음악적 동조에 대한 심리학적 연구현황
A Review of Psychological Studies on Musical Entrainment
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The concept of entrainment is referred to as the process by which two or more independent but coupled rhythmic oscillators interact and synchronize with each other. It has been investigated in various disciplines from physics to biology and sociology. In this paper, music psychological studies on the following three topics are reviewed: 1) the dynamic attending theory as a beat-induction principle 2) the cognitive mechanism for entrainment capacity 3) entrainment as an affect induction mechanism. The dynamic attending theory explains how the listener’s inner rhythmicity can dynamically(actively) respond to external temporal stimuli by entrainment capacity of our mind. Phillips-Silver’s cognitive mechanism model (2010) for the capacity of entrainment describes how to connect rhythmic information processing with motor control systems. Trost et al.(2017) suggest a new model by differentiating four levels of entrainment(perceptual, autonomic physiological, motor, and social), providing us the more detailed view of rhythmic entrainment in music. Although the integration and interaction between various types of entrainment on these four levels might contribute to induce the emotion when music making and listening, the relationship and interacting ways between 4 levels are still an issue for research. In the conclusion, it is discussed the significance of entrainment studies from the sociological perspective and the implication of entrainment research in embodied musicology.
Abstract
The concept of entrainment is referred to as the process by which two or more independent but coupled rhythmic oscillators interact and synchronize with each other. It has been investigated in various disciplines from physics to biology and sociology. In this paper, music psychological studies on the following three topics are reviewed: 1) the dynamic attending theory as a beat-induction principle 2) the cognitive mechanism for entrainment capacity 3) entrainment as an affect induction mechanism. The dynamic attending theory explains how the listener’s inner rhythmicity can dynamically(actively) respond to external temporal stimuli by entrainment capacity of our mind. Phillips-Silver’s cognitive mechanism model (2010) for the capacity of entrainment describes how to connect rhythmic information processing with motor control systems. Trost et al.(2017) suggest a new model by differentiating four levels of entrainment(perceptual, autonomic physiological, motor, and social), providing us the more detailed view of rhythmic entrainment in music. Although the integration and interaction between various types of entrainment on these four levels might contribute to induce the emotion when music making and listening, the relationship and interacting ways between 4 levels are still an issue for research. In the conclusion, it is discussed the significance of entrainment studies from the sociological perspective and the implication of entrainment research in embodied musicology.
참고문헌 (17)
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