Tang Poy Colleen, Woolhouse Matthew H
Department of Psychology, Neuroscience and Behavior, McMaster University, Hamilton, ON, Canada.
Digital Music Lab, School of the Arts, McMaster University, Hamilton, ON, Canada.
Front Psychol. 2020 Dec 3;11:588935. doi: 10.3389/fpsyg.2020.588935. eCollection 2020.
This study investigated an evolutionary-adaptive explanation for the cultural ubiquity of choreographed synchronous dance: that it evolved to increase interpersonal aesthetic appreciation and/or attractiveness. In turn, it is assumed that this may have facilitated social bonding and therefore procreation between individuals within larger groups. In this dual-dancer study, individuals performed fast or slow hip-hop choreography to fast-, medium-, or slow-tempo music; when paired laterally, this gave rise to split-screen video stimuli in which there were four basic categories of dancer and music synchrony: (1) synchronous dancers, synchronous music; (2) synchronous dancers, asynchronous music; (3) asynchronous dancers, one dancer synchronous with music; and (4) asynchronous dancers, asynchronous music. Participants' pupil dilations and aesthetic appreciation of the dancing were recorded for each video, with the expectation that these measures would covary with levels of synchronization. While results were largely consistent with the hypothesis, the findings also indicated that interpersonal aesthetic appreciation was driven by a hierarchy of synchrony between the dancers: stimuli in which only one dancer was synchronous with the music were rated lower than stimuli in which the dancers were asynchronous with each other and with the music; i.e., stimuli in which the dancers were unequal were judged less favorably than those in which the dancers were equal, albeit asynchronously. Stimuli in which all elements were synchronous, dancers and music, were rated highest and, in general, elicited greater pupil dilations.
即它的进化是为了增强人际间的审美欣赏和/或吸引力。反过来，人们认为这可能促进了社会联系，进而促进了更大群体中个体之间的繁衍。在这项双舞者研究中，个体随着快节奏、中节奏或慢节奏的音乐表演快速或慢速的嘻哈舞蹈编排；当从侧面配对时，这产生了分屏视频刺激，其中有四种基本的舞者与音乐同步类别：（1）同步舞者，同步音乐；（2）同步舞者，异步音乐；（3）异步舞者，一名舞者与音乐同步；（4）异步舞者，异步音乐。记录了参与者对每个视频的瞳孔扩张情况以及对舞蹈的审美欣赏程度，预期这些测量结果会与同步程度相关。虽然结果在很大程度上与假设一致，但研究结果还表明，人际间的审美欣赏是由舞者之间的同步层次驱动的：只有一名舞者与音乐同步的刺激比舞者彼此之间以及与音乐都不同步的刺激评分更低；也就是说，舞者不平等的刺激比舞者平等（尽管不同步）的刺激评价更低。舞者和音乐所有元素都同步的刺激评分最高，并且总体上引起更大的瞳孔扩张。
