The perceived catchiness of music affects the experience of groove

Catchiness and groove are common phenomena when listening to popular music. Catchiness may be a potential factor for experiencing groove but quantitative evidence for such a relationship is missing. To examine whether and how catchiness influences a key component of groove–the pleasurable urge to move to music (PLUMM)–we conducted a listening experiment with 450 participants and 240 short popular music clips of drum patterns, bass lines or keys/guitar parts. We found four main results: (1) catchiness as measured in a recognition task was only weakly associated with participants’ perceived catchiness of music. We showed that perceived catchiness is multi-dimensional, subjective, and strongly associated with pleasure. (2) We found a sizeable positive relationship between PLUMM and perceived catchiness. (3) However, the relationship is complex, as further analysis showed that pleasure suppresses perceived catchiness’ effect on the urge to move. (4) We compared common factors that promote perceived catchiness and PLUMM and found that listener-related variables contributed similarly, while the effects of musical content diverged. Overall, our data suggests music perceived as catchy is likely to foster groove experiences

Drum Groove Corpora

Patterned microtiming deviations from metronomic regularity are ubiquitous in the performance of metered music. The relevance of microtiming to the perception of music has been studied since the 1980s. Most recently, microtiming has been investigated as a cause of groove (i.e., the pleasant urge to move in response to music). The study of microtiming relies on the availability of microtiming data. This report presents three large corpora of onset timings derived from drum kit performances in popular Anglo-American popular music styles. These data are made freely available (CC 4.0 license) to provide a resource for use by analysts and experimenters alike. They offer a common point of reference for future studies into the temporal facets of music performance. The datasets adhere to FAIR principles; they thus facilitate replication of analyses and experimental stimuli

Rapid transcriptional plasticity of duplicated gene clusters enables a clonally reproducing aphid to colonise diverse plant species

Background: The prevailing paradigm of host-parasite evolution is that arms races lead to increasing specialisation via genetic adaptation. Insect herbivores are no exception and the majority have evolved to colonise a small number of closely related host species. Remarkably, the green peach aphid, Myzus persicae, colonises plant species across 40 families and single M. persicae clonal lineages can colonise distantly related plants. This remarkable ability makes M. persicae a highly destructive pest of many important crop species. Results: To investigate the exceptional phenotypic plasticity of M. persicae, we sequenced the M. persicae genome and assessed how one clonal lineage responds to host plant species of different families. We show that genetically identical individuals are able to colonise distantly related host species through the differential regulation of genes belonging to aphid-expanded gene families. Multigene clusters collectively upregulate in single aphids within two days upon host switch. Furthermore, we demonstrate the functional significance of this rapid transcriptional change using RNA interference (RNAi)-mediated knock-down of genes belonging to the cathepsin B gene family. Knock-down of cathepsin B genes reduced aphid fitness, but only on the host that induced upregulation of these genes. Conclusions: Previous research has focused on the role of genetic adaptation of parasites to their hosts. Here we show that the generalist aphid pest M. persicae is able to colonise diverse host plant species in the absence of genetic specialisation. This is achieved through rapid transcriptional plasticity of genes that have duplicated during aphid evolution

Applied Groove Research

This paper is the first step to bridge this gap by asking whether groove research can help us teach groove to students, and, if so, how it can best be taught. Simultaneously, the paper serves as an introduction to groove research for those unfamiliar with this academic discourse