Listeners can easily say if a singer sounds in tune or out of tune (Larrouy-Maestri et al., 2013, 2015) and if a band plays on the beat or not. In fact, we are used to “categorize” what we hear and identify performances sounding wrong.
Individuals can be aesthetically engaged by objects from widely different visual aesthetic domains, such as paintings, mountain vistas, or buildings. The goal of this project is to understand whether aesthetic appreciation of different visual domains relies on the same underlying processes.
Although we intuitively know if someone is speaking or singing, the neuronal mechanisms that drive this experience are not well understood. Whether we perceive auditory sequences as speech or song is associated with certain acoustic features (Merrill, & Larrouy-Maestri, 2017).
Moments of creative inspiration are critical pivot points that mark the transition from creative ideation to actualization of an idea.
How does the brain support aesthetic experiences with visual stimuli such as artwork, landscapes, architecture or dance? Recent work in our group suggests that finding a painting to be aesthetically moving involves a change away from the typical behavior of large-scale brain networks.
As suggested by the many singing contests and music programs in the media, the singing voice attracts ample attention. Recent studies showed that lay and expert listeners share similar definitions of what is “correct” when listening to untrained (Larrouy-Maestri et al., 2015) and trained singers (Larrouy-Maestri et al., 2017).
Adult liking judgments for visual scenes are strongly influenced by the semantic content of images, more so than by lower-level visual features (e.g. the presence of specific colors or line types).