(Dis-)Harmony in movement: effects of musical dissonance on movement timing and form
Identifieur interne : 000087 ( Main/Merge ); précédent : 000086; suivant : 000088(Dis-)Harmony in movement: effects of musical dissonance on movement timing and form
Auteurs : Naeem Komeilipoor [Italie, Pays-Bas] ; Matthew W. M. Rodger ; Cathy M. Craig ; Paola Cesari [Italie]Source :
- Experimental Brain Research [ 0014-4819 ] ; 2015.
Abstract
While the origins of consonance and dissonance in terms of acoustics, psychoacoustics and physiology have been debated for centuries, their plausible effects on movement synchronization have largely been ignored. The present study aimed to address this by investigating whether, and if so how, consonant/dissonant pitch intervals affect the spatiotemporal properties of regular reciprocal aiming movements. We compared movements synchronized either to consonant or to dissonant sounds and showed that they were differentially influenced by the degree of consonance of the sound presented. Interestingly, the difference was present after the sound stimulus was removed. In this case, the performance measured after consonant sound exposure was found to be more stable and accurate, with a higher percentage of information/movement coupling (tau coupling) and a higher degree of movement circularity when compared to performance measured after the exposure to dissonant sounds. We infer that the neural resonance representing consonant tones leads to finer perception/action coupling which in turn may help explain the prevailing preference for these types of tones.
Url:
DOI: 10.1007/s00221-015-4233-9
PubMed: 25725774
PubMed Central: 4369290
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M." last="Rodger">Matthew W. M. Rodger</name><affiliation><nlm:aff id="Aff3">School of Psychology, Queen’s University Belfast, David Keir Building, 18-30 Malone Road, Belfast, BT9 5BN UK</nlm:aff><wicri:noCountry code="subfield">BT9 5BN UK</wicri:noCountry></affiliation></author><author><name sortKey="Craig, Cathy M" sort="Craig, Cathy M" uniqKey="Craig C" first="Cathy M." last="Craig">Cathy M. Craig</name><affiliation><nlm:aff id="Aff3">School of Psychology, Queen’s University Belfast, David Keir Building, 18-30 Malone Road, Belfast, BT9 5BN UK</nlm:aff><wicri:noCountry code="subfield">BT9 5BN UK</wicri:noCountry></affiliation></author><author><name sortKey="Cesari, Paola" sort="Cesari, Paola" uniqKey="Cesari P" first="Paola" last="Cesari">Paola Cesari</name><affiliation wicri:level="1"><nlm:aff id="Aff1">Department of Neurological and Movement Sciences, University of Verona, Via Casorati 43, 37131 Verona, Italy</nlm:aff><country xml:lang="fr">Italie</country><wicri:regionArea>Department of Neurological and Movement Sciences, University of Verona, Via Casorati 43, 37131 Verona</wicri:regionArea><wicri:noRegion>37131 Verona</wicri:noRegion></affiliation></author></analytic><series><title level="j">Experimental Brain Research</title><idno type="ISSN">0014-4819</idno><idno type="e-ISSN">1432-1106</idno><imprint><date when="2015">2015</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en"><p>While the origins of consonance and dissonance in terms of acoustics, psychoacoustics and physiology have been debated for centuries, their plausible effects on movement synchronization have largely been ignored. The present study aimed to address this by investigating whether, and if so how, consonant/dissonant pitch intervals affect the spatiotemporal properties of regular reciprocal aiming movements. We compared movements synchronized either to consonant or to dissonant sounds and showed that they were differentially influenced by the degree of consonance of the sound presented. Interestingly, the difference was present after the sound stimulus was removed. In this case, the performance measured after consonant sound exposure was found to be more stable and accurate, with a higher percentage of information/movement coupling (tau coupling) and a higher degree of movement circularity when compared to performance measured after the exposure to dissonant sounds. 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