Dataset Information

Attractiveness Ratings for Musicians and Non-musicians: An Evolutionary-Psychology Perspective.

ABSTRACT: From an evolutionary perspective, musical behavior such as playing an instrument can be considered as part of an individual's courting behavior. Playing a musical instrument or singing might fulfill a function similar to that of a bird's colored feathers: attracting attention. Therefore, musicians may be rated as more attractive than non-musicians. In an online survey, 137 volunteers (95 female) with ages ranging from 16 to 39 years rated the attractiveness of fictitious persons of the opposite sex described in short verbal profiles. These profiles differed with respect to whether the described person made music or not. Additionally, the musicians' profiles varied with regard to whether the described person played music or sang in public or in private only. Results show that musicians' profiles were not generally rated as more attractive than non-musicians', but attractiveness did vary according to setting: private musicians were rated as most attractive, followed by non-musicians and public musicians. Furthermore, results indicate that participants who played a musical instrument or sang themselves gave higher ratings to profiles of musicians. But for participants who do not make music themselves, higher attractiveness ratings for musicians playing instruments or sing in private settings were found. These results indicate that the impression of sharing a common interest (making music) and furthermore making music in private instrumental settings seems to make people attractive to other people. No additional support for the sexual selection hypotheses for the evolution of music was provided by the current results. The musical status of the rater affected his or her judgements, with musicians rating other people as more attractive if they share the common interest in making music. Not the display of being a musician seems to be critical for attractiveness ratings but the perceived or imagined similarity by the rater created by information on musicality, fostering the theoretical significance of the communication aspect of music.

SUBMITTER: Bongard S

PROVIDER: S-EPMC6895061 | biostudies-literature | 2019

REPOSITORIES: biostudies-literature

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Attractiveness Ratings for Musicians and Non-musicians: An Evolutionary-Psychology Perspective.

Bongard Stephan S Schulz Ilka I Studenroth Karin U KU Frankenberg Emily E

Frontiers in psychology 20191129

From an evolutionary perspective, musical behavior such as playing an instrument can be considered as part of an individual's courting behavior. Playing a musical instrument or singing might fulfill a function similar to that of a bird's colored feathers: attracting attention. Therefore, musicians may be rated as more attractive than non-musicians. In an online survey, 137 volunteers (95 female) with ages ranging from 16 to 39 years rated the attractiveness of fictitious persons of the opposite ...[more]

PMID: 31849756

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Project description:In audiovisual music perception, visual information from a musical instrument being played is available prior to the onset of the corresponding musical sound and consequently allows a perceiver to form a prediction about the upcoming audio music. This prediction in audiovisual music perception, compared to auditory music perception, leads to lower N1 and P2 amplitudes and latencies. Although previous research suggests that audiovisual experience, such as previous musical experience may enhance this prediction, a remaining question is to what extent musical experience modifies N1 and P2 amplitudes and latencies. Furthermore, corresponding event-related phase modulations quantified as inter-trial phase coherence (ITPC) have not previously been reported for audiovisual music perception. In the current study, audio video recordings of a keyboard key being played were presented to musicians and non-musicians in audio only (AO), video only (VO), and audiovisual (AV) conditions. With predictive movements from playing the keyboard isolated from AV music perception (AV-VO), the current findings demonstrated that, compared to the AO condition, both groups had a similar decrease in N1 amplitude and latency, and P2 amplitude, along with correspondingly lower ITPC values in the delta, theta, and alpha frequency bands. However, while musicians showed lower ITPC values in the beta-band in AV-VO compared to the AO, non-musicians did not show this pattern. Findings indicate that AV perception may be broadly correlated with auditory perception, and differences between musicians and non-musicians further indicate musical experience to be a specific factor influencing AV perception. Predicting an upcoming sound in AV music perception may involve visual predictory processes, as well as beta-band oscillations, which may be influenced by years of musical training. This study highlights possible interconnectivity in AV perception as well as potential modulation with experience.

Project description:Music can be thought of as a dynamic path over time. In most cases, the rhythmic structure of this path, such as specific sequences of strong and weak beats or recurring patterns, allows us to predict what and particularly when sounds are going to happen. Without this ability we would not be able to entrain body movements to music, like we do when we dance. By combining EEG and behavioral measures, the current study provides evidence illustrating the importance of ongoing neural oscillations at beat-related frequencies-i.e., neural entrainment-for tracking and predicting musical rhythms. Participants (13 musicians and 13 non-musicians) listened to drum rhythms that switched from a quadruple rhythm to a 3-over-4 polyrhythm. After a silent period of ~2-3 s, participants had to decide whether a target stimulus was presented on time with the triple beat of the polyrhythm, too early, or too late. Results showed that neural oscillations reflected the rhythmic structure of both the simple quadruple rhythm and the more complex polyrhythm with no differences between musicians and non-musicians. During silent periods, the observation of time-frequency plots and more commonly used frequency spectra analyses suggest that beat-related neural oscillations were more pronounced in musicians compared to non-musicians. Neural oscillations during silent periods are not driven by an external input and therefore are thought to reflect top-down controlled endogenous neural entrainment. The functional relevance of endogenous neural entrainment was demonstrated by a positive correlation between the amplitude of task-relevant neural oscillations during silent periods and the number of correctly identified target stimuli. In sum, our findings add to the evidence supporting the neural resonance theory of pulse and meter. Furthermore, they indicate that beat-related top-down controlled neural oscillations can exist without external stimulation and suggest that those endogenous oscillations are strengthened by musical expertise. Finally, this study shows that the analysis of neural oscillations can be a useful tool to assess how we perceive and process complex auditory stimuli such as polyrhythms.

Project description:Earlier studies have shown that musically trained individuals may have a benefit in adverse listening situations when compared to non-musicians, especially in speech-on-speech perception. However, the literature provides mostly conflicting results. In the current study, by employing different measures of spoken language processing, we aimed to test whether we could capture potential differences between musicians and non-musicians in speech-on-speech processing. We used an offline measure of speech perception (sentence recall task), which reveals a post-task response, and online measures of real time spoken language processing: gaze-tracking and pupillometry. We used stimuli of comparable complexity across both paradigms and tested the same groups of participants. In the sentence recall task, musicians recalled more words correctly than non-musicians. In the eye-tracking experiment, both groups showed reduced fixations to the target and competitor words' images as the level of speech maskers increased. The time course of gaze fixations to the competitor did not differ between groups in the speech-in-quiet condition, while the time course dynamics did differ between groups as the two-talker masker was added to the target signal. As the level of two-talker masker increased, musicians showed reduced lexical competition as indicated by the gaze fixations to the competitor. The pupil dilation data showed differences mainly in one target-to-masker ratio. This does not allow to draw conclusions regarding potential differences in the use of cognitive resources between groups. Overall, the eye-tracking measure enabled us to observe that musicians may be using a different strategy than non-musicians to attain spoken word recognition as the noise level increased. However, further investigation with more fine-grained alignment between the processes captured by online and offline measures is necessary to establish whether musicians differ due to better cognitive control or sound processing.

Dataset Information

Attractiveness Ratings for Musicians and Non-musicians: An Evolutionary-Psychology Perspective.

Publications

Attractiveness Ratings for Musicians and Non-musicians: An Evolutionary-Psychology Perspective.

Similar Datasets

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