Unimodal and cross-modal prediction is enhanced in musicians

Musical training involves exposure to complex auditory and visual stimuli, memorization of elaborate sequences, and extensive motor rehearsal. It has been hypothesized that such multifaceted training may be associated with differences in basic cognitive functions, such as prediction, potentially translating to a facilitation in expert musicians. Moreover, such differences might generalize to non-auditory stimuli. This study was designed to test both hypotheses. We implemented a cross-modal attentional cueing task with auditory and visual stimuli, where a target was preceded by compatible or incompatible cues in mainly compatible (80% compatible, predictable) or random blocks (50% compatible, unpredictable). This allowed for the testing of prediction skills in musicians and controls. Musicians showed increased sensitivity to the statistical structure of the block, expressed as advantage for compatible trials (disadvantage for incompatible trials), but only in the mainly compatible (predictable) blocks. Controls did not show this pattern. The effect held within modalities (auditory, visual), across modalities, and when controlling for short-term memory capacity. These results reveal a striking enhancement in cross-modal prediction in musicians in a very basic cognitive task

The impact of cognitive load on operatic singers' timing performance

In the present paper, we report the results of an empirical study on the effects of cognitive load on operatic singing. The main aim of the study was to investigate to what extent a working memory task affected the timing of operatic singers' performance. Thereby, we focused on singers' tendency to speed up, or slow down their performance of musical phrases and pauses. Twelve professional operatic singers were asked to perform an operatic aria three times; once without an additional working memory task, once with a concurrent working memory task (counting shapes on a computer screen), and once with a relatively more difficult working memory task (more shapes to be counted appearing one after another). The results show that, in general, singers speeded up their performance under heightened cognitive load. Interestingly, this effect was more pronounced in pauses-more in particular longer pauses-compared to musical phrases. We discuss the role of sensorimotor control and feedback processes in musical timing to explain these findings

Respiration as a indicator of embodied music cognition in collaborative vocal performance

In collaborative music practice respiration may function not only as a biological mechanism supporting effective vocal technique, but also as an anticipatory signal that allows for perceptual matching and effective decision making between performers. Embodied music cognition provides the theoretical framework necessary to understand signification practices and behavioural resonances that occur in non-linguistic musical communication. Within the context of collaborative music making in vocal performance, respiration is a form of synchronization and embodied attuning in the space between participants. Respiration allows not only for coordination, but also for engagement of higher-level intentional processes, such as expressive affect and feeling. Therefore, an alteration of the timing of respiration was expected according to the phrase initiation of the singer. Singer-pianist pairs were asked to perform four pieces - first in an individual and then collaborative condition. 12 subjects (6 pianists, 6 singers) participated in the study. The pairs were based on musicians who had previously collaborated together and were balanced according to experience, specifically 3 pairs of musicians with more then 10 years experience and 3 pairs of musicians currently training. Respiration was monitored via Plux respiration sensors, consisting of a monolithic silicon pressure sensor encapsulated in an air membrane. The timing of respiration between pianists and singers was analyzed between groups to identify individual strategies. Experience and familiarity with the piece were important factors that impacted the effectiveness of communication between performers. Respiration functioned as a tool for mutual co-articulation and coordination of somatic information. At the beginning of each phrase, the timing of inhalations changed reflecting the significance collaborative intention between individual and collaborative conditions. The effects of expressivity, experience and musical familiarity were also examined. Case-by-case analysis of phrase initiation showed the influence of collaborative performance on the respiratory patterns of performers. This analysis should contribute to a more comprehensive understanding of the communicative strategies that contribute to efficient performance practices between performers