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Background: There is evidence that major depressive disorder (MDD) comes with multiple cognitive impairments including deficits in perception and memory. Music cognition is one of the least explored cognitive functions in relation to MDD, with some studies pointing to mild amusic deficits. These findings, however, are derived only from performance-based tests. Our objectives were to explore differences in music perception and memory between individuals with MDD and a control group, in both performance test and self-report of amusic dysfunction, and to assess the correlation between these measures. Method: We recruited 62 participants, including MDD individuals (n = 34) diagnosed with the Mini International Neuropsychiatric Interview and controls (n = 18). All the participants were evaluated with the Montreal Battery for Evaluation of Amusia (MBEA) and the Amusic Dysfunction Inventory (ADI). Results: None of the assessed dimensions from the MBEA or the ADI showed statistical differences between groups. Some significant associations were found between ADI's Vocal Production and the MBEA's three tests of the melodic dimension (Scale, Contour and Interval) and between MBEA's Scale and Memory, Meter and ADI's Melodic Perception, and tests of Memory from each respective instrument. Conclusion: Results suggest that perception and memory of basic music stimuli are not among the cognitive deficits within MDD, however, they may be indirectly affected by other cognitive phenomena common to this psychopathology, such as poor sustained concentration due to mental fatigue. [ABSTRACT FROM AUTHOR]

This summary is about an editorial titled "The musical brain, volume II" published in Frontiers in Neuroscience. The editorial discusses the complex interactions between music and the human brain, exploring various neural circuits and networks involved in sensory perception, attention, learning, memory, emotion, aesthetics, and motor skills related to music. It highlights the growing interest in studying the representation of music in the brain and presents a research topic that covers a range of neuroscience and psychoacoustics topics related to music perception and sound. The editorial also mentions the exploration of the healing potential of music and includes brief introductions to seven contributions in the research topic. Additionally, the summary briefly describes three articles related to the perception and processing of music, which contribute to our understanding of various aspects of music perception and processing. [Extracted from the article]

Objectives: To investigate the association of musical activity with mental health during the COVID-19 pandemic. Methods: A total of 3,666 participants reported their musical activity before and mental health indicators before and during the pandemic. Depression was assessed with the Patient Health Questionnaire, anxiety with the Generalized Anxiety Disorder scale. The association between mental health scores and musical activities was investigated using linear regression. Results: Within the last 12 months, 22.1% of the participants reported musical activity (15.1% singing, 14.5% playing an instrument). Individuals with frequent singing as their main musical activity had higher scores before the pandemic than non-musicians and the worsening during the pandemic was more pronounced compared to non-musicians. Instrumentalists tended to have slightly lower scores than non-musicians indicating a possible beneficial effect of playing an instrument on mental health. Conclusion: The pandemic led to a worsening of mental health, with singers being particularly affected. Singers showed poorer mental health before the pandemic. The tendency for instrumentalists to report lower depression scores compared to non-musicians may support the hypothesis that music-making has a beneficial effect on health. [ABSTRACT FROM AUTHOR]

Timbre is a central aspect of music that allows listeners to identify musical sounds and conveys musical emotion, but also allows for the recognition of actions and is an important structuring property of music. The former functions are known to be implemented in a ventral auditory stream in processing musical timbre. While the latter functions are commonly attributed to areas in a dorsal auditory processing stream in other musical domains, its involvement in musical timbre processing is so far unknown. To investigate if musical timbre processing involves both dorsal and ventral auditory pathways, we carried out an activation likelihood estimation (ALE) meta-analysis of 18 experiments from 17 published neuroimaging studies on musical timbre perception. We identified consistent activations in Brodmann areas (BA) 41, 42, and 22 in the bilateral transverse temporal gyri, the posterior superior temporal gyri and planum temporale, in BA 40 of the bilateral inferior parietal lobe, in BA 13 in the bilateral posterior Insula, and in BA 13 and 22 in the right anterior insula and superior temporal gyrus. The vast majority of the identified regions are associated with the dorsal and ventral auditory processing streams. We therefore propose to frame the processing of musical timbre in a dual-stream model. Moreover, the regions activated in processing timbre show similarities to the brain regions involved in processing several other fundamental aspects of music, indicating possible shared neural bases of musical timbre and other musical domains. [ABSTRACT FROM AUTHOR]

Musical training has been linked to changes in early attentional and perceptual processing. Thus, such an altered attentional and perceptual processing has enabled musicians to judge the duration differently than non-musicians. Although these claims seem intriguing, there are many questions that are not addressed yet, for example, how would the performance of musically-trained differ from that of untrained on visual and auditory temporal judgments? Is there any advantage to musically-trained person in temporal processing? To understand these questions, we thus conducted a series of Auditory and Visual Temporal Bisection Tasks on 32 musically-trained and 32 musically-untrained participants. We hypothesized that if music training modulates general sensitivity to temporal dimensions, then the temporal judgments of musically-trained participants would differ from those of untrained participants in both visual and auditory tasks. Each participant performed a total of 140 trials (70 visual and 70 auditory) in two different blocks. For each participant, a Point of Subjective Equality (PSE) was obtained for visual and auditory conditions. The findings revealed a significant modality effect on time perception, with auditory stimuli being consistently overestimated compared to visual stimuli. Surprisingly, the musically-trained group exhibited a tendency to underestimate duration relative to the musically-untrained participants. Although these results may appear counterintuitive at first glance, a detailed analysis indicates that the length of musical training plays a significant role in modulating temporal processing within the musically-trained group. [ABSTRACT FROM AUTHOR]

The article reports the results of a study on the perception of reduced forms by non-native users of English. It tests three hypotheses: (i) reduced forms with context are recognized more accurately and faster than reduced forms without context; (ii) gradient reduction is perceived less robustly than the categorical one; and (iii) subjects with musical background perceive reduced forms better than those without. An E-Prime study on 102 Polish learners of English was implemented, comparing participants’ accuracy and reaction times with a control group of 14 native speakers. The study was corpus-based and used 287 reduced forms from a corpus of Lancashire. The results indicate that (i) lexical context and phone density significantly affect perception, (ii) the category of reduction process (gradient or categorical) is irrelevant, and (iii) musical background only partially impacts non-native perception. [ABSTRACT FROM AUTHOR]

Background: This study investigated whether music training led to better length estimation and/or rightward bias by comparing the performance of musicians (pianists) and non-musicians on performance of line sections and line extensions. Methods: One hundred and sixteen participants, among them 62 musicians and 54 non-musicians, participated in the present study, completed line section and line extension task under three conditions: 1/2, 1/3 and 2/3. Results: The mixed repeated measures ANOVA analysis revealed a significant group × condition interaction, that the musicians were more accurate than non-musicians in all the line section tasks and showed no obvious pseudoneglect, while their overall performance on the line extension tasks was comparable to the non-musicians, and only performed more accurately in the 1/2 line extension condition. Conclusion: These findings indicated that there was a dissociation between the effects of music training on line section and line extension. This dissociation does not support the view that music training has a general beneficial effect on line estimation, and provides insight into a potentially important limit on the effects of music training on spatial cognition. [ABSTRACT FROM AUTHOR]

Introduction: Musical roundness perception relies on consonance/dissonance within a rule-based harmonic context, but also on individual characteristics of the listener. The present work tackles these aspects in a combined psychoacoustic and neurophysiological study, taking into account participant's musical aptitude. Methods: Our paradigm employed cadence-like four-chord progressions, based on Western music theory. Chord progressions comprised naturalistic and artificial sounds; moreover, their single chords varied regarding consonance/dissonance and harmonic function. Thirty participants listened to the chord progressions while their cortical activity was measured with magnetoencephalography; afterwards, they rated the individual chord progressions with respect to their perceived roundness. Results: Roundness ratings differed according to the degree of dissonance in the dominant chord at the progression's third position; this effect was pronounced in listeners with high musical aptitude. Interestingly, a corresponding pattern occurred in the neuromagnetic N1m response to the fourth chord (i.e., at the progression's resolution), again with somewhat stronger differentiation among musical listeners. The N1m magnitude seemed to increase during chord progressions that were considered particularly round, with the maximum difference after the final chord; here, however, the musical aptitude effect just missed significance. Discussion: The roundness of chord progressions is reflected in participant's psychoacoustic ratings and in their transient cortical activity, with stronger differentiation among listeners with high musical aptitude. The concept of roundness might help to reframe consonance/dissonance to a more holistic, gestalt-like understanding that covers chord relations in Western music. [ABSTRACT FROM AUTHOR]

Introduction: Previous work on audio quality evaluation has demonstrated a developing convergence of the key perceptual attributes underlying judgments of quality, such as timbral, spatial and technical attributes. However, across existing research there remains a limited understanding of the crucial perceptual attributes that inform audio quality evaluation for people with hearing loss, and those who use hearing aids. This is especially the case with music, given the unique problems it presents in contrast to human speech. Method: This paper presents a sensory evaluation study utilising descriptive analysis methods, in which a panel of hearing aid users collaborated, through consensus, to identify the most important perceptual attributes of music audio quality and developed a series of rating scales for future listening tests. Participants (N = 12), with a hearing loss ranging from mild to severe, first completed an online elicitation task, providing single-word terms to describe the audio quality of original and processed music samples; this was completed twice by each participant, once with hearing aids, and once without. Participants were then guided in discussing these raw terms across three focus groups, in which they reduced the term space, identified important perceptual groupings of terms, and developed perceptual attributes from these groups (including rating scales and definitions for each). Results: Findings show that there were seven key perceptual dimensions underlying music audio quality (clarity, harshness, distortion, spaciousness, treble strength, middle strength, and bass strength), alongside a music audio quality attribute and possible alternative frequency balance attributes. Discussion: We outline how these perceptual attributes align with extant literature, how attribute rating instruments might be used in future work, and the importance of better understanding the music listening difficulties of people with varied profiles of hearing loss. [ABSTRACT FROM AUTHOR]

The field of multimodal robotic musical performing arts has garnered significant interest due to its innovative potential. Conventional robots face limitations in understanding emotions and artistic expression in musical performances. Therefore, this paper explores the application of multimodal robots that integrate visual and auditory perception to enhance the quality and artistic expression in music performance. Our approach involves integrating GRU (Gated Recurrent Unit) and GoogLeNet models for sentiment analysis. The GRU model processes audio data and captures the temporal dynamics of musical elements, including long-term dependencies, to extract emotional information. The GoogLeNet model excels in image processing, extracting complex visual details and aesthetic features. This synergy deepens the understanding of musical and visual elements, aiming to produce more emotionally resonant and interactive robot performances. Experimental results demonstrate the effectiveness of our approach, showing significant improvements in music performance by multimodal robots. These robots, equipped with our method, deliver high-quality, artistic performances that effectively evoke emotional engagement from the audience. Multimodal robots that merge audio-visual perception in music performance enrich the art form and offer diverse human-machine interactions. This research demonstrates the potential of multimodal robots in music performance, promoting the integration of technology and art. It opens new realms in performing arts and human-robot interactions, offering a unique and innovative experience. Our findings provide valuable insights for the development of multimodal robots in the performing arts sector. [ABSTRACT FROM AUTHOR]

Using three musical pieces as musical stimuli from Romania, Brazil, and Saudi Arabia, this study extended Fung's study by examining Chinese pre-service music teachers' (n = 115) and schoolteachers' (n = 131) personal preferences and external preferences for orchestral, folk, and popular music pieces. Two groups of participants were asked to select their preferred music from three pieces and to provide verbal descriptions of the reasons for their selections. The results showed (a) no significant differences in personal preference between the two groups but statistical significances in external preferences between the two groups; (b) the highest preference rating by both groups of teachers was folk music and the highest forced-choice preference was popular music; (c) statistically significant correlations between personal preference and external preference were evident in both groups across all three pieces; and (d) frequent descriptions by both groups of participants of the pieces in terms of musical characteristics were shared. The implications of this study are as follows. (1) Psychologists and music researchers gain insights about Chinese young adults' listening preferences, which might offer implications for future research in the field of psychology; and (2) By enhancing multicultural awareness, music education teachers and researchers should combine different music styles to broaden students' music horizons. [ABSTRACT FROM AUTHOR]

Objectives: On phenotypic and neuroanatomical grounds, music exposure might potentially affect the clinical expression of behavioural variant frontotemporal dementia (bvFTD). However, this has not been clarified. Methods: 14 consecutive patients with bvFTD fulfilling consensus diagnostic criteria were recruited via a specialist cognitive clinic. Earlier life musical experience, current musical listening habits and general socio-emotional behaviours were scored using a bespoke semi-quantitative musical survey and standardised functional scales, completed with the assistance of patients' primary caregivers. Associations of musical scores with behavioural scales were assessed using a linear regression model adjusted for age, sex, educational attainment and level of executive and general cognitive impairment. Results: Greater earlier life musical experience was associated with significantly lower Cambridge Behavioural Inventory (Revised) scores (ß ± SE = -17.2 ± 5.2; p = 0.01) and higher Modified Interpersonal Reactivity Index (MIRI) perspectivetaking scores (ß ± SE = 2.8 ± 1.1; p = 0.03), after adjusting for general cognitive ability. Number of hours each week currently spent listening to music was associated with higher MIRI empathic concern (ß ± SE = 0.7 ± 0.21; p = 0.015) and MIRI total scores (ß ± SE = 1.1 ± 0.34; p = 0.014). Discussion: Musical experience in earlier life and potentially ongoing regular music listening may ameliorate socio-emotional functioning in bvFTD. Future work in larger cohorts is required to substantiate the robustness of this association, establish its mechanism and evaluate its clinical potential. [ABSTRACT FROM AUTHOR]

This document is an editorial titled "The adaptive role of musicality in human evolution" published in the journal Frontiers in Psychology. The editorial discusses the renewed interest in the topic of human musical behavior and its evolution. It aims to encourage exploration of human aural perception and its role in music and language, with a focus on how musical abilities are acquired and transmitted through vocal learning. The editorial presents various studies examining the evolution of musical abilities from different perspectives, including animal behavior, cultural evolution, and human musicality. The document also acknowledges the diverse interpretations and approaches within the field and highlights the need for further research to clarify the nature and practice of human musical behavior. [Extracted from the article]

Predictability plays an important role in the experience of musical pleasure. By leveraging expectations, music induces pleasure through tension and surprise. However, musical predictions draw on both prior knowledge and immediate context. Similarly, musical pleasure, which has been shown to depend on predictability, may also vary relative to the individual and context. Although research has demonstrated the influence of both long-term knowledge and stimulus features in influencing expectations, it is unclear how perceptions of a melody are influenced by comparisons to other music pieces heard in the same context. To examine the effects of context we compared how listeners' judgments of two distinct sets of stimuli differed when they were presented alone or in combination. Stimuli were excerpts from a repertoire of Western music and a set of experimenter created melodies. Separate groups of participants rated liking and predictability for each set of stimuli alone and in combination. We found that when heard together, the Repertoire stimuli were more liked and rated as less predictable than if they were heard alone, with the opposite pattern being observed for the Experimental stimuli. This effect was driven by a change in ratings between the Alone and Combined conditions for each stimulus set. These findings demonstrate a context-based shift of predictability ratings and derived pleasure, suggesting that judgments stem not only from the physical properties of the stimulus, but also vary relative to other options available in the immediate context. [ABSTRACT FROM AUTHOR]

Introduction: In the context of evolving societal preferences for deeper emotional connections in art, this paper explores the emergence of multimodal robot music performance art. It investigates the fusion of music and motion in robot performances to enhance expressiveness and emotional impact. The study employs Transformermodels to combine audio and video signals, enabling robots to better understand music's rhythm, melody, and emotional content. Generative Adversarial Networks (GANs) are utilized to create lifelike visual performances synchronized with music, bridging auditory and visual perception. Multimodal reinforcement learning is employed to achieve harmonious alignment between sound and motion. Methods: The study leverages Transformer models to process audio and video signals in robot performances. Generative Adversarial Networks are employed to generate visually appealing performances that align with the musical input. Multimodal reinforcement learning is used to synchronize robot actions with music. Diverse music styles and emotions are considered in the experiments. Performance evaluation metrics include accuracy, recall rate, and F1 score. Results: The proposed approach yields promising results across various music styles and emotional contexts. Performance smoothness scores exceed 94 points, demonstrating the fluidity of robot actions. An accuracy rate of 95% highlights the precision of the system in aligning robot actions with music. Notably, there is a substantial 33% enhancement in performance recall rate compared to baseline modules. The collective improvement in F1 score emphasizes the advantages of the proposed approach in the realm of robot music performance art. Discussion: The study's findings demonstrate the potential of multimodal robot music performance art in achieving heightened emotional impact. By combining audio and visual cues, robots can better interpret and respond to music, resulting in smoother and more precise performances. The substantial improvement in recall rate suggests that the proposed approach enhances the robots' ability to accurately mirror the emotional nuances of the music. These results signify the potential of this approach to transformthe landscape of artistic expression through robotics, opening new avenues for emotionally resonant performances. [ABSTRACT FROM AUTHOR]

Introduction: Music students in higher education experience health-related challenges linked to practice and performance, while an understanding of these challenges and access to resources to deal with them are required to promote the students´ health. Health literacy and health education are integral parts of health promotion and resources for health, which encompasses health-related knowledge and competence aiming to improve health. The aim of this study was to explore Norwegian music students' perceptions and experiences of resources and challenges for health and address the following research question: What health-related challenges do music students in higher music education meet, and what health promoting resources do they need and use to deal with these challenges and promote their health? Methods: We conducted a qualitative study including three focus group interviews with 13 music students aged between 19 and 31 years studying classical, folk, jazz or rhythmic genres from five different music departments in Norwegian universities. The Salutogenic model of health was used as theoretical framework and a few questions regarding the concept of health literacy were included in the interviews. We used thematic network analysis to analyze the data. Results: Main health challenges were related to performance pressure and difficulties implementing good health habits in the students' daily lives. Furthermore, the findings revealed several resources that promoted the students' health: (1) Personal resources included situational understanding, using adequate coping strategies, high motivation and participating in regular physical activity. (2) Social resources involved an understanding of the importance of social support from peers and teachers and synergy created between themselves and the audience through sharing of music. (3) Environmental resources were linked to access to good rehearsal rooms. The music students expressed a need for increased competence in health promoting routines during practice and performance and suggested that health-related topics should be an integrated part of education. [ABSTRACT FROM AUTHOR]

This review elaborates on the influence of music on the psychological well-being of adolescents, covering the potential advantages, drawbacks, and necessary strategic interventions associated with music exposure. Initially, we characterize music and delve into a multifaceted classification system. Music, as a pervasive art form, is categorized based on regional and national parameters, and it also distinguishes through the assorted genres and traits. The mental well-being of adolescents is significantly influenced by music through mechanisms such as the facilitation of emotional expression and regulation, fortification of social bonds and the sense of belonging, as well as the fostering of creativity and cognitive development. Nonetheless, music, if misused or associated with inappropriate content, could elicit a spectrum of issues ranging from auditory impairment, diversion of attention, addiction tendencies, to the induction of negative emotions. To counteract these potential hazards, we propose several mitigation strategies including the selection of appropriate music styles, the establishment of a wholesome music environment, the promotion of the constructive role of music education, and fostering active participation in music activities among the youth. In conclusion, we underscore the necessity of a collaborative endeavor from all sectors of society to ensure a healthy music environment for the youth, which in turn would enhance the positive influence of music on the mental health development of this population. [ABSTRACT FROM AUTHOR]

Musical training has been evidenced to facilitate music perception, which refers to the consistencies, boundaries, and segmentations in pieces of music that are associated with the Gestalt principles. The current study aims to test whether musical training is beneficial to non-musical cognitive ability with Gestalt principles. Three groups of Chinese participants (with early, late, and no musical training) were compared in terms of their performances on the Motor-Free Visual Perception Test (MVPT). The results show that the participants with early musical training had significantly better performance in the Gestalt-like Visual Closure subtest than those with late and no musical training, but no significances in other Gestalt-unlike subtests was identified (Visual Memory, Visual Discrimination, Spatial Relationship, Figure Ground in MVPT). This study suggests the benefit of early musical training on non-musical cognitive ability with Gestalt principles. [ABSTRACT FROM AUTHOR]

The therapeutic use of music is frequently based on active interventions that directly involve the patient through a sonorous-music interaction with the music therapist. In contrast, approaches based on musical listening are characterized by a relationship aimed at promoting an introspective work and processing of one's emotional experiences. Increasingly, the scientific literature has shown how even listening to music related to the patient's personal tastes (preferred music listening) and by-passing the direct relationship with the patient, can produce therapeutic effects in different clinical settings. However, in many cases, a clear therapeutic rationale and specific application protocols are still lacking. The paper introduces a novel approach based on music listening: the Therapeutic Music Listening. This approach integrates the subjective component of listening (patient's musical tastes) and structural and parametric characteristics of the music in relation to the therapeutic aims. The article defines theoreticalapplicative bases as well as therapeutic and research perspectives of this music listening-based intervention. [ABSTRACT FROM AUTHOR]

Introduction: The study aims to test whether an increase in memory load could improve the efficacy in detection of Alzheimer’s disease and prediction of the Mini-Mental State Examination (MMSE) score. Methods: Speech from 45 mild-to-moderate Alzheimer’s disease patients and 44 healthy older adults were collected using three speech tasks with varying memory loads. We investigated and compared speech characteristics of Alzheimer’s disease across speech tasks to examine the effect of memory load on speech characteristics. Finally, we built Alzheimer’s disease classification models and MMSE prediction models to assess the diagnostic value of speech tasks. Results: The speech characteristics of Alzheimer’s disease in pitch, loudness, and speech rate were observed and the high-memory-load task intensified such characteristics. The high-memory-load task outperformed in AD classification with an accuracy of 81.4% and MMSE prediction with a mean absolute error of 4.62. Discussion: The high-memory-load recall task is an effective method for speechbased Alzheimer’s disease detection. [ABSTRACT FROM AUTHOR]

Rhythmicity permeates large parts of human experience. Humans generate various motor and brain rhythms spanning a range of frequencies. We also experience and synchronize to externally imposed rhythmicity, for example from music and song or from the 24-h light-dark cycles of the sun. In the context of music, humans have the ability to perceive, generate, and anticipate rhythmic structures, for example, "the beat." Experimental and behavioral studies offer clues about the biophysical and neural mechanisms that underlie our rhythmic abilities, and about different brain areas that are involved but many open questions remain. In this paper, we review several theoretical and computational approaches, each centered at different levels of description, that address specific aspects of musical rhythmic generation, perception, attention, perception-action coordination, and learning. We survey methods and results from applications of dynamical systems theory, neuro-mechanistic modeling, and Bayesian inference. Some frameworks rely on synchronization of intrinsic brain rhythms that span the relevant frequency range; some formulations involve real-time adaptation schemes for error-correction to align the phase and frequency of a dedicated circuit; others involve learning and dynamically adjusting expectations to make rhythm tracking predictions. Each of the approaches, while initially designed to answer specific questions, offers the possibility of being integrated into a larger framework that provides insights into our ability to perceive and generate rhythmic patterns. [ABSTRACT FROM AUTHOR]

Introduction: During their career, musicians need to undergo intense periods of training to master musical instruments and become accomplished artists. Dysfunctional practice behaviors and anxiety are often mentioned among the possible risk factors for playing-related injuries in musicians. However, the mechanism through which these might lead to the onset of these injuries is still unclear. The present study aims at overcoming this limitation by investigating the relationship between quantitative measurements of anxiety, practice behaviors and music performance quality. Methods: The experiment consisted in monitoring practice behaviors in 30 pianists practicing a short musical task. Results: Most self-report anxiety measurements were positively correlated with practice time, especially those collected right before the practice sessions. Similar correlations were identified between anxiety and the number of repetitions of the musical task. Physiological markers of anxiety were only weakly related to practice behaviors. Subsequent analyses showed that high levels of anxiety were associated with poor quality of music performances at baseline. Nevertheless, the interaction between participants’ learning rate and anxiety measures showed no association with performance quality scores. Moreover, anxiety and performance quality co-developed during practice sessions, showing that pianists who improved their playing were also less anxious in the latter part of the experiment. Discussion: These findings suggest that anxious musicians are likely at higher risk of developing playing-related injuries related to overuse and repetitive strains. Future directions and clinical implications are discussed. [ABSTRACT FROM AUTHOR]

The effects of musical tempo on cognitive processing speed were investigated, and the mediating effect of arousal was empirically tested. In an experiment, participants were divided into fast tempo, slow tempo, and no-music groups and completed three cognitive processing speed tests measuring motor speed, visuospatial processing speed, and linguistic processing speed. The results indicated a significant effect of musical tempo on processing speed and task performance in all three tasks. The slow-tempo group exhibited slower processing speed and worse performance than the no-music group in all three tasks. The fast tempo group displayed no significant difference in processing speed or performance compared with the no-music group. In the linguistic processing task, those who listened to slow-tempo music had better accuracy than those in the other conditions. Arousal did not mediate the relationship between musical tempo and cognitive processing speed. [ABSTRACT FROM AUTHOR]

Music therapy is a common method to relieve anxiety and pain in cancer patients after surgery in recent years, but due to the lack of technical and algorithmic support, this therapy is not particularly stable and the therapeutic effect is not good. In this study, a neural network robotic system based on breast cancer patients was designed to analyze the effect of music relaxation training on alleviating adverse reactions after chemotherapy in breast cancer patients. Firstly, this paper introduces the necessity of neural network robot system research under the background of music therapy, and then summarizes the positive effect of music relaxation therapy on alleviating adverse reactions after chemotherapy in breast cancer patients, finally, uses neural network robot system to construct music therapy system. The experimental results show that the new music therapy proposed in this study has a good effect in alleviating the adverse reactions of breast cancer patients after chemotherapy, and the cure rate is increased by 7.84%. The research results of this paper provide reference for the next development of neural network robot system in the medical field. [ABSTRACT FROM AUTHOR]

Musicians Focal Dystonia (MFD) is a task-specific movement disorder affecting highly skilled musicians. The pathophysiology is poorly understood, and the available treatments are unable to fully and reliably rehabilitate the affected skill. Recently, the exclusively neurological nature of the condition has been questioned, and additional psychological, behavioral, and psychosocial contributing factors were identified. However, very little is known about how these factors influence the recovery process, and how, if at all, they are addressed in ongoing practices. For this study, 14 practitioners with substantial experience in working with musicians with MFD were interviewed about the elements in their approach which are directed at the cognition, emotions, attitudes, and behaviors of their patients and clients. A wide variety of tools were reported in three areas: (1) creating a supportive learning environment and addressing anxiety and perfectionism, (2) using body-oriented methods to optimize the playing behaviors and (3) consciously channeling the focus of attention to guide the physical retraining exercises and establishing new habits. The study also revealed that in-depth knowledge of the instrumental technique is profitable to retrain the impaired motor patterns. Therefore, the importance of including music [ABSTRACT FROM AUTHOR]

Music performance anxiety (MPA) is a prevalent phenomenon with potentially serious consequences to a musician's wellbeing and professional career. Yet, MPA does not always affect performance quality. It is hypothesized that trait anxiety, situational stress, and task mastery can exacerbate the effects of MPA and affect performance quality. Furthermore, it is unclear whether these effects are noticeable to both listeners and performing musicians.We measure performance quality as the expressiveness scores assigned by musicians and listeners to a set of pre-recorded performances. We selected three pianists with low, mid, and high MPA. Each pianist performed two pieces of their choice, familiar and unfamiliar, which were performed in rehearsal and recital conditions. The performances were videoed and edited into shorter clips for being presented to the performing pianists and to a set of online raters. Listeners and pianists will be asked to rate the expressiveness of all clips. We will determine the difference between the listeners' perceived expressiveness and the pianists' own expressiveness scores to estimate how well did listeners understand the pianists' expressive intentions. We investigate (1) what is the effect of trait anxiety, situational stress, and task mastery on the listener's perception of expressiveness and (2) what is the effect of these same variables on the listeners' understanding of expressiveness. [ABSTRACT FROM AUTHOR]

Music enjoyment is considered to predict music-related academic performance and career choice. Although relevant research in non-music fields has demonstrated the association between teachers' autonomy support and students' academic enjoyment, it remains unknown whether this association is valid in the music discipline. In addition, in the post-COVID-19 era, online education has become a common way of teaching and learning for music undergraduates. In the form of online learning, the mechanisms mediating teachers' music autonomy support and students' music academic enjoyment are also unknown. This study draws on Pekrun's theory of achievement emotions and control values to explore the mediating role of attributions and values in the association between autonomous support and academic achievement. In this study, 270 undergraduates majoring in music eventually completed the online surveys. Results from structural equation modeling indicated that autonomy support positively predicted music enjoyment and that attributions (i.e., internal attribution and external attribution) and values (i.e., intrinsic value, attainment value, utility value) mediated the association between autonomy support and music enjoyment. The findings also provide insights into possible avenue for promoting music enjoyment emotion during online teaching in the post-COVID-19 era. Implications and limitations are discussed in the study. [ABSTRACT FROM AUTHOR]

Background/aims: High occupational injury rates are reported in musicians, with a career prevalence of up to 89%. Fatigue and playing (over)load are identified as key risk factors for musicians' injuries. Self-report fatigue management strategies in sport have demonstrated preventive effects. A selfreport fatigue management tool for musicians was developed based on a Delphi survey of international experts and hosted in an online app. The aims of this study are to evaluate the content validity and uptake of this new tool, and explore associations between collected performance quality, physical/psychological stress, pain, injury and fatigue data. Methods: University and professional musicians were asked to provide entries into the online app twice per week for 1-6 months. Entries into the app were designed to take 2-3 min to complete and consisted of the following: 6 questions regarding playing load over the previous 72 h; 5 questions regarding current levels in key physical/psychological stress domains (sleep, recovery, overplaying, pain, fitness); one question self-rating of performance quality over the previous day; one question regarding current musculoskeletal symptoms; a reaction time task to evaluate psychomotor fatigue. Results: N = 96 participants provided an average of 2 app entries (range 0-43). Increased playing time, rating of perceived exertion (RPE), and feelings of having to "play too much" were consistently associated with increased selfrated performance quality (p ≤ 0.004; 6.7 <| t |< 2148.5). Increased ratings of feeling fit and recovering well were consistently associated with reduced pain severity (p < 0.001; 3.8 <| t |< 20.4). Pain severity was increased (6.5/10 vs. 2.5/10; p < 0.001) in participants reporting playing-related musculoskeletal disorders (PRMDs; symptoms affecting playing). Conclusion: The prospective value of regular individual self-report playing load, stress, and performance data collection in musicians is clear. However, limited uptake of the online fatigue management app piloted in this study indicates that new approaches to the collection of these data are needed to realize their potential impact. [ABSTRACT FROM AUTHOR]

Listening to groovy music is an enjoyable experience and a common human behavior in some cultures. Specifically, many listeners agree that songs they find to be more familiar and pleasurable are more likely to induce the experience of musical groove. While the pleasurable and dance-inducing effects of musical groove are omnipresent, we know less about how subjective feelings toward music, individual musical or dance experiences, or more objective musical perception abilities are correlated with the way we experience groove. Therefore, the present study aimed to evaluate how musical and dance sophistication relates to musical groove perception. Onehundred 24 participants completed an online study during which they rated 20 songs, considered high- or low-groove, and completed the Goldsmiths Musical Sophistication Index, the Goldsmiths Dance Sophistication Index, the Beat and Meter Sensitivity Task, and a modified short version of the Profile for Music Perception Skills. Our results reveal that measures of perceptual abilities, musical training, and social dancing predicted the difference in groove rating between high- and low-groove music. Overall, these findings support the notion that listeners' individual experiences and predispositions may shape their perception of musical groove, although other causal directions are also possible. This research helps elucidate the correlates and possible causes of musical groove perception in a wide range of listeners. [ABSTRACT FROM AUTHOR]

Recent research has indicated that many people around the world turned to artistic creative activities (ACAs) to support their mental health during COVID-19 lockdowns. However, studies have also shown that the negative psychosocial impacts of the pandemic have disproportionately affected young people, suggesting that the use of ACAs to support mental health in lockdown may have varied across age groups. This study investigated how Australians in four different age groups (18-24, 25-34, 35-54, and 55+) engaged in ACAs to support their mental health during the 2020 pandemic lockdowns. Participants (N = 653) recruited from the general public completed an online survey between May and October 2020, in which they reported which ACAs they had undertaken during the pandemic using an established list. Participants subsequently ranked undertaken ACAs in terms of effectiveness at making them "feel better," and those who had engaged in musical ACAs also completed the Musical Engagement Questionnaire (MusEQ). Additionally, ratings of anxiety (GAD7) and depression (PHQ9) symptoms were obtained and examined for potential variations across four diverse variables: age, exercise, gender and state/territory of residence. ACA rankings showed that younger participants overwhelmingly rated musical activities as most effective, while, with the exception of singing, those aged 55+ rated non-musical activities as being most effective. These differences were further supported by ratings for all six MusEQ subscales, with responses strongly indicating that the youngest participants (aged 18-24) used music in significantly different ways during the pandemic than participants in all other age groups. Specifically, these youngest participants were more likely to integrate music into daily life, use music for emotion regulation, respond to music in embodied ways, and use music to perform a social identity. In line with prior research, further analyses indicated that symptoms of anxiety and depression were lessened for older participants, as well for those who reported exercising more during the lockdowns. These findings provide insight into how ACAs can support mental health during a pandemic crisis for specific age groups, which may inform future policy directions, and suggestions for how this can be done are provided. [ABSTRACT FROM AUTHOR]

This article discusses recent developments and advances in the neuroscience of music to understand the nature of musical emotion. In particular, it highlights how system identification techniques and computational models of music have advanced our understanding of how the human brain processes the textures and structures of music and how the processed information evokes emotions. Musical models relate physical properties of stimuli to internal representations called features, and predictive models relate features to neural or behavioral responses and test their predictions against independent unseen data. The new frameworks do not require orthogonalized stimuli in controlled experiments to establish reproducible knowledge, which has opened up a new wave of naturalistic neuroscience. The current review focuses on how this trend has transformed the domain of the neuroscience of music. [ABSTRACT FROM AUTHOR]

In this study we evaluated heart rate variability (HRV) changes in a pianist, playing in a laboratory, to investigate whether HRV changes are guided by music temporal features or by technical difficulty and/or subjective factors (e.g., experienced effort). The pianist was equipped with a wearable telemetry device for ECG recording during the execution of 4 classical and 5 jazz pieces. From ECG we derived the RR intervals series (tachogram), and, for each piece, analyzed HRV in the time (RR, RMSSD, Stress Index) and frequency domains (Total spectral power) and performed non-linear analysis (Multiscale Entropy). We also studied the correlation (Pearson) between the time course of music volume envelope and tachogram. Results showed a general reduction of parasympathetic and an increase of sympathetic activity, with the greatest changes during the classical pieces execution, the pianist appraised as more demanding than the jazz ones. The most marked changes occurred during the most technically/emotionally demanding piece, and correlation analysis revealed a negative association between music volume envelope time course and tachogram only for this piece, suggesting a modulation of the limbic system on the synchronization between heart rhythm and music temporal features. Classical music was also associated with the increase of entropy (1st scale) with respect to rest, indicating its effectiveness in driving flexible, healthy, heart dynamics. In conclusion, HRV seems modulated not only by the music temporal features, but also by the pianist's emotional involvement, which is greatly influenced, in a non-trivial manner, by the technical demands and musician expertise. [ABSTRACT FROM AUTHOR]

Playing a musical instrument includes reading music scores, playing, and listening in parallel. It is unclear which of these activities are responsible for an increase in cerebral blood flow. We investigated the factors increasing middle cerebral artery velocity (MCAv) during musical performance, and examined whether playing and reading music affects cognitive function. Seventeen musicians played an instrument with reading music, played music from memory, and read music scores in a randomized order, for 10 min each. The MCAv was continuously recorded from 5 min before to 10 min after the performance. A Stroop test was performed before and after performance. The MCAv increased significantly with reading music, playing from memory, and reading music. Stroop test scores increased significantly after music reading. These findings suggest that both music reading and playing an instrument are involved in the increase in MCAv during music performance. Cognitive function was transiently improved by playing musical instruments. [ABSTRACT FROM AUTHOR]

A number of theories about the origins of musicality have incorporated biological and social perspectives. Darwin argued that musicality evolved by sexual selection, functioning as a courtship display in reproductive partner choice. Darwin did not regard musicality as a sexually dimorphic trait, paralleling evidence that both sexes produce and enjoy music. A novel research strand examines the effect of musicality on sexual attraction by acknowledging the importance of facial attractiveness. We previously demonstrated that music varying in emotional content increases the perceived attractiveness and dating desirability of opposite-sex faces only in females, compared to a silent control condition. Here, we built upon this approach by presenting the person depicted (target) as the performer of the music (prime), thus establishing a direct link. We hypothesized that musical priming would increase sexual attraction, with high-arousing music inducing the largest effect. Musical primes (25s, piano solo music) varied in arousal and pleasantness, and targets were photos of other-sex faces of average attractiveness and with neutral expressions (2s). Participants were 35 females and 23 males (heterosexual psychology students, single, and no hormonal contraception use) matched for musical background, mood, and liking for the music used in the experiment. After musical priming, females' ratings of attractiveness and dating desirability increased significantly. In males, only dating desirability was significantly increased by musical priming. No specific effects of music-induced pleasantness and arousal were observed. Our results, together with other recent empirical evidence, corroborate the sexual selection hypothesis for the evolution of human musicality. [ABSTRACT FROM AUTHOR]

Regular musical activity as a complex multimodal lifestyle activity is proposed to be protective against age-related cognitive decline and Alzheimer's disease. This crosssectional study investigated the association and interplay between musical instrument playing during life, multi-domain cognitive abilities and brain morphology in older adults (OA) from the DZNE-Longitudinal Cognitive Impairment and Dementia Study (DELCODE) study. Participants reporting having played a musical instrument across three life periods (n = 70) were compared to controls without a history of musical instrument playing (n = 70), well-matched for reserve proxies of education, intelligence, socioeconomic status and physical activity. Participants with musical activity outperformed controls in global cognition, working memory, executive functions, language, and visuospatial abilities, with no effects seen for learning and memory. The musically active group had greater gray matter volume in the somatosensory area, but did not differ from controls in higher-order frontal, temporal, or hippocampal volumes. However, the association between gray matter volume in distributed frontal-to-temporal regions and cognitive abilities was enhanced in participants with musical activity compared to controls. We show that playing a musical instrument during life relates to better late-life cognitive abilities and greater brain capacities in OA. Musical activity may serve as a multimodal enrichment strategy that could help preserve cognitive and brain health in late life. Longitudinal and interventional studies are needed to support this notion. [ABSTRACT FROM AUTHOR]

Developmental Cerebellar Anomalies (DCA) are rare diseases (e.g., Joubert syndrome) that affect various motor and non-motor functions during childhood. The present study examined whether music perception and production are affected in children with DCA. Sixteen children with DCA and 37 healthy matched control children were tested with the Montreal Battery for Evaluation of Musical Abilities (MBEMA) to assess musical perception. Musical production was assessed using two singing tasks: a pitch-matching task and a melodic reproduction task. Mixed model analyses showed that children with DCA were impaired on the MBEMA rhythm perception subtest, whereas there was no difference between the two groups on the melodic perception subtest. Children with DCA were also impaired in the melodic reproduction task. In both groups, singing performance was positively correlated with rhythmic and melodic perception scores, and a strong correlation was found between singing ability and oro-bucco-facial praxis in children with DCA. Overall, children with DCA showed impairments in both music perception and production, although heterogeneity in cerebellar patient's profiles was highlighted by individual analyses. These results confirm the role of the cerebellum in rhythm processing as well as in the vocal sensorimotor loop in a developmental perspective. Rhythmic deficits in cerebellar patients are discussed in light of recent work on predictive timing networks including the cerebellum. Our results open innovative remediation perspectives aiming at improving perceptual and/or production musical abilities while considering the heterogeneity of patients' clinical profiles to design music-based therapies. [ABSTRACT FROM AUTHOR]

Background: Cognitive deficits are one of the core features of major depressive disorder (MDD) that play crucial role in functional recovery. Studies have explored cognitive deficits in MDD, however, given inconsistent results, especially in mild-moderate MDD. Recently, studies have explored music as cognitive ability in various clinical conditions. In MDD, large focus has been on evaluating emotion deficits and just a handful on music cognition. With growing evidence on use of music based intervention to target cognitive deficits, it is imperative to explore nature of music cognitive ability in MDD. Aim: To examine musical and neuro-cognitive deficits in patients with mild-moderate MDD. Methods: Patients diagnosed with mild or moderate MDD (n = 19) and matched healthy controls (HC) (n = 18) were evaluated on selected tests from NIMHANS Neuropsychological test battery and Montreal battery for evaluation of amusia (MBEA). Results: MDD group performed significantly lower than HC on working memory (p = 0.007), verbal learning (p = 0.02) and retention (p = 0.03). Three indices were computed for a comprehensive evaluation. Groups did not differ significantly in any of the indices- focused attention, executive function, learning and memory as well as on music cognition. Focused attention and memory index predicted music cognition in HC and the combined group (MDD + HC) (p < 0.01). Attention alone contributed to 62.1% of variance in music cognition. Similarly, music cognition significantly predicted focused attention (p < 0.01). Conclusion: Individuals with mild-moderate MDD show significant deficits in working memory, verbal learning and memory, however, not in music cognition. There exists a significant relationship between music cognition and attention, which could be implicated in use of music interventions to ameliorate cognitive deficits. Limitations of study include small sample size and heterogeneity. Future studies on larger cohort examining musical emotion perception and neurocognition is imperative to have deeper understanding of this debilitating condition. [ABSTRACT FROM AUTHOR]

Auditory communication is an essential form of human social interaction. However, the intra-brain cortical-oscillatory drivers of auditory communication exchange remain relatively unexplored. We used improvisational music performance to simulate and capture the creativity and turn-taking dynamics of natural auditory communication. Using magnetoencephalography (MEG) hyperscanning in musicians, we targeted brain activity during periods of music communication imagery, and separately analyzed theta (5-7 Hz), alpha (8-13 Hz), and beta (15-29 Hz) source-level activity using a within-subjects, two-factor approach which considered the assigned social role of the subject (leader or follower) and whether communication responses were improvisational (yes or no). Theta activity related to improvisational communication and social role significantly interacted in the left isthmus cingulate cortex. Social role was furthermore differentiated by pronounced occipital alpha and beta amplitude increases suggestive of working memory retention engagement in Followers but not Leaders. The results offer compelling evidence for both musical and social neuroscience that the cognitive strategies, and correspondingly the memory and attention-associated oscillatory brain activities of interlocutors during communication differs according to their social role/hierarchy, thereby indicating that social role/hierarchy needs to be controlled for in social neuroscience research. [ABSTRACT FROM AUTHOR]

Neural mechanisms supporting time perception in continuously changing sensory environments may be relevant to a broader understanding of how the human brain utilizes time in cognition and action. In this review, we describe current theories of sensorimotor engagement in the support of subsecond timing. We focus on musical timing due to the extensive literature surrounding movement with and perception of musical rhythms. First, we define commonly used but ambiguous concepts including neural entrainment, simulation, and prediction in the context of musical timing. Next, we summarize the literature on sensorimotor timing during perception and performance and describe current theories of sensorimotor engagement in the support of subsecond timing. We review the evidence supporting that sensorimotor engagement is critical in accurate time perception. Finally, potential clinical implications for a sensorimotor perspective of timing are highlighted. [ABSTRACT FROM AUTHOR]

This mini review is aimed at a clinician-scientist seeking to understand the role of oscillations in neural processing and their functional relevance in speech and music perception. We present an overview of neural oscillations, methods used to study them, and their functional relevance with respect to music processing, aging, hearing loss, and disorders affecting speech and language. We first review the oscillatory frequency bands and their associations with speech and music processing. Next we describe commonly used metrics for quantifying neural oscillations, briefly touching upon the still-debated mechanisms underpinning oscillatory alignment. Following this, we highlight key findings from research on neural oscillations in speech and music perception, as well as contributions of this work to our understanding of disordered perception in clinical populations. Finally, we conclude with a look toward the future of oscillatory research in speech and music perception, including promising methods and potential avenues for future work. We note that the intention of this mini review is not to systematically review all literature on cortical tracking of speech and music. Rather, we seek to provide the clinician-scientist with foundational information that can be used to evaluate and design research studies targeting the functional role of oscillations in speech and music processing in typical and clinical populations. [ABSTRACT FROM AUTHOR]

Cochlear implants are medical devices that provide hearing to nearly one million people around the world. Outcomes are impressive with most recipients learning to understand speech through this new way of hearing. Music perception and speech reception in noise, however, are notably poor. These aspects of hearing critically depend on sensitivity to pitch, whether the musical pitch of an instrument or the vocal pitch of speech. The present article examines cues for pitch perception in the auditory nerve based on computational models. Modeled neural synchrony for pure and complex tones is examined for three different electric stimulation strategies including Continuous Interleaved Sampling (CIS), High-Fidelity CIS (HDCIS), and Peak-Derived Timing (PDT). Computational modeling of current spread and neuronal response are used to predict neural activity to electric and acoustic stimulation. It is shown that CIS does not provide neural synchrony to the frequency of pure tones nor to the fundamental component of complex tones. The newer HDCIS and PDT strategies restore synchrony to both the frequency of pure tones and to the fundamental component of complex tones. Current spread reduces spatial specificity of excitation as well as the temporal fidelity of neural synchrony, but modeled neural excitation restores precision of these cues. Overall, modeled neural excitation to electric stimulation that incorporates temporal fine structure (e.g., HDCIS and PDT) indicates neural synchrony comparable to that provided by acoustic stimulation. Discussion considers the importance of stimulation rate and long-term rehabilitation to provide temporal cues for pitch perception. [ABSTRACT FROM AUTHOR]

Music performance anxiety (MPA) affects musicians at various stages of a performance, from its preparation until the aftermath of its delivery. Given the commonality and potentially grave consequences of MPA, it is understandable that much attention has been paid to the musician experiencing it. Consequently, we have learned a great deal about the intrapersonal level of MPA: how to measure it, treatments, experimental manipulations, and subjective experiences. However, MPA may also manifest at an interpersonal level by influencing how the performance is perceived. Yet, this has not yet been measured. This exploratory online study focuses on the listener's perception of anxiety and compares it to the musician's actual experienced anxiety. Forty-eight participants rated the amount of perceived anxiety of a pianist performing two pieces of contrasting difficulty in online-recital and practice conditions. Participants were presented with two stimulus modality conditions of the performance: audiovisual and audio-only. The listener's perception of anxiety and its similarity to the musician's experienced anxiety varies depending on variables such as the piece performed, the stimulus modality, as well as interactions between these variables and the listener's musical background. We discuss the implications for performance and future research on the interpersonal level of MPA. [ABSTRACT FROM AUTHOR]

High blood pressure (BP) plays an important role in the pathogenesis and development of cardiovascular diseases and multi-organ damages. Music has been well known to elicit emotional changes, such as anxiolytic effects. However, whether music therapy lowers BP in spontaneously hypertensive rats (SHR) and the potential mechanism remains unknown. SHRs were, respectively exposed to white noise (WN), Western classical music (WM), Chinese classical music (CCM), rock music (RM), and bisoprolol treatment. WN and WM did not lower systemic BP, but CCM and RM significantly lowered BPs in SHRs. The effects of CCM therapy on lowering systemic BPs is comparable to that of bisoprolol at the dose of low to medium. Combination of CCM treatment with bisoprolol further improved systemic BPs and myocardial hypertrophy in SHRs, compared to CCM treatment or bisoprolol alone. Furthermore, IHC and WB analysis indicated that CCM therapy inhibited the β1/cAMP/PKA and α1/PLC/PKC signalings, but didn't alter the β2/PI3K/Akt signaling. Above all, CCM therapy lowers systemic BPs and alleviates myocardial hypertrophy in hypertensive rats, which may be caused by the inhibitions of β1/cAMP/PKA and α1/PLC/PKC signalings. [ABSTRACT FROM AUTHOR]

Aging and language background have been shown to affect pitch information encoding at the subcortical level. To study the individual and compounded effects on subcortical pitch information encoding, Frequency Following Responses were recorded from subjects across various ages and language backgrounds. Differences were found in pitch information encoding strength and accuracy among the groups, indicating that language experience and aging affect accuracy and magnitude of pitch information encoding ability at the subcortical level. Moreover, stronger effects of aging were seen in the magnitude of phase-locking in the native language speaker groups, while language background appears to have more impact on the accuracy of pitch tracking in older adult groups. [ABSTRACT FROM AUTHOR]

This study sought to determine if hues overlayed on a video recording of a piano performance would systematically influence perception of its emotional arousal level. The hues were artificially added to a series of four short video excerpts of different performances using video editing software. Over two experiments 106 participants were sorted into 4 conditions, with each viewing different combinations of musical excerpts (two excerpts with nominally high arousal and two excerpts with nominally low arousal) and hue (red or blue) combinations. Participants rated the emotional arousal depicted by each excerpt. Results indicated that the overall arousal ratings were consistent with the nominal arousal of the selected excerpts. However, hues added to video produced no significant effect on arousal ratings, contrary to predictions. This could be due to the domination of the combined effects of other channels of information (e.g., the music and player movement) over the emotional effects of the hypothesized influence of hue on perceived performance (red expected to enhance and blue to reduce arousal of the performance). To our knowledge this is the first study to investigate the impact of these hues upon perceived arousal of music performance, and has implications for musical performers and stage lighting. Further research that investigates reactions during live performance and manipulation of a wider range of lighting hues, saturation and brightness levels, and editing techniques, is recommended to further scrutinize the veracity of the findings. [ABSTRACT FROM AUTHOR]