Universality Meets Cultural Nuances: Affective Responses to Rhythmic and Harmonic Complexity Across Cultures

The pleasurable urge to move to music - known as groove - has been linked to rhythmic and harmonic complexity via an inverted-U relationship, consistent with predictive coding theory of music. This link has been demonstrated mainly in Western listeners, leaving its cultural generality unclear. Given reports of heightened pitch and harmony sensitivity in Chinese listeners, we predicted stronger responses to harmonic complexity and weaker responses to rhythmic complexity compared with Western listeners. We conducted two online experiments measuring "pleasure" and "wanting to move" ratings for musical excerpts varying in rhythmic and harmonic complexity, comparing Chinese and Danish participants as representatives of Eastern and Western traditions. In Experiment 1, which manipulated both dimensions, both groups showed inverted-U responses to rhythmic complexity, but Danish participants exhibited a sharper curve, indicating greater affective differentiation. No inverted-U pattern emerged for harmonic complexity, and Chinese participants did not show enhanced harmonic sensitivity. Experiment 2 focused on rhythmic complexity using ecologically valid stimuli with finer gradations. Again, Danes showed greater sensitivity to rhythmic variation, reflected in a sharper curvature of their inverted U responses, though peak responses did not differ between groups. Our findings support the universality of predictive responses to rhythmic complexity, while highlighting the modulatory role of cultural exposure in shaping musical affective experiences.