Motor Resonance of Musical Emotion: A Machine Learning Approach to EEG Decoding During Expressive Music Performance
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Understanding the neural dynamics underlying expressive musical performance remains a major challenge at the intersection of neuroscience, music cognition, and computational modeling. While EEG studies of emotion have largely focused on passive exposure to affective stimuli, comparatively little research has examined oscillatory brain activity during active musical expression. The present single-subject study investigated whether band-limited EEG activity recorded during expressive piano performance by a professional concert pianist contains sufficient discriminative structure to support supervised multi-class classification of musically defined emotional categories.
Methods
EEG was recorded from 128 scalp sites while a professional concert pianist performed emotionally characterized excerpts from Bach, Beethoven, and Chopin in a continuous naturalistic session. Musical excerpts had been previously categorized and perceptually validated according to emotional valence, tempo, energy/arousal, and tonal structure. From the continuous EEG recording, 180 non-overlapping 2-second artifact-free segments were extracted, yielding 30 segments for each emotional category. Mean spectral power was computed within theta (3.5-7.5 Hz), alpha (7.5-12.5 Hz), and high-beta (24-30 Hz) frequency bands across selected centro-parietal and posterior electrodes, resulting in 24 EEG-derived features per segment. Linear Support Vector Machine, Random Forest, and Gradient Boosting classifiers were evaluated using an 80/20 train-test split combined with 5-fold cross-validation.
Results
EEG-only classification achieved above-chance performance across models, with Random Forest yielding the highest accuracy (0.42), macro F1-score (0.414), and Cohen’s κ (0.30), exceeding the theoretical chance level of 0.167. Feature importance analysis revealed distributed contributions across theta, alpha, and high-beta oscillatory activity, particularly over parietal and occipital regions, without evidence for a single dominant neural marker. Inclusion of an additional binary arousal-related feature substantially improved Random Forest performance (accuracy = 0.58; macro F1 = 0.579; κ = 0.50), indicating that arousal organization contributed strongly to category separability within the classification framework.
Conclusions
These findings suggest that oscillatory EEG activity accompanying expressive musical action contains measurable statistical structure associated with emotionally differentiated performance states. Rather than identifying discrete neural correlates of emotion, the present results provide a computational characterization of distributed oscillatory dynamics emerging during expressive motor-acoustic interaction, extending affective EEG research beyond passive perception paradigms toward ecologically grounded musical performance contexts.
