Mapping the Physical Language of Children Diagnosed with Autism: A Preliminary Study.

Children diagnosed with autism spectrum disorder have a unique motor profile, characterized by, for example, unusual posture or compulsive use of the body. However, not much is known about specific characteristics of their physical language, such as their movement direction, their self-touch pattern, etc., and even less is known about these characteristics with regard to their typically developing siblings. In this first of its kind study, we attempted to map the physical language of children diagnosed with autism spectrum disorder and to compare it to their typically developing siblings. To this end, we recruited 12 pairs of siblings, comprising one sibling with a diagnosis of autism and one sibling who is typically developing. The siblings were asked to play for 10 min and were videotaped throughout the interaction. We evaluated the siblings' physical language using Laban's movement analysis. We found significant and substantial differences between the physical language of the children diagnosed with autism and their typically developing siblings. The results are discussed in terms of the implications of the differences in physical language between the two populations and how movement analysis could be important for interventions in order to improve the communication and social abilities of ASD children.

The varying social dynamics in orally transmitted and notated vs. improvised musical performance.

Musical performance can be viewed as an intricate form of social behavior. Accordingly, the rich diversity of existing musical styles and traditions may reflect distinct modes of social interaction. To gain a better understanding of the relations between musical style and social dynamics, we have formulated a framework for dissecting different genres of musical performance according to key social criteria. In particular, we contemplate on the continuum ranging from strictly orally transmitted and notated to fully improvised music, and its relation to general compliance with social norms and structure, borrowing key concepts from tight-loose theory, a powerful paradigm for studying societal behaviors and tendencies. We apply this approach to analyze four distinct prominent musical genres, providing a detailed mapping between musical style and social dynamics. This work highlights important factors that link between musical performance and social interaction, and will enable future experimental unraveling of social aspects of musical performance as expressed by different musical styles and practices.

Outcomes and experiences of an online Balance-Space music therapy intervention for cancer patients: A mixed methods study.

Coping with cancer requires both physical and emotional fortitude, and various intervention programs attempt to address these needs. Since the outbreak of the COVID-19 pandemic, many interventions have transitioned from live to online settings. Balance-Space is a music therapy intervention, which includes listening to original composed music, followed by an open discussion. Participants with a cancer diagnosis were randomized to either an online group music listening intervention or an online group meditation intervention. Both activities were followed by a group discussion led by two music therapists. A mixed methods study was employed and included both quantitative measurements of distress, anxiety, and pain and a qualitative analysis of the group discussion in the music intervention group. We found a significant reduction in participants' perceived pain levels following the music intervention when compared to the meditation intervention. This result was supported by qualitative content analysis, which revealed how music evoked physical reactions and affected the participants' experience of pain. There were no significant differences in participants' perceived distress levels and perceived anxiety levels between the two groups. These preliminary results are encouraging and support the need for further exploration of online music therapy interventions as a non-pharmacological treatment for cancer patients.

Musical engagement as a duet of tight synchrony and loose interpretability.

Joint engagement in music often facilitates positive social interaction, effectively shifting participants' perspective from the individual to the collective. The result is tight coordination and uniformity between participants, but at the same time, also remarkable flexibility and creativity. How does music achieve such a fine balance between the strict alignment necessary for coordination, and the substantial latitude necessary for experimentation? To address this question, I propose to analyze joint music engagement within the tight-loose theoretical framework broadly used in the social sciences. Tight-loose theory was originally developed for distinguishing between two archetypical cultural tendencies. On the one hand, tightness, which denotes stringent adherence to social norms, and on the other hand, looseness, which refers to a more flexible and less restrictive attitude towards norms. I posit that the flexible form of collaboration characteristic of musical interaction is due to a coexistence of tightness and looseness within joint engagement in music. I argue that the tight aspects of music can be attributed to its rhythmic structure, which requires continuous and precise temporal alignment between participants. Indeed, when experienced on its own, outside of a musical context, interpersonal synchrony has been repeatedly shown to enhance diverse positive social capacities such as bonding, collaboration and affiliation between interacting individuals, but at the expense of increasing conformity, blind obedience and even hostility towards non-group members. These effects are consistent with synchrony driving a tight interaction, inducing a sense of common group membership (CGM), which can endow music with necessary rigor and order. In contrast, the loose side of music may pertain to the ambiguity in meaning and intention expressed by music, which leaves ample room for interpretation and improvisation. I thus propose that the combined tight-loose nature of music, can simultaneously enhance positive social behaviors and reduce negative ones, leading to a tolerant form of group membership (TGM).

Children's perception of interpersonal coordination during joint painting.

Interpersonal coordination is important for many joint activities. A special case of interpersonal coordination is synchronization, which is required for the performance of many activities, but is also associated with diverse positive social and emotional attributes. The extent to which these effects are due to the reliance on synchrony for task performance or to its specific rhythmic characteristics, is not clear. To address these questions, we considered a more general form of interpersonal coordination, implemented during joint artmaking. This is a non-typical context for interpersonal coordination, not required for task success, and smoother and more loosely-structured than more standard forms of synchronous coordination. Therefore, comparing interpersonal coordination with non-coordination during shared painting, could help reveal general social-emotional reactions to coordination. To gain a more 'naïve' perspective we focused on children, and staged coordinated and non-coordinated art interactions between an adult and a child, asking child observers to judge various variables reflecting the perceived bond between the painters. We found an overall stronger perceived bond for the coordination condition. These results demonstrate that even a non-typical form of interpersonal coordination could be attributed with positive social and emotional qualities, a capacity revealed already in childhood, with possible implications for development.

Rhythm and timing as vulnerabilities in neurodevelopmental disorders.

Millions of children are impacted by neurodevelopmental disorders (NDDs), which unfold early in life, have varying genetic etiologies and can involve a variety of specific or generalized impairments in social, cognitive and motor functioning requiring potentially lifelong specialized supports. While specific disorders vary in their domain of primary deficit (e.g. autism spectrum disorder (social), attention-deficit/hyperactivity disorder (attention), developmental coordination disorder (motor) and developmental language disorder (language)), comorbidities between NDDs are common. Intriguingly, many NDDs are associated with difficulties in skills related to rhythm, timing and synchrony though specific profiles of rhythm/timing impairments vary across disorders. Impairments in rhythm/timing may instantiate vulnerabilities for a variety of NDDs and may contribute to both the primary symptoms of each disorder as well as the high levels of comorbidities across disorders. Drawing upon genetic, neural, behavioural and interpersonal constructs across disorders, we consider how disrupted rhythm and timing skills early in life may contribute to atypical developmental cascades that involve overlapping symptoms within the context of a disorder's primary deficits. Consideration of the developmental context, as well as common and unique aspects of the phenotypes of different NDDs, will inform experimental designs to test this hypothesis including via potential mechanistic intervention approaches. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.

Joint rhythmic tapping elicits distinct emotions depending on tap timing and prior musical training.

Music plays a significant role in human life. It is a form of art and entertainment and a powerful medium for interpersonal interaction. The experience of listening to music is often emotional. Previous research has elucidated many of the mechanisms that effect an emotional response in the listener. In contrast, much less is known about how joint musical engagement impacts emotions. Here we focus on synchronized rhythmic interaction, a fundamental feature of musical engagement. There are theoretical reasons for hypothesizing that synchronized interaction should elicit positive affect among interacting individuals, although empirical studies performed with adults have found little consistent evidence for such an effect. We revisited this question, studying children instead of adults, and used an implicit measure of experienced affect to compare children's responses to synchronized versus asynchronized joint tapping. Unlike previous studies, we distinguished between musically trained and untrained participants, because a background of musical training may be associated with altered emotional sensitivities to rhythmic interaction. We found a striking difference in emotional responses to synchronized versus asynchronized tapping, which strongly depended on musical training background. The untrained children responded to synchrony with more positive affect and less negative affect when compared to asynchrony, in line with theoretical predictions. In contrast, the musically trained children showed low positive affect following both synchrony and asynchrony and more negative affect in response to synchrony rather than asynchrony. These results suggest a possible emotional dissociation between synchronized and asynchronized interpersonal rhythmic interaction that may be influenced by musical training background. (PsycINFO Database Record (c) 2019 APA, all rights reserved).

Joint Rhythmic Movement Increases 4-Year-Old Children's Prosocial Sharing and Fairness Toward Peers.

The allocation of resources to a peer partner is a prosocial act that is of fundamental importance. Joint rhythmic movement, such as occurs during musical interaction, can induce positive social experiences, which may play a role in developing and enhancing young children's prosocial skills. Here, we investigated whether joint rhythmic movement, free of musical context, increases 4-year-olds' sharing and sense of fairness in a resource allocation task involving peers. We developed a precise procedure for administering joint synchronous experience, joint asynchronous experience, and a baseline control involving no treatment. Then we tested how participants allocated resources between self and peer. We found an increase in the generous allocation of resources to peers following both synchronous and asynchronous movement compared to no treatment. At a more theoretical level, this result is considered in relation to previous work testing other aspects of child prosociality, for example, peer cooperation, which can be distinguished from judgments of fairness in resource allocation tasks. We draw a conceptual distinction between two types of prosocial behavior: resource allocation (an other-directed individual behavior) and cooperation (a goal-directed collaborative endeavor). Our results highlight how rhythmic interactions, which are prominent in joint musical engagements and synchronized activity, influence prosocial behavior between preschool peers.

Synchronized movement experience enhances peer cooperation in preschool children.

Cooperating with other people is a key achievement in child development and is essential for human culture. We examined whether we could induce 4-year-old children to increase their cooperation with an unfamiliar peer by providing the peers with synchronized motion experience prior to the tasks. Children were randomly assigned to independent treatment and control groups. The treatment of synchronous motion caused children to enhance their cooperation, as measured by the speed of joint task completion, compared with control groups that underwent asynchronous motion or no motion at all. Further analysis suggested that synchronization experience increased intentional communication between peer partners, resulting in increased coordination and cooperation.

Synchronous rhythmic interaction enhances children's perceived similarity and closeness towards each other.

Inter-personal synchronization is important for performing many cooperative tasks. Notably, synchrony has also been shown to have considerable positive social influences, possibly mediated by synchrony-induced changes in social attitude such as an increased sense of similarity and affiliation between interacting individuals. This effect has been demonstrated in adults, but it is unknown whether synchrony might have a similar impact on the social attitudes of children. We thus set to directly examine the influence of synchronous rhythmic interaction on perceived similarity and closeness in pairs of 8-9 year old children. We found that children who had participated in a synchronous interaction regarded their interacting partner as more similar and closer to themselves than children who had not interacted at all or who had taken part in an asynchronous interaction. These findings reveal that synchronous interaction can positively alter social attitudes between interacting children, suggesting a potential mechanism by which synchrony may enhance positive social interaction through attitudinal shift.