Neurofeedback and the performing arts

Neurofeedback and the performing arts We have conducted eight controlled studies of neurofeedback (NF) for enhancing creativity in the arts. The first studies with conservatoire musicians disclosed that whereas sensory-motor rhythm (SMR) and beta1 benefited anxiety as did other popular diverse interventions without impacting performance ratings of experts, alpha-theta (A/T) training benefited all three music domains – musicality, communication, technique – especially musicality to include interpretative imagination; professionally significant changes [1] . A/T was historically designed to facilitate creativity through inducing hypnagogia, a borderline waking state associated with creative insights; through putative facilitation of neural connectivity [2] . Subsequent studies examined novice singing in conservatoire instrumentalists. A/T again benefited instrumental performance, extending to novice singing including creative improvisation. SMR had a suggestive impact on novice singing, subsequently examined with 11 year-old children with benefits on improvisation (creativity, communication); A/T benefited technique in prepared performance, creativity and communication in improvisation. Dance performance was examined contrasting A/T and heart rate variability (HRV) training. Both improved dancing in competitive university ballroom dancers compared with controls. In contemporary dancers A/T increased cognitive creativity, while HRV reduced anxiety. Finally, university actors were examined with SMR with the NF training-display depicting a rendering of an auditorium seen from the stage. The 2D laptop rendition was compared with a 3D VR version. Immersive VR was the more successful in facilitating brain rhythm control and acting. However, both were superior to control in inculcating a flow state in acting. The more successful NF outcome may follow greater immersion in performance during training with SMR via a visual representation or with A/T through imagination. Mechanisms and methods will be discussed along with pedagogical implications for the performing arts and optimal performance [3] .</P> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Neuroscience Letters Elsevier

Neurofeedback and the performing arts

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Publisher
Elsevier
Copyright
Copyright © 2011 Elsevier Ltd
ISSN
0304-3940
D.O.I.
10.1016/j.neulet.2011.05.106
Publisher site
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Abstract

We have conducted eight controlled studies of neurofeedback (NF) for enhancing creativity in the arts. The first studies with conservatoire musicians disclosed that whereas sensory-motor rhythm (SMR) and beta1 benefited anxiety as did other popular diverse interventions without impacting performance ratings of experts, alpha-theta (A/T) training benefited all three music domains – musicality, communication, technique – especially musicality to include interpretative imagination; professionally significant changes [1] . A/T was historically designed to facilitate creativity through inducing hypnagogia, a borderline waking state associated with creative insights; through putative facilitation of neural connectivity [2] . Subsequent studies examined novice singing in conservatoire instrumentalists. A/T again benefited instrumental performance, extending to novice singing including creative improvisation. SMR had a suggestive impact on novice singing, subsequently examined with 11 year-old children with benefits on improvisation (creativity, communication); A/T benefited technique in prepared performance, creativity and communication in improvisation. Dance performance was examined contrasting A/T and heart rate variability (HRV) training. Both improved dancing in competitive university ballroom dancers compared with controls. In contemporary dancers A/T increased cognitive creativity, while HRV reduced anxiety. Finally, university actors were examined with SMR with the NF training-display depicting a rendering of an auditorium seen from the stage. The 2D laptop rendition was compared with a 3D VR version. Immersive VR was the more successful in facilitating brain rhythm control and acting. However, both were superior to control in inculcating a flow state in acting. The more successful NF outcome may follow greater immersion in performance during training with SMR via a visual representation or with A/T through imagination. Mechanisms and methods will be discussed along with pedagogical implications for the performing arts and optimal performance [3] .</P>

Journal

Neuroscience LettersElsevier

Published: Aug 1, 2011

References

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