Cholinergic-related pupil activity reflects level of emotionality during motor performance.

Pupil size covaries with the diffusion rate of the cholinergic and noradrenergic neurons throughout the brain, which are essential to arousal. Recent findings suggest that slow pupil fluctuations during locomotion are an index of sustained activity in cholinergic axons, whereas phasic dilations are related to the activity of noradrenergic axons. Here, we investigated movement induced arousal (i.e., by singing and swaying to music), hypothesising that actively engaging in musical behaviour will provoke stronger emotional engagement in participants and lead to different qualitative patterns of tonic and phasic pupil activity. A challenge in the analysis of pupil data is the turbulent behaviour of pupil diameter due to exogenous ocular activity commonly encountered during motor tasks and the high variability typically found between individuals. To address this, we developed an algorithm that adaptively estimates and removes pupil responses to ocular events, as well as a functional data methodology, derived from Pfaffs' generalised arousal, that provides a new statistical dimension on how pupil data can be interpreted according to putative neuromodulatory signalling. We found that actively engaging in singing enhanced slow cholinergic-related pupil dilations and having the opportunity to move your body while performing amplified the effect of singing on pupil activity. Phasic pupil oscillations during motor execution attenuated in time, which is often interpreted as a measure of sense of agency over movement.

Concert experiences in virtual reality environments.

Spurred by recent advances in digital technologies, virtual concerts have become established modes for event attendance and represent a rapidly growing segment of the music industry. Yet, up to now, general experience of virtual concert attendees remains largely underexplored. Here, we focus on a subcategory in this domain: music concerts in virtual reality (VR). Our approach is situated within the theoretical framework of embodied music cognition and entailed investigation through a survey study. Responses of seventy-four VR concert attendees were collected, consisting of demographics, motivations, experiences, and future perspectives. In contrast to previous research, which generally identified social connectedness as a main motivator for concert attendance, our sample regarded it as one of the least important incentives. On the other hand, in line with previous studies, 'seeing specific artists perform' and 'uniqueness of the experience', were pivotal. The latter was mostly fueled by the possibility to experience/interact with visuals and environments considered as unconceivable in the real world. Furthermore, 70% of our sample regarded VR concerts as 'the future of the music industry', mainly relating to the accessibility of such events. Positive evaluations of VR concert experiences, as well as future perspectives regarding the medium, were significantly influenced by the level of experienced immersivity. To our knowledge, this is the first study to provide such an account. Supplementary Information: The online version contains supplementary material available at 10.1007/s10055-023-00814-y.

Impact of Lockdown Measures on Joint Music Making: Playing Online and Physically Together.

A wide range of countries decided to go into lockdown to contain the coronavirus disease (COVID-19) pandemic of 2020, a setting separating people and restricting their movements. We investigated how musicians dealt with this sudden restriction in mobility. Responses of 234 people were collected. The majority of respondents (95%) resided in Belgium or the Netherlands. Results indicated a decrease of 79% of live music making in social settings during lockdown compared with before lockdown. In contrast, an increase of 264% was demonstrated for online joint music making. However, results showed that most respondents were largely or even completely unaccustomed with specialized platforms for online joint music making (e.g., JamKazam, Jamulus). Respondents reported to mostly use well-known video-conferencing platforms such as Zoom and Skype when playing together virtually. However, when such video-conferencing platforms were used, they were often not employed for synchronized playing and were generally reported to insufficiently deal with latency issues. Furthermore, respondents depending on music making as their main source of income explored online real-time methods significantly more than those relying on other income sources. Results also demonstrated an increase of 93% in the use of alternative remote joint music-making methods (e.g., recording parts separately and subsequently circulating these digital recordings). All in all, results of this study provide a more in-depth view on joint music making during the first weeks of lockdown induced by the COVID-19 pandemic of 2020, and demonstrate users' perceptions of performance and usability of online real-time platforms as well as alternative methods for musical interaction.

Livestream Experiments: The Role of COVID-19, Agency, Presence, and Social Context in Facilitating Social Connectedness.

Musical life became disrupted in 2020 due to the COVID-19 pandemic. Many musicians and venues turned to online alternatives, such as livestreaming. In this study, three livestreamed concerts were organized to examine separate, yet interconnected concepts-agency, presence, and social context-to ascertain which components of livestreamed concerts facilitate social connectedness. Hierarchical Bayesian modeling was conducted on 83 complete responses to examine the effects of the manipulations on feelings of social connectedness with the artist and the audience. Results showed that in concert 1, where half of the participants were allowed to vote for the final song to be played, this option did not result in the experience of more agency. Instead, if their preferred song was played (regardless of voting ability) participants experienced greater connectedness to the artist. In concert 2, participants who attended the concert with virtual reality headsets experienced greater feelings of physical presence, as well as greater feelings of connectedness with the artist, than those that viewed a normal YouTube livestream. In concert 3, attendance through Zoom led to greater experience of social presence, but predicted less connectedness with the artist, compared to a normal YouTube livestream. Crucially, a greater negative impact of COVID-19 (e.g., loneliness) predicted feelings of connectedness with the artist, possibly because participants fulfilled their social needs with this parasocial interaction. Examining data from all concerts suggested that physical presence was a predictor of connectedness with both the artist and the audience, while social presence only predicted connectedness with the audience. Correlational analyses revealed that reductions in loneliness and isolation were associated with feelings of shared agency, physical and social presence, and connectedness to the audience. Overall, the findings suggest that in order to reduce feelings of loneliness and increase connectedness, concert organizers and musicians could tune elements of their livestreams to facilitate feelings of physical and social presence.

Relational processing demands and the role of spatial context in the construction of episodic simulations.

Reports on differences between remembering the past and imagining the future have led to the hypothesis that constructing future events is a more cognitively demanding process. However, factors that influence these increased demands, such as whether the event has been previously constructed and the types of details comprising the event, have remained relatively unexplored. Across two experiments, we examined how these factors influence the process of constructing event representations by having participants repeatedly construct events and measuring how construction times and a range of phenomenological ratings changed across time points. In Experiment 1, we contrasted the construction of past and future events and found that, relative to past events, the constructive demands associated with future events are particularly heightened when these events are imagined for the first time. Across repeated simulations, future events became increasingly similar to past events in terms of construction times and incorporated detail. In Experiment 2, participants imagined future events involving two memory details (person, location) and then reimagined the event either (a) exactly the same, (b) with a different person, or (c) in a different location. We predicted that if generating spatial information is particularly important for event construction, a change in location will have the greatest impact on constructive demands. Results showed that spatial context contributed to these heightened constructive demands more so than person details, consistent with theories highlighting the central role of spatial processing in episodic simulation. We discuss the findings from both studies in the light of relational processing demands and consider implications for current theoretical frameworks. (PsycInfo Database Record (c) 2020 APA, all rights reserved).

The sonic instructor: A music-based biofeedback system for improving weightlifting technique.

In this study, we assumed that correct functional movements for weightlifting can be learned with the help of a music-based biofeedback system. We compared musical feedback with verbal feedback from experienced trainers using two independent groups. The focus was on one specific movement called deadlift. Physical parameters under considerations were the spine (i.e. loss of midline stability resulting in flexion) and the forward displacement of the barbell during the repetitions relative to the mid-foot. We recruited 31 recreational weight lifters (21-42 years of age). Results revealed that both feedback types are effective in improving the movements for deadlift. No significant differences were found across the two feedback types, neither in terms of movement, nor in terms of clarity and motivation. The results suggest that the proposed feedback system is a valid tool for technology-aided training and self-training practices.