Emily C. Nusbaum

The roles of associative and executive processes in creative cognition

How does the mind produce creative ideas? Past research has pointed to important roles of both executive and associative processes in creative cognition. But such work has largely focused on the influence of one ability or the other—executive or associative—so the extent to which both abilities may jointly affect creative thought remains unclear. Using multivariate structural equation modeling, we conducted two studies to determine the relative influences of executive and associative processes in domain-general creative cognition (i.e., divergent thinking). Participants completed a series of verbal fluency tasks, and their responses were analyzed by means of latent semantic analysis (LSA) and scored for semantic distance as a measure of associative ability. Participants also completed several measures of executive function—including broad retrieval ability (Gr) and fluid intelligence (Gf). Across both studies, we found substantial effects of both associative and executive abilities: As the average semantic distance between verbal fluency responses and cues increased, so did the creative quality of divergent-thinking responses (Study 1 and Study 2). Moreover, the creative quality of divergent-thinking responses was predicted by the executive variables—Gr (Study 1) and Gf (Study 2). Importantly, the effects of semantic distance and the executive function variables remained robust in the same structural equation model predicting divergent thinking, suggesting unique contributions of both constructs. The present research extends recent applications of LSA in creativity research and provides support for the notion that both associative and executive processes underlie the production of novel ideas.

Shivers and Timbres Personality and the Experience of Chills From Music

Most people report that listening to music sometimes creates chills—feeling goose bumps and shivers on the neck, scalp, and spine—but some people seem to never experience them. The present research examined who tends to experience music-induced chills and why. A sample of young adults completed measures of chills, the Big Five domains, and their music preferences, habits, and experiences. Latent variable models found that openness to experience was the strongest predictor of the typical experience of chills during music. Several mediation models considered likely mediators of this effect. Openness to experience predicted music preferences, particularly for reflective and complex genres, but genre preferences did not in turn predict chills. In contrast, several markers of people’s experience and engagement with music in everyday life, such as listening to music more often and valuing music, did mediate opennesss effects. Some implications for bridging state and trait approaches to the chills experience are considered.

Music to the Inner Ears: Exploring Individual Differences in Musical Imagery

In two studies, we explored the frequency and phenomenology of musical imagery. Study 1 used retrospective reports of musical imagery to assess the contribution of individual differences to imagery characteristics. Study 2 used an experience sampling design to assess the phenomenology of musical imagery over the course of one week in a sample of musicians and non-musicians. Both studies found episodes of musical imagery to be common and positive: people rarely wanted such experiences to end and often heard music that was personally meaningful. Several variables predicted musical imagery, including personality, musical preferences, and positive mood. Musicians tended to hear musical imagery more often, but they reported less frequent episodes of deliberately-generated imagery. Taken together, the present research provides new insights into individual differences in musical imagery, and it supports the emerging view that such experiences are common, positive, and more voluntary than previously recognized.

Creative motivation: Creative achievement predicts cardiac autonomic markers of effort during divergent thinking

Executive approaches to creativity emphasize that generating creative ideas can be hard and requires mental effort. Few studies, however, have examined effort-related physiological activity during creativity tasks. Using motivational intensity theory as a framework, we examined predictors of effort-related cardiac activity during a creative challenge. A sample of 111 adults completed a divergent thinking task. Sympathetic (PEP and RZ) and parasympathetic (RSA and RMSSD) outcomes were assessed using impedance cardiography. As predicted, people with high creative achievement (measured with the Creative Achievement Questionnaire) showed significantly greater increases in sympathetic activity from baseline to task, reflecting higher effort. People with more creative achievements generated ideas that were significantly more creative, and creative performance correlated marginally with PEP and RZ. The results support the view that creative thought can be a mental challenge.

Openness to experience and auditory discrimination ability in music: An investment approach

Why do people vary in how well they discriminate musical sounds? The present research explored personality traits as predictors of auditory discrimination ability, a cornerstone of many popular musical aptitude tests. According to investment-theory approaches, personality traits can shape the growth of cognitive abilities by affecting the kinds of activities and experiences people select. It thus seems likely that Openness to Experience – a broad trait associated with aesthetic and creative interests – would predict variation in auditory abilities because it is associated with greater engagement with music. A sample of 183 young adults completed an auditory discrimination task (the Musical Ear Test), the HEXACO personality inventory, and items measuring past music training. As expected, Openness to Experience significantly predicted auditory ability (β = .28 [.14, .42]). Mediation models indicated that this effect was fully mediated by music training: people high in Openness had significantly more formal training in music, and music training in turn significantly predicted auditory ability. The findings thus strongly support an investment-theory approach to understanding the role of personality in musical auditory abilities.

Turn that racket down! Physical anhedonia and diminished pleasure from music

Why do some people not enjoy listening to music as much as others? Two studies explored whether people high in physical anhedonia—an aspect of schizotypy that is associated with reduced pleasure from physical stimuli—are less engaged in the musical world than other people. Study 1 examined individual differences in music engagement and experience. People with higher levels of physical anhedonia reported valuing music less, experiencing fewer aesthetic emotions in response to music, liking fewer genres of music, and having less music experience. Study 2 used experience sampling to examine how individual differences in physical anhedonia predicted music engagement, music listening habits, and the aesthetic experiences of music in everyday life. During a typical week, people with higher levels of physical anhedonia spent less time listening to music. Taken together, these results suggest that as physical anhedonia increases, people become increasingly detached from and disinterested in music.