Biology subjects

Heggli, O. A.

Publications and source records attributed to Heggli, O. A..

4 recordsLinked to original sources

bioRxiv2020

The dynamics of the improvising brain: a study of musical creativity using jazz improvisation

The neuroscience of jazz improvisation has shown promising results for understanding domain-specific and domain-general processes of creativity. Here, we used fMRI to measure for the first time the dynamic neural substrates of musical creativity in 16 skilled jazz pianists while they played by memory, improvised freely (iFreely) and by melody (iMelody), and during resting-state. We used the Leading Eigenvector Dynamics Analysis (LEiDA) to examine how different modes of improvisation (musical creativity) evolve over time, and which cognitive mechanisms are responsible for different stages of musical creation. Our results reveal that a substate comprising auditory, sensorimotor and posterior salience networks had a significantly higher probability of occurrence (POc) in both modes of improvisation than in resting-state and play by memory. Another substate comprising the default mode (DMN), executive control (ECN) and language networks had significantly lower POc in iFreely than in resting-state, with iMelody having a higher POc than iFreely. Such indicates that iMelody, a more constrained form of creativity involves a higher recurrence of subsystems responsible for goal-directed cognition and cognitive control processes. On the other hand, iFreely recruits brain networks responsible for generation of spontaneous musical creativity. Overall, this study brings new insights into the large-scale brain mechanisms supporting and promoting the complex process of creativity, specifically in the context of jazz improvisation, as well as the relevance of different improvisation modes in creativity research.

neuroscience↗

bioRxiv2019

A Kuramoto model of self-other integration across interpersonal synchronization strategies

Human social behaviour is complex, and the biological and neural mechanisms underpinning it remain debated1,2. A particularly interesting social phenomenon is our ability and tendency to fall into synchrony with other humans3,4. Our ability to coordinate actions and goals relies on the ability to distinguish between and integrate self and other, which when impaired can lead to devastating consequences. Interpersonal synchronization has been a widely used framework for studying action coordination and self-other integration, showing that in simple interactions, such as joint finger tapping, complex interpersonal dynamics emerge. Here we propose a computational model of self-other integration via within- and between-person action-perception links, implemented as a simple Kuramoto model with four oscillators. The model abstracts each member of a dyad as a unit consisting of two connected oscillators, representing intrinsic processes of perception and action. By fitting this model to data from two separate experiments we show that interpersonal synchronization strategies rely on the relationship between within- and between-unit coupling. Specifically, mutual adaptation exhibits a higher between-unit coupling than within-unit coupling; leading-following requires that the follower unit has a low within-unit coupling; and leading-leading occurs when two units jointly exhibit a low between-unit coupling. These findings are consistent with the theory of interpersonal synchronization emerging through self-other integration mediated by processes of action-perception coupling4. Hence, our results show that chaotic human behaviour occurring on a millisecond scale can be modelled using coupled oscillators.

neuroscience↗

bioRxiv2018

Musical interaction is influenced by underlying predictive models and musical expertise

Musical interaction is a unique model for understanding humans ability to align goals, intentions, and actions, which also allows for the manipulation of participants internal predictive models of upcoming events. Here we used polyrhythms to construct two joint finger tapping tasks that even when rhythmically dissimilar resulted in equal inter-tap intervals (ITIs). Thus, behaviourally a dyad of two musicians tap isochronously at the same rate, yet with their own distinct rhythmical context model (RCM). We recruited 22 highly skilled musicians (in 11 dyads) and contrasted the effect of having a shared versus non-shared RCM on dyads synchronization behaviour. As expected, tapping synchronization was significantly worse at the start of trials with non-shared models compared to trials with a shared model. However, the musicians were able to quickly recover when holding dissimilar predictive models. We characterised the directionality in the tapping behaviour of the dyads and found patterns mostly of mutual adaptation. Yet, in a subset of dyads primarily consisting of drummers, we found significantly different synchronization patterns, suggesting that instrument expertise can significantly affect synchronization strategies. Overall, this demonstrates that holding different predictive models impacts synchronization in musicians performing joint finger tapping.\n\nPublic significance statementThis study shows that when a pair of musicians thinks differently about a rhythm they play together, their performance is worse. However, they are able to recover back to normal performance levels after a few taps for which they use different strategies. Interestingly, we find that the strategies used by drummers may be different from other musicians.

neuroscience↗

bioRxiv2018

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

Groove is defined as the pleasurable desire to move to music. Research has shown that rhythmic complexity modulates the sensation of groove but how other musical features, such as harmony, influence groove 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. Rhythm showed an inverted U-shaped relationship with ratings of pleasure and wanting to move, whereas medium and low complexity chords were rated similarly. Pleasure mediated the effect of harmony on wanting to move and high complexity chords attenuated the effect of rhythm. While rhythmic complexity is the primary driver, harmony both modulates the effect of rhythm and makes a unique contribution via its effect on pleasure. These results may be accounted for by predictive processes based on rhythmic and harmonic expectancies that are known to contribute to musical pleasure or reward.

neuroscience↗