How music-induced emotions affect sexual attraction: evolutionary implications.

More than a century ago, Darwin proposed a putative role for music in sexual attraction (i.e., sex appeal), a hypothesis that has recently gained traction in the field of music psychology.

Vocal Vibrato Characteristics in Historical and Contemporary Opera, Operetta, and Schlager.

Objectives/hypothesis: Vibrato is a core aesthetic element in singing. It varies considerably by both genre and era. Though studied extensively in Western classical singing over the years, there is a dearth of studies on vibrato in contemporary commercial music.

The Tapping-PROMS: A test for the assessment of sensorimotor rhythmic abilities.

Sensorimotor synchronization is a longstanding paradigm in the analysis of isochronous beat tapping. Assessing the finger tapping of complex rhythmic patterns is far less explored and considerably more complex to analyze. Hence, whereas several instruments to assess tempo or beat tapping ability exist, there is at present a shortage of paradigms and tools for the assessment of the ability to tap to complex rhythmic patterns.

Music's putative adaptive function hinges on a combination of distinct mechanisms.

Music's efficacy as a credible signal and/or as a tool for social bonding piggybacks on a diverse set of biological and cognitive processes, implying different proximate mechanisms. It is likely this multiplicity of mechanisms that explains why it is so difficult to account for music's putative biological role(s), as well as its possible origins, by proposing a single adaptive function.

Recursive music elucidates neural mechanisms supporting the generation and detection of melodic hierarchies.

The ability to generate complex hierarchical structures is a crucial component of human cognition which can be expressed in the musical domain in the form of hierarchical melodic relations. The neural underpinnings of this ability have been investigated by comparing the perception of well-formed melodies with unexpected sequences of tones. However, these contrasts do not target specifically the representation of rules generating hierarchical structure.

Misattribution of musical arousal increases sexual attraction towards opposite-sex faces in females.

Several theories about the origins of music have emphasized its biological and social functions, including in courtship. Music may act as a courtship display due to its capacity to vary in complexity and emotional content. Support for music's reproductive function comes from the recent finding that only women in the fertile phase of the reproductive cycle prefer composers of complex melodies to composers of simple ones as short-term sexual partners, which is also in line with the ovulatory shift hypothesis.

Cognitive representation of "musical fractals": Processing hierarchy and recursion in the auditory domain.

The human ability to process hierarchical structures has been a longstanding research topic. However, the nature of the cognitive machinery underlying this faculty remains controversial. Recursion, the ability to embed structures within structures of the same kind, has been proposed as a key component of our ability to parse and generate complex hierarchies.

Structural Classification of Wild Boar () Vocalizations.

Determining whether a species' vocal communication system is graded or discrete requires definition of its vocal repertoire. In this context, research on domestic pig () vocalizations, for example, has led to significant advances in our understanding of communicative functions. Despite their close relation to domestic pigs, little is known about wild boar ( vocalizations.

Harmonic context influences pitch class equivalence judgments through gestalt and congruency effects.

The context in which a stimulus is presented shapes the way it is processed. This effect has been studied extensively in the field of visual perception. Our understanding of how context affects the processing of auditory stimuli is, however, rather limited.

The Eye is Listening: Music-Induced Arousal and Individual Differences Predict Pupillary Responses.

Pupillary responses are a well-known indicator of emotional arousal but have not yet been systematically investigated in response to music. Here, we measured pupillary dilations evoked by short musical excerpts normalized for intensity and selected for their stylistic uniformity. Thirty participants (15 females) provided subjective ratings of music-induced felt arousal, tension, pleasantness, and familiarity for 80 classical music excerpts.

Linking melodic expectation to expressive performance timing and perceived musical tension.

This research explored the relations between the predictability of musical structure, expressive timing in performance, and listeners' perceived musical tension. Studies analyzing the influence of expressive timing on listeners' affective responses have been constrained by the fact that, in most pieces, the notated durations limit performers' interpretive freedom. To circumvent this issue, we focused on the unmeasured prelude, a semi-improvisatory genre without notated durations.

Affective evaluation of simultaneous tone combinations in congenital amusia.

Congenital amusia is a neurodevelopmental disorder characterized by impaired pitch processing. Although pitch simultaneities are among the fundamental building blocks of Western tonal music, affective responses to simultaneities such as isolated dyads varying in consonance/dissonance or chords varying in major/minor quality have rarely been studied in amusic individuals. Thirteen amusics and thirteen matched controls enculturated to Western tonal music provided pleasantness ratings of sine-tone dyads and complex-tone dyads in piano timbre as well as perceived happiness/sadness ratings of sine-tone triads and complex-tone triads in piano timbre.

Defining the biological bases of individual differences in musicality.

Advances in molecular technologies make it possible to pinpoint genomic factors associated with complex human traits. For cognition and behaviour, identification of underlying genes provides new entry points for deciphering the key neurobiological pathways. In the past decade, the search for genetic correlates of musicality has gained traction.

Pitch enhancement facilitates word learning across visual contexts.

This study investigates word-learning using a new experimental paradigm that integrates three processes: (a) extracting a word out of a continuous sound sequence, (b) inferring its referential meanings in context, (c) mapping the segmented word onto its broader intended referent, such as other objects of the same semantic category, and to novel utterances. Previous work has examined the role of statistical learning and/or of prosody in each of these processes separately. Here, we combine these strands of investigation into a single experimental approach, in which participants viewed a photograph belonging to one of three semantic categories while hearing a complex, five-word utterance containing a target word.

Overtone-based pitch selection in hermit thrush song: unexpected convergence with scale construction in human music.

Many human musical scales, including the diatonic major scale prevalent in Western music, are built partially or entirely from intervals (ratios between adjacent frequencies) corresponding to small-integer proportions drawn from the harmonic series. Scientists have long debated the extent to which principles of scale generation in human music are biologically or culturally determined. Data from animal "song" may provide new insights into this discussion.

Exploring shamanic journeying: repetitive drumming with shamanic instructions induces specific subjective experiences but no larger cortisol decrease than instrumental meditation music.

Exposure to repetitive drumming combined with instructions for shamanic journeying has been associated with physiological and therapeutic effects, such as an increase in salivary immunoglobulin A. In order to assess whether the combination of repetitive drumming and shamanic instructions is specifically associated with these effects, we compared the effect of listening to either repetitive drumming or instrumental meditation music for 15 minutes on salivary cortisol concentration and on self-reported physiological and psychological states. For each musical style, two groups of participants were exposed to two conditions: instructions for shamanic journeying or relaxation instructions.

Perceiving individuality in harpsichord performance.

Can listeners recognize the individual characteristics of unfamiliar performers playing two different musical pieces on the harpsichord? Six professional harpsichordists, three prize-winners and three non prize-winners, made two recordings of two pieces from the Baroque period (a variation on a Partita by Frescobaldi and a rondo by François Couperin) on an instrument equipped with a MIDI console. Short (8 to 15 s) excerpts from these 24 recordings were subsequently used in a sorting task in which 20 musicians and 20 non-musicians, balanced for gender, listened to these excerpts and grouped together those that they thought had been played by the same performer. Twenty-six participants, including 17 musicians and nine non-musicians, performed significantly better than chance, demonstrating that the excerpts contained sufficient information to enable listeners to recognize the individual characteristics of the performers.

The musicality of non-musicians: an index for assessing musical sophistication in the general population.

Musical skills and expertise vary greatly in Western societies. Individuals can differ in their repertoire of musical behaviours as well as in the level of skill they display for any single musical behaviour. The types of musical behaviours we refer to here are broad, ranging from performance on an instrument and listening expertise, to the ability to employ music in functional settings or to communicate about music.

Individuality in harpsichord performance: disentangling performer- and piece-specific influences on interpretive choices.

Although a growing body of research has examined issues related to individuality in music performance, few studies have attempted to quantify markers of individuality that transcend pieces and musical styles. This study aims to identify such meta-markers by discriminating between influences linked to specific pieces or interpretive goals and performer-specific playing styles, using two complementary statistical approaches: linear mixed models (LMMs) to estimate fixed (piece and interpretation) and random (performer) effects, and similarity analyses to compare expressive profiles on a note-by-note basis across pieces and expressive parameters. Twelve professional harpsichordists recorded three pieces representative of the Baroque harpsichord repertoire, including three interpretations of one of these pieces, each emphasizing a different melodic line, on an instrument equipped with a MIDI console.

Beyond intensity: Spectral features effectively predict music-induced subjective arousal.

Emotions in music are conveyed by a variety of acoustic cues. Notably, the positive association between sound intensity and arousal has particular biological relevance. However, although amplitude normalization is a common procedure used to control for intensity in music psychology research, direct comparisons between emotional ratings of original and amplitude-normalized musical excerpts are lacking.

Primate drum kit: a system for studying acoustic pattern production by non-human primates using acceleration and strain sensors.

The possibility of achieving experimentally controlled, non-vocal acoustic production in non-human primates is a key step to enable the testing of a number of hypotheses on primate behavior and cognition. However, no device or solution is currently available, with the use of sensors in non-human animals being almost exclusively devoted to applications in food industry and animal surveillance. Specifically, no device exists which simultaneously allows: (i) spontaneous production of sound or music by non-human animals via object manipulation, (ii) systematical recording of data sensed from these movements, (iii) the possibility to alter the acoustic feedback properties of the object using remote control.