The tendency for groove-based music to induce body movements has been linked to multiple acoustical factors. However, it is unclear how or whether tempo affects groove, although tempo significantly affects other aspects of music perception. To address this issue, the present study investigated effects of tempo, specific rhythmic organizations of patterns, and syncopation on groove and the induction of the sensation of wanting to move. We focused on the directions of body movement in particular by taking into account nori, which is an indigenous Japanese musical term used not only synonymously with groove, but also as a spatial metaphor indicating vertical or horizontal movement directions. Thus, the present study explored how groove was felt and defined, as well as how musical factors induced the sensation of wanting to move in cross-cultural context. A listening experiment was conducted using drum breaks as stimuli. Stimuli consisted of various rhythm patterns at six tempi from 60 to 200 BPM. The main findings are that: (1) an optimal tempo for groove existed for drum breaks at around 100–120 BPM, (2) an optimal tempo existed for the sensation of wanting to move the body in specific directions (i.e., back-and-forth and side-to-side), (3) groove and nori shared a similar concept of wanting to move but differed on several points (i.e., association with sense of pulse and fast tempo). Overall, the present study suggests that there is an optimal tempo for body movement related to groove. This finding has implications for the use of music or rhythmic stimuli to induce smooth motion in rehabilitation, therapy, or dance.

Previous studies have suggested that musical training in childhood is beneficial for sociability. However, it remains unclear how age of onset of group music lessons is associated with the late sociability of children from a long-term perspective. This study investigated associations between group music lessons conducted at a music school and children’s levels of sociability by focusing on the age of onset of the lessons. We conducted a survey of 276 children aged 4–5 years (M = 58.5 months) and 6–7 years (M = 82.7 months) who commenced music lessons at ages 1, 2, 4, and 6 years. We found that (1) the empathy scores of children aged 6–7 years who began lessons when 1-year-old were greater than those who began lessons when 4-years-old, (2) the communication scores of children aged 4–5 years who began lessons when 1-year-old were greater than those who began lessons when older than 1 year, and (3) the empathy and extraversion scores were high in those aged 6–7 years who began lessons in that age range. The results suggest that early onset of music lessons could positively influence children’s sociability; in contrast, after about age 7 years, children who already had high sociability may be more inclined to select group music lessons. By focusing on the impact of regular group music lessons from a very young age on later levels of sociability, these results further elucidate the effects of musical lessons. In sum, participation in group music lessons 2–4 times per month can be effective social training for very young children and foster their later sociability.

This study investigated modulation of gaze and synchronization in piano duos under manipulation of the leader-follower relationship. Three pairs of pianists played under 3 conditions: reversed leader/follower roles and one where neither was leader or follower. The primo and second players could see one another through a glass window but could hear only the sounds of the pianos. We analyzed each performer's gaze toward the coperformer frame by frame and measured asynchrony between performers. The main findings are that (a) gaze was altered in the presence of leadership assignments-followers' and leaders' gaze durations lengthened and shortened, respectively; (b) mutual gaze just before tempo changes enhanced synchronization regardless of leadership condition; and (c) the asynchronies of tone onset at the moment of a tempo change under the leader/follower conditions did not significantly differ from that under the control condition.

Visual information has been observed to be crucial for audience members during musical performances. The present study used an eye tracker to investigate audience members' gazes while appreciating an audiovisual musical ensemble performance, based on evidence of the dominance of musical part in auditory attention when listening to multipart music that contains different melody lines and the joint-attention theory of gaze. We presented singing performances, by a female duo. The main findings were as follows: (1) the melody part (soprano) attracted more visual attention than the accompaniment part (alto) throughout the piece, (2) joint attention emerged when the singers shifted their gazes toward their co-performer, suggesting that inter-performer gazing interactions that play a spotlight role mediated performer-audience visual interaction, and (3) musical part (melody or accompaniment) strongly influenced the total duration of gazes among audiences, while the spotlight effect of gaze was limited to just after the singers' gaze shifts. (C) 2016 The Authors. Published by Elsevier Inc.