In The Event Humans And BI 6727 Battle

All our pianists were from Argentina and with long trajectories of formal musical instruction. It would be of interest to understand which of our observations may vary in non-Western improvisational contexts. Would there be commonality in ��roughness�� or ��brightness�� between Chinese pianists (or erhu players) and the musicians used in this experiment? Cognitive neuroscience The spontaneous production of reliable musical features from semantic categories fits well with previous experiments showing that cross-modal associations -often mediated by semantic representations- are ubiquitously present in normal cognitive function (Hubbard and Ramachandran, 2005; Cytowic and Eagleman, 2009; North, 2011). Moreover, music can be reliably related with meaning in other domains of semantics than logic and morality which we studied here. For instance, Koelsch and collaborators (Koelsch et al., 2004) showed that music can prime the meaning of a word and determine physiological indices of semantic processing (showing for instance that certain passages of Beethoven symphonies can prime the word ��hero�� rather than the word ��flea��). Baraldi et al. (2006) performed an experiment in which musicians and non-musicians had to produce piano improvisations according to different semantic intentions. Listeners were able to recognize the majority of these intentions with very brief musical fragments. To our knowledge, there are no previous investigations relating music and words belonging to morality and logic. However, more generally, brain imaging studies have shown that sensory and motor systems are similarly activated during conceptual and moral processing (Kiefer et al., 2008; Mahon and Caramazza, 2008; Lakens et al., 2011) constituting a precedent for the ubiquitous association between moral and logic words and musical forms. Similarly, there are spontaneous associations between moral words and other sensory representations: moral and immoral words are associated with up and down directions and white and black visual cues (Meier et al., 2007; Sherman and Clore, 2009). Musical dimensions conveying information about logic, morality and valence Beyond the main result showing that music can convey information about valence and -with lower precision- about semantic category, our investigations sheds light on which specific dimensions of music are informative to convey these different aspects of semantics and how they synergize. Emotion expression It is important to note that in the following we focus on the recognition of emotion-related features in the music, which does not in itself entail the emotional response. Current BI 6727 clinical trial evidence suggests that perceptions are typically stronger than feelings (Hunter and Schellenberg, 2010). In our study, improvisations elicited by words belonging to different groups contain significantly different acoustic cues for emotion: music inspired by positive moral words is more consonant than the one inspired by negative moral words.