shared to some extent by a considerable proportion of the population. The current study examined whether this newly discovered ability affects aspects of music and auditory cognition, particularly pitch learning and evaluation. Our starting points are two well established premises: (1) frequency of occurrence has an influence on the way we process stimuli; (2) in Western music, some pitches and musical keys are much more frequent than others. Based on these premises, we hypothesize that if absolute pitch values are indeed represented in LTM, pitch frequency of occurrence in music would significantly affect cognitive processes, in particular pitch learning and evaluation. Two experiments were designed to test this hypothesis in participants with no AP, most with little or no musical training. Experiment 1 demonstrated a faster response and a learning advantage for frequent pitches over infrequent pitches in an identification task. In Experiment 2 participants evaluated infrequent pitches as more pleasing than frequent pitches when presented in isolation. These results suggest that absolute pitch representation in memory may play a substantial, hitherto unacknowledged role in auditory (and specifically musical) cognition.

Action and Perception

While computational models of human music making are a hot research topic, the human side of computer-based music making has been largely neglected. What are our cognitive processes like when we create musical algorithms, and when we compose and perform with them? Musical human–algorithm interaction involves embodied action, perception and interaction, and some kind of internalization of the algorithms in the performer’s mind. How does the cognitive relate to the physical here? Departing from the age-old mind–body problem, this chapter tries to answer these questions and review relevant research, drawing from a number of related fields, such as musical cognition, cognition and psychology of programming, embodied performance, and neurological research, as well as from the author’s personal experience as an artist working in the field.