Rapping in the brain scanner

In seeking to understand the brain processes underlying creative performance, researchers have already scanned opera singers and actors. Now they've invited rappers to undergo the same treatment. Siyuan Liu and her colleagues were specifically interested in the difference between freestyle rap, which requires the spontaneous generation of rhyming lyrics, and rehearsed rapping.

Twelve male professional rappers had their brains scanned while they engaged in freestyle rap and while they performed raps they'd learned earlier. Rappers usually like to gesticulate energetically as they perform, but this would have distorted the brain images so they had to keep still. No worry - "... debriefing indicated that participants' performance was not affected by the motion restraints," the researchers said. The fMRI brain scanner is effectively a powerful magnet so it would also have been imperative that the rappers remove all of their bling before the scan began.

The main finding was that freestyle rapping versus rehearsed rapping was associated with increased activation in medial (inner) areas at the front of the brain, especially on the left-hand side, and concomitant reductions in activity in dorsolateral frontal areas, especially on the right-hand side. These patterns of activation were anti-correlated - the greater the increases in left-medial areas, the more the reductions on the right lateral areas. Liu and her team think this reflects a kind of disinhibition, whereby supervisory attentional systems allowed creative areas of the brain to have free reign. The researchers said this fitted the possibility that the creative process of freestyle rap is experienced as largely occurring outside of conscious awareness. "This is is not inconsistent with the experience of many artists who describe the creative process as seemingly guided by an outside agency," they added.

Freestyle rapping also exercised language areas more powerfully than rehearsed rapping, likely indicative of the need to find appropriate rhyming words. The researchers also looked for other connectivity patterns by seeing how activity levels correlated across the brain. The medial frontal areas engaged by freestyle rap appeared to be connected to activity in prefrontal motor regions, the left amygdala and on to the right inferior frontal gyrus and inferior parietal lobes - what the researchers called a network integrating "motivation, language, emotion and motor function" and which they proposed could reflect the psychological state of "flow". Critics will likely wince at the excesses of reverse inference in this study - making assumptions about the role played by different brain areas during rapping based on the activity of those regions in other studies.

"We speculate that the neural mechanisms illustrated here could be generalised to explain the cognitive processes of other spontaneous artistic forms," the researchers concluded. Eminem was unavailable for comment.

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Liu, S., Chow, H., Xu, Y., Erkkinen, M., Swett, K., Eagle, M., Rizik-Baer, D., and Braun, A. (2012). Neural Correlates of Lyrical Improvisation: An fMRI Study of Freestyle Rap. Scientific Reports, 2 DOI: 10.1038/srep00834

--Further reading--
Opera singing in the brain scanner

Post written by Christian Jarrett (@psych_writer) for the BPS Research Digest.

Pop music is getting sadder and more emotionally ambiguous

Gaga is unusual in sounding uptempo yet fresh

Have you heard older generations lamenting the way pop songs don't sound like they used to? There's a sense that the hits from yesteryear had an innocence and feel-good quality that's missing from today's pop offerings. Now Glenn Schellenberg and Christian von Scheve have confirmed what many suspected - pop music over the last five decades has grown progressively more sad-sounding and emotionally ambiguous.

The researchers analysed the tempo (fast or slow) and mode (major or minor) of the most popular 1,010 pop songs identified using year-end lists published by Billboard magazine in the USA from 1965 to 2009. Tempo was determined using the beats per minute of a song, and where this was ambiguous the researchers used the rate at which you'd clap along. The mode of the song was identified from its tonic chord - the three notes played together at the outset, in either minor or major. Happy sounding songs are typically of fast tempo in major mode, whilst sad songs are slow and in minor. Songs can also be emotionally ambiguous, having a tempo that's fast in minor, or vice versa.

Schellenberg and von Scheve found that the proportion of songs recorded in minor-mode has increased, doubling over the last fifty years. The proportion of slow tempo hits has also increased linearly, reaching a peak in the 90s. There's also been a decrease in unambiguously happy-sounding songs and an increase in emotionally ambiguous songs. The findings complement an analysis of pop lyrics from 1980-2007, published last year, that found a drop over time in references to social interactions and positive emotions, but an increase in angry and anti-social words.

Why has pop music changed like this? Schellenberg and von Scheve can only speculate. They point to the rise of consumerism and individualism, which produces a demand for more choice; increasing cultural and societal ambiguity (such as the erosion of traditional gender roles); as well as the desire among pop consumers to demonstrate distinctiveness and sophistication in their taste.

Unambiguously happy songs like Abba's Waterloo sound, to today's ears, "naive and slightly juvenile", the researchers noted. And whilst modern songs in a similar style, such as Aqua's Barbie Girl, can still enjoy huge commercial success, they're usually seen as a guilty pleasure and savaged by critics.

Schellenberg and von Scheve think emotional ambiguity in a song is a way for modern acts to convey their seriousness and complexity. Lady Gaga is highlighted as rare in her ability to produce up-tempo major-mode recordings, such as Born This Way, that "sound fresh while recalling or quoting popular music from an earlier time."

Other findings to emerge from the analysis were a general lengthening of songs, and a greater prevalence of female acts."Our study sheds light on links between long-term cultural change on a macro social scale and emotional expression, perception, and responding, at least in relation to music," the researchers concluded. "As such the findings improve our understanding of the individual in relation to society, and how culture is shaped by the emotional needs and preferences of individuals."
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  E. Glenn Schellenberg, and Christian von Scheve (2012). Emotional Cues in American Popular Music: Five Decades of the Top 40. Psychology of Aesthetics, Creativity, and the Arts DOI: 10.1037/a0028024

Post written by Christian Jarrett for the BPS Research Digest.

Music we like can be more distracting than music we don't

Music by Infernal: enjoyable but distracting 

Many of us like to listen to music while we work. It's become a ritual, alongside the coffee in our favourite mug. Previous research suggests this is probably no bad thing. In lab studies, people who listen to music they like, generally perform better at mental tasks afterwards, an effect that's been attributed to boosts in mood and arousal.

But what about the effect of background music that plays on during a task - more akin what we do in real life? This is actually less studied. The traditional mood-arousal literature would predict it to be beneficial too, especially if the music is to the listener's taste.

However, there's another line of research, known as the "Irrelevant Sound Effect", that's all about the way background sounds can interfere with our short-term memory for ordered lists, which would be a bad thing for many work-related tasks. These studies show that the distraction is greater when the sound is more acoustically varied - just like your typical pop song. Based on this, Nick Perham and Martinne Sykora made a counter-intuitive prediction - background music that you like will be more detrimental to working memory than unappealing music, so long as the liked music has more acoustical variation than the disliked music.

Twenty-five undergrads completed several serial recall tasks. They were presented with strings of eight consonants and had to repeat them back from memory in the correct order. Performance was best in the quiet condition, but the key finding was that particiants' performance was worse when they completed the memory task with a song they liked playing over headphones (Infernal's "From Paris to Berlin"), compared with a song they disliked (songs such as "Acid Bath" from the grind core metal band Repulsion). In case you're wondering, participants who liked Repulsion were excluded from the study.

The fast-tempo "extreme guitar-based" music of Repulsion, the researchers explained, is like "a cacophony of sound, in which the segmentation of each individual sound from the next is difficult to identify". This means it has less acoustic variation from one moment to the next, which helps explain why, even though disliked, it had a less detrimental effect on serial recall than Infernal's pop song.

Perham and Sykora said their findings were "seemingly incompatible with the mood and arousal literature, but are consistent with the changing-state explanation of the Irrelevant Sound Effect."

A further intriguing detail from the study is the participants' lack of insight into the degree of distraction associated with each type of music. Asked to judge their own performance, they determined correctly that their memory was more accurate in the quiet condition, but they didn't realise that their performance was poorest whilst listening to the music they liked.

So, the next time you're bothered by someone else's bad music, console yourself that the noise could be less harmful to your work performance than your own choice would be!

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Nick Perham and Martinne Sykora (2012). Disliked Music can be Better for Performance than Liked Music. Applied Cognitive Psychology DOI: 10.1002/acp.2826

Post written by Christian Jarrett for the BPS Research Digest.