Jazz Improvisation on the Brain: an fMRI study.
Background
This NPR story talked about a recent study (published in February of 2008) dealing with Jazz improvisation on the brain; the description on the NPR page, however, is a little misleading as far as the content of the program and the content of the experiment goes.
Second Paradigm: Jazz. All were given a 12-bar musical piece to memorize. In the control condition, they played the memorized piece. In the Jazz condition, they were asked to improv to the chord progression of the pre-recorded accompaniment. The condition for the improvisation was that it should follow the style of the melody, and the “improvisation should be consistent with one another.” (in order to minimize variations in number of notes played, rhythmic complexity, or stylistic approach). Each block 1 minute, 5 control blocks, 5 improv blocks, and 9 non-performance auditory blocks (for use in a separate manuscript), with 20-second rest between each.
Neocortical Areas (mediate organization and execution of performance)—broad increase of activity: sensory areas: anterior portions of superior and middle temporal gyri (STG and MTG), including anterior portions of the superior temporal sulcus (STS), inferior temporal, fusiform and lateral occipital gyri, as well as inferior and superior parietal lobules and the intervening intraparietal sulci.
Hypotheses: this unique pattern may have insights into the cognitive workings of the creative process.
Differences? Other studies?
Classically trained pianists: Bengtsson et al. found activations in right dorsolateral prefrontal cortex (as well as premotor and auditory areas) during improvisation. They were not looking at deactivations, however. The two studies used different masking strategies and therefore results would be expected to be different. Also jazz is different than classical. Jazz is characterized by improvisation. The argument is that current findings are based on a more “natural” habitat for improvisation.
Requiring Further Study, and Notes
More extensive deactivation of various limbic systems was observed in this study. This is on top of the expected deactivation of the amygdala and hippocampus, consistent with previous studies of music perception (harmonious and “intensely pleasing” music show these deactivated areas).
Have their findings “characterized a higher qualitative level of musical output (as opposed to that which might be produced by less skilled performers)”? But, despite music simplicity, findings suggest that this is a more generalized neural mechanism than to the highly-trained alone.
Compiling this information with others that actually look at the various studies done on activations of the brain during various tasks (though for activities such as soccer and dance, this fMRI technology is out. It’s one thing to say “put a piano on your lap and see it through these mirrors”—I imagine these pianists really did not have a need to see the piano, in any case—and try to kick this ball without moving your upper body). But, for instance, what NPR seems to have done, albeit without citing any sources, is to find comparisons to other studies. I imagine there may be some major differences between dreaming and jazz improvisation, for instance.
As far as the efficacy of the project, it is always important to question a researcher’s means of obtaining results. More so than the awkward positioning, I think, would be the level of constraint on the improvisation. The point of the study, however, was to observe the differences between the two conditions. Yes, there were certainly elements that were not present in ordinary improvisational conditions (an MRI machine, being horizontal, only using one’s right hand…), however the results did happen and were there. There are differences between the two circumstances, and significant ones, in the brain. Other studies could do with other creative (relatively nonmoving) arts such as painting or writing, to see how those differ in the brain.
My concern had to do more with the one-handedness of the study. The right hand connects directly to the left brain. Granted, the right and left brain of these individuals could communicate with each other, this seems to be something important that was left out for ease, lack of funds, and consistency’s sake.
This post was originally written on March 2, 2009 as a part of a neuroscience course.
Interested in learning more?
Limb CJ, Braun AR (2008) Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation. PLoS ONE 3(2): e1679. doi:10.1371/journal.pone.0001679
Study: Jazz Improv Cranks Up Brain's Creativity. http://www.npr.org/templates/story/story.php?storyId=88827029
This NPR story talked about a recent study (published in February of 2008) dealing with Jazz improvisation on the brain; the description on the NPR page, however, is a little misleading as far as the content of the program and the content of the experiment goes.
The Study
Six jazz pianists were studied in an fMRI machine. All were right-handed, healthy, “normal” hearing males, 21-50 years old (mean 34.2 yrs); all were full-time professional musicians. They were accompanied by a pre-recorded quartet that played straight into their headphones, along with the sounds from their specially-designed fMRI keyboards that are not and cannot be induced to be magnetic (non-ferromagnetic) and only outputs MIDI information. These keyboards were full-sized and specially designed, played a high-quality piano sample. Subjects played with their right hands, looking through a series of mirrors to see the propped-up keyboard on their legs. This study used no mechanical restraints.
Two block-designed test paradigms. First paradigm: Scales. Designed to test brain during a highly constrained situation but of low technicality. Right-hand only. Control task: play scale. Improv task: Improvise, but only use quarter notes and only notes in the scale. Number of notes, note range, key, and technical requirements all accounted for and remaining unchanged. 1 minute each, 30 second rest. 6 blocks total (3 scale, 3 improv)
Six jazz pianists were studied in an fMRI machine. All were right-handed, healthy, “normal” hearing males, 21-50 years old (mean 34.2 yrs); all were full-time professional musicians. They were accompanied by a pre-recorded quartet that played straight into their headphones, along with the sounds from their specially-designed fMRI keyboards that are not and cannot be induced to be magnetic (non-ferromagnetic) and only outputs MIDI information. These keyboards were full-sized and specially designed, played a high-quality piano sample. Subjects played with their right hands, looking through a series of mirrors to see the propped-up keyboard on their legs. This study used no mechanical restraints.
Two block-designed test paradigms. First paradigm: Scales. Designed to test brain during a highly constrained situation but of low technicality. Right-hand only. Control task: play scale. Improv task: Improvise, but only use quarter notes and only notes in the scale. Number of notes, note range, key, and technical requirements all accounted for and remaining unchanged. 1 minute each, 30 second rest. 6 blocks total (3 scale, 3 improv)
Second Paradigm: Jazz. All were given a 12-bar musical piece to memorize. In the control condition, they played the memorized piece. In the Jazz condition, they were asked to improv to the chord progression of the pre-recorded accompaniment. The condition for the improvisation was that it should follow the style of the melody, and the “improvisation should be consistent with one another.” (in order to minimize variations in number of notes played, rhythmic complexity, or stylistic approach). Each block 1 minute, 5 control blocks, 5 improv blocks, and 9 non-performance auditory blocks (for use in a separate manuscript), with 20-second rest between each.
The Findings
fMRI analysis: “Significant” activation was considered those brain functions that were both greater than control and resting baseline. Significant deactivation was that with lower activation in comparison to these two conditions. Both paradigms (Jazz and Scale) have “strikingly similar results…a highly congruous pattern of activations and deactivations in prefrontal cortex, sensorimotor and limbic regions of the brain." Activation during improv was generally coupled with deactivation in control, and vice-versa.
The Brain Areas:
Prefrontal cortex (playing a role of sense of self?)—widespread deactivation. lateral prefrontal regions: LOFC (making sure your behaviors fit in with society?) & DLPFC (planning and step-by-step implementations). Almost all of lateral prefrontal cortices, but focal activation of frontal polar portion of the medial prefrontal cortex (keeping a goal while doing various things)
Prefrontal cortex (playing a role of sense of self?)—widespread deactivation. lateral prefrontal regions: LOFC (making sure your behaviors fit in with society?) & DLPFC (planning and step-by-step implementations). Almost all of lateral prefrontal cortices, but focal activation of frontal polar portion of the medial prefrontal cortex (keeping a goal while doing various things)
Neocortical Areas (mediate organization and execution of performance)—broad increase of activity: sensory areas: anterior portions of superior and middle temporal gyri (STG and MTG), including anterior portions of the superior temporal sulcus (STS), inferior temporal, fusiform and lateral occipital gyri, as well as inferior and superior parietal lobules and the intervening intraparietal sulci.
premotor and motor areas: selective activation: ventral and dorsal lateral premotor areas, supplementary motor area and portions of the primary motor cortex. The anterior cingulate cortex, cingulate motor area, right lateral cerebellar hemisphere, and vermis were activated as well extensive deactivation of dorsolateral prefrontal and lateral orbital regions with focal activation of the medial prefrontal (frontal polar) cortex.
Limbic and Paralimbic Regions —widespread activation during improvisation. Selective deactivations (motivation, emotional tone): amygdala, entorhinal cortex, temporal pole, posterior cigulate cortex, parahippocapal gyri, hippocampus and hypothalamus.
Limbic and Paralimbic Regions —widespread activation during improvisation. Selective deactivations (motivation, emotional tone): amygdala, entorhinal cortex, temporal pole, posterior cigulate cortex, parahippocapal gyri, hippocampus and hypothalamus.
Hypotheses: this unique pattern may have insights into the cognitive workings of the creative process.
Differences? Other studies?
Seems as though it may be like hypnosis and REM sleep with its lateral prefrontal deactivation.
Classically trained pianists: Bengtsson et al. found activations in right dorsolateral prefrontal cortex (as well as premotor and auditory areas) during improvisation. They were not looking at deactivations, however. The two studies used different masking strategies and therefore results would be expected to be different. Also jazz is different than classical. Jazz is characterized by improvisation. The argument is that current findings are based on a more “natural” habitat for improvisation.
Requiring Further Study, and Notes
More extensive deactivation of various limbic systems was observed in this study. This is on top of the expected deactivation of the amygdala and hippocampus, consistent with previous studies of music perception (harmonious and “intensely pleasing” music show these deactivated areas).
Have their findings “characterized a higher qualitative level of musical output (as opposed to that which might be produced by less skilled performers)”? But, despite music simplicity, findings suggest that this is a more generalized neural mechanism than to the highly-trained alone.
Compiling this information with others that actually look at the various studies done on activations of the brain during various tasks (though for activities such as soccer and dance, this fMRI technology is out. It’s one thing to say “put a piano on your lap and see it through these mirrors”—I imagine these pianists really did not have a need to see the piano, in any case—and try to kick this ball without moving your upper body). But, for instance, what NPR seems to have done, albeit without citing any sources, is to find comparisons to other studies. I imagine there may be some major differences between dreaming and jazz improvisation, for instance.
As far as the efficacy of the project, it is always important to question a researcher’s means of obtaining results. More so than the awkward positioning, I think, would be the level of constraint on the improvisation. The point of the study, however, was to observe the differences between the two conditions. Yes, there were certainly elements that were not present in ordinary improvisational conditions (an MRI machine, being horizontal, only using one’s right hand…), however the results did happen and were there. There are differences between the two circumstances, and significant ones, in the brain. Other studies could do with other creative (relatively nonmoving) arts such as painting or writing, to see how those differ in the brain.
My concern had to do more with the one-handedness of the study. The right hand connects directly to the left brain. Granted, the right and left brain of these individuals could communicate with each other, this seems to be something important that was left out for ease, lack of funds, and consistency’s sake.
This post was originally written on March 2, 2009 as a part of a neuroscience course.
Interested in learning more?
Limb CJ, Braun AR (2008) Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation. PLoS ONE 3(2): e1679. doi:10.1371/journal.pone.0001679
Study: Jazz Improv Cranks Up Brain's Creativity. http://www.npr.org/templates/story/story.php?storyId=88827029
I definitely felt like the subject matter of this npr story was interesting. As a writer, I wonder if the same mechanisms are used in improving a poem or a story. The scientist being interviewed seemed to think that the neural processes used for jazz improv could be generalized to other creative activities like singing, I wonder how far that generalization can go before other functions are used. Also, I wondered what specific regions of the brain he was referring to in his study.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteDo you use the same part of the brain/ experience the same state of mind during physical improvisation, as in a soccer match or dance performance?
ReplyDeleteWouldn't the awkward positioning of the musician's keyboard inside the fMRI effect the level of improvisation? (waving the efficacy of the study)
This definitely made me thing of the act of writing and how it can feel 'improvisational' at times, especially when writing fiction. I know that sometimes when I am writing I definitely feel like I am 'in the zone' as the doctor stated in the interview and feel deeply entrenched in the story as if it is happening in real time.
ReplyDeleteI wonder if an fMRI scan of a writer or any creative artist would be similar to those of a jazz player improving. While there is some forethought to a story or a painting, the act of doing so (to some extent—like he said in the interview) is improvisation.
I wonder if it is also similar to the fMRI of a person lying? Would a person telling a lie on the spot have the same brain activity as someone improving a jazz piece?
I also would like to know more about the actual brain activity mentioned in this interview.