Pairwise comparisons were calculated using IBM-SPSS and a principal component analysis was used to evaluate the variability between the maqams. Using the EMOTIV EPOC+, a 14-channel wireless EEG headset, brainwaves were recorded and quantified before and during improvisations. The Ney, an end-blown flute that is popular and widely used in the Middle East was used by a professional musician to perform 24 improvisations at low, medium, and high tempos. No EEG correlates have been proposed yet for the eight most commonly used maqams. Middle Eastern Music is characterized by the additional use of microtones, resulting in a tonal-spatial system called Maqam. In addition, studies on music improvisations using scales other than the major and minor chords are scarce. Music improvisations constitute an ideal paradigm to study creativity, but the underlying cognitive processes remain poorly understood. The cognitive sciences have witnessed a growing interest in cognitive and neural basis of human creativity. The EEG activity differences were observed between distressed/excited and neutral/depressed/relaxed playing. The tasks of emotional and neutral playing differed considerably with respect to the state of intended-to-transfer emotion arousal and valence levels. neutral playing was employed to probe brain activity patterns differentially involved in distinct emotional states. The experimental contrast of emotional playing vs. The spectral analysis of the signal was applied as an initial step to be able to connect findings to the wider field of music-emotion research. In contrast, in the neutral playing task, participants were asked to play the same piece precisely as written to obtain data for control over general patterns of motor and sensory activation during playing. In the emotional playing task, participants were instructed to improvise variations in a manner by which the targeted emotion is communicated. In this study, we attempted to evaluate EEG patterns recorded from musicians who were instructed to perform a simple piano score while manipulating their manner of play to express specific contrasting emotions and self-rate the emotion they reflected on the scales of arousal and valence. The research on neural correlates of intentional emotion communication by the music performer is still limited. The distinguishing EEG pattern in the professional musicians during improvisation was the predominant activation of the lefthemisphere cortical regions simultaneously with high interhemispheric integration in the high-frequency band along the "creativity axis." The revealed neurophysiological correlates of musical creativity during improvisation included basic and variable components and were characterized by a specific frequency-spatial organization of bioelectric cortical activity in the musicians. Variable neurophysiological correlates were differentiated according to emotions and the professional level of the musicians. For the main neurophysiological correlates of musical creativity, we revealed higher values of EEG spectral power in the delta band and the dominance of long-distance functional cortical connections in the high-frequency bands. For statistical analysis, we used ANOVA and post hoc analysis. EEG signals were recorded in a resting state (eyes closed) and during three types of internal musical activity (perceiving, mentally reproducing, and mentally improvising) from 21 scalp electrodes according to the International 10-20 System. The participants were 136 right-handed practicing musicians aged 19 to 36 (102 males and 34 females), divided into two groups-professionals (56 people) and amateurs (80 people). The aim of our empirical research was to study the neurophysiological correlates of musical improvisation, a spontaneous creative activity. Now, it is necessary to study the neurophysiological correlates in true-to-life, professionally specific situations. Since the turn of this century, a substantial body of research has been published on the neuroscience of creativity.
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