Null effect of perceived drum pattern complexity on the experience of groove.

There is a broad consensus in groove research that the experience of groove, understood as a pleasurable urge to move in response to music, is to some extent related to the complexity of the rhythm. Specifically, music with medium rhythmic complexity has been found to motivate greater urge to move compared to low or high complexity music (inverted-U hypothesis). Studies that confirmed the inverted-U hypothesis usually based their measure of complexity on the rhythmic phenomenon of syncopation, where rhythms with more and/or stronger syncopation are considered to be more complex than less syncopated rhythms.

Music reward sensitivity is associated with greater information transfer capacity within dorsal and motor white matter networks in musicians.

There are pronounced differences in the degree to which individuals experience music-induced pleasure which are linked to variations in structural connectivity between auditory and reward areas. However, previous studies exploring the link between white matter structure and music reward sensitivity (MRS) have relied on standard diffusion tensor imaging methods, which present challenges in terms of anatomical accuracy and interpretability. Further, the link between MRS and connectivity in regions outside of auditory-reward networks, as well as the role of musical training, have yet to be investigated.

The perceived catchiness of music affects the experience of groove.

Catchiness and groove are common phenomena when listening to popular music. Catchiness may be a potential factor for experiencing groove but quantitative evidence for such a relationship is missing. To examine whether and how catchiness influences a key component of groove-the pleasurable urge to move to music (PLUMM)-we conducted a listening experiment with 450 participants and 240 short popular music clips of drum patterns, bass lines or keys/guitar parts.

Meaning-making and creativity in musical entrainment.

In this paper we suggest that basic forms of musical entrainment may be considered as intrinsically creative, enabling further creative behaviors which may flourish at different levels and timescales. Rooted in an agent's capacity to form meaningful couplings with their sonic, social, and cultural environment, musical entrainment favors processes of adaptation and exploration, where innovative and functional aspects are cultivated via active, bodily experience. We explore these insights through a theoretical lens that integrates findings from enactive cognitive science and creative cognition research.

Dopamine dysregulation in Parkinson's disease flattens the pleasurable urge to move to musical rhythms.

The pleasurable urge to move to music (PLUMM) activates motor and reward areas of the brain and is thought to be driven by predictive processes. Dopamine in motor and limbic networks is implicated in beat-based timing and music-induced pleasure, suggesting a central role of basal ganglia (BG) dopaminergic systems in PLUMM. This study tested this hypothesis by comparing PLUMM in participants with Parkinson's disease (PD), age-matched controls, and young controls.

Musicians and non-musicians show different preference profiles for single chords of varying harmonic complexity.

The inverted U hypothesis in music predicts that listeners prefer intermediate levels of complexity. However, the shape of the liking response to harmonic complexity and the effect of musicianship remains unclear. Here, we tested whether the relationship between liking and harmonic complexity in single chords shows an inverted U shape and whether this U shape is different for musicians and non-musicians.

Cultural Familiarity and Individual Musical Taste Differently Affect Social Bonding when Moving to Music.

Social bonds are essential for our health and well-being. Music provides a unique and implicit context for social bonding by introducing temporal and affective frameworks, which facilitate movement synchronization and increase affiliation. How these frameworks are modulated by cultural familiarity and individual musical preferences remain open questions.

The sensation of groove engages motor and reward networks.

The sensation of groove has been defined as the pleasurable desire to move to music, suggesting that both motor timing and reward processes are involved in this experience. Although many studies have investigated rhythmic timing and musical reward separately, none have examined whether the associated cortical and subcortical networks are engaged while participants listen to groove-based music. In the current study, musicians and non-musicians listened to and rated experimentally controlled groove-based stimuli while undergoing functional magnetic resonance imaging.

The sensation of groove is affected by the interaction of rhythmic and harmonic complexity.

The pleasurable desire to move to music, also known as groove, is modulated by rhythmic complexity. How the sensation of groove is influenced by other musical features, such as the harmonic complexity of individual chords, is less clear. To address this, we asked people with a range of musical experience to rate stimuli that varied in both rhythmic and harmonic complexity.

Now you hear it: a predictive coding model for understanding rhythmic incongruity.

Rhythmic incongruity in the form of syncopation is a prominent feature of many contemporary musical styles. Syncopations afford incongruity between rhythmic patterns and the meter, giving rise to mental models of differently accented isochronous beats. Syncopations occur either in isolation or as part of rhythmic patterns, so-called grooves.

Syncopation affects free body-movement in musical groove.

One of the most immediate and overt ways in which people respond to music is by moving their bodies to the beat. However, the extent to which the rhythmic complexity of groove-specifically its syncopation-contributes to how people spontaneously move to music is largely unexplored. Here, we measured free movements in hand and torso while participants listened to drum-breaks with various degrees of syncopation.

Effects of instructed timing and tempo on snare drum sound in drum kit performance.

This paper reports on an experiment investigating the expressive means with which performers of groove-based musics signal the intended timing of a rhythmic event. Ten expert drummers were instructed to perform a rock pattern in three different tempi and three different timing styles: "laid-back," "on-the-beat," and "pushed." The results show that there were systematic differences in the intensity and timbre (i.

Neural underpinnings of music: the polyrhythmic brain.

Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has the remarkable ability to move our minds and bodies. Why do certain rhythms make us want to tap our feet, bop our heads or even get up and dance? And how does the brain process rhythmically complex rhythms during our experiences of music? In this chapter, we describe some common forms of rhythmic complexity in music and propose that the theory of predictive coding can explain how rhythm and rhythmic complexity are processed in the brain. We also consider how this theory may reveal why we feel so compelled by rhythmic tension in music.

Rhythmic complexity and predictive coding: a novel approach to modeling rhythm and meter perception in music.

Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has a remarkable capacity to move our minds and bodies. How does the cognitive system enable our experiences of rhythmically complex music? In this paper, we describe some common forms of rhythmic complexity in music and propose the theory of predictive coding (PC) as a framework for understanding how rhythm and rhythmic complexity are processed in the brain. We also consider why we feel so compelled by rhythmic tension in music.

Syncopation, body-movement and pleasure in groove music.

Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown.