Musical Creativity - as demanded, for example, in improvisation and composition - is a fascinating ability enabled by our brain in complex ways. In recent years, neuroscientists and psychologists have made significant progress in understanding the neurological foundations of musical creativity. In this blog post, we take a look at six crucial brain networks associated with musical creativity and explore how to activate them. This is particularly dependent on personality traits!
Musik in Acryl: Meine Darstellung des vierten Satzes der Cello Sonate Nr. 1 des Komponisten Christoph Croisé.
As with all qualities and activities in life, it's not so much about the absolute expression of abilities, but rather the relative ratio. No one will be able to spontaneously improvise on stage if they do not master the instrument - even if they have many ideas. Conversely, it is also not helpful to express oneself creatively if one is a master of the instrument but lacks inspiration for ideas and expression, or if one over-controls musical actions through excessive rumination and logical planning (self-sabotage). Each person has typical patterns - both useful and hindering - that have developed over decades based on predisposition and environment as initially sensible strategies, but may not be so helpful in the long run (see also: Schema-Coaching).
Below, we first examine the most important networks in the brain that are important for musical creativity and how to activate or strengthen them. This is followed by a section of individual self-reflection: Which networks do you already use extensively? Which ones perhaps too much, and which ones need some nurturing or fathering? And how does this relate to your thinking and behavior patterns? Good News at the End :-)
1. The Default Mode Network (DMN): The Stage of Free Association
The Default Mode Network is often associated with creative thinking and idea generation. This network becomes active when the mind enters a quiet and relaxed state, as often happens during daydreaming (e.g., on the train or in the bathtub) (see also: The Inspiring Power of Breaks). Regarding musical creativity, the DMN enables the free association of musical ideas, the exploration of new sounds, and the connection of different musical concepts.
Activation Tip: To activate the DMN, it is helpful to schedule time for relaxation and meditation. The conscious withdrawal from external stimuli can help foster creative thinking. When making music, short periods of free play or improvisation without predetermined structures can stimulate the DMN and promote creative unfolding. Allow yourself regular periods of mental rest. Meditation, exploring nature, or simply allowing thoughts during quiet times can activate the DMN and thus prepare the ground for musical creativity. Also, engaging in other activities for variety - such as reading, painting, or routine household tasks - can activate the DMN.
2. The Auditory Network: Making Sense of Sounds
The auditory network in the brain is responsible for the processing and analysis of sounds and musical information. It includes areas such as the auditory cortex and associated structures.
Activation Tip: To activate the auditory network and foster musical creativity, it is important to regularly expose the hearing to new and diverse sounds. This can mean exploring different music genres, attending live performances, or even listening to natural sounds such as the rustling of leaves in the wind. Through this diversity of auditory experiences, the brain is stimulated and inspired to explore new creative paths.
3. Das Salience Network: The Filter in the Soundscape
The Salience Network is responsible for attention regulation. It helps filter relevant information from the environment and focus on what is perceived as important. Regarding musical creativity, this network can help direct attention to innovative sounds or rhythms and expand perception for creative possibilities.
Activation Tip: In the context of musical creativity, the SN can be activated by consciously paying attention to musical details and nuances. Experiment consciously with different musical elements. Vary rhythms, emphasize unexpected notes, or focus entirely on different nuances of sound and the emotional effect of music. This challenges the Salience Network and promotes creativity.
4. The limbic network: The gateway to the listener's heart
The limbic network, also known as the emotional brain, plays a crucial role in processing emotions and linking emotional experiences with musical expressions. It is therefore no coincidence that many artists are particularly inspired by people in their environment. This influence is also known as the "Muse" effect in the case of romantic attraction and dates back to the muses of the arts in Greek mythology.
Activation Tip: To activate the limbic network, it is important to establish an emotional connection to the music. This can be done by consciously listening, exploring music pieces that have personal significance, or playing emotionally charged pieces of one's own. By focusing on the emotional aspects of music and the people one wants to move with it, one can stimulate the limbic network and enhance creative expression. Emotional exchange with and expression of feelings toward others in everyday life can also strengthen this network.
5. The Executive Control Network: The Conductor's Platform of Musical Creativity
The Executive Control Network is responsible for cognitive control, i.e., maintaining attention, planning, decision-making, and executing complex tasks.
In musical creativity, it plays a key role in organizing ideas, experimenting with different harmonies, rhythms, and styles, and structuring the implementation of complex musical structures.
Activation Tip: To activate the ECN, it is advisable to consciously take on new musical challenges. Learning new instruments or experimenting with unfamiliar styles and genres can help strengthen the ECN and foster creative thinking. Setting goals activates the Executive Control Network and promotes the implementation of creative ideas. However, pay special attention to the balance between the "conducting" Executive Control Network" and the free-associative "letting go" Default Mode Network! This balance is also crucial for relaxed musical performance under pressure (see: Choking under Pressure - and what helps against it).
Self-Reflection - which personality needs what?
Every person has different typical behavioral patterns or personality traits - both useful and hindering - which have developed based on biological predisposition and environment over decades as initially sensible strategies, but may not be so helpful in the long run (see also: Schema-Coaching).
We all know people who bubble over with ideas and think and act erratically or even impulsively. Often these people have a predisposition for increased openness to stimuli and associativity of thoughts (see also: Sensitivity in Musicians - between artistic talent and emotional challenge), which can range up to a diagnosable neurodiversity (e.g., ADHD) (personality aspect "Bubbly Bruno"). On the other hand, we also know people who are exceptionally reliable and organized but may appear somewhat rigid, inflexible, or perfectionistic in some situations (personality aspect "Planning Paul", who also could have highly sensive traits). From the description, you can probably already see where the respective strengths and weaknesses lie. The first person can probably use the DMN and the limbic system very well but needs to work more on the ECN. A roughly opposite pattern is - simplified - the case for the second person.
In addition to the influence of predisposition, early interactions with significant others (parents, siblings, teachers, friends) shape situation-dependent behavioral patterns. A person who has learned early on that they should not express feelings because they are not noticed or even punished (personality aspect "Cold Cathy"), or that they flood themselves (see also: Sensitivity in Musicians - between artistic talent and emotional challenge), may have learned ignore feelings and suppress emotional expression out of self-protection and for soothing. For them, it would be important to reactivate this actually existing characteristic and thus the limbic network more and appropriately in favor of creativity and expression on stage.
Individuals whose caregivers have taken care of everything for them early on or still do, organizing their lives (personality aspect "Spoiled Stephan") or not imposing age-appropriate, independent decisions on them (personality aspect "Dependent Daniela") struggle with self-discipline and organization. They particularly benefit from working on their Executive Control Network.
On the other hand, individuals who learned early on that they are rewarded with attention or love for successes (personality aspect "Bravo-Berta") or who strive for perfectionism and relentless demands for admiration (personality aspect "Perfect Peter") may indeed have good self-discipline (ECN) and salience or auditory networks. However, they struggle to enter the state of the "Default Mode Network" because they fear losing control, which they think would result not only in "failure" of the performance but also in loss of affection (attachment, love). They often engage in self-sabotage with an overly critical inner dialogue. If you think you have a little bit of these traits - especially if you identify as a highly sensitive individual - try to alternatively focus more on your fine sensory perception (salience and auditory networks) and strengthen empathic-emotional expression and relation with peers, rather than over-focusing on goals, challenges, and perceived norms of "right-wrong" (Executive Control Network).
Which networks do you already extensively utilize? Which ones perhaps too much, and which ones need some nurturing?
Good News
If you're now thinking, "Oh God, I notice this and that in myself!" or even, "I have it all!" here's the good news: Generally, we all recognize certain situations in which we more or less exhibit these described patterns. And we all have dominant behavioral patterns - more adaptive and less adaptive ones, which also were adaptive at the time of their development. Children quickly learn which of their behaviors are helpful and initially act very cleverly! As adults, and when situations, goals, and/or significant others change, some behaviors may no longer be as appropriate, or others may have become too backgrounded. Bringing back these hidden resources and balancing the different aspects of personality is an exciting, lifelong task that undoubtedly benefits musical creativity and musical success! (see also: Schema-Coaching)
Sources & further reading
Default Mode Network (DMN):
Buckner, R. L., Andrews-Hanna, J. R., & Schacter, D. L. (2008). The brain's default network: anatomy, function, and relevance to disease. Annals of the New York Academy of Sciences, 1124(1), 1-38.
Beaty, R. E., Benedek, M., Silvia, P. J., & Schacter, D. L. (2016). Creative cognition and brain network dynamics. Trends in cognitive sciences, 20(2), 87-95.
Auditory Network:
Zatorre, R. J., & Halpern, A. R. (2005). Mental concerts: musical imagery and auditory cortex. Neuron, 47(1), 9-12.
Peretz, I., & Zatorre, R. J. (2005). Brain organization for music processing. Annual review of psychology, 56, 89-114.
Salience Network:
Menon, V., & Uddin, L. Q. (2010). Saliency, switching, attention and control: a network model of insula function. Brain Structure and Function, 214(5-6), 655-667.
Chang, L. J., Yarkoni, T., Khaw, M. W., & Sanfey, A. G. (2013). Decoding the role of the insula in human cognition: functional parcellation and large-scale reverse inference. Cerebral Cortex, 23(3), 739-749.
Limbic Network:
Blood, A. J., & Zatorre, R. J. (2001). Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences, 98(20), 11818-11823.
Koelsch, S. (2010). Towards a neural basis of music-evoked emotions. Trends in cognitive sciences, 14(3), 131-137.
Executive Control Network (ECN):
Duncan, J., & Owen, A. M. (2000). Common regions of the human frontal lobe recruited by diverse cognitive demands. Trends in neurosciences, 23(10), 475-483.
Dajani, D. R., & Uddin, L. Q. (2015). Demystifying cognitive flexibility: Implications for clinical and developmental neuroscience. Trends in neurosciences, 38(9), 571-578.
Comments