possible explanation: maybe non-musicians are less focused and use a lot of resources to deal with the processing of music information.functional differences: strangely, non-musicians sometimes show stronger activation of primary auditory and motor regions.structural differences also found in an extended network of multimodal sensorimotor integration.age of commencement of music training and duration of training correlate with such differences.structural differences comparable to those induced in animals by long-term learning of complex motor skills -> not only specific for music!.overall structural differences between musicians and non-musicians in the primary auditory cortex, auditory association cortex, primary sensorimotor cortex (and other premotor regions), and corpus callosum (thicker in musician's brains compared to non musicians -> explanation: coordination of both hands).No effects for passive negative dimension!.Evidence for multi-valent emotional states (evaluative-space-theory) -> EFA with 4 factors.There is no linear relationship between the amount of body movement and the intensity of positive emotion.Seeing and hearing a performance leads to an increasing intensity of positive emotion.The most important factor in determining how musician's expressive intentions affect emotions is whether a subject can see the performer.
exaggerated intention (enhances musical dynamics & emotion) standard intention (emphasizes naturalness)ģ. restrained intention (musician's attention upon technique)Ģ. What is the structure of the experience of emotion that they communicate?ģ0 participants (mean age= 23.7 years, range 18-30) with >5 years of musical training, all studentsĪll groups hear/see 3 different performances (6 videos by 2 different performers)ġ. Through which sensory channels do musical performers' expressive intentions affect the observer's emotional response?Ģ.