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Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation

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  • Charles J Limb
  • Allen R Braun

Abstract

To investigate the neural substrates that underlie spontaneous musical performance, we examined improvisation in professional jazz pianists using functional MRI. By employing two paradigms that differed widely in musical complexity, we found that improvisation (compared to production of over-learned musical sequences) was consistently characterized by a dissociated pattern of activity in the prefrontal cortex: extensive deactivation of dorsolateral prefrontal and lateral orbital regions with focal activation of the medial prefrontal (frontal polar) cortex. Such a pattern may reflect a combination of psychological processes required for spontaneous improvisation, in which internally motivated, stimulus-independent behaviors unfold in the absence of central processes that typically mediate self-monitoring and conscious volitional control of ongoing performance. Changes in prefrontal activity during improvisation were accompanied by widespread activation of neocortical sensorimotor areas (that mediate the organization and execution of musical performance) as well as deactivation of limbic structures (that regulate motivation and emotional tone). This distributed neural pattern may provide a cognitive context that enables the emergence of spontaneous creative activity.

Suggested Citation

  • Charles J Limb & Allen R Braun, 2008. "Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation," PLOS ONE, Public Library of Science, vol. 3(2), pages 1-9, February.
  • Handle: RePEc:plo:pone00:0001679
    DOI: 10.1371/journal.pone.0001679
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    References listed on IDEAS

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    1. Etienne Koechlin & Gianpaolo Basso & Pietro Pietrini & Seth Panzer & Jordan Grafman, 1999. "The role of the anterior prefrontal cortex in human cognition," Nature, Nature, vol. 399(6732), pages 148-151, May.
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    Cited by:

    1. Daniel P. Gross, 2020. "Creativity Under Fire: The Effects of Competition on Creative Production," The Review of Economics and Statistics, MIT Press, vol. 102(3), pages 583-599, July.
    2. Maksim Belitski & Monika Herzig, 2018. "The Jam Session Model for Group Creativity and Innovative Technology," The Journal of Technology Transfer, Springer, vol. 43(2), pages 506-521, April.
    3. Carlota Torrents & Natàlia Balagué & Robert Hristovski & Maricarmen Almarcha & J. A. Scott Kelso, 2021. "Metastable Coordination Dynamics of Collaborative Creativity in Educational Settings," Sustainability, MDPI, vol. 13(5), pages 1-15, March.
    4. Timothy R Wojan & Bonnie Nichols, 2018. "Design, innovation, and rural creative places: Are the arts the cherry on top, or the secret sauce?," PLOS ONE, Public Library of Science, vol. 13(2), pages 1-23, February.
    5. Yuval Hart & Lior Noy & Rinat Feniger-Schaal & Avraham E Mayo & Uri Alon, 2014. "Individuality and Togetherness in Joint Improvised Motion," PLOS ONE, Public Library of Science, vol. 9(2), pages 1-8, February.
    6. Maria A. Bultseva & Nadezhda M. Lebedeva, 2019. "The Relationship Between Intercultural Interactions At University And The Creativity Of Russian Students: The Role Of Intercultural Competence," HSE Working papers WP BRP 108/PSY/2019, National Research University Higher School of Economics.

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