Fritz Thomas H, Schneider Lydia, Villringer Arno
Max Planck Institute for Human Cognitive and Brain ScienceLeipzig, Germany; Institute for Psychoacoustics and Electronic Music (IPEM), University of GhentGhent, Belgium; Department of Nuclear Medicine, University of LeipzigLeipzig, Germany.
Max Planck Institute for Human Cognitive and Brain Science Leipzig, Germany.
Front Neurosci. 2016 Oct 17;10:448. doi: 10.3389/fnins.2016.00448. eCollection 2016.
The esthetic appreciation of music is strongly influenced by cultural background and personal taste. One would expect that this would complicate the utilizability of musical feedback in paradigms, such that music would only be perceived as a reward if it complies to personal esthetic appreciation. Here we report data where we assessed esthetic appreciation of music after 1. a physically strenuous music improvisation and 2. after passive music listening (where participants esthetically assessed similar music). Data are reported from two experiments with different patient groups: 1. Drug abuse patients, and 2. Chronic pain patients. Participants in both experiments performed , a music feedback method where exercise equipment is modified in such a way that it can be played like musical instruments by modulating musical parameters in a composition software. This combines physical exertion with musical performance in a fashion that has previously been shown to have a number of positive psychological effects such as enhanced mood and reduced perceived exertion. In both experiments esthetic appreciation of musical presentations during and a control condition without musical agency were compared. Data show that both patient groups perceived the musical outcome of their own performance as more esthetically pleasing than similar music they listened to passively. This suggests that the act of making music (when combined with physical exertion) is associated with a positivity bias about the perceived esthetical quality of the musical outcome. The outcome of personal musical agency thus tends to be perceived as rewarding even if it does not comply with personal esthetic appreciation. This suggests that musical feedback interventions may not always have to be highly individualized because individual taste may not always be crucial. The results also suggest that the method applied here may be efficient at encouraging music listeners to actively explore new musical styles that they might otherwise be reluctant to listen to (e.g., avant-garde music). The results also hint toward a deeper understanding of why musicians, who exert themselves physically during musical performances to generate music and regardless of the type of music they are playing, typically find the physically demanding experience esthetically satisfying.
对音乐的审美欣赏受到文化背景和个人品味的强烈影响。人们可能会认为,这会使音乐反馈在范式中的可用性变得复杂,以至于只有当音乐符合个人审美欣赏时,才会被视为一种奖励。在此,我们报告了两项实验的数据,在实验中我们评估了:1. 在进行高强度的音乐即兴创作后;2. 在被动聆听音乐后(参与者对相似音乐进行审美评估),人们对音乐的审美欣赏情况。这两项实验的数据来自不同的患者群体:1. 药物滥用患者;2. 慢性疼痛患者。两个实验中的参与者都采用了一种音乐反馈方法,即对健身器材进行改装,使其能够通过在作曲软件中调节音乐参数,像乐器一样演奏。这种方式将体力消耗与音乐表演结合在一起,此前的研究表明,它具有许多积极的心理效应,如改善情绪和减轻感知到的运动强度。在两个实验中,我们比较了有音乐参与和没有音乐参与的控制条件下对音乐呈现的审美欣赏情况。数据表明,两个患者群体都认为自己表演的音乐成果比他们被动聆听的相似音乐在审美上更令人愉悦。这表明制作音乐的行为(与体力消耗相结合时)与对音乐成果的感知审美质量的积极偏见有关。因此,即使个人音乐创作的成果不符合个人审美欣赏,也往往会被视为有奖励作用。这表明音乐反馈干预可能并不总是需要高度个性化,因为个人品味可能并不总是至关重要的。研究结果还表明,这里应用的方法可能有效地鼓励音乐听众积极探索他们原本可能不愿意聆听的新音乐风格(例如,先锋派音乐)。研究结果还暗示了对为什么音乐家在音乐表演中进行体力消耗以创作音乐,且无论他们演奏何种类型的音乐,通常都能从这种体力要求高的体验中获得审美满足感的更深入理解。