Abstract

The effects of music on bodily movement and feelings, such as when people are dancing or engaged in physical activity, are well-documented—people may move in response to the sound cues, feel powerful, less tired. How sounds and bodily movements relate to create such effects? Here we deconstruct the problem and investigate how different auditory features affect people’s body-representation and feelings even when paired with the same movement. In three experiments, participants executed a simple arm raise synchronised with changing pitch in simple tones (Experiment 1), rich musical sounds (Experiment 2) and within different frequency ranges (Experiment 3), while we recorded indirect and direct measures on their movement, body-representations and feelings. Changes in pitch influenced people’s general emotional state as well as the various bodily dimensions investigated—movement, proprioceptive awareness and feelings about one’s body and movement. Adding harmonic content amplified the differences between ascending and descending sounds, while shifting the absolute frequency range had a general effect on movement amplitude, bodily feelings and emotional state. These results provide new insights in the role of auditory and musical features in dance and exercise, and have implications for the design of sound-based applications supporting movement expression, physical activity, or rehabilitation.

Highlights

  • The three subsections describe the sound effects on bodily movement, proprioceptive awareness and bodily and emotional feelings observed across the three experiments

  • We looked at how bodily movement, proprioceptive awareness and subjective feelings related to the body, one’s movement and emotional state, are affected by auditory changes

  • Across three experiments we studied the effects of pitch direction in tones (Experiment 1), richer musical features (Experiment 2) and absolute frequency range (Experiment 3)

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Summary

Methods

We report three experiments in which we asked participants to raise their right arm to reach a pre-trained position. At the end of the 40 experiment trials, participants were asked to repeat four additional arm lift trials, one for each sound condition, and after each sound presentation they filled in an online survey with 13 items asking about emotion and body feelings when performing the task with that sound. Differently from Experiments 1 and 2, to reduce the experimental length due to time restrictions task confidence was not assessed, but additional items were added to the survey which allowed to further investigate the effects on bodily and emotional feelings. Significant main effects were followed by paired t-tests, which were corrected for multiple comparisons (Tukey method)

Results
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