The neural underpinnings of music listening under different attention conditions.

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Jäncke, Lutz; Leipold, Simon; Burkhard, Anja

2018-05-02

Most studies examining the neural underpinnings of music listening have no specific instruction on how to process the presented musical pieces. In this study, we explicitly manipulated the participants' focus of attention while they listened to the musical pieces. We used an ecologically valid experimental setting by presenting the musical stimuli simultaneously with naturalistic film sequences. In one condition, the participants were instructed to focus their attention on the musical piece (attentive listening), whereas in the second condition, the participants directed their attention to the film sequence (passive listening). We used two instrumental musical pieces: an electronic pop song, which was a major hit at the time of testing, and a classical musical piece. During music presentation, we measured electroencephalographic oscillations and responses from the autonomic nervous system (heart rate and high-frequency heart rate variability). During passive listening to the pop song, we found strong event-related synchronizations in all analyzed frequency bands (theta, lower alpha, upper alpha, lower beta, and upper beta). The neurophysiological responses during attentive listening to the pop song were similar to those of the classical musical piece during both listening conditions. Thus, the focus of attention had a strong influence on the neurophysiological responses to the pop song, but not on the responses to the classical musical piece. The electroencephalographic responses during passive listening to the pop song are interpreted as a neurophysiological and psychological state typically observed when the participants are 'drawn into the music'.

How do location and control over the music influence listeners' responses?

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Krause, Amanda E; North, Adrian C

2017-04-01

This study uses Mehrabian and Russell's () Pleasure-Arousal-Dominance (PAD) model to consider how responses to both the music heard and overall in-situ listening experience are influenced by the listener's degree of control over music selected for a particular listening episode and the location in which the listening takes place. Following recruitment via campus advertisements and a university research participation program, 216 individuals completed a background questionnaire and music listening task in a 3 (location) × 2 (experimenter- or participant-selected music) design. After the listening task, participants completed a short questionnaire concerning the music they heard and the overall in-situ listening experience. Results demonstrated that there was a positive relationship between control and liking for the music and episode, whether the former was considered in terms of: (1) whether the music was self-selected or experimenter-selected or (2) overt ratings of perceived control. Furthermore, the location and liking for the music were related to people's judgments of their enjoyment of the overall experience. This research indicates that the PAD model is a useful framework for understanding everyday music listening and supports the contention that, in a musical context, dominance may be operationalized as control over the music. © 2017 Scandinavian Psychological Associations and John Wiley & Sons Ltd.

Why do we listen to music? A uses and gratifications analysis.

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Lonsdale, Adam J; North, Adrian C

2011-02-01

Four 'uses and gratifications' studies investigated peoples' reasons for listening to music (Study 1); and whether these reasons differ significantly from those associated with other leisure activities (Study 2). In Study 3, an open-ended, qualitative research design was used to investigate why people listen to music. In Study 4, a cross-sectional design was used to investigate the possibility that people of different ages might listen to music for different reasons. Findings showed that there are a number of reasons why participants listen to music, comparison of which indicated that participants listen to music primarily to manage/regulate their moods. Comparison with other leisure activities indicated that for the most part, listening to music was rated better than other leisure activities at serving an individual's different needs. This versatility may explain why music is so important to people. Evidence was also found to suggest that the reasons for listening to music may change as people grow older. ©2010 The British Psychological Society.

The Goals and Effects of Music Listening and Their Relationship to the Strength of Music Preference.

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Schäfer, Thomas

2016-01-01

Individual differences in the strength of music preference are among the most intricate psychological phenomena. While one person gets by very well without music, another person needs to listen to music every day and spends a lot of temporal and financial resources on listening to music, attending concerts, or buying concert tickets. Where do these differences come from? The hypothesis presented in this article is that the strength of music preference is mainly informed by the functions that music fulfills in people's lives (e.g., to regulate emotions, moods, or physiological arousal; to promote self-awareness; to foster social relatedness). Data were collected with a diary study, in which 121 respondents documented the goals they tried to attain and the effects that actually occurred for up to 5 music-listening episodes per day for 10 successive days. As expected, listeners reporting more intense experience of the functional use of music in the past (1) had a stronger intention to listen to music to attain specific goals in specific situations and (2) showed a larger overall strength of music preference. It is concluded that the functional effectiveness of music listening should be incorporated in existing models and frameworks of music preference to produce better predictions of interindividual differences in the strength of music preference. The predictability of musical style/genre preferences is also discussed with regard to the present results.

Risky music-listening behaviors and associated health-risk behaviors.

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Vogel, Ineke; van de Looij-Jansen, Petra M; Mieloo, Cathelijne L; Burdorf, Alex; de Waart, Frouwkje

2012-06-01

To examine, among adolescents and emerging adults attending inner-city lower education, associations between risky music-listening behaviors (from MP3 players and in discotheques and at pop concerts) and more traditional health-risk behaviors: substance use (cigarettes, alcohol, cannabis, and hard drugs) and unsafe sexual intercourse. A total of 944 students in Dutch inner-city senior-secondary vocational schools completed questionnaires about their music-listening and traditional health-risk behaviors. Multiple logistic regression analyses were used to examine associations between music-listening and traditional health-risk behaviors. Risky MP3-player listeners used cannabis more often during the past 4 weeks. Students exposed to risky sound levels during discotheque and pop concert attendance used cannabis less often during the past 4 weeks, were more often binge drinkers, and reported inconsistent condom use during sexual intercourse. The coexistence of risky music-listening behaviors with other health-risk behaviors provides evidence in support of the integration of risky music-listening behaviors within research on and programs aimed at reducing more traditional health-risk behaviors, such as substance abuse and unsafe sexual intercourse.

Participants' experiences of music, mindful music, and audiobook listening interventions for people recovering from stroke.

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Baylan, Satu; McGinlay, Meigan; MacDonald, Maxine; Easto, Jake; Cullen, Breda; Haig, Caroline; Mercer, Stewart W; Murray, Heather; Quinn, Terence J; Stott, David; Broomfield, Niall M; Stiles, Ciara; Evans, Jonathan J

2018-05-04

Existing research evidence suggests that both music listening and mindfulness interventions may have beneficial effects on mood and cognition poststroke. This mixed-methods study, nested within a pilot randomized controlled trial investigating the feasibility and acceptability of combining music listening and brief mindfulness training poststroke, explored study participants' experiences of engaging in the interventions. Fifty-six stroke survivors who were randomized to receive an 8-week intervention of mindful music listening (n = 15), music listening (n = 21), or audiobook listening (n = 20, control) using self-selected material participated in a postintervention individual semistructured interview with a researcher not involved in their intervention delivery. Interview questions focused on affective, cognitive, and physical experiences. Data were coded and analyzed using thematic analysis. Across groups, listening was associated with positive distraction from thoughts and worries. Mindful music listening was most strongly associated with relaxation and concentration, improved attentional control, and emotion regulation, as well as enjoyment. Music listening was most strongly associated with increased activity, memory reminiscence, and improved mood. In addition, participants provided valuable feedback on intervention feasibility and acceptability. The findings suggest that the interventions were feasible and enjoyable for people recovering from stroke. © 2018 New York Academy of Sciences.

The stress-reducing effect of music listening varies depending on the social context.

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Linnemann, Alexandra; Strahler, Jana; Nater, Urs M

2016-10-01

Given that music listening often occurs in a social context, and given that social support can be associated with a stress-reducing effect, it was tested whether the mere presence of others while listening to music enhances the stress-reducing effect of listening to music. A total of 53 participants responded to questions on stress, presence of others, and music listening five times per day (30min after awakening, 1100h, 1400h, 1800h, 2100h) for seven consecutive days. After each assessment, participants were asked to collect a saliva sample for the later analysis of salivary cortisol (as a marker for the hypothalamic-pituitary-adrenal axis) and salivary alpha-amylase (as a marker for the autonomic nervous system). Hierarchical linear modeling revealed that music listening per se was not associated with a stress-reducing effect. However, listening to music in the presence of others led to decreased subjective stress levels, attenuated secretion of salivary cortisol, and higher activity of salivary alpha-amylase. When listening to music alone, music that was listened to for the reason of relaxation predicted lower subjective stress. The stress-reducing effect of music listening in daily life varies depending on the presence of others. Music listening in the presence of others enhanced the stress-reducing effect of music listening independently of reasons for music listening. Solitary music listening was stress-reducing when relaxation was stated as the reason for music listening. Thus, in daily life, music listening can be used for stress reduction purposes, with the greatest success when it occurs in the presence of others or when it is deliberately listened to for the reason of relaxation. Copyright © 2016 Elsevier Ltd. All rights reserved.

The Goals and Effects of Music Listening and Their Relationship to the Strength of Music Preference.

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Thomas Schäfer

Full Text Available Individual differences in the strength of music preference are among the most intricate psychological phenomena. While one person gets by very well without music, another person needs to listen to music every day and spends a lot of temporal and financial resources on listening to music, attending concerts, or buying concert tickets. Where do these differences come from? The hypothesis presented in this article is that the strength of music preference is mainly informed by the functions that music fulfills in people's lives (e.g., to regulate emotions, moods, or physiological arousal; to promote self-awareness; to foster social relatedness. Data were collected with a diary study, in which 121 respondents documented the goals they tried to attain and the effects that actually occurred for up to 5 music-listening episodes per day for 10 successive days. As expected, listeners reporting more intense experience of the functional use of music in the past (1 had a stronger intention to listen to music to attain specific goals in specific situations and (2 showed a larger overall strength of music preference. It is concluded that the functional effectiveness of music listening should be incorporated in existing models and frameworks of music preference to produce better predictions of interindividual differences in the strength of music preference. The predictability of musical style/genre preferences is also discussed with regard to the present results.

The Goals and Effects of Music Listening and Their Relationship to the Strength of Music Preference

Science.gov (United States)

Schäfer, Thomas

2016-01-01

Individual differences in the strength of music preference are among the most intricate psychological phenomena. While one person gets by very well without music, another person needs to listen to music every day and spends a lot of temporal and financial resources on listening to music, attending concerts, or buying concert tickets. Where do these differences come from? The hypothesis presented in this article is that the strength of music preference is mainly informed by the functions that music fulfills in people’s lives (e.g., to regulate emotions, moods, or physiological arousal; to promote self-awareness; to foster social relatedness). Data were collected with a diary study, in which 121 respondents documented the goals they tried to attain and the effects that actually occurred for up to 5 music-listening episodes per day for 10 successive days. As expected, listeners reporting more intense experience of the functional use of music in the past (1) had a stronger intention to listen to music to attain specific goals in specific situations and (2) showed a larger overall strength of music preference. It is concluded that the functional effectiveness of music listening should be incorporated in existing models and frameworks of music preference to produce better predictions of interindividual differences in the strength of music preference. The predictability of musical style/genre preferences is also discussed with regard to the present results. PMID:26985998

13. Enhancing Music Listening in Educational Context

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Iuşcă Dorina

2016-03-01

Full Text Available A growing body of research has shown the importance of music listening in psychological frameworks such as the construction of emotional and social identity. Nonetheless, the educational implications of this activity involve the way students use music listening for cultural development, cognitive processing and aesthetic reaction enhancement. The present study aims to review the relevant literature regarding how musical preference, a concept used mainly in music psychology, may be explored in educational contexts. Zajong’s (1968 theory of repeated exposure indicates that mere exposure to a stimulus is enough to create a favorable attitude towards it. This study investigates the experimental researches focused on the conditions where repeated exposure to academic music may generate the development of musical preference.

Familiarity Affects Entrainment of EEG in Music Listening

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Yuiko Kumagai

2017-07-01

Full Text Available Music perception involves complex brain functions. The relationship between music and brain such as cortical entrainment to periodic tune, periodic beat, and music have been well investigated. It has also been reported that the cerebral cortex responded more strongly to the periodic rhythm of unfamiliar music than to that of familiar music. However, previous works mainly used simple and artificial auditory stimuli like pure tone or beep. It is still unclear how the brain response is influenced by the familiarity of music. To address this issue, we analyzed electroencelphalogram (EEG to investigate the relationship between cortical response and familiarity of music using melodies produced by piano sounds as simple natural stimuli. The cross-correlation function averaged across trials, channels, and participants showed two pronounced peaks at time lags around 70 and 140 ms. At the two peaks the magnitude of the cross-correlation values were significantly larger when listening to unfamiliar and scrambled music compared to those when listening to familiar music. Our findings suggest that the response to unfamiliar music is stronger than that to familiar music. One potential application of our findings would be the discrimination of listeners' familiarity with music, which provides an important tool for assessment of brain activity.

Task Context Influences Brain Activation during Music Listening

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Andjela Markovic

2017-06-01

Full Text Available In this paper, we examined brain activation in subjects during two music listening conditions: listening while simultaneously rating the musical piece being played [Listening and Rating (LR] and listening to the musical pieces unconstrained [Listening (L]. Using these two conditions, we tested whether the sequence in which the two conditions were fulfilled influenced the brain activation observable during the L condition (LR → L or L → LR. We recorded high-density EEG during the playing of four well-known positively experienced soundtracks in two subject groups. One group started with the L condition and continued with the LR condition (L → LR; the second group performed this experiment in reversed order (LR → L. We computed from the recorded EEG the power for different frequency bands (theta, lower alpha, upper alpha, lower beta, and upper beta. Statistical analysis revealed that the power in all examined frequency bands increased during the L condition but only when the subjects had not had previous experience with the LR condition (i.e., L → LR. For the subjects who began with the LR condition, there were no power increases during the L condition. Thus, the previous experience with the LR condition prevented subjects from developing the particular mental state associated with the typical power increase in all frequency bands. The subjects without previous experience of the LR condition listened to the musical pieces in an unconstrained and undisturbed manner and showed a general power increase in all frequency bands. We interpret the fact that unconstrained music listening was associated with increased power in all examined frequency bands as a neural indicator of a mental state that can best be described as a mind-wandering state during which the subjects are “drawn into” the music.

Loud music listening.

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Petrescu, Nicolae

2008-07-01

Over the past four decades, there has been increasing interest in the effects of music listening on hearing. The purpose of this paper is to review published studies that detail the noise levels, the potential effects (e.g. noise-induced hearing loss), and the perceptions of those affected by music exposure in occupational and non-occupational settings. The review employed Medline, PubMed, PsychINFO, and the World Wide Web to find relevant studies in the scientific literature. Considered in this review are 43 studies concerning the currently most significant occupational sources of high-intensity music: rock and pop music playing and employment at music venues, as well as the most significant sources of non-occupational high-intensity music: concerts, dicotheques (clubs), and personal music players. Although all of the activities listed above have the potential for hearing damage, the most serious threat to hearing comes from prolonged exposures to amplified live music (concerts). The review concludes that more research is needed to clarify the hearing loss risks of music exposure from personal music players and that current scientific literature clearly recognizes an unmet hearing health need for more education regarding the risks of loud music exposure and the benefits of wearing hearing protection, for more hearing protection use by those at risk, and for more regulations limiting music intensity levels at music entertainment venues.

Neurophysiological Effects of Trait Empathy in Music Listening.

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Wallmark, Zachary; Deblieck, Choi; Iacoboni, Marco

2018-01-01

The social cognitive basis of music processing has long been noted, and recent research has shown that trait empathy is linked to musical preferences and listening style. Does empathy modulate neural responses to musical sounds? We designed two functional magnetic resonance imaging (fMRI) experiments to address this question. In Experiment 1, subjects listened to brief isolated musical timbres while being scanned. In Experiment 2, subjects listened to excerpts of music in four conditions (familiar liked (FL)/disliked and unfamiliar liked (UL)/disliked). For both types of musical stimuli, emotional and cognitive forms of trait empathy modulated activity in sensorimotor and cognitive areas: in the first experiment, empathy was primarily correlated with activity in supplementary motor area (SMA), inferior frontal gyrus (IFG) and insula; in Experiment 2, empathy was mainly correlated with activity in prefrontal, temporo-parietal and reward areas. Taken together, these findings reveal the interactions between bottom-up and top-down mechanisms of empathy in response to musical sounds, in line with recent findings from other cognitive domains.

Neurophysiological Effects of Trait Empathy in Music Listening

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Zachary Wallmark

2018-04-01

Full Text Available The social cognitive basis of music processing has long been noted, and recent research has shown that trait empathy is linked to musical preferences and listening style. Does empathy modulate neural responses to musical sounds? We designed two functional magnetic resonance imaging (fMRI experiments to address this question. In Experiment 1, subjects listened to brief isolated musical timbres while being scanned. In Experiment 2, subjects listened to excerpts of music in four conditions (familiar liked (FL/disliked and unfamiliar liked (UL/disliked. For both types of musical stimuli, emotional and cognitive forms of trait empathy modulated activity in sensorimotor and cognitive areas: in the first experiment, empathy was primarily correlated with activity in supplementary motor area (SMA, inferior frontal gyrus (IFG and insula; in Experiment 2, empathy was mainly correlated with activity in prefrontal, temporo-parietal and reward areas. Taken together, these findings reveal the interactions between bottom-up and top-down mechanisms of empathy in response to musical sounds, in line with recent findings from other cognitive domains.

Subjective difficulties in young people related to extensive loud music listening

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Budimčić Milenko

2010-01-01

Full Text Available Introduction. For human ear, noise represents every undesirable and valueless sound. In disco clubs, as in some other places with loud music mostly attended by young people, the level of noise sometimes attains over 100 dB. As reported by numerous studies, a high noise level could induce subjective difficulties (ear buzzing, audition loss, vertigo and palpitations, anxiety, high blood pressure, decreased concentration, lowered memory storing. Objective. Assessment of subjective difficulties occurring in young people when staying in places with a high noise level (cafes, disco clubs, rock concerts, which can produce health problems, due to loud music, in association with demographic data, addictions and personal life style data. One of the goals is to find factors leading to subjective difficulties, which would be objectively studied in the second stage of the research and marked as early predictors of possible health problems. Methods. The study was conducted among 780 students of the Higher Healthcare School of Professional Studied in Belgrade. We used a questionnaire with 20 questions, divided into four categories: demographic data, case-history data, subjective problems and addictions of the subjects. In the statistical data processing we used the methods of descriptive and exploratory analysis, chi-square tests, correlation tests and Mantel-Haenszel odds ratio. Results. After listening loud music, 54.0% of examined subjects felt ear buzzing, and 4.6% had hearing damage. The habit of visiting places with loud music, mostly once a week in duration of 2-3 hours per visit had 80.4% of subjects. The presence of subjective complaints after listening of loud music was in association with loud music listening and disco clubs visits. The major reasons of the present subjective difficulties could be predicated by listening of loud music and club visits (r=0.918 and r=0.857. A relative risk for subjective difficulties presentation was 1.599. Conclusion

[Subjective difficulties in young people related to extensive loud music listening].

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Budimcić, Milenko; Ignatović, Snezana; Zivić, Ljubica

2010-01-01

For human ear, noise represents every undesirable and valueless sound. In disco clubs, as in some other places with loud music mostly attended by young people, the level of noise sometimes attains over 100 dB. As reported by numerous studies, a high noise level could induce subjective difficulties (ear buzzing, audition loss, vertigo and palpitations, anxiety, high blood pressure, decreased concentration, lowered memory storing). Assessment of subjective difficulties occurring in young people when staying in places with a high noise level (cafes, disco clubs, rock concerts), which can produce health problems, due to loud music, in association with demographic data, addictions and personal life style data. One of the goals is to find factors leading to subjective difficulties, which would be objectively studied in the second stage of the research and marked as early predictors of possible health problems. The study was conducted among 780 students of the Higher Healthcare School of Professional Studied in Belgrade. We used a questionnaire with 20 questions, divided into four categories: demographic data, case-history data, subjective problems and addictions of the subjects. In the statistical data processing we used the methods of descriptive and exploratory analysis, chi-square tests, correlation tests and Mantel-Haenszel odds ratio. After listening loud music, 54.0% of examined subjects felt ear buzzing, and 4.6% had hearing damage. The habit of visiting places with loud music, mostly once a week in duration of 2-3 hours per visit had 80.4% of subjects. The presence of subjective complaints after listening of loud music was in association with loud music listening and disco clubs visits.The major reasons of the present subjective difficulties could be predicated by listening of loud music and club visits (r = 0.918 and r = 0.857). A relative risk for subjective difficulties presentation was 1.599. According to the results of our study, over half of children

A Critical Ethnography of Democratic Music Listening

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Silverman, Marissa

2013-01-01

The purpose of this critical ethnography was to investigate how music educators can approach the development of students' music listening abilities democratically in order to deepen students' musical understandings and, by teaching through music, create pathways for student-teacher transactions that are inclusive, educative, ethical and…

Music listening after stroke: beneficial effects and potential neural mechanisms.

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Särkämö, Teppo; Soto, David

2012-04-01

Music is an enjoyable leisure activity that also engages many emotional, cognitive, and motor processes in the brain. Here, we will first review previous literature on the emotional and cognitive effects of music listening in healthy persons and various clinical groups. Then we will present findings about the short- and long-term effects of music listening on the recovery of cognitive function in stroke patients and the underlying neural mechanisms of these music effects. First, our results indicate that listening to pleasant music can have a short-term facilitating effect on visual awareness in patients with visual neglect, which is associated with functional coupling between emotional and attentional brain regions. Second, daily music listening can improve auditory and verbal memory, focused attention, and mood as well as induce structural gray matter changes in the early poststroke stage. The psychological and neural mechanisms potentially underlying the rehabilitating effect of music after stroke are discussed. © 2012 New York Academy of Sciences.

Tune in or tune out: age-related differences in listening to speech in music.

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Russo, Frank A; Pichora-Fuller, M Kathleen

2008-10-01

To examine age-related differences in listening to speech in music. In the first experiment, the effect of music familiarity on word identification was compared with a standard measure of word identification in multitalker babble. The average level of the backgrounds was matched and two speech-to-background ratios were tested. In the second experiment, recognition recall was measured for background music heard during a word identification task. For older adults, word identification did not depend on the type of background, but for younger adults word identification was better when the background was familiar music than when it was unfamiliar music or babble. Younger listeners remembered background music better than older listeners, with the pattern of false alarms suggesting that younger listeners consciously processed the background music more than older listeners. In other words, younger listeners attempted to "tune in" the music background, but older listeners attempted to "tune out" the background. These findings reveal age-related differences in listening to speech in music. When older listeners are confronted with a music background they tend to focus attention on the speech foreground. In contrast, younger listeners attend to both the speech foreground and music background. When music is familiar, this strategy adopted by younger listeners seems to be beneficial to word identification.

Listening to classical music ameliorates unilateral neglect after stroke.

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Tsai, Pei-Luen; Chen, Mei-Ching; Huang, Yu-Ting; Lin, Keh-Chung; Chen, Kuan-Lin; Hsu, Yung-Wen

2013-01-01

OBJECTIVE. We determined whether listening to excerpts of classical music ameliorates unilateral neglect (UN) in stroke patients. METHOD. In this within-subject study, we recruited and separately tested 16 UN patients with a right-hemisphere stroke under three conditions within 1 wk. In each condition, participants were asked to complete three subtests of the Behavioral Inattention Test while listening to classical music, white noise, or nothing. All conditions and the presentation of the tests were counterbalanced across participants. Visual analog scales were used to provide self-reported ratings of arousal and mood. RESULTS. Participants generally had the highest scores under the classical music condition and the lowest scores under the silence condition. In addition, most participants rated their arousal as highest after listening to classical music. CONCLUSION. Listening to classical music may improve visual attention in stroke patients with UN. Future research with larger study populations is necessary to validate these findings. Copyright © 2013 by the American Occupational Therapy Association, Inc.

Rockin' around the Clock: An Exploratory Study of Music Teachers' Personal Listening Choices

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Davis, Virginia Wayman

2015-01-01

This study aimed to explore the personal music listening choices of music teachers. Specifically, in which formats do teachers listen to music for personal pleasure, how do they obtain the music they choose, and how frequently do they choose to listen to certain genres of music. Using an online survey, music teachers answered questions about their…

The association of noise sensitivity with music listening, training, and aptitude

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Marina Kliuchko

2015-01-01

Full Text Available After intensive, long-term musical training, the auditory system of a musician is specifically tuned to perceive musical sounds. We wished to find out whether a musician′s auditory system also develops increased sensitivity to any sound of everyday life, experiencing them as noise. For this purpose, an online survey, including questionnaires on noise sensitivity, musical background, and listening tests for assessing musical aptitude, was administered to 197 participants in Finland and Italy. Subjective noise sensitivity (assessed with the Weinstein′s Noise Sensitivity Scale was analyzed for associations with musicianship, musical aptitude, weekly time spent listening to music, and the importance of music in each person′s life (or music importance. Subjects were divided into three groups according to their musical expertise: Nonmusicians (N = 103, amateur musicians (N = 44, and professional musicians (N = 50. The results showed that noise sensitivity did not depend on musical expertise or performance on musicality tests or the amount of active (attentive listening to music. In contrast, it was associated with daily passive listening to music, so that individuals with higher noise sensitivity spent less time in passive (background listening to music than those with lower sensitivity to noise. Furthermore, noise-sensitive respondents rated music as less important in their life than did individuals with lower sensitivity to noise. The results demonstrate that the special sensitivity of the auditory system derived from musical training does not lead to increased irritability from unwanted sounds. However, the disposition to tolerate contingent musical backgrounds in everyday life depends on the individual′s noise sensitivity.

The association of noise sensitivity with music listening, training, and aptitude.

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Kliuchko, Marina; Heinonen-Guzejev, Marja; Monacis, Lucia; Gold, Benjamin P; Heikkilä, Kauko V; Spinosa, Vittoria; Tervaniemi, Mari; Brattico, Elvira

2015-01-01

After intensive, long-term musical training, the auditory system of a musician is specifically tuned to perceive musical sounds. We wished to find out whether a musician's auditory system also develops increased sensitivity to any sound of everyday life, experiencing them as noise. For this purpose, an online survey, including questionnaires on noise sensitivity, musical background, and listening tests for assessing musical aptitude, was administered to 197 participants in Finland and Italy. Subjective noise sensitivity (assessed with the Weinstein's Noise Sensitivity Scale) was analyzed for associations with musicianship, musical aptitude, weekly time spent listening to music, and the importance of music in each person's life (or music importance). Subjects were divided into three groups according to their musical expertise: Nonmusicians (N = 103), amateur musicians (N = 44), and professional musicians (N = 50). The results showed that noise sensitivity did not depend on musical expertise or performance on musicality tests or the amount of active (attentive) listening to music. In contrast, it was associated with daily passive listening to music, so that individuals with higher noise sensitivity spent less time in passive (background) listening to music than those with lower sensitivity to noise. Furthermore, noise-sensitive respondents rated music as less important in their life than did individuals with lower sensitivity to noise. The results demonstrate that the special sensitivity of the auditory system derived from musical training does not lead to increased irritability from unwanted sounds. However, the disposition to tolerate contingent musical backgrounds in everyday life depends on the individual's noise sensitivity.

Roland Barthes' "Text" and aleatoric music: Is "The birth of the reader" the birth of the listener?

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Jeongwon Joe

2002-01-01

Full Text Available The history of Western classical music and the development of its notational system show that composers have tried to control more and more aspects of their compositions as precisely as possible. Total serialism represents the culmination of compositional control. Given this progressively increasing compositional control, the emergence of chance music, or aleatoric music, in the mid-twentieth century is a significantly interesting phenomenon. In aleatoric music, the composer deliberately incorporates elements of chance in the process of composition and/or in performance. Consequently, aleatoric works challenge the traditional notion of an art work as a closed entity fixed by its author. The philosophical root of aleatoric music can be traced to post structuralism, specifically its critique of the Enlightenment notion of the author as the creator of the meaning of his or her work. Roland Barthes' declaration of "the death of the author" epitomizes the Poststructuralists' position. Distinguishing "Text" from "Work," Barthes maintains that in a "Text," meanings are to be engendered not by the author but by the reader. Barthes conceives aleatoric music as an example of the "Text," which demands "the birth of the reader." This essay critically re-examines Barthes' notion of aleatoric music, focusing on the complicated status of the reader in music. The readers of a musical Text can be both performers and listeners. When Barthes' declaration of the birth of the reader is applied to the listener, it becomes problematic, since the listener, unlike the literary reader, does not have direct access to the "Text" but needs to be mediated by the performer. As Carl Dahlhaus has remarked, listeners cannot be exposed to other possible renditions that the performer could have chosen but did not choose, and in this respect, the supposed openness of an aleatoric piece is closed and fixed at the time of performance. In aleatoric music, it is not listeners but only

Happy creativity: Listening to happy music facilitates divergent thinking.

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Ritter, Simone M; Ferguson, Sam

2017-01-01

Creativity can be considered one of the key competencies for the twenty-first century. It provides us with the capacity to deal with the opportunities and challenges that are part of our complex and fast-changing world. The question as to what facilitates creative cognition-the ability to come up with creative ideas, problem solutions and products-is as old as the human sciences, and various means to enhance creative cognition have been studied. Despite earlier scientific studies demonstrating a beneficial effect of music on cognition, the effect of music listening on creative cognition has remained largely unexplored. The current study experimentally tests whether listening to specific types of music (four classical music excerpts systematically varying on valance and arousal), as compared to a silence control condition, facilitates divergent and convergent creativity. Creativity was higher for participants who listened to 'happy music' (i.e., classical music high on arousal and positive mood) while performing the divergent creativity task, than for participants who performed the task in silence. No effect of music was found for convergent creativity. In addition to the scientific contribution, the current findings may have important practical implications. Music listening can be easily integrated into daily life and may provide an innovative means to facilitate creative cognition in an efficient way in various scientific, educational and organizational settings when creative thinking is needed.

Music listening while you learn: No influence of background music on verbal learning

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J?ncke, Lutz; Sandmann, Pascale

2010-01-01

Abstract Background Whether listening to background music enhances verbal learning performance is still disputed. In this study we investigated the influence of listening to background music on verbal learning performance and the associated brain activations. Methods Musical excerpts were composed for this study to ensure that they were unknown to the subjects and designed to vary in tempo (fast vs. slow) and consonance (in-tune vs. out-of-tune). Noise was used as control stimulus. 75 subject...

Imagining Nature during Music Listening

DEFF Research Database (Denmark)

Bonde, Lars Ole; Beck, Bolette Daniels

2018-01-01

Nature, its delights and horrors, its creatures, its challenges and affordances play an underrated role in receptive music therapy, especially Guided Imagery and Music (GIM). In general, people from Western cultures are challenged in their mostly recreational relationship with nature, while ancient...... and traditional cultures worship nature as a place of holiness and wholeness. In GIM, a client or a group listens to music in a relaxed state and multi-modal imagery is evoked and supported by the music. The imagery is shared with the guide/therapist. This chapter will focus on ‘nature imagery’ in GIM through...... a primarily qualitative, exploratory study....

Exploring the musical taste of expert listeners: musicology students reveal tendency toward omnivorous taste.

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Elvers, Paul; Omigie, Diana; Fuhrmann, Wolfgang; Fischinger, Timo

2015-01-01

Musicology students are engaged with music on an academic level and usually have an extensive musical background. They have a considerable knowledge of music history and theory and listening to music may be regarded as one of their primary occupations. Taken together, these factors qualify them as ≫expert listeners≪, who may be expected to exhibit a specific profile of musical taste: interest in a broad range of musical styles combined with a greater appreciation of ≫sophisticated≪ styles. The current study examined the musical taste of musicology students as compared to a control student group. Participants (n = 1003) completed an online survey regarding the frequency with which they listened to 22 musical styles. A factor analysis revealed six underlying dimensions of musical taste. A hierarchical cluster analysis then grouped all participants, regardless of their status, according to their similarity on these dimensions. The employed exploratory approach was expected to reveal potential differences between musicology students and controls. A three-cluster solution was obtained. Comparisons of the clusters in terms of musical taste revealed differences in the listening frequency and variety of appreciated music styles: the first cluster (51% musicology students/27% controls) showed the greatest musical engagement across all dimensions although with a tendency toward ≫sophisticated≪ musical styles. The second cluster (36% musicology students/46% controls) exhibited an interest in ≫conventional≪ music, while the third cluster (13% musicology students/27% controls) showed a strong liking of rock music. The results provide some support for the notion of specific tendencies in the musical taste of musicology students and the contribution of familiarity and knowledge toward musical omnivorousness. Further differences between the clusters in terms of social, personality, and sociodemographic factors are discussed.

Benefits of listening to a recording of euphoric joint music making in polydrug abusers

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Thomas Hans Fritz

2015-06-01

Full Text Available Background and AimsListening to music can have powerful physiological and therapeutic effects. Some essential features of the mental mechanism underlying beneficial effects of music are probably strong physiological and emotional associations with music created during the act of music making. Here we tested this hypothesis in a clinical population of polydrug abusers in rehabilitation listening to a previously performed act of physiologically and emotionally intense music making.MethodsPsychological effects of listening to self-made music that was created in a previous musical feedback intervention were assessed. In this procedure, participants produced music with exercise machines which modulate musical sounds (Jymmin.ResultsThe data showed a positive effect of listening to the recording of joint music making on self-efficacy, mood, and a readiness to engage socially. Furthermore, the data showed the powerful influence of context on how the recording evoked psychological benefits. The effects of listening to the self-made music were only observable when participants listened to their own performance first; listening to a control music piece first caused effects to deteriorate. We observed a positive correlation between participants’ mood and their desire to engage in social activities with their former training partners after listening to the self-made music. This shows that the observed effects of listening to the recording of the single musical feedback intervention are influenced by participants recapitulating intense pleasant social interactions during the Jymmin intervention. ConclusionsListening to music that was the outcome of a previous musical feedback (Jymmin intervention has beneficial psychological and probably social effects in patients that had suffered from polydrug addiction, increasing self-efficacy, mood, and a readiness to engage socially. These intervention effects, however, depend on the context in which the music

Music Perception and Appraisal: Cochlear Implant Users and Simulated CI Listening

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Wright, Rose; Uchanski, Rosalie M.

2012-01-01

Background The inability to hear music well may contribute to decreased quality of life for cochlear implant (CI) users. Researchers have reported recently on the generally poor ability of CI users’ to perceive music, and a few researchers have reported on the enjoyment of music by CI users. However, the relation between music perception skills and music enjoyment is much less explored. Only one study has attempted to predict CI users’ enjoyment and perception of music from the users’ demographic variables and other perceptual skills (Gfeller et al., 2008). Gfeller’s results yielded different predictive relationships for music perception and music enjoyment, and the relationships were weak, at best. Purpose The first goal of this study is to clarify the nature and relationship between music perception skills and musical enjoyment for CI users, by employing a battery of music tests. The second goal is to determine whether normal hearing (NH) subjects, listening with a CI-simulation, can be used as a model to represent actual CI users for either music enjoyment ratings or music perception tasks. Research Design A prospective, cross-sectional observational study. Original music stimuli (unprocessed) were presented to CI users, and music stimuli processed with CI-simulation software were presented to twenty NH listeners (CIsim). As a control, original music stimuli were also presented to five other NH listeners. All listeners appraised twenty-four musical excerpts, performed music perception tests, and filled out a musical background questionnaire. Music perception tests were the Appreciation of Music in Cochlear Implantees (AMICI), Montreal Battery for Evaluation of Amusia (MBEA), Melodic Contour Identification (MCI), and University of Washington Clinical Assessment of Music Perception (UW-CAMP). Study Sample Twenty-five NH adults (22 – 56 years old), recruited from the local and research communities, participated in the study. Ten adult CI users (46 – 80

Mindful Music Listening as a Potential Treatment for Depression

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Eckhardt, Kristen J.; Dinsmore, Julie A.

2012-01-01

Depression is one of the most common mental health issues. Although drug therapy and cognitive-behavioral therapy remain popular and effective treatments, alternative interventions such as the use of music listening and mindfulness practice as interventions during therapy have gained ground. Research on the use of music listening and mindfulness…

Effect of synchronized or desynchronized music listening during osteopathic treatment: an EEG study.

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Mercadié, Lolita; Caballe, Julie; Aucouturier, Jean-Julien; Bigand, Emmanuel

2014-01-01

While background music is often used during osteopathic treatment, it remains unclear whether it facilitates treatment, and, if it does, whether it is listening to music or jointly listening to a common stimulus that is most important. We created three experimental situations for a standard osteopathic procedure in which patients and practitioner listened either to silence, to the same music in synchrony, or (unknowingly) to different desynchronized montages of the same material. Music had no effect on heart rate and arterial pressure pre- and posttreatment compared to silence, but EEG measures revealed a clear effect of synchronized versus desynchronized listening: listening to desynchronized music was associated with larger amounts of mu-rhythm event-related desynchronization (ERD), indicating decreased sensorimotor fluency compared to what was gained in the synchronized music listening condition. This result suggests that, if any effect can be attributed to music for osteopathy, it is related to its capacity to modulate empathy between patient and therapist and, further, that music does not systematically create better conditions for empathy than silence. Copyright © 2013 Society for Psychophysiological Research.

Music perception and appraisal: cochlear implant users and simulated cochlear implant listening.

Science.gov (United States)

Wright, Rose; Uchanski, Rosalie M

2012-05-01

The inability to hear music well may contribute to decreased quality of life for cochlear implant (CI) users. Researchers have reported recently on the generally poor ability of CI users to perceive music, and a few researchers have reported on the enjoyment of music by CI users. However, the relation between music perception skills and music enjoyment is much less explored. Only one study has attempted to predict CI users' enjoyment and perception of music from the users' demographic variables and other perceptual skills (Gfeller et al, 2008). Gfeller's results yielded different predictive relationships for music perception and music enjoyment, and the relationships were weak, at best. The first goal of this study is to clarify the nature and relationship between music perception skills and musical enjoyment for CI users, by employing a battery of music tests. The second goal is to determine whether normal hearing (NH) subjects, listening with a CI simulation, can be used as a model to represent actual CI users for either music enjoyment ratings or music perception tasks. A prospective, cross-sectional observational study. Original music stimuli (unprocessed) were presented to CI users, and music stimuli processed with CI-simulation software were presented to 20 NH listeners (CIsim). As a control, original music stimuli were also presented to five other NH listeners. All listeners appraised 24 musical excerpts, performed music perception tests, and filled out a musical background questionnaire. Music perception tests were the Appreciation of Music in Cochlear Implantees (AMICI), Montreal Battery for Evaluation of Amusia (MBEA), Melodic Contour Identification (MCI), and University of Washington Clinical Assessment of Music Perception (UW-CAMP). Twenty-five NH adults (22-56 yr old), recruited from the local and research communities, participated in the study. Ten adult CI users (46-80 yr old), recruited from the patient population of the local adult cochlear implant

Experiences of music listening among rugby players at North-West University

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Tamaryn L. Aslett

2017-04-01

Full Text Available This article documents a study that investigated the reasons why a group of student rugby players habitually listen to music as part of their pre-match routine. The investigation followed a hermeneutic phenomenological approach that allowed the players to verbalise their personal music listening experiences. The investigation links the music listening practices of the players with the concept of musical experience as an innate human capacity directed towards general well-being. For the players, well-being is a basic condition of happiness and optimism. Achieving and maintaining this condition draws on the emotive qualities of musical sound patterns, as well as the powerful, socially situated meanings of song lyrics. Consequent states of mind conceptualise a rewarding existence by integrating experiences in sport as well as in music. Directed towards rugby practice, the study found that music listening is an informal, individual activity that involves the use of earphones. The sense of personal isolation this induces is a prerequisite for generating focus as well as controlled energy, a state of mind regarded as essential for effective participation in rugby. The pervasive use yet informal application of this strategy by rugby players points to an officially undervalued psychological resource. This finding has implications for fuller exploitation and incorporation of music listening into rugby training programmes.

Uncovering collective listening habits and music genres in bipartite networks

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Lambiotte, R.; Ausloos, M.

2005-12-01

In this paper, we analyze web-downloaded data on people sharing their music library, that we use as their individual musical signatures. The system is represented by a bipartite network, nodes being the music groups and the listeners. Music groups’ audience size behaves like a power law, but the individual music library size is an exponential with deviations at small values. In order to extract structures from the network, we focus on correlation matrices, that we filter by removing the least correlated links. This percolation idea-based method reveals the emergence of social communities and music genres, that are visualized by a branching representation. Evidence of collective listening habits that do not fit the neat usual genres defined by the music industry indicates an alternative way of classifying listeners and music groups. The structure of the network is also studied by a more refined method, based upon a random walk exploration of its properties. Finally, a personal identification-community imitation model for growing bipartite networks is outlined, following Potts ingredients. Simulation results do reproduce quite well the empirical data.

Listeners remember music they like.

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Stalinski, Stephanie M; Schellenberg, E Glenn

2013-05-01

Emotions have important and powerful effects on cognitive processes. Although it is well established that memory influences liking, we sought to document whether liking influences memory. A series of 6 experiments examined whether liking is related to recognition memory for novel music excerpts. In the general method, participants listened to a set of music excerpts and rated how much they liked each one. After a delay, they heard the same excerpts plus an equal number of novel excerpts and made recognition judgments, which were then examined in conjunction with liking ratings. Higher liking ratings were associated with improved recognition performance after a 10-min (Experiment 1) or 24-hr (Experiment 2) delay between the exposure and test phases. The findings were similar when participants made liking ratings after recognition judgments (Experiments 3 and 6), when possible confounding effects of similarity and familiarity were held constant (Experiment 4), and when a deeper level of processing was encouraged for all the excerpts (Experiment 5). Recognition did not vary as a function of liking for previously unheard excerpts (Experiment 6). The results implicate a direct association between liking and recognition. Considered jointly with previous findings, it is now clear that listeners tend to like music that they remember and to remember music that they like.

Differences between Supportive Music and Imagery and Music Listening during Outpatient Chemotherapy and Potential Moderators of Treatment Effects.

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Burns, Debra S; Meadows, Anthony N; Althouse, Sandra; Perkins, Susan M; Cripe, Larry D

2018-03-09

Supportive music and imagery and music listening interventions have been effective in decreasing distress and improving mood in cancer patients receiving chemotherapy, but it is unclear whether the two interventions differ in their treatment benefits. Furthermore, previous studies have not examined moderators to determine which subgroup(s) of patients may benefit most from each intervention. To examine the effects of supportive music and imagery compared with preferred music listening on responsiveness to music therapy, distress, anxiety and depression, and benefit finding. A secondary purpose was to explore sense of coherence and locus of control as potential moderators of intervention effectiveness. A single-session, two-group comparative effectiveness randomized trial in two cancer centers. Patients were randomized to supportive music and imagery or preferred music listening during outpatient chemotherapy treatment. Data were collected at baseline and immediately after the 45-minute session. ANCOVA models were used to determine main effects of intervention as well as pairing potential moderators with group assignment to explore differences in intervention effects by moderator. There were differential effects between the two interventions with the supportive music and imagery group scoring higher in responsiveness to music therapy and benefit finding. The music listening group scores indicated lower distress. The exploratory moderating analyses suggested Health Locus of Control-Internal and Sense of Coherence influenced intervention effectiveness. Music and imagery and preferred music listening experiences may serve different therapeutic purposes, access and activate different patient resources, and may be helpful at different stages of treatment.

Music Listening Situations and Musical Preference of the Students at the Faculty of Fine Arts in Everyday Life: A Case of Dokuz Eylul University

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Elif TEKİN GÜRGEN

2016-10-01

Full Text Available The purpose of the study is to reveal the music listening situation of the students at the Faculty of Fine Arts of Dokuz Eylül University, the music genres that they listen to and the relationship between them. It is also investigated whether the music listening situation determines the music training of the students or also makes significant difference among students according to their genders. The music listening situation scale developed as five-point Likert type and the frequency of listening to music scales were used as for data collection tools. The findings revealed that the majority of the students prefer listening to music at home and public transport. The least preferred situations for listening to music are when they are with their families and whilst reading book/newspaper/magazines. The results suggested that the most preferred genres are Rock and Blues which are closely followed by Jazz and Western Classical Music. The least preferred genres are Turkish Arabesque Music, Rap and Turkish Folk Music. It is determined that the students' music listening situation has shown significant differences according to the musical training, gender and musical genres.

Effects of Listening to Music on the Comfort of Chemotherapy Patients.

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Bilgiç, Şebnem; Acaroğlu, Rengin

2017-06-01

The symptoms of an illness that requires chemotherapy and the corresponding effects of such treatment exacerbate the pain and discomfort that patients typically experience. Listening to music may help patients cope with chemotherapy symptoms, thereby contributing to their physical ease and well-being. Seventy patients who were receiving treatment at the outpatient chemotherapy unit were invited to participate in this work. During chemotherapy sessions and the week after the sessions, the patients listened to music with headphones. The occurrence of chemotherapy symptoms such as pain, tiredness, nausea, depression, anxiety, drowsiness, lack of appetite, not feeling well, and shortness of breath in the intervention group was statistically significant after listening to music ( p listening to music effectively reduces the severity of chemotherapy symptoms and enhances the comfort of patients receiving the treatment.

Music listening and cognitive abilities in 10- and 11-year-olds: the blur effect.

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Schellenberg, E Glenn; Hallam, Susan

2005-12-01

The spatial abilities of a large sample of 10 and 11 year olds were tested after they listened to contemporary pop music, music composed by Mozart, or a discussion about the present experiment. After being assigned at random to one of the three listening experiences, each child completed two tests of spatial abilities. Performance on one of the tests (square completion) did not differ as a function of the listening experience, but performance on the other test (paper folding) was superior for children who listened to popular music compared to the other two groups. These findings are consistent with the view that positive benefits of music listening on cognitive abilities are most likely to be evident when the music is enjoyed by the listener.

Selective neurophysiologic responses to music in instrumentalists with different listening biographies.

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Margulis, Elizabeth Hellmuth; Mlsna, Lauren M; Uppunda, Ajith K; Parrish, Todd B; Wong, Patrick C M

2009-01-01

To appropriately adapt to constant sensory stimulation, neurons in the auditory system are tuned to various acoustic characteristics, such as center frequencies, frequency modulations, and their combinations, particularly those combinations that carry species-specific communicative functions. The present study asks whether such tunings extend beyond acoustic and communicative functions to auditory self-relevance and expertise. More specifically, we examined the role of the listening biography--an individual's long term experience with a particular type of auditory input--on perceptual-neural plasticity. Two groups of expert instrumentalists (violinists and flutists) listened to matched musical excerpts played on the two instruments (J.S. Bach Partitas for solo violin and flute) while their cerebral hemodynamic responses were measured using fMRI. Our experimental design allowed for a comprehensive investigation of the neurophysiology (cerebral hemodynamic responses as measured by fMRI) of auditory expertise (i.e., when violinists listened to violin music and when flutists listened to flute music) and nonexpertise (i.e., when subjects listened to music played on the other instrument). We found an extensive cerebral network of expertise, which implicates increased sensitivity to musical syntax (BA 44), timbre (auditory association cortex), and sound-motor interactions (precentral gyrus) when listening to music played on the instrument of expertise (the instrument for which subjects had a unique listening biography). These findings highlight auditory self-relevance and expertise as a mechanism of perceptual-neural plasticity, and implicate neural tuning that includes and extends beyond acoustic and communication-relevant structures. (c) 2007 Wiley-Liss, Inc.

The listener in music historiography, 1776-1928

DEFF Research Database (Denmark)

Wessel, Jan Andreas

The present thesis is a study on the listener in music historiography. More specifically, it presents an investigation – based on the analysis of a selected group of texts – of the various contexts in which the listener appears during a span of approximately 150 years from the late 18th century...... of issues arises when “the listener” merges into various transpersonal categories, like an age, a people, a religion and so on. The aim of my investigation has been to map how these two levels interact and form different constellations in the music historical literature. My study positions itself within...

Increase in Synchronization of Autonomic Rhythms between Individuals When Listening to Music

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Bernardi, Nicolò F.; Codrons, Erwan; di Leo, Rita; Vandoni, Matteo; Cavallaro, Filippo; Vita, Giuseppe; Bernardi, Luciano

2017-01-01

In light of theories postulating a role for music in forming emotional and social bonds, here we investigated whether endogenous rhythms synchronize between multiple individuals when listening to music. Cardiovascular and respiratory recordings were taken from multiple individuals (musically trained or music-naïve) simultaneously, at rest and during a live concert comprising music excerpts with varying degrees of complexity of the acoustic envelope. Inter-individual synchronization of cardiorespiratory rhythms showed a subtle but reliable increase during passively listening to music compared to baseline. The low-level auditory features of the music were largely responsible for creating or disrupting such synchronism, explaining ~80% of its variance, over and beyond subjective musical preferences and previous musical training. Listening to simple rhythms and melodies, which largely dominate the choice of music during rituals and mass events, brings individuals together in terms of their physiological rhythms, which could explain why music is widely used to favor social bonds. PMID:29089898

Musical Probabilities, Abductive Reasoning, and Brain Mechanisms: Extended Perspective of "A Priori" Listening to Music within the Creative Cognition Approach

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Schmidt, Sebastian; Troge, Thomas A.; Lorrain, Denis

2013-01-01

A theory of listening to music is proposed. It suggests that, for listeners, the process of prediction is the starting point to experiencing music. This implies that perception of music starts through both a predisposed and an experience-based extrapolation into the future (this is labeled "a priori" listening). Indications for this…

Detection of independent functional networks during music listening using electroencephalogram and sLORETA-ICA.

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Jäncke, Lutz; Alahmadi, Nsreen

2016-04-13

The measurement of brain activation during music listening is a topic that is attracting increased attention from many researchers. Because of their high spatial accuracy, functional MRI measurements are often used for measuring brain activation in the context of music listening. However, this technique faces the issues of contaminating scanner noise and an uncomfortable experimental environment. Electroencephalogram (EEG), however, is a neural registration technique that allows the measurement of neurophysiological activation in silent and more comfortable experimental environments. Thus, it is optimal for recording brain activations during pleasant music stimulation. Using a new mathematical approach to calculate intracortical independent components (sLORETA-IC) on the basis of scalp-recorded EEG, we identified specific intracortical independent components during listening of a musical piece and scales, which differ substantially from intracortical independent components calculated from the resting state EEG. Most intracortical independent components are located bilaterally in perisylvian brain areas known to be involved in auditory processing and specifically in music perception. Some intracortical independent components differ between the music and scale listening conditions. The most prominent difference is found in the anterior part of the perisylvian brain region, with stronger activations seen in the left-sided anterior perisylvian regions during music listening, most likely indicating semantic processing during music listening. A further finding is that the intracortical independent components obtained for the music and scale listening are most prominent in higher frequency bands (e.g. beta-2 and beta-3), whereas the resting state intracortical independent components are active in lower frequency bands (alpha-1 and theta). This new technique for calculating intracortical independent components is able to differentiate independent neural networks associated

Tempo Preferences of Different Age Music Listeners.

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LeBlanc, Albert; And Others

1988-01-01

Measures the effect of four levels of tempo on the self-reported preferences of six different age-groups for traditional jazz music listening examples. Stated that listener age exerted a strong influence on overall preference scores. Reported an analysis of variance showing that there is a significant preference for increasingly faster tempo at…

The Mechanics of Listening to Electronic Music

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Cope, David

1977-01-01

The author, a composer and the director of an electronic music lab, is concerned with developing an "aesthetic" in listening to electronic music. Describes an approach he has found to be successful with his students--one that provides "a mode of understanding, a vehicle for making aesthetic decisions". (Editor/RK)

Familiarity mediates the relationship between emotional arousal and pleasure during music listening

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van den Bosch, Iris; Salimpoor, Valorie N.; Zatorre, Robert J.

2013-01-01

Emotional arousal appears to be a major contributing factor to the pleasure that listeners experience in response to music. Accordingly, a strong positive correlation between self-reported pleasure and electrodermal activity (EDA), an objective indicator of emotional arousal, has been demonstrated when individuals listen to familiar music. However, it is not yet known to what extent familiarity contributes to this relationship. In particular, as listening to familiar music involves expectations and predictions over time based on veridical knowledge of the piece, it could be that such memory factors plays a major role. Here, we tested such a contribution by using musical stimuli entirely unfamiliar to listeners. In a second experiment we repeated the novel music to experimentally establish a sense of familiarity. We aimed to determine whether (1) pleasure and emotional arousal would continue to correlate when listeners have no explicit knowledge of how the tones will unfold, and (2) whether this could be enhanced by experimentally-induced familiarity. In the first experiment, we presented 33 listeners with 70 unfamiliar musical excerpts in two sessions. There was no relationship between the degree of experienced pleasure and emotional arousal as measured by EDA. In the second experiment, 7 participants listened to 35 unfamiliar excerpts over two sessions separated by 30 min. Repeated exposure significantly increased EDA, even though individuals did not explicitly recall having heard all the pieces before. Furthermore, increases in self-reported familiarity significantly enhanced experienced pleasure and there was a general, though not significant, increase in EDA. These results suggest that some level of expectation and predictability mediated by prior exposure to a given piece of music play an important role in the experience of emotional arousal in response to music. PMID:24046738

Listening and Musical Engagement: An Exploration of the Effects of Different Listening Strategies on Attention, Emotion, and Peak Affective Experiences

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Diaz, Frank M.

2015-01-01

Music educators often use guided listening strategies as a means of enhancing engagement during music listening activities. Although previous research suggests that these strategies are indeed helpful in facilitating some form of cognitive and emotional engagement, little is known about how these strategies might function for music of differing…

Listening to music does not reduce pain during sigmoidoscopy.

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Meeuse, Jan J; Koornstra, Jan Jacob; Reyners, An K L

2010-08-01

Up to 40% of the sigmoidoscopies are considered painful by patients. Nonpharmacological intervention would be attractive, as sedation and analgesia carry the risk of side-effects and increase procedure-related costs. Music might have the potential of pain reduction, but its effect during sigmoidoscopy has not been established yet. To study whether listening to music reduces experienced pain during sigmoidoscopy. Consecutive patients, above 18 years of age, undergoing sigmoidoscopy without sedation or analgesia and who gave their informed consent were included in this study. Patients in the music group listened to their preferred music (classical, jazz, English or Dutch Popular) during the sigmoidoscopy. The control group received care as usual. The outcome measures were pain intensity during sigmoidoscopy (measured with a 100-mm-long visual analogue scale) and the proportion of patients with at least moderate pain during sigmoidoscopy (pain intensity score of 50 mm or higher). The music groups consisted of 153 patients, the control group of 154 patients. The mean pain intensity + or - standard deviation was 36 + or - 27 mm in the music group and 40 + or - 29 in the control group (P=0.27) during sigmoidoscopy. The proportion of patients with at least moderate pain during sigmoidoscopy was 29 and 37% in the respective groups (P=0.12). Listening to music by patients did not reduce pain intensity during sigmoidoscopy. As a consequence, music during sigmoidoscopy is not recommended for this purpose.

Listening to polyphonic music recruits domain-general attention and working memory circuits.

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Janata, Petr; Tillmann, Barbara; Bharucha, Jamshed J

2002-06-01

Polyphonic music combines multiple auditory streams to create complex auditory scenes, thus providing a tool for investigating the neural mechanisms that orient attention in natural auditory contexts. Across two fMRI experiments, we varied stimuli and task demands in order to identify the cortical areas that are activated during attentive listening to real music. In individual experiments and in a conjunction analysis of the two experiments, we found bilateral blood oxygen level dependent (BOLD) signal increases in temporal (the superior temporal gyrus), parietal (the intraparietal sulcus), and frontal (the precentral sulcus, the inferior frontal sulcus and gyrus, and the frontal operculum) areas during selective and global listening, as compared with passive rest without musical stimulation. Direct comparisons of the listening conditions showed significant differences between attending to single timbres (instruments) and attending across multiple instruments, although the patterns that were observed depended on the relative demands of the tasks being compared. The overall pattern of BOLD signal increases indicated that attentive listening to music recruits neural circuits underlying multiple forms of working memory, attention, semantic processing, target detection, and motor imagery. Thus, attentive listening to music appears to be enabled by areas that serve general functions, rather than by music-specific cortical modules.

Listening to music during electromyography does not influence the examinee's anxiety and pain levels.

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Abraham, Alon; Drory, Vivian E

2014-09-01

Listening to music is a low-cost intervention that has demonstrated ability to reduce pain and anxiety levels in various medical procedures. Subjects undergoing electrophysiological examinations were randomized into a music-listening group and a control group. Visual analog scales were used to measure anxiety and pain levels during the procedure. Thirty subjects were randomized to each group. No statistically significant difference was found in anxiety or pain levels during the procedure between groups. However, most subjects in the music-listening group reported anxiety and pain reduction and would prefer to hear music in a future examination. Although listening to music during electrophysiological examinations did not reduce anxiety or pain significantly, most subjects felt a positive effect and would prefer to hear music; therefore, we suggest that music may be offered optionally in the electromyography laboratory setting. © 2014 Wiley Periodicals, Inc.

Listening to music and physiological and psychological functioning: the mediating role of emotion regulation and stress reactivity.

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Thoma, M V; Scholz, U; Ehlert, U; Nater, U M

2012-01-01

Music listening has been suggested to have short-term beneficial effects. The aim of this study was to investigate the association and potential mediating mechanisms between various aspects of habitual music-listening behaviour and physiological and psychological functioning. An internet-based survey was conducted in university students, measuring habitual music-listening behaviour, emotion regulation, stress reactivity, as well as physiological and psychological functioning. A total of 1230 individuals (mean = 24.89 ± 5.34 years, 55.3% women) completed the questionnaire. Quantitative aspects of habitual music-listening behaviour, i.e. average duration of music listening and subjective relevance of music, were not associated with physiological and psychological functioning. In contrast, qualitative aspects, i.e. reasons for listening (especially 'reducing loneliness and aggression', and 'arousing or intensifying specific emotions') were significantly related to physiological and psychological functioning (all p = 0.001). These direct effects were mediated by distress-augmenting emotion regulation and individual stress reactivity. The habitual music-listening behaviour appears to be a multifaceted behaviour that is further influenced by dispositions that are usually not related to music listening. Consequently, habitual music-listening behaviour is not obviously linked to physiological and psychological functioning.

Effects of music listening on stress, anxiety, and sleep quality for sleep-disturbed pregnant women.

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Liu, Yu-Hsiang; Lee, ChihChen Sophia; Yu, Chen-Hsiang; Chen, Chung-Hey

2016-01-01

Prenatal sleep disturbance has been associated with undesirable birthing outcomes. To determine the effectiveness of listening to music at home in improving sleep quality, 121 Taiwanese pregnant women with poor sleep quality (Pittsburgh Sleep Quality Index [PSQI] score > 5) were systematically assigned, with a random start to music listening (n = 61) or control (n = 60) group. Participants in the music listening group self-regulated listening to music in addition to receiving general prenatal care similar to that in the control group for 2 weeks. The PSQI and State-Anxiety Inventory were used to assess outcomes. ANCOVA analyses were used with the pretest scores as covariates and showed significant improvement in sleep quality, stress, and anxiety in the music listening group compared with the control group. The most frequently used music genre by participants in the experimental group was lullabies, followed by classical music and crystal baby music. This study supported the theory that 2-week music listening interventions may reduce stress, anxiety, and yield better sleep quality for sleep-disturbed pregnant women. The analysis of participants' journals also implied that the expectant mothers' choices of musical genres may correlate more with perceived prenatal benefits or the desire to interact with their unborn child.

Listeners Remember Music They Like

Science.gov (United States)

Stalinski, Stephanie M.; Schellenberg, E. Glenn

2013-01-01

Emotions have important and powerful effects on cognitive processes. Although it is well established that memory influences liking, we sought to document whether liking influences memory. A series of 6 experiments examined whether liking is related to recognition memory for novel music excerpts. In the general method, participants listened to a…

The effects of music listening interventions on cognition and mood post-stroke: a systematic review.

Science.gov (United States)

Baylan, Satu; Swann-Price, Rhiannon; Peryer, Guy; Quinn, Terry

2016-11-01

Music listening may have beneficial psychological effects but there has been no comprehensive synthesis of the available data describing efficacy of music listening in stroke. Areas covered: We performed a systematic review examining the effects of music listening interventions on cognition and mood post-stroke. We found five published trials (n = 169 participants) and four ongoing trials. All studies demonstrated benefits of music listening on at least one measure of cognition or mood. Heterogeneity precluded meta-analysis and all included studies had potential risk of bias. Common reporting or methodological issues including lack of blinding, lack of detail on the intervention and safety reporting. Expert commentary: It is too early to recommend music listening as routine treatment post-stroke, available studies have been under-powered and at risk of bias. Accepting these caveats, music listening may have beneficial effects on both mood and cognition and we await the results of ongoing controlled studies.

Increased Engagement With Life: Differences in the Cognitive, Physical, Social, and Spiritual Activities of Older Adult Music Listeners.

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Kaufmann, Christopher N; Montross-Thomas, Lori P; Griser, Sean

2018-03-19

Clinical studies have demonstrated the health benefits of music listening, especially among older adults; however, this connection has not yet been examined in a nationally representative population based sample. The purpose of this study was to measure the connections between health, listening to music, and engagement with life activities among older Americans. We used data on 5,797 participants in both the 2012 Health and Retirement Study and 2013 Consumption and Activities Mail Survey. Participants reported their lifetime prevalence of health conditions, number of hours spent per week listening to music, as well as various cognitive, physical, social, and spiritual activities. We categorized participants as non-listeners (those reporting zero hours of music listening), average listeners (between >0 and 28.5 hr), and high listeners (>28.6 hr) and assessed associations between these music listening categories and life activities and the prevalence of health conditions. Approximately 20% of the older Americans were non-listeners, a majority (75%) reported average amounts, and 5% reported high levels of music listening. Older Americans who were average or high music listeners reported a greater number of hours engaged in several cognitive, physical, social, and spiritual activities each week. Music listeners additionally reported fewer problematic health conditions than non-listeners. Listening to music relates to increased life engagement and better health among older Americans. Given the wide-spread availability of music-based interventions for diverse populations, future studies may investigate the beneficial use of music as a public health initiative for older adults.

Music Listening Situations and Musical Preference of the Students at the Faculty of Fine Arts in Everyday Life: A Case of Dokuz Eylul University

OpenAIRE

Elif TEKİN GÜRGEN

2016-01-01

The purpose of the study is to reveal the music listening situation of the students at the Faculty of Fine Arts of Dokuz Eylül University, the music genres that they listen to and the relationship between them. It is also investigated whether the music listening situation determines the music training of the students or also makes significant difference among students according to their genders. The music listening situation scale developed as five-point Likert type and the frequency of liste...

Music listening enhances cognitive recovery and mood after middle cerebral artery stroke.

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Särkämö, Teppo; Tervaniemi, Mari; Laitinen, Sari; Forsblom, Anita; Soinila, Seppo; Mikkonen, Mikko; Autti, Taina; Silvennoinen, Heli M; Erkkilä, Jaakko; Laine, Matti; Peretz, Isabelle; Hietanen, Marja

2008-03-01

We know from animal studies that a stimulating and enriched environment can enhance recovery after stroke, but little is known about the effects of an enriched sound environment on recovery from neural damage in humans. In humans, music listening activates a wide-spread bilateral network of brain regions related to attention, semantic processing, memory, motor functions, and emotional processing. Music exposure also enhances emotional and cognitive functioning in healthy subjects and in various clinical patient groups. The potential role of music in neurological rehabilitation, however, has not been systematically investigated. This single-blind, randomized, and controlled trial was designed to determine whether everyday music listening can facilitate the recovery of cognitive functions and mood after stroke. In the acute recovery phase, 60 patients with a left or right hemisphere middle cerebral artery (MCA) stroke were randomly assigned to a music group, a language group, or a control group. During the following two months, the music and language groups listened daily to self-selected music or audio books, respectively, while the control group received no listening material. In addition, all patients received standard medical care and rehabilitation. All patients underwent an extensive neuropsychological assessment, which included a wide range of cognitive tests as well as mood and quality of life questionnaires, one week (baseline), 3 months, and 6 months after the stroke. Fifty-four patients completed the study. Results showed that recovery in the domains of verbal memory and focused attention improved significantly more in the music group than in the language and control groups. The music group also experienced less depressed and confused mood than the control group. These findings demonstrate for the first time that music listening during the early post-stroke stage can enhance cognitive recovery and prevent negative mood. The neural mechanisms potentially

Inter-subject synchronization of brain responses during natural music listening

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Abrams, Daniel A.; Ryali, Srikanth; Chen, Tianwen; Chordia, Parag; Khouzam, Amirah; Levitin, Daniel J.; Menon, Vinod

2015-01-01

Music is a cultural universal and a rich part of the human experience. However, little is known about common brain systems that support the processing and integration of extended, naturalistic ‘real-world’ music stimuli. We examined this question by presenting extended excerpts of symphonic music, and two pseudomusical stimuli in which the temporal and spectral structure of the Natural Music condition were disrupted, to non-musician participants undergoing functional brain imaging and analysing synchronized spatiotemporal activity patterns between listeners. We found that music synchronizes brain responses across listeners in bilateral auditory midbrain and thalamus, primary auditory and auditory association cortex, right-lateralized structures in frontal and parietal cortex, and motor planning regions of the brain. These effects were greater for natural music compared to the pseudo-musical control conditions. Remarkably, inter-subject synchronization in the inferior colliculus and medial geniculate nucleus was also greater for the natural music condition, indicating that synchronization at these early stages of auditory processing is not simply driven by spectro-temporal features of the stimulus. Increased synchronization during music listening was also evident in a right-hemisphere fronto-parietal attention network and bilateral cortical regions involved in motor planning. While these brain structures have previously been implicated in various aspects of musical processing, our results are the first to show that these regions track structural elements of a musical stimulus over extended time periods lasting minutes. Our results show that a hierarchical distributed network is synchronized between individuals during the processing of extended musical sequences, and provide new insight into the temporal integration of complex and biologically salient auditory sequences. PMID:23578016

Listening to music before TSST modulates salivary cortisol levels in a nondependent way of music preference in college students

OpenAIRE

Cárdenas Poveda, Diana Carolina; Corporación Universitaria Minuto de Dios-Uniminuto Sede Principal; Ruiz Gallo, William; Corporación Universitaria Minuto de Dios; Rodríguez-Angarita, Óscar; Corporación Universitaria Minuto de Dios; Prado-Rivera, Mayerli A.; Corporación Universitaria Minuto de Dios

2017-01-01

The present study examines the effects of listening to music selected by participants or relaxing music chosen by researchers before modified TSST (Trier Social Stress Test) on: 1) TSST tasks, 2) TSST-induced stress responses, and 3) one attention task with both music and TSST before it. Seventy six college students were randomly assigned to one of six groups: listening to relaxing music chosen by researchers, previously selected music by students, or silence, any of them with or without TSST...

The effect of background music on episodic memory and autonomic responses: listening to emotionally touching music enhances facial memory capacity

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Mado Proverbio, C.A. Alice; Lozano Nasi, Valentina; Alessandra Arcari, Laura; De Benedetto, Francesco; Guardamagna, Matteo; Gazzola, Martina; Zani, Alberto

2015-01-01

The aim of this study was to investigate how background auditory processing can affect other perceptual and cognitive processes as a function of stimulus content, style and emotional nature. Previous studies have offered contrasting evidence, and it has been recently shown that listening to music negatively affected concurrent mental processing in the elderly but not in young adults. To further investigate this matter, the effect of listening to music vs. listening to the sound of rain or silence was examined by administering an old/new face memory task (involving 448 unknown faces) to a group of 54 non-musician university students. Heart rate and diastolic and systolic blood pressure were measured during an explicit face study session that was followed by a memory test. The results indicated that more efficient and faster recall of faces occurred under conditions of silence or when participants were listening to emotionally touching music. Whereas auditory background (e.g., rain or joyful music) interfered with memory encoding, listening to emotionally touching music improved memory and significantly increased heart rate. It is hypothesized that touching music is able to modify the visual perception of faces by binding facial properties with auditory and emotionally charged information (music), which may therefore result in deeper memory encoding. PMID:26469712

The effect of background music on episodic memory and autonomic responses: listening to emotionally touching music enhances facial memory capacity.

Science.gov (United States)

Proverbio, Alice Mado; Mado Proverbio, C A Alice; Lozano Nasi, Valentina; Alessandra Arcari, Laura; De Benedetto, Francesco; Guardamagna, Matteo; Gazzola, Martina; Zani, Alberto

2015-10-15

The aim of this study was to investigate how background auditory processing can affect other perceptual and cognitive processes as a function of stimulus content, style and emotional nature. Previous studies have offered contrasting evidence, and it has been recently shown that listening to music negatively affected concurrent mental processing in the elderly but not in young adults. To further investigate this matter, the effect of listening to music vs. listening to the sound of rain or silence was examined by administering an old/new face memory task (involving 448 unknown faces) to a group of 54 non-musician university students. Heart rate and diastolic and systolic blood pressure were measured during an explicit face study session that was followed by a memory test. The results indicated that more efficient and faster recall of faces occurred under conditions of silence or when participants were listening to emotionally touching music. Whereas auditory background (e.g., rain or joyful music) interfered with memory encoding, listening to emotionally touching music improved memory and significantly increased heart rate. It is hypothesized that touching music is able to modify the visual perception of faces by binding facial properties with auditory and emotionally charged information (music), which may therefore result in deeper memory encoding.

Shaping pseudoneglect with transcranial cerebellar direct current stimulation and music listening

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Silvia ePicazio

2015-03-01

Full Text Available Non-invasive brain stimulation modulates cortical excitability depending on the initial activation state of the structure being stimulated. Combination of cognitive with neurophysiological stimulations has been successfully employed to modulate responses of specific brain regions. The present research combined a neurophysiological pre-conditioning with a cognitive conditioning stimulation to modulate behavior. We applied this new state-dependency approach to investigate the cerebellar role in musical and spatial information processing, given that a link between musical perception and visuo-spatial abilities and a clear cerebellar involvement in music perception and visuo-spatial tasks have been reported. Cathodal, anodal or sham transcranial cerebellar Direct Current Stimulation (tcDCS pre-conditioning was applied on the left cerebellar hemisphere followed by conditioning stimulation through music or white noise listening in a sample of healthy subjects performing a Line Bisection Task (LBT. The combination of the cathodal stimulation with music listening resulted in a marked attentional shift toward the right hemispace, compensating thus the natural leftward bias of the baseline condition (pseudoneglect. Conversely, the anodal or sham pre-conditioning stimulations combined with either music and white noise conditioning listening did not modulate spatial attention. The efficacy of the combined stimulation (cathodal pre-conditioning and music conditioning and the absence of any effect of the single stimulations provide a strong support to the state-dependency theory. They propose that tcDCS in combination with music listening could act as a rehabilitative tool to improve cognitive functions in the presence of neglect or other spatial disorders.

Effects of Varying Reverberation on Music Perception for Young Normal-Hearing and Old Hearing-Impaired Listeners.

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Reinhart, Paul N; Souza, Pamela E

2018-01-01

Reverberation enhances music perception and is one of the most important acoustic factors in auditorium design. However, previous research on reverberant music perception has focused on young normal-hearing (YNH) listeners. Old hearing-impaired (OHI) listeners have degraded spatial auditory processing; therefore, they may perceive reverberant music differently. Two experiments were conducted examining the effects of varying reverberation on music perception for YNH and OHI listeners. Experiment 1 examined whether YNH listeners and OHI listeners prefer different amounts of reverberation for classical music listening. Symphonic excerpts were processed at a range of reverberation times using a point-source simulation. Listeners performed a paired-comparisons task in which they heard two excerpts with different reverberation times, and they indicated which they preferred. The YNH group preferred a reverberation time of 2.5 s; however, the OHI group did not demonstrate any significant preference. Experiment 2 examined whether OHI listeners are less sensitive to (e, less able to discriminate) differences in reverberation time than YNH listeners. YNH and OHI participants listened to pairs of music excerpts and indicated whether they perceived the same or different amount of reverberation. Results indicated that the ability of both groups to detect differences in reverberation time improved with increasing reverberation time difference. However, discrimination was poorer for the OHI group than for the YNH group. This suggests that OHI listeners are less sensitive to differences in reverberation when listening to music than YNH listeners, which might explain the lack of group reverberation time preferences of the OHI group.

Listening to Religious Music and Mental Health in Later Life.

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Bradshaw, Matt; Ellison, Christopher G; Fang, Qijuan; Mueller, Collin

2015-12-01

Research has linked several aspects of religion--including service attendance, prayer, meditation, religious coping strategies, congregational support systems, and relations with God, among others--with positive mental health outcomes among older U.S. adults. This study examines a neglected dimension of religious life: listening to religious music. Two waves of nationally representative data on older U.S. adults were analyzed (n = 1,024). Findings suggest that the frequency of listening to religious music is associated with a decrease in death anxiety and increases in life satisfaction, self-esteem, and a sense of control across the 2 waves of data. In addition, the frequency of listening to gospel music (a specific type of religious music) is associated with a decrease in death anxiety and an increase in a sense of control. These associations are similar for blacks and whites, women and men, and low- and high-socioeconomic status individuals. Religion is an important socioemotional resource that has been linked with desirable mental health outcomes among older U.S. adults. This study shows that listening to religious music may promote psychological well-being in later life. Given that religious music is available to most individuals--even those with health problems or physical limitations that might preclude participation in more formal aspects of religious life--it might be a valuable resource for promoting mental health later in the life course. © The Author 2014. Published by Oxford University Press on behalf of The Gerontological Society of America. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.

The Effects of Classical Music on Listening Comprehension.

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Behar, Cara

A study determined the effectiveness of background classical music on listening comprehension. Nine special education students were read 10 different stories while music was either playing or not. They were asked the same four story element questions after each story. Results showed no significant differences between the two types of listening…

Aspects of Music with Cochlear Implants – Music Listening Habits and Appreciation in Danish Cochlear Implant Users

DEFF Research Database (Denmark)

Petersen, Bjørn; Hansen, Mads; Sørensen, Stine Derdau

Cochlear implant users differ significantly from their normal hearing peers when it comes to perception of music. Several studies have shown that structural features – such as rhythm, timbre, and pitch – are transmitted less accurately through an implant. However, we cannot predict personal...... music less post-implantation than prior to their hearing loss. Nevertheless, a large majority of CI listeners either prefer music over not hearing music at all or find music as pleasant as they recall it before their hearing loss, or more so....... enjoyment of music solely as a function of accuracy of perception. But can music be pleasant with a cochlear implant at all? Our aim here was to gather information of both music enjoyment and listening habits before the onset of hearing loss and post-operation from a large, representative sample of Danish...

Elucidating the relationship between work attention performance and emotions arising from listening to music.

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Shih, Yi-Nuo; Chien, Wei-Hsien; Chiang, Han-Sun

2016-10-17

In addition to demonstrating that human emotions improve work attention performance, numerous studies have also established that music alters human emotions. Given the pervasiveness of background music in the workplace, exactly how work attention, emotions and music listening are related is of priority concern in human resource management. This preliminary study investigates the relationship between work attention performance and emotions arising from listening to music. Thirty one males and 34 females, ranging from 20-24 years old, participated in this study following written informed consent. A randomized controlled trial (RCT) was performed in this study, which consisted of six steps and the use of the standard attention test and emotion questionnaire. Background music with lyrics adversely impacts attention performance more than that without lyrics. Analysis results also indicate that listeners self-reported feeling "loved" while music played that implied a higher score on their work-attention performance. Moreover, a greater ability of music to make listeners feel sad implied a lower score on their work-attention performance. Results of this preliminary study demonstrate that background music in the workplace should focus mainly on creating an environment in which listeners feel loved or taken care and avoiding music that causes individuals to feel stressed or sad. We recommend that future research increase the number of research participants to enhance the applicability and replicability of these findings.

Music preferences with hearing aids: effects of signal properties, compression settings, and listener characteristics.

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Croghan, Naomi B H; Arehart, Kathryn H; Kates, James M

2014-01-01

Current knowledge of how to design and fit hearing aids to optimize music listening is limited. Many hearing-aid users listen to recorded music, which often undergoes compression limiting (CL) in the music industry. Therefore, hearing-aid users may experience twofold effects of compression when listening to recorded music: music-industry CL and hearing-aid wide dynamic-range compression (WDRC). The goal of this study was to examine the roles of input-signal properties, hearing-aid processing, and individual variability in the perception of recorded music, with a focus on the effects of dynamic-range compression. A group of 18 experienced hearing-aid users made paired-comparison preference judgments for classical and rock music samples using simulated hearing aids. Music samples were either unprocessed before hearing-aid input or had different levels of music-industry CL. Hearing-aid conditions included linear gain and individually fitted WDRC. Combinations of four WDRC parameters were included: fast release time (50 msec), slow release time (1,000 msec), three channels, and 18 channels. Listeners also completed several psychophysical tasks. Acoustic analyses showed that CL and WDRC reduced temporal envelope contrasts, changed amplitude distributions across the acoustic spectrum, and smoothed the peaks of the modulation spectrum. Listener judgments revealed that fast WDRC was least preferred for both genres of music. For classical music, linear processing and slow WDRC were equally preferred, and the main effect of number of channels was not significant. For rock music, linear processing was preferred over slow WDRC, and three channels were preferred to 18 channels. Heavy CL was least preferred for classical music, but the amount of CL did not change the patterns of WDRC preferences for either genre. Auditory filter bandwidth as estimated from psychophysical tuning curves was associated with variability in listeners' preferences for classical music. Fast

The Mozart Effect: Music Listening Is Not Music Instruction

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Rauscher, Frances H.; Hinton, Sean C.

2006-01-01

"The Mozart effect" originally referred to the phenomenon of a brief enhancement of spatial-temporal abilities in college students after listening to a Mozart piano sonata (K. 448). Over time, this term was conflated with an independent series of studies on the effects of music instruction. This occurrence has caused confusion that has been…

History of Music Therapy and Its Contemporary Applications in Cardiovascular Diseases.

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Montinari, Maria Rosa; Giardina, Simona; Minelli, Pierluca; Minelli, Sergio

2018-02-01

Contrary to what is commonly believed, music therapy is an old cure, the use of which is lost in the mists of time. Music always has been perceived to have particular healing powers, and the entire history of civilization contains aspects that link music to physical and mental healing. It seems that the adoption of music for therapeutic purposes harks back to a distant past, probably since the Paleolithic period: it was believed that listening to music could affect the behavior of human beings. In later centuries, the concept of "musical organ-tropism" was born and developed, because according to the type of music, one may affect the cardiovascular, respiratory, and neuroendocrine systems. Studies have shown that music can powerfully evoke and modulate emotions and moods, along with changes in heart activity, blood pressure, and breathing. Indeed, the following findings arise from the literature: heart and respiratory rates are higher in response to exciting music than in the case of tranquilizing music. In addition, music produces activity changes in brain structures (amygdala, hypothalamus, insular and orbitofrontal cortex) known to modulate heart function. This article provides a careful overview of music therapy history from prehistory to the present and a review of the latest applications of music therapy in cardiovascular diseases.

Music Listening Among Postoperative Patients in the Intensive Care Unit: A Randomized Controlled Trial with Mixed-Methods Analysis

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Nancy Ames

2017-07-01

Full Text Available Background: Music listening may reduce the physiological, emotional, and mental effects of distress and anxiety. It is unclear whether music listening may reduce the amount of opioids used for pain management in critical care, postoperative patients or whether music may improve patient experience in the intensive care unit (ICU. Methods: A total of 41 surgical patients were randomized to either music listening or controlled non-music listening groups on ICU admission. Approximately 50-minute music listening interventions were offered 4 times per day (every 4-6 hours during the 48 hours of patients’ ICU stays. Pain, distress, and anxiety scores were measured immediately before and after music listening or controlled resting periods. Total opioid intake was recorded every 24 hours and during each intervention. Results: There was no significant difference in pain, opioid intake, distress, or anxiety scores between the control and music listening groups during the first 4 time points of the study. However, a mixed modeling analysis examining the pre- and post-intervention scores at the first time point revealed a significant interaction in the Numeric Rating Scale (NRS for pain between the music and the control groups ( P  = .037. The Numeric Rating Score decreased in the music group but remained stable in the control group. Following discharge from the ICU, the music group’s interviews were analyzed for themes. Conclusions: Despite the limited sample size, this study identified music listening as an appropriate intervention that improved patients’ post-intervention experience, according to patients’ self-report. Future mixed methods studies are needed to examine both qualitative patient perspectives and methodology to improve music listening in critical care units.

Effectiveness of Music Listening in Patients With Total Knee Replacement During CPM Rehabilitation.

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Hsu, Chih-Chung; Chen, Wei-Ming; Chen, Su-Ru; Tseng, Yen-Ting; Lin, Pi-Chu

2016-01-01

This study investigated the effects of music listening on the anxiety, heart rate variability (HRV), and joint range of motion (ROM) of patients undergoing continuous passive motion (CPM) after total knee replacement surgery. An experimental design was used. Participants in the experimental group (n = 49) listened to music from 10 min before receiving CPM until the end of the session (25 min in total) on the first and second day following surgery, whereas participants in the control group (n = 42) did not listen to music but rested quietly in bed starting 10 min before and throughout CPM. Compared with the control group, the experimental group exhibited significantly lower anxiety levels (p CPM angles (p < .05) during treatment and increased active flexion ROM (p < .05) upon discharge. The low-frequency (LF)/high-frequency (HF) power ratio, normalized LF HRV, and normalized HF HRV of the two groups differed significantly, indicating that the patients in the experimental group had greater parasympathetic activity compared with those in the control group. Music listening can effectively reduce patient anxiety and enhance the ROM of their joints during postoperative rehabilitation. Health-care practitioners should consider including music listening as a routine practice for postoperative rehabilitation following orthopedic surgery. © The Author(s) 2015.

Development and Psychometric Evaluation of the Adaptive Functions of Music Listening Scale.

Science.gov (United States)

Groarke, Jenny M; Hogan, Michael J

2018-01-01

Music listening may serve many adaptive functions in everyday life. However, studies examining the relationship between the functions of music listening (FML) and wellbeing outcomes have produced mixed findings. The purpose of this study is to develop a new measure to assess music listening functions that is psychometrically robust, and suitable for outcomes-based research on music listening and wellbeing. Scale items were developed based on a literature review and a prior qualitative enquiry. The items were reviewed by four content experts in music psychology and scale development. Scale structure was investigated by EFA and CFA in two large samples of participants ( N = 1,191, 17-66 years, M = 22.04, SD = 6.23, 326 males). Tests of dimensionality revealed a 46-item scale with 11 factors for the Adaptive Functions of Music Listening (AFML) scale. Namely, Stress Regulation, Anxiety Regulation, Anger Regulation, Loneliness Regulation, Rumination, Reminiscence, Strong Emotional Experiences, Awe and Appreciation, Cognitive Regulation, Identity , and Sleep FML. The scale and its subscales possess good internal consistency and construct validity. In line with theory and research on gender differences in FML, scores on factors representing affect regulation FML were significantly higher among female respondents. Supporting the concurrent validity of the AFML scale, factors were positively correlated with an existing measure of the FML-the Music USE questionnaire. Further evidence of construct validity derives from positive associations between affect regulation factor scores and level of reappraisal, and lack of association with suppression, as measured by the Emotion Regulation Questionnaire. Consistent with the view that adaptive FML are positively related to wellbeing, a number of factors, affect regulation factors in particular, were significantly positively correlated with subjective, psychological, and social wellbeing measures across two cross-sectional studies.

Development and Psychometric Evaluation of the Adaptive Functions of Music Listening Scale

Directory of Open Access Journals (Sweden)

Jenny M. Groarke

2018-04-01

Full Text Available Music listening may serve many adaptive functions in everyday life. However, studies examining the relationship between the functions of music listening (FML and wellbeing outcomes have produced mixed findings. The purpose of this study is to develop a new measure to assess music listening functions that is psychometrically robust, and suitable for outcomes-based research on music listening and wellbeing. Scale items were developed based on a literature review and a prior qualitative enquiry. The items were reviewed by four content experts in music psychology and scale development. Scale structure was investigated by EFA and CFA in two large samples of participants (N = 1,191, 17–66 years, M = 22.04, SD = 6.23, 326 males. Tests of dimensionality revealed a 46-item scale with 11 factors for the Adaptive Functions of Music Listening (AFML scale. Namely, Stress Regulation, Anxiety Regulation, Anger Regulation, Loneliness Regulation, Rumination, Reminiscence, Strong Emotional Experiences, Awe and Appreciation, Cognitive Regulation, Identity, and Sleep FML. The scale and its subscales possess good internal consistency and construct validity. In line with theory and research on gender differences in FML, scores on factors representing affect regulation FML were significantly higher among female respondents. Supporting the concurrent validity of the AFML scale, factors were positively correlated with an existing measure of the FML—the Music USE questionnaire. Further evidence of construct validity derives from positive associations between affect regulation factor scores and level of reappraisal, and lack of association with suppression, as measured by the Emotion Regulation Questionnaire. Consistent with the view that adaptive FML are positively related to wellbeing, a number of factors, affect regulation factors in particular, were significantly positively correlated with subjective, psychological, and social wellbeing measures across two cross

Jazz Listening Activities: Children's Literature and Authentic Music Samples.

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McDonald, Nan L.; Fisher, Douglas; Helzer, Rick

2002-01-01

Describes a unit that is appropriate for upper elementary and middle school students that focuses on jazz music using biographies about jazz musicians. Discusses the five sections of the unit. Includes a list of "Suggested Jazz Listening Samples," jazz videos, and a bibliography of resources related to jazz music. (CMK)

Effect of Explicit Evaluation on Neural Connectivity Related to Listening to Unfamiliar Music

Science.gov (United States)

Liu, Chao; Brattico, Elvira; Abu-jamous, Basel; Pereira, Carlos S.; Jacobsen, Thomas; Nandi, Asoke K.

2017-01-01

People can experience different emotions when listening to music. A growing number of studies have investigated the brain structures and neural connectivities associated with perceived emotions. However, very little is known about the effect of an explicit act of judgment on the neural processing of emotionally-valenced music. In this study, we adopted the novel consensus clustering paradigm, called binarisation of consensus partition matrices (Bi-CoPaM), to study whether and how the conscious aesthetic evaluation of the music would modulate brain connectivity networks related to emotion and reward processing. Participants listened to music under three conditions – one involving a non-evaluative judgment, one involving an explicit evaluative aesthetic judgment, and one involving no judgment at all (passive listening only). During non-evaluative attentive listening we obtained auditory-limbic connectivity whereas when participants were asked to decide explicitly whether they liked or disliked the music excerpt, only two clusters of intercommunicating brain regions were found: one including areas related to auditory processing and action observation, and the other comprising higher-order structures involved with visual processing. Results indicate that explicit evaluative judgment has an impact on the neural auditory-limbic connectivity during affective processing of music. PMID:29311874

Fusion of Electroencephalogram dynamics and musical contents for estimating emotional responses in music listening

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Yuan-Pin eLin

2014-05-01

Full Text Available Electroencephalography (EEG-based emotion classification during music listening has gained increasing attention nowadays due to its promise of potential applications such as musical affective brain-computer interface (ABCI, neuromarketing, music therapy, and implicit multimedia tagging and triggering. However, music is an ecologically valid and complex stimulus that conveys certain emotions to listeners through compositions of musical elements. Using solely EEG signals to distinguish emotions remained challenging. This study aimed to assess the applicability of a multimodal approach by leveraging the EEG dynamics and acoustic characteristics of musical contents for the classification of emotional valence and arousal. To this end, this study adopted machine-learning methods to systematically elucidate the roles of the EEG and music modalities in the emotion modeling. The empirical results suggested that when whole-head EEG signals were available, the inclusion of musical contents did not improve the classification performance. The obtained performance of 74~76% using solely EEG modality was statistically comparable to that using the multimodality approach. However, if EEG dynamics were only available from a small set of electrodes (likely the case in real-life applications, the music modality would play a complementary role and augment the EEG results from around 61% to 67% in valence classification and from around 58% to 67% in arousal classification. The musical timbre appeared to replace less-discriminative EEG features and led to improvements in both valence and arousal classification, whereas musical loudness was contributed specifically to the arousal classification. The present study not only provided principles for constructing an EEG-based multimodal approach, but also revealed the fundamental insights into the interplay of the brain activity and musical contents in emotion modeling.

Fusion of electroencephalographic dynamics and musical contents for estimating emotional responses in music listening.

Science.gov (United States)

Lin, Yuan-Pin; Yang, Yi-Hsuan; Jung, Tzyy-Ping

2014-01-01

Electroencephalography (EEG)-based emotion classification during music listening has gained increasing attention nowadays due to its promise of potential applications such as musical affective brain-computer interface (ABCI), neuromarketing, music therapy, and implicit multimedia tagging and triggering. However, music is an ecologically valid and complex stimulus that conveys certain emotions to listeners through compositions of musical elements. Using solely EEG signals to distinguish emotions remained challenging. This study aimed to assess the applicability of a multimodal approach by leveraging the EEG dynamics and acoustic characteristics of musical contents for the classification of emotional valence and arousal. To this end, this study adopted machine-learning methods to systematically elucidate the roles of the EEG and music modalities in the emotion modeling. The empirical results suggested that when whole-head EEG signals were available, the inclusion of musical contents did not improve the classification performance. The obtained performance of 74~76% using solely EEG modality was statistically comparable to that using the multimodality approach. However, if EEG dynamics were only available from a small set of electrodes (likely the case in real-life applications), the music modality would play a complementary role and augment the EEG results from around 61-67% in valence classification and from around 58-67% in arousal classification. The musical timber appeared to replace less-discriminative EEG features and led to improvements in both valence and arousal classification, whereas musical loudness was contributed specifically to the arousal classification. The present study not only provided principles for constructing an EEG-based multimodal approach, but also revealed the fundamental insights into the interplay of the brain activity and musical contents in emotion modeling.

The Effect of Listening to Music on Postoperative Pain in Adult Orthopedic Patients.

Science.gov (United States)

Schneider, Melissa A

2018-03-01

Pain is a common occurrence after orthopedic surgery. Patients need additional resources to manage their pain. The purpose of this study was to determine if listening to music has a positive effect on pain scores and satisfaction in the postoperative adult orthopedic patient. There are limited studies demonstrating statistically significant decreases in postoperative pain in this group. A secondary purpose was to expose nurses on a standard medical-surgical unit to an intervention, supported by the holistic nursing model that they could use in their care. This study was a descriptive, comparative, quasi-experimental design. Patients listened to prerecorded music on individual CD players and recorded pre-post pain scores with the intervention. A satisfactory survey was completed at discharge. Results demonstrated a statistically significant reduction in patients' pain scores after listening to music. Length of listening time had no effect. Patients expressed overall satisfaction, and 100% of participants would recommend this intervention to others. Listening to music is beneficial as an adjunct to pain medication and contributes to increased patient satisfaction. It is hoped that the information gained from this study will lead to an enhancement in the standard of care for postoperative patients.

Older Adults' Music Listening Preferences to Support Physical Activity Following Cardiac Rehabilitation.

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Clark, Imogen N; Baker, Felicity A; Taylor, Nicholas F

2016-01-01

Music listening during exercise is thought to increase physiological arousal and enhance subjective experience, and may support physical activity participation among older adults with cardiac disease. However, little is known about how music preferences, or perceptions of music during exercise, inform clinical practice with this population. Identify predominant musical characteristics of preferred music selected by older adults, and explore participants' music listening experiences during walking-based exercise following cardiac rehabilitation. Twenty-seven participants aged 60 years and older (21 men, 6 women; mean age = 67.3 years) selected music to support walking over a 6-month intervention period, and participated in post-intervention interviews. In this two-phase study, we first identified predominant characteristics of participant-selected music using the Structural Model of Music Analysis. Second, we used inductive thematic analysis to explore participant experiences. Predominant characteristics of participant-selected music included duple meter, consistent rhythm, major key, rounded melodic shape, legato articulation, predictable harmonies, variable volume, and episodes of tension with delayed resolution. There was no predominant tempo, with music selections ranging from slow through to medium and fast. Four themes emerged from thematic analysis of participant interviews: psycho-emotional responses, physical responses, influence on exercise behavior, and negative experiences. Findings are consistent with theory and research explaining influences from music listening on physiological arousal and subjective experience during exercise. Additionally, for older adults with cardiac disease, a holistic approach to music selection considering general well-being and adjustment issues, rather than just exercise performance, may improve long-term lifestyle changes and compliance with physical activity guidelines. © the American Music Therapy Association 2016. All

Listening to music for improving sleep in adults with insomnia

DEFF Research Database (Denmark)

Jespersen, Kira Vibe; Koenig, Julian; Jennum, Poul

2013-01-01

This is the protocol for a review and there is no abstract. The objectives are as follows:To assess the effects of music listening on sleep quality in adults with insomnia and to assess the influence of specific variables that may moderate the effect.......This is the protocol for a review and there is no abstract. The objectives are as follows:To assess the effects of music listening on sleep quality in adults with insomnia and to assess the influence of specific variables that may moderate the effect....

Listening to music can influence hedonic and sensory perceptions of gelati.

Science.gov (United States)

Kantono, Kevin; Hamid, Nazimah; Shepherd, Daniel; Yoo, Michelle J Y; Grazioli, Gianpaolo; Carr, B Thomas

2016-05-01

The dominant taste sensations of three different types of chocolate gelati (milk chocolate, dark chocolate, and bittersweet chocolate) were determined using forty five trained panellists exposed to a silent reference condition and three music samples differing in hedonic ratings. The temporal dominance of sensations (TDS) method was used to measure temporal taste perceptions. The emotional states of panellists were measured after each gelati-music pairing using a scale specifically developed for this study. The TDS difference curves showed significant differences between gelati samples and music conditions (p music were played, while bitterness was more dominant for disliked music. A joint Canonical Variate Analysis (CVA) further explained the variability in sensory and emotion data. The first and second dimensions explained 78% of the variance, with the first dimension separating liked and disliked music and the second dimension separating liked music and silence. Gelati samples consumed while listening to liked and neutral music had positive scores, and were separated from those consumed under the disliked music condition along the first dimension. Liked music and disliked music were further correlated with positive and negative emotions respectively. Findings indicate that listening to music influenced the hedonic and sensory impressions of the gelati. Copyright © 2016 Elsevier Ltd. All rights reserved.

Does listening to music with an audio ski helmet impair reaction time to peripheral stimuli?

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Ruedl, G; Pocecco, E; Wolf, M; Schöpf, S; Burtscher, M; Kopp, M

2012-12-01

With the recent worldwide increase in ski helmet use, new market trends are developing, including audio helmets for listening to music while skiing or snowboarding. The aim of this study was to evaluate whether listening to music with an audio ski helmet impairs reaction time to peripheral stimuli. A within-subjects design study using the Compensatory-Tracking-Test was performed on 65 subjects (36 males and 29 females) who had a mean age of 23.3 ± 3.9 years. Using repeated measures analysis of variance, we found significant differences in reaction times between the 4 test conditions (p=0.039). The lowest mean reaction time (± SE) was measured for helmet use while listening to music (507.9 ± 13.2 ms), which was not different from helmet use alone (514.6 ± 12.5 ms) (p=0.528). However, compared to helmet use while listening to music, reaction time was significantly longer for helmet and ski goggles used together (535.8 ± 14.2 ms, p=0.005), with a similar trend for helmet and ski goggles used together while listening to music (526.9 ± 13.8 ms) (p=0.094). In conclusion, listening to music with an audio ski helmet did not increase mean reaction time to peripheral stimuli in a laboratory setting. © Georg Thieme Verlag KG Stuttgart · New York.

Effect of musical training on pitch discrimination performance in older normal-hearing and hearing-impaired listeners

DEFF Research Database (Denmark)

Bianchi, Federica; Dau, Torsten; Santurette, Sébastien

2017-01-01

-discrimination performance for NH listeners. It is unclear whether a comparable effect of musical training occurs for listeners whose sensory encoding of F0 is degraded. To address this question, F0 discrimination was investigated for three groups of listeners (14 young NH, 9 older NH and 10 HI listeners), each......Hearing-impaired (HI) listeners, as well as elderly listeners, typically have a reduced ability to discriminate the fundamental frequency (F0) of complex tones compared to young normal-hearing (NH) listeners. Several studies have shown that musical training, on the other hand, leads to improved F0...... including musicians and non-musicians, using complex tones that differed in harmonic content. Musical training significantly improved F0 discrimination for all groups of listeners, especially for complex tones containing low-numbered harmonics. In a second experiment, the sensitivity to temporal fine...

The effect of background music on episodic memory and autonomic responses: listening to emotionally touching music enhances facial memory capacity

OpenAIRE

Mado Proverbio, C.A. Alice; Lozano Nasi, Valentina; Alessandra Arcari, Laura; De Benedetto, Francesco; Guardamagna, Matteo; Gazzola, Martina; Zani, Alberto

2015-01-01

The aim of this study was to investigate how background auditory processing can affect other perceptual and cognitive processes as a function of stimulus content, style and emotional nature. Previous studies have offered contrasting evidence, and it has been recently shown that listening to music negatively affected concurrent mental processing in the elderly but not in young adults. To further investigate this matter, the effect of listening to music vs. listening to the sound of rain or sil...

Continuous theta burst stimulation (cTBS on left cerebellar hemisphere affects mental rotation tasks during music listening.

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Silvia Picazio

Full Text Available Converging evidence suggests an association between spatial and music domains. A cerebellar role in music-related information processing as well as in spatial-temporal tasks has been documented. Here, we investigated the cerebellar role in the association between spatial and musical domains, by testing performances in embodied (EMR or abstract (AMR mental rotation tasks of subjects listening Mozart Sonata K.448, which is reported to improve spatial-temporal reasoning, in the presence or in the absence of continuous theta burst stimulation (cTBS of the left cerebellar hemisphere. In the absence of cerebellar cTBS, music listening did not influence either MR task, thus not revealing a "Mozart Effect". Cerebellar cTBS applied before musical listening made subjects faster (P = 0.005 and less accurate (P = 0.005 in performing the EMR but not the AMR task. Thus, cerebellar inhibition by TBS unmasked the effect of musical listening on motor imagery. These data support a coupling between music listening and sensory-motor integration in cerebellar networks for embodied representations.

Effects of Tempo, Musical Experience, and Listening Modes on Tempo Modulation Perception.

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Sheldon, Deborah A.

1994-01-01

Reports on the effects of tempo direction, listening mode, and level of musical experience on speed and accuracy in tempo change among 160 music majors and nonmajors. Finds that music majors more accurately detected tempo changes than did nonmajors. (CFR)

Central auditory processing. Are the emotional perceptions of those listening to classical music inherent in the composition or acquired by the listeners?

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Goycoolea, Marcos; Levy, Raquel; Ramírez, Carlos

2013-04-01

There is seemingly some inherent component in selected musical compositions that elicits specific emotional perceptions, feelings, and physical conduct. The purpose of the study was to determine if the emotional perceptions of those listening to classical music are inherent in the composition or acquired by the listeners. Fifteen kindergarten students, aged 5 years, from three different sociocultural groups, were evaluated. They were exposed to portions of five purposefully selected classical compositions and asked to describe their emotions when listening to these musical pieces. All were instrumental compositions without human voices or spoken language. In addition, they were played to an audience of an age at which they were capable of describing their perceptions and supposedly had no significant previous experience of classical music. Regardless of their sociocultural background, the children in the three groups consistently identified similar emotions (e.g. fear, happiness, sadness), feelings (e.g. love), and mental images (e.g. giants or dangerous animals walking) when listening to specific compositions. In addition, the musical compositions generated physical conducts that were reflected by the children's corporal expressions. Although the sensations were similar, the way of expressing them differed according to their background.

Modeling listeners' emotional response to music.

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Eerola, Tuomas

2012-10-01

An overview of the computational prediction of emotional responses to music is presented. Communication of emotions by music has received a great deal of attention during the last years and a large number of empirical studies have described the role of individual features (tempo, mode, articulation, timbre) in predicting the emotions suggested or invoked by the music. However, unlike the present work, relatively few studies have attempted to model continua of expressed emotions using a variety of musical features from audio-based representations in a correlation design. The construction of the computational model is divided into four separate phases, with a different focus for evaluation. These phases include the theoretical selection of relevant features, empirical assessment of feature validity, actual feature selection, and overall evaluation of the model. Existing research on music and emotions and extraction of musical features is reviewed in terms of these criteria. Examples drawn from recent studies of emotions within the context of film soundtracks are used to demonstrate each phase in the construction of the model. These models are able to explain the dominant part of the listeners' self-reports of the emotions expressed by music and the models show potential to generalize over different genres within Western music. Possible applications of the computational models of emotions are discussed. Copyright © 2012 Cognitive Science Society, Inc.

Effects of music listening on anxiety and physiological responses in patients undergoing awake craniotomy.

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Wu, Pao-Yuan; Huang, Mei-Lin; Lee, Wen-Ping; Wang, Chi; Shih, Whei-Mei

2017-06-01

The purpose of this study was to explore the effects of music listening on the level of anxiety and physiological responses for awake craniotomy. An experimental design with randomization was applied in this study. Participants in experimental group (19 patients) selected and listened music at their preferences in the waiting room and throughout the entire surgical procedure in addition to usual care while control group (19 patients) only gave usual care. State-Trait Anxiety Inventory (STAI), heartbeat, breathing, and blood pressure were collected for analysis. The results of this study showed that after music listening, there was significant decrease in the level of anxiety (pawake craniotomy patients. The results of this study can provide perioperative nursing care in providing music listening when patients were in the waiting room and during surgery to reduce the anxiety so as to reach the goal of human care and improve perioperative nursing care. Copyright © 2017 The Author(s). Published by Elsevier Ltd.. All rights reserved.

Music and speech listening enhance the recovery of early sensory processing after stroke.

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Särkämö, Teppo; Pihko, Elina; Laitinen, Sari; Forsblom, Anita; Soinila, Seppo; Mikkonen, Mikko; Autti, Taina; Silvennoinen, Heli M; Erkkilä, Jaakko; Laine, Matti; Peretz, Isabelle; Hietanen, Marja; Tervaniemi, Mari

2010-12-01

Our surrounding auditory environment has a dramatic influence on the development of basic auditory and cognitive skills, but little is known about how it influences the recovery of these skills after neural damage. Here, we studied the long-term effects of daily music and speech listening on auditory sensory memory after middle cerebral artery (MCA) stroke. In the acute recovery phase, 60 patients who had middle cerebral artery stroke were randomly assigned to a music listening group, an audio book listening group, or a control group. Auditory sensory memory, as indexed by the magnetic MMN (MMNm) response to changes in sound frequency and duration, was measured 1 week (baseline), 3 months, and 6 months after the stroke with whole-head magnetoencephalography recordings. Fifty-four patients completed the study. Results showed that the amplitude of the frequency MMNm increased significantly more in both music and audio book groups than in the control group during the 6-month poststroke period. In contrast, the duration MMNm amplitude increased more in the audio book group than in the other groups. Moreover, changes in the frequency MMNm amplitude correlated significantly with the behavioral improvement of verbal memory and focused attention induced by music listening. These findings demonstrate that merely listening to music and speech after neural damage can induce long-term plastic changes in early sensory processing, which, in turn, may facilitate the recovery of higher cognitive functions. The neural mechanisms potentially underlying this effect are discussed.

Signal-to-background ratio preferences of normal-hearing listeners as a function of music

Science.gov (United States)

Barrett, Jillian Gallant

The purpose of this study was to identify listeners' signal-to-background-ratio (SBR) preference levels for vocal music and to investigate whether or not SBR differences existed for different music genres. The ``signal'' was the singer's voice, and the ``background'' was the accompanying music. Three songs were each produced in two different genres (total of 6 genres represented). Each song was performed by three male and three female singers. Analyses addressed influences of musical genre, singing style, and singer timbre on listener's SBR choices. Fifty-three normal-hearing California State University of Northridge students ranging in age from 20-52 years participated as subjects. Subjects adjusted the overall music loudness to a comfortable listening level, and manipulated a second gain control which affected only the singer's voice. Subjects listened to 72 stimuli and adjusted the singer's voice to the level they felt sounded appropriate in comparison to the background music. Singer and Genre were the two primary contributors to significant differences in subject's SBR preferences, although the results clearly indicate Genre, Style and Singer interact in different combinations under different conditions. SBR differences for each song, each singer, and each subject did not occur in a predictable manner, and support the hypothesis that SBR preferences are neither fixed nor dependent merely upon music application or setting. Further investigations regarding psychoacoustical bases responsible for differences in SBR preferences are warranted.

Effects of listening to music, and of using a handheld and handsfree telephone on cycling behaviour

NARCIS (Netherlands)

De Waard, D.; Edlinger, K.M.; Brookhuis, K.A.

2011-01-01

The effects of listening to music on cycling behaviour were evaluated. Twenty-five participants completed a track on a bicycle while listening to music with two standard earbuds, with one earbud, and with two in-earbuds. Conditions with high tempo music and loud volume were also included in the

Analysis of Output Levels of an MP3 Player: Effects of Earphone Type, Music Genre, and Listening Duration.

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Shim, Hyunyong; Lee, Seungwan; Koo, Miseung; Kim, Jinsook

2018-02-26

To prevent noise induced hearing losses caused by listening to music with personal listening devices for young adults, this study was aimed to measure output levels of an MP3 and to identify preferred listening levels (PLLs) depending on earphone types, music genres, and listening durations. Twenty-two normal hearing young adults (mean=18.82, standard deviation=0.57) participated. Each participant was asked to select his or her most PLLs when listened to Korean ballade or dance music with an earbud or an over-the-ear earphone for 30 or 60 minutes. One side of earphone was connected to the participant's better ear and the other side was connected to a sound level meter via a 2 or 6 cc-couplers. Depending on earphone types, music genres, and listening durations, loudness A-weighted equivalent (LAeq) and loudness maximum time-weighted with A-frequency sound levels in dBA were measured. Neither main nor interaction effects of the PLLs among the three factors were significant. Overall output levels of earbuds were about 10-12 dBA greater than those of over-the-ear earphones. The PLLs were 1.73 dBA greater for earbuds than over-the-ear earphones. The average PLL for ballad was higher than for dance music. The PLLs at LAeq for both music genres were the greatest at 0.5 kHz followed by 1, 0.25, 2, 4, 0.125, 8 kHz in the order. The PLLs were not different significantly when listening to Korean ballad or dance music as functions of earphone types, music genres, and listening durations. However, over-the-ear earphones seemed to be more suitable to prevent noise induce hearing loss when listening to music, showing lower PLLs, possibly due to isolation from the background noise by covering ears.

Otoacoustic Emissions before and after Listening to Music on a Personal Player

Science.gov (United States)

Trzaskowski, Bartosz; Jędrzejczak, W. Wiktor; Piłka, Edyta; Cieślicka, Magdalena; Skarżyński, Henryk

2014-01-01

Background The problem of the potential impact of personal music players on the auditory system remains an open question. The purpose of the present study was to investigate, by means of otoacoustic emissions (OAEs), whether listening to music on a personal player affected auditory function. Material/Methods A group of 20 normally hearing adults was exposed to music played on a personal player. Transient evoked OAEs (TEOAEs) and distortion product OAEs (DPOAEs), as well as pure tone audiometry (PTA) thresholds, were tested at 3 stages: before, immediately after, and the next day following 30 min of exposure to music at 86.6 dBA. Results We found no statistically significant changes in OAE parameters or PTA thresholds due to listening to the music. Conclusions These results suggest that exposure to music at levels similar to those used in our study does not disturb cochlear function in a way that can be detected by means of PTA, TEOAE, or DPOAE tests. PMID:25116920

Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners

Directory of Open Access Journals (Sweden)

Martin Kirchberger

2016-02-01

Full Text Available Dynamic range compression serves different purposes in the music and hearing-aid industries. In the music industry, it is used to make music louder and more attractive to normal-hearing listeners. In the hearing-aid industry, it is used to map the variable dynamic range of acoustic signals to the reduced dynamic range of hearing-impaired listeners. Hence, hearing-aided listeners will typically receive a dual dose of compression when listening to recorded music. The present study involved an acoustic analysis of dynamic range across a cross section of recorded music as well as a perceptual study comparing the efficacy of different compression schemes. The acoustic analysis revealed that the dynamic range of samples from popular genres, such as rock or rap, was generally smaller than the dynamic range of samples from classical genres, such as opera and orchestra. By comparison, the dynamic range of speech, based on recordings of monologues in quiet, was larger than the dynamic range of all music genres tested. The perceptual study compared the effect of the prescription rule NAL-NL2 with a semicompressive and a linear scheme. Music subjected to linear processing had the highest ratings for dynamics and quality, followed by the semicompressive and the NAL-NL2 setting. These findings advise against NAL-NL2 as a prescription rule for recorded music and recommend linear settings.

Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners

Science.gov (United States)

Kirchberger, Martin

2016-01-01

Dynamic range compression serves different purposes in the music and hearing-aid industries. In the music industry, it is used to make music louder and more attractive to normal-hearing listeners. In the hearing-aid industry, it is used to map the variable dynamic range of acoustic signals to the reduced dynamic range of hearing-impaired listeners. Hence, hearing-aided listeners will typically receive a dual dose of compression when listening to recorded music. The present study involved an acoustic analysis of dynamic range across a cross section of recorded music as well as a perceptual study comparing the efficacy of different compression schemes. The acoustic analysis revealed that the dynamic range of samples from popular genres, such as rock or rap, was generally smaller than the dynamic range of samples from classical genres, such as opera and orchestra. By comparison, the dynamic range of speech, based on recordings of monologues in quiet, was larger than the dynamic range of all music genres tested. The perceptual study compared the effect of the prescription rule NAL-NL2 with a semicompressive and a linear scheme. Music subjected to linear processing had the highest ratings for dynamics and quality, followed by the semicompressive and the NAL-NL2 setting. These findings advise against NAL-NL2 as a prescription rule for recorded music and recommend linear settings. PMID:26868955

Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners.

Science.gov (United States)

Kirchberger, Martin; Russo, Frank A

2016-02-10

Dynamic range compression serves different purposes in the music and hearing-aid industries. In the music industry, it is used to make music louder and more attractive to normal-hearing listeners. In the hearing-aid industry, it is used to map the variable dynamic range of acoustic signals to the reduced dynamic range of hearing-impaired listeners. Hence, hearing-aided listeners will typically receive a dual dose of compression when listening to recorded music. The present study involved an acoustic analysis of dynamic range across a cross section of recorded music as well as a perceptual study comparing the efficacy of different compression schemes. The acoustic analysis revealed that the dynamic range of samples from popular genres, such as rock or rap, was generally smaller than the dynamic range of samples from classical genres, such as opera and orchestra. By comparison, the dynamic range of speech, based on recordings of monologues in quiet, was larger than the dynamic range of all music genres tested. The perceptual study compared the effect of the prescription rule NAL-NL2 with a semicompressive and a linear scheme. Music subjected to linear processing had the highest ratings for dynamics and quality, followed by the semicompressive and the NAL-NL2 setting. These findings advise against NAL-NL2 as a prescription rule for recorded music and recommend linear settings. © The Author(s) 2016.

Coping with preoperative anxiety in cesarean section: physiological, cognitive, and emotional effects of listening to favorite music.

Science.gov (United States)

Kushnir, Jonathan; Friedman, Ahuva; Ehrenfeld, Mally; Kushnir, Talma

2012-06-01

Listening to music has a stress-reducing effect in surgical procedures. The effects of listening to music immediately before a cesarean section have not been studied. The objective of this study was to assess the effects of listening to selected music while waiting for a cesarean section on emotional reactions, on cognitive appraisal of the threat of surgery, and on stress-related physiological reactions. A total of 60 healthy women waiting alone to undergo an elective cesarean section for medical reasons only were randomly assigned either to an experimental or a control group. An hour before surgery they reported mood, and threat perception. Vital signs were assessed by a nurse. The experimental group listened to preselected favorite music for 40 minutes, and the control group waited for the operation without music. At the end of this period, all participants responded to a questionnaire assessing mood and threat perception, and the nurse measured vital signs. Women who listened to music before a cesarean section had a significant increase in positive emotions and a significant decline in negative emotions and perceived threat of the situation when compared with women in the control group, who exhibited a decline in positive emotions, an increase in the perceived threat of the situation, and had no change in negative emotions. Women who listened to music also exhibited a significant reduction in systolic blood pressure compared with a significant increase in diastolic blood pressure and respiratory rate in the control group. Listening to favorite music immediately before a cesarean section may be a cost-effective, emotion-focused coping strategy. (BIRTH 39:2 June 2012). © 2012, Copyright the Authors Journal compilation © 2012, Wiley Periodicals, Inc.

Parasympathetic activation is involved in reducing epileptiform discharges when listening to Mozart music.

Science.gov (United States)

Lin, Lung-Chang; Chiang, Ching-Tai; Lee, Mei-Wen; Mok, Hin-Kiu; Yang, Yi-Hsin; Wu, Hui-Chuan; Tsai, Chin-Lin; Yang, Rei-Cheng

2013-08-01

Listening to Mozart K.448 has been demonstrated to improve spatial task scores, leading to what is known as the Mozart effect. Our previous work revealed the positive effects of Mozart K.448 in reducing epileptiform discharges in children with epilepsy. However, the mechanism remains unclear. parasympathetic activation has been shown to help seizure control in many studies. In this study, we investigated the effect of Mozart music on epileptiform discharges and autonomic activity. Sixty-four epileptic children with epileptiform discharges were included. They all received electroencephalogram and electrocardiogram examinations simultaneously before, during, and after listening to Mozart K.448 or K.545. The total number of epileptiform discharges during each session (before, during, and after music) were divided by the duration (in minutes) of the session and then compared. Heart rate variability including time and frequency domain analysis was used to represent the autonomic function. The results showed that epileptiform discharges were significantly reduced during and right after listening to Mozart music (33.3 ± 31.1% reduction, pMozart K.448 and 38.6 ± 43.3% reduction, pMozart K.545) (28.1 ± 43.2% reduction, pMozart K.448 and 46.0 ± 40.5% reduction, pMozart K.545). No significant difference was noticed between the two pieces of music. The reduction was greatest in patients with generalized seizures and discharges. Significant increases in high-frequency (HF), the square root of the mean squared differences of successive RR intervals (RMSSD), the standard deviation of differences between adjacent RR intervals (SDSD), and a decrease in mean beats per minute (bpm) were found during listening to Mozart music. Most of the patients with reduced epileptiform discharges also showed a decreased LF/HF ratio, low-frequency normalized units (LF nu), mean bpm, and an increased high-frequency normalized units (HF nu). Listening to Mozart music decreased epileptiform

A qualitative study of blood and marrow transplant patient experiences participating in art making and music listening.

Science.gov (United States)

Mische Lawson, Lisa; Wedan, Lindsay; Stock, Morgan; Glennon, Cathy

2016-06-01

To explore patient experiences of engaging in art making or music listening while receiving treatment in a blood and marrow transplant clinic. Researchers recruited 25 individuals receiving blood and marrow transplant (BMT) treatment, 12 men and 13 women aged 22 to 74, from a Midwestern outpatient BMT clinic. Participants engaged in a painting activity or listened to music on an iPad using an internet music application for one hour. Researchers interviewed participants after the one-hour activity to gain insight into participants' perceptions of the art making or music listening experience. Interviews were recorded, transcribed verbatim, and independently coded by members of the research team. Researchers met on several occasions to analyse codes and agree on emerging themes. Nine themes emerged from the data including, Engaging in Activity, Art and Music in Daily Life, Expression, Engaging with Equipment, Novelty, BMT Process, Activity Process, Social Support, and Living Situation. Participants enjoyed art making and music listening and found the activities beneficial during treatment. Participants benefited from art making and music listening because these activities increased the variety of options available during treatment, allowed for self-expression, and could be done alone or with caregivers. Copyright © 2016 Elsevier Ltd. All rights reserved.

Music listening while you learn: no influence of background music on verbal learning.

Science.gov (United States)

Jäncke, Lutz; Sandmann, Pascale

2010-01-07

Whether listening to background music enhances verbal learning performance is still disputed. In this study we investigated the influence of listening to background music on verbal learning performance and the associated brain activations. Musical excerpts were composed for this study to ensure that they were unknown to the subjects and designed to vary in tempo (fast vs. slow) and consonance (in-tune vs. out-of-tune). Noise was used as control stimulus. 75 subjects were randomly assigned to one of five groups and learned the presented verbal material (non-words with and without semantic connotation) with and without background music. Each group was exposed to one of five different background stimuli (in-tune fast, in-tune slow, out-of-tune fast, out-of-tune slow, and noise). As dependent variable, the number of learned words was used. In addition, event-related desynchronization (ERD) and event-related synchronization (ERS) of the EEG alpha-band were calculated as a measure for cortical activation. We did not find any substantial and consistent influence of background music on verbal learning. There was neither an enhancement nor a decrease in verbal learning performance during the background stimulation conditions. We found however a stronger event-related desynchronization around 800 - 1200 ms after word presentation for the group exposed to in-tune fast music while they learned the verbal material. There was also a stronger event-related synchronization for the group exposed to out-of-tune fast music around 1600 - 2000 ms after word presentation. Verbal learning during the exposure to different background music varying in tempo and consonance did not influence learning of verbal material. There was neither an enhancing nor a detrimental effect on verbal learning performance. The EEG data suggest that the different acoustic background conditions evoke different cortical activations. The reason for these different cortical activations is unclear. The most

Music listening while you learn: No influence of background music on verbal learning

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Sandmann Pascale

2010-01-01

Full Text Available Abstract Background Whether listening to background music enhances verbal learning performance is still disputed. In this study we investigated the influence of listening to background music on verbal learning performance and the associated brain activations. Methods Musical excerpts were composed for this study to ensure that they were unknown to the subjects and designed to vary in tempo (fast vs. slow and consonance (in-tune vs. out-of-tune. Noise was used as control stimulus. 75 subjects were randomly assigned to one of five groups and learned the presented verbal material (non-words with and without semantic connotation with and without background music. Each group was exposed to one of five different background stimuli (in-tune fast, in-tune slow, out-of-tune fast, out-of-tune slow, and noise. As dependent variable, the number of learned words was used. In addition, event-related desynchronization (ERD and event-related synchronization (ERS of the EEG alpha-band were calculated as a measure for cortical activation. Results We did not find any substantial and consistent influence of background music on verbal learning. There was neither an enhancement nor a decrease in verbal learning performance during the background stimulation conditions. We found however a stronger event-related desynchronization around 800 - 1200 ms after word presentation for the group exposed to in-tune fast music while they learned the verbal material. There was also a stronger event-related synchronization for the group exposed to out-of-tune fast music around 1600 - 2000 ms after word presentation. Conclusion Verbal learning during the exposure to different background music varying in tempo and consonance did not influence learning of verbal material. There was neither an enhancing nor a detrimental effect on verbal learning performance. The EEG data suggest that the different acoustic background conditions evoke different cortical activations. The reason for

Action in Perception: Prominent Visuo-Motor Functional Symmetry in Musicians during Music Listening.

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Iballa Burunat

Full Text Available Musical training leads to sensory and motor neuroplastic changes in the human brain. Motivated by findings on enlarged corpus callosum in musicians and asymmetric somatomotor representation in string players, we investigated the relationship between musical training, callosal anatomy, and interhemispheric functional symmetry during music listening. Functional symmetry was increased in musicians compared to nonmusicians, and in keyboardists compared to string players. This increased functional symmetry was prominent in visual and motor brain networks. Callosal size did not significantly differ between groups except for the posterior callosum in musicians compared to nonmusicians. We conclude that the distinctive postural and kinematic symmetry in instrument playing cross-modally shapes information processing in sensory-motor cortical areas during music listening. This cross-modal plasticity suggests that motor training affects music perception.

Can a hearing education campaign for adolescents change their music listening behavior?

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Weichbold, Viktor; Zorowka, Patrick

2007-03-01

This study looked at whether a hearing education campaign would have behavioral effects on the music listening practices of high school students. A total of 1757 students participated in a hearing education campaign. Before the campaign and one year thereafter they completed a survey asking for: (1) average frequency of discotheque attendance, (2) average duration of stay in the discotheque, (3) use of earplugs in discotheques, (4) frequency of regeneration breaks while at a discotheque, and (5) mean time per week spent listening to music through headphones. On questions (2), (3) and (5) no relevant post-campaign changes were reported. On question (1) students' answers indicated that the frequency of discotheque attendance had even increased after the campaign. The only change in keeping with the purpose of the campaign was an increase in the number of regeneration breaks when at a discotheque. The effect of hearing education campaigns on music listening behavior is questioned. Additional efforts are suggested to encourage adolescents to adopt protective behaviors.

Emotion regulation through listening to music in everyday situations.

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Thoma, Myriam V; Ryf, Stefan; Mohiyeddini, Changiz; Ehlert, Ulrike; Nater, Urs M

2012-01-01

Music is a stimulus capable of triggering an array of basic and complex emotions. We investigated whether and how individuals employ music to induce specific emotional states in everyday situations for the purpose of emotion regulation. Furthermore, we wanted to examine whether specific emotion-regulation styles influence music selection in specific situations. Participants indicated how likely it would be that they would want to listen to various pieces of music (which are known to elicit specific emotions) in various emotional situations. Data analyses by means of non-metric multidimensional scaling revealed a clear preference for pieces of music that were emotionally congruent with an emotional situation. In addition, we found that specific emotion-regulation styles might influence the selection of pieces of music characterised by specific emotions. Our findings demonstrate emotion-congruent music selection and highlight the important role of specific emotion-regulation styles in the selection of music in everyday situations.

The Effect of Music Listening on Pain, Heart Rate Variability, and Range of Motion in Older Adults After Total Knee Replacement.

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Hsu, Chih-Chung; Chen, Su-Ru; Lee, Pi-Hsia; Lin, Pi-Chu

2017-12-01

The purpose of this study was to investigate the effects that listening and not listening to music had on pain relief, heart rate variability (HRV), and knee range of motion in total knee replacement (TKR) patients who underwent continuous passive motion (CPM) rehabilitation. We adopted a single-group quasi-experimental design. A sample of 49 TKR patients listened to music for 25 min during one session of CPM and no music during another session of CPM the same day for a total of 2 days. Results indicated that during CPM, patients exhibited a significant decrease in the pain level ( p listening to music compared with no music. This study demonstrated that listening to music can effectively decrease pain during CPM rehabilitation and improve the joint range of motion in patients who underwent TKR surgery.

Mobile phone conversations, listening to music and quiet (electric) cars: Are traffic sounds important for safe cycling?

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Stelling-Konczak, A; van Wee, G P; Commandeur, J J F; Hagenzieker, M

2017-09-01

Listening to music or talking on the phone while cycling as well as the growing number of quiet (electric) cars on the road can make the use of auditory cues challenging for cyclists. The present study examined to what extent and in which traffic situations traffic sounds are important for safe cycling. Furthermore, the study investigated the potential safety implications of limited auditory information caused by quiet (electric) cars and by cyclists listening to music or talking on the phone. An Internet survey among 2249 cyclists in three age groups (16-18, 30-40 and 65-70year old) was carried out to collect information on the following aspects: 1) the auditory perception of traffic sounds, including the sounds of quiet (electric) cars; 2) the possible compensatory behaviours of cyclists who listen to music or talk on their mobile phones; 3) the possible contribution of listening to music and talking on the phone to cycling crashes and incidents. Age differences with respect to those three aspects were analysed. Results show that listening to music and talking on the phone negatively affects perception of sounds crucial for safe cycling. However, taking into account the influence of confounding variables, no relationship was found between the frequency of listening to music or talking on the phone and the frequency of incidents among teenage cyclists. This may be due to cyclists' compensating for the use of portable devices. Listening to music or talking on the phone whilst cycling may still pose a risk in the absence of compensatory behaviour or in a traffic environment with less extensive and less safe cycling infrastructure than the Dutch setting. With the increasing number of quiet (electric) cars on the road, cyclists in the future may also need to compensate for the limited auditory input of these cars. Copyright © 2017 Elsevier Ltd. All rights reserved.

Listening to Red

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Sinazo Mtshemla

Full Text Available Following a distinction John Mowitt draws between hearing (and phonics, and listening (and sonics, this article argues that the dominant notion of listening to sound was determined by the disciplinary framework of South African history and by the deployment of a cinematic documentary apparatus, both of which have served to disable the act of listening. The conditions of this hearing, and a deafness to a reduced or bracketed listening (Chion via Schaeffer that would enable us to think the post in post-apartheid differently, is thus at the centre of our concerns here. We stage a series of screenings of expected possible soundtracks for Simon Gush's film and installation Red, simultaneously tracking the ways that sound - and particularly music and dialogue - can be shown to hold a certain way of thinking both the political history of South Africa and the politics of South African history. We conclude by listening more closely to hiss and murmur in the soundtrack to Red and suggest this has major implications for considering ways of thinking and knowing.

An Analysis of the Academic Achievement of the Students Who Listen to Music While Studying

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Umzdas, Serpil

2015-01-01

This study's aim is to examine the correlation between the study type, the type and quality of the music students listen to while studying as well as their educational level. The participants of the study are 481 students on a scale of different ages listening to music while studying. The data of the study were collected through a survey…

Risky music-listening behaviors and associated health-risk behaviors

NARCIS (Netherlands)

I. Vogel (Ineke); P.M. van de Looij-Jansen (Petra); C.L. Mieloo (Cathelijne); A. Burdorf (Alex); F. de Waart (Frouwkje)

2012-01-01

textabstractOBJECTIVE: To examine, among adolescents and emerging adults attending inner-city lower education, associations between risky music-listening behaviors (from MP3 players and in discotheques and at pop concerts) and more traditional health-risk behaviors: substance use (cigarettes,

Enhanced phase synchrony in the electroencephalograph gamma band for musicians while listening to music.

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Bhattacharya, J; Petsche, H

2001-07-01

Multichannel electroencephalograph signals from two broad groups, 10 musicians and 10 nonmusicians, recorded in different states (in resting states or no task condition, with eyes opened and eyes closed, and with two musical tasks, listening to two different pieces of music) were studied. Degrees of phase synchrony in various frequency bands were assessed. No differences in the degree of synchronization in any frequency band were found between the two groups in resting conditions. Yet, while listening to music, significant increases of synchronization were found only in the gamma-frequency range (>30 Hz) over large cortical areas for the group of musicians. This high degree of synchronization elicited by music in the group of musicians might be due to their ability to host long-term memory representations of music and mediate access to these stored representations.

Enhanced phase synchrony in the electroencephalograph γ band for musicians while listening to music

Science.gov (United States)

Bhattacharya, Joydeep; Petsche, Hellmuth

2001-07-01

Multichannel electroencephalograph signals from two broad groups, 10 musicians and 10 nonmusicians, recorded in different states (in resting states or no task condition, with eyes opened and eyes closed, and with two musical tasks, listening to two different pieces of music) were studied. Degrees of phase synchrony in various frequency bands were assessed. No differences in the degree of synchronization in any frequency band were found between the two groups in resting conditions. Yet, while listening to music, significant increases of synchronization were found only in the γ-frequency range (>30 Hz) over large cortical areas for the group of musicians. This high degree of synchronization elicited by music in the group of musicians might be due to their ability to host long-term memory representations of music and mediate access to these stored representations.

The Impact of Listening to Music During a High-Intensity Exercise Endurance Test in People With COPD.

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Lee, Annemarie L; Dolmage, Thomas E; Rhim, Matthew; Goldstein, Roger S; Brooks, Dina

2018-05-01

In people with COPD, dyspnea is the primary symptom limiting exercise tolerance. One approach to reducing dyspnea during exercise is through music listening. A constant speed endurance test reflects a high-intensity aerobic exercise training session, but whether listening to music affects endurance time is unknown. This study aimed to determine the effects of listening to music during a constant speed endurance test in COPD. Participants with COPD completed two endurance walk tests, one with and one without listening to self-selected music throughout the test. The primary outcome was the difference in endurance time between the two conditions. Heart rate, percutaneous oxygen saturation, dyspnea, and rate of perceived exertion were measured before and after each test. Nineteen participants (mean [SD]: age, 71 [8] years; FEV 1 , 47 [19] % predicted) completed the study. Endurance time was greater (1.10 [95% CI, 0.41-1.78] min) while listening to music (7.0 [3.1] min) than without (5.9 [2.6] min), and reduced end-test dyspnea (1.0 [95% CI, -2.80 to -1.80] units) (with music, 4.6 [1.7] units; vs without music, 5.6 [1.4] units, respectively). There was not a significant difference in heart rate, percutaneous oxygen saturation, or leg fatigue. There were no adverse events under either condition. In COPD, dyspnea was less while listening to music and was accompanied by an increased tolerance of high-intensity exercise demonstrated by greater endurance time. Practically, the effect was modest but may represent an aid for exercise training of these patients. Australian New Zealand Clinical Trials Registry; No. ACTRN12617001217392. Copyright © 2017 American College of Chest Physicians. Published by Elsevier Inc. All rights reserved.

Listening to music primes space: pianists, but not novices, simulate heard actions.

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Taylor, J Eric T; Witt, Jessica K

2015-03-01

Musicians sometimes report twitching in their fingers or hands while listening to music. This anecdote could be indicative of a tendency for auditory-motor co-representation in musicians. Here, we describe two studies showing that pianists (Experiment 1), but not novices (Experiment 2) automatically generate spatial representations that correspond to learned musical actions while listening to music. Participants made one-handed movements to the left or right from a central location in response to visual stimuli while listening to task-irrelevant auditory stimuli, which were scales played on a piano. These task-irrelevant scales were either ascending (compatible with rightward movements) or descending (compatible with leftward movements). Pianists were faster to respond when the scale direction was compatible with the direction of response movement, whereas novices' movements were unaffected by the scale. These results are in agreement with existing research on action-effect coupling in musicians, which draw heavily on common coding theory. In addition, these results show how intricate auditory stimuli (ascending or descending scales) evoke coarse, domain-general spatial representations.

Harnessing functional segregation across brain rhythms as a means to detect EEG oscillatory multiplexing during music listening.

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Adamos, Dimitrios A; Laskaris, Nikolaos A; Micheloyannis, Sifis

2018-06-01

Music, being a multifaceted stimulus evolving at multiple timescales, modulates brain function in a manifold way that encompasses not only the distinct stages of auditory perception, but also higher cognitive processes like memory and appraisal. Network theory is apparently a promising approach to describe the functional reorganization of brain oscillatory dynamics during music listening. However, the music induced changes have so far been examined within the functional boundaries of isolated brain rhythms. Using naturalistic music, we detected the functional segregation patterns associated with different cortical rhythms, as these were reflected in the surface electroencephalography (EEG) measurements. The emerged structure was compared across frequency bands to quantify the interplay among rhythms. It was also contrasted against the structure from the rest and noise listening conditions to reveal the specific components stemming from music listening. Our methodology includes an efficient graph-partitioning algorithm, which is further utilized for mining prototypical modular patterns, and a novel algorithmic procedure for identifying 'switching nodes' (i.e. recording sites) that consistently change module during music listening. Our results suggest the multiplex character of the music-induced functional reorganization and particularly indicate the dependence between the networks reconstructed from the δ and β H rhythms. This dependence is further justified within the framework of nested neural oscillations and fits perfectly within the context of recently introduced cortical entrainment to music. Complying with the contemporary trends towards a multi-scale examination of the brain network organization, our approach specifies the form of neural coordination among rhythms during music listening. Considering its computational efficiency, and in conjunction with the flexibility of in situ electroencephalography, it may lead to novel assistive tools for real

Expressive Timing, Musical Tension, and Listener-Performer Synchronicity: Commentary on Ohriner

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Bruno Gingras

2015-01-01

Full Text Available Ohriner (this volume empirically investigated the ability of listeners to rhythmically entrain to performances of Chopin's mazurkas and suggested that performers can manipulate listeners' expectations and influence their perceived musical tension by using eccentric or unpredictable patterns of tempo variation. In this commentary, I attempt to situate Ohriner's research in a broader context, while elaborating on his findings and proposing alternative interpretations in some cases. I suggest that, although mazurkas are particularly suitable for a study of entrainment due to their clear metrical structure, it would be appropriate to study musical genres in which the metrical structure is obscure or even absent. I also question Ohriner's interpretation of a lack of synchronicity as being predominantly associated with negative emotions. Furthermore, in order to examine more rigorously the influence of synchronicity on perceived musical tension, I present a controlled experimental design to disentangle the effects of tempo and rubato, which would involve measuring both entrainment and musical tension while asking participants to rate the perceived eccentricity of the performances.

The music listening preferences and habits of youths in Singapore and its relation to leisure noise-induced hearing loss.

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Lee, Gary Jek Chong; Lim, Ming Yann; Kuan, Angeline Yi Wei; Teo, Joshua Han Wei; Tan, Hui Guang; Low, Wong Kein

2014-02-01

Noise-induced hearing loss (NIHL) is a preventable condition, and much has been done to protect workers from it. However, thus far, little attention has been given to leisure NIHL. The purpose of this study is to determine the possible music listening preferences and habits among young people in Singapore that may put them at risk of developing leisure NIHL. In our study, the proportion of participants exposed to > 85 dBA for eight hours a day (time-weighted average) was calculated by taking into account the daily number of hours spent listening to music and by determining the average sound pressure level at which music was listened to. A total of 1,928 students were recruited from Temasek Polytechnic, Singapore. Of which, 16.4% of participants listened to portable music players with a time-weighted average of > 85 dBA for 8 hours. On average, we found that male students were more likely to listen to music at louder volumes than female students (p students in our study listened to louder music than the Chinese students (p leisure NIHL from music delivered via earphones. As additional risks due to exposure to leisure noise from other sources was not taken into account, the extent of the problem of leisure NIHL may be even greater. There is a compelling need for an effective leisure noise prevention program among young people in Singapore.

Exploring the Musical Taste of Expert Listeners: Musicology Students reveal Tendency towards Omnivorous Taste

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Paul eElvers

2015-08-01

Full Text Available The current study examined the musical taste of musicology students as compared to a control student group. Participants (n=1003 completed an online survey regarding the frequency with which they listened to 22 musical styles. A factor analysis revealed six underlying dimensions of musical taste. A hierarchical cluster analysis then grouped all participants, regardless of their status, according to their similarity on these dimensions. The employed exploratory approach was expected to reveal potential differences between musicology students and controls. A three-cluster solution was obtained. Comparisons of the clusters in terms of musical taste revealed differences in the listening frequency and variety of appreciated music styles: The first cluster (51% musicology students / 27% controls showed the greatest musical engagement across all dimensions although with a tendency towards »sophisticated« musical styles. The second cluster (36% musicology students / 46% controls exhibited an interest in »conventional« music, while the third cluster (13% musicology students / 27% controls showed a strong liking of rock music. The results provide some support for the notion of specific tendencies in the musical taste of musicology students and the contribution of familiarity and knowledge towards musical omnivorousness.

Everyday music listening and affect regulation: the role of MP3 players.

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Skånland, Marie Strand

2013-08-07

The use of digital portable music devices such as MP3 players has rapidly increased during the last decade, and the sheer availability of music offered by such players raises questions about their impact on listeners' mental and physical health and well-being. This article explores MP3 player use as an everyday tactic for affect regulation, here understood as an individual's efforts to maintain or change the intensity or duration of a given affect. The ability to understand and regulate affects has significant health implications, and among the tactics relevant to such regulation, engagement with music has proven to be particularly successful. The material presented in this article is based on a qualitative interview study focused on MP3 player use as a medium for musical self-care. Because MP3 users can listen to whatever they want, whenever they want, and target their music in the interests of managing and regulating moods and emotions, the MP3 player represents a valuable and convenient technology of affect regulation.

Probing attentive and preattentive emergent meter in adult listeners without extensive music training

NARCIS (Netherlands)

Ladinig, O.; Honing, H.; Háden, G.; Winkler, I.

2009-01-01

Beat and meter induction are considered important structuring mechanisms underlying the perception of rhythm. Meter comprises two or more levels of hierarchically ordered regular beats with different periodicities. When listening to music, adult listeners weight events within a measure in a

Can fantasizing while listening to music play a protective role against the influences of sensation seeking and peers on adolescents' substance use?

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Miranda, Dave; Gaudreau, Patrick; Morizot, Julien; Fallu, Jean-Sébastien

2012-01-01

"The combination of music and drugs proved to be potent, and scientific research has yet to explain it" (Levitin, 2008, p. 74; The World in Six Songs). This study examined if fantasizing while listening to music could represent a potential protective factor against adolescent substance use (cigarette, alcohol, and cannabis). The first hypothesis was that fantasizing while listening to music would moderate (buffer) the link between sensation-seeking and substance use. The second hypothesis was that fantasizing while listening to music would also moderate (buffer) the link between peer substance use and individual substance use. The sample comprised 429 adolescent boys and girls who answered a self-report questionnaire in 2003. They were regular students attending a public high school in Montreal, Canada. The results revealed that fantasizing while listening to music came short of buffering the link between sensation-seeking and substance use among highly musically involved adolescents. Still, fantasizing while listening to music significantly attenuated the relationship between peer substance use and individual substance use (thereby, showing a protective effect) among highly musically involved adolescents. Fantasizing while listening to music did not buffer the relation between either risk factor (sensation-seeking or peer substance use) and substance use among moderately musically involved adolescents.

Effects of Listening to Music versus Environmental Sounds in Passive and Active Situations on Levels of Pain and Fatigue in Fibromyalgia.

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Mercadíe, Lolita; Mick, Gérard; Guétin, Stéphane; Bigand, Emmanuel

2015-10-01

In fibromyalgia, pain symptoms such as hyperalgesia and allodynia are associated with fatigue. Mechanisms underlying such symptoms can be modulated by listening to pleasant music. We expected that listening to music, because of its emotional impact, would have a greater modulating effect on the perception of pain and fatigue in patients with fibromyalgia than listening to nonmusical sounds. To investigate this hypothesis, we carried out a 4-week study in which patients with fibromyalgia listened to either preselected musical pieces or environmental sounds when they experienced pain in active (while carrying out a physical activity) or passive (at rest) situations. Concomitant changes of pain and fatigue levels were evaluated. When patients listened to music or environmental sounds at rest, pain and fatigue levels were significantly reduced after 20 minutes of listening, with no difference of effect magnitude between the two stimuli. This improvement persisted 10 minutes after the end of the listening session. In active situations, pain did not increase in presence of the two stimuli. Contrary to our expectations, music and environmental sounds produced a similar relieving effect on pain and fatigue, with no benefit gained by listening to pleasant music over environmental sounds. Copyright © 2015 American Society for Pain Management Nursing. Published by Elsevier Inc. All rights reserved.

Output capabilities of personal music players and assessment of preferred listening levels of test subjects: outlining recommendations for preventing music-induced hearing loss.

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Breinbauer, Hayo A; Anabalón, Jose L; Gutierrez, Daniela; Cárcamo, Rodrigo; Olivares, Carla; Caro, Jorge

2012-11-01

Our goal was to assess the impact of personal music players, earphones, and music styles on output, the subject's preferred listening levels, and outline recommendations for the prevention of music-induced hearing loss. Experimental study. Personal music players' output capabilities and volunteers' preferred output levels were assessed in different settings. Based on current noise-induced hearing loss exposure limits, recommendations were outlined. On three different devices and earphone types and 10 music styles, free field equivalent sound pressure output levels were assessed by applying a microphone probe inside the auditory canal. Forty-five hearing-healthy volunteers were asked to select preferred listening levels in different background noise scenarios. Sound pressure output reached 126 dB. No difference was found between device types, whereas earbud and supra-aural earphones showed significantly lower outputs than in-ear earphones (P music style groups were identified with as much as 14.4 dB difference between them. In silence, 17.8% of volunteers spontaneously selected a listening level above 85 dB. With 90 dB background noise, 40% selected a level above 94 dB. Earphone attenuation capability was found to correlate significantly with preferred level reductions (r = 0.585, P < .001). In-ear and especially supra-aural earphones reduced preferred listening levels the most. Safe-use recommendations were outlined, whereas selecting the lowest volume setting comfortable remained the main suggestion. High background noise attenuating earphones may help in reducing comfortable listening levels and should be preferred. A risk table was elaborated, presenting time limits before reaching a risky exposure. Copyright © 2012 The American Laryngological, Rhinological, and Otological Society, Inc.

Listening to motivational music while walking elicits more positive affective response in patients with cystic fibrosis.

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Calik-Kutukcu, Ebru; Saglam, Melda; Vardar-Yagli, Naciye; Cakmak, Aslihan; Inal-Ince, Deniz; Bozdemir-Ozel, Cemile; Sonbahar-Ulu, Hazal; Arikan, Hulya; Yalcin, Ebru; Karakaya, Jale

2016-05-01

The purpose of this study was to investigate the effects of motivational and relaxation music on affective responses during exercise in patients with cystic fibrosis (CF). Thirty-seven patients with CF performed the 6-min walk test (6MWT) under three experimental conditions: listening to no music, relaxation music, and motivational music. 6-min distance × body weight product (6MWORK) was calculated for each trial. Patients' affective responses during exercise was evaluated with Feeling Scale (FS). The motivational qualities of music were evaluated with the Brunel Music Rating Inventory-2 (BMRI-2). 6MWORK was significantly lower while listening to relaxation music compared to 6MWORK without music (p motivational music than 6MWT with relaxation music (p motivational music can lead to positive affective response during exercise and increase the enjoyment of patients from exercises in CF. Copyright © 2016 Elsevier Ltd. All rights reserved.

Harnessing functional segregation across brain rhythms as a means to detect EEG oscillatory multiplexing during music listening

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Adamos, Dimitrios A.; Laskaris, Nikolaos A.; Micheloyannis, Sifis

2018-06-01

Objective. Music, being a multifaceted stimulus evolving at multiple timescales, modulates brain function in a manifold way that encompasses not only the distinct stages of auditory perception, but also higher cognitive processes like memory and appraisal. Network theory is apparently a promising approach to describe the functional reorganization of brain oscillatory dynamics during music listening. However, the music induced changes have so far been examined within the functional boundaries of isolated brain rhythms. Approach. Using naturalistic music, we detected the functional segregation patterns associated with different cortical rhythms, as these were reflected in the surface electroencephalography (EEG) measurements. The emerged structure was compared across frequency bands to quantify the interplay among rhythms. It was also contrasted against the structure from the rest and noise listening conditions to reveal the specific components stemming from music listening. Our methodology includes an efficient graph-partitioning algorithm, which is further utilized for mining prototypical modular patterns, and a novel algorithmic procedure for identifying ‘switching nodes’ (i.e. recording sites) that consistently change module during music listening. Main results. Our results suggest the multiplex character of the music-induced functional reorganization and particularly indicate the dependence between the networks reconstructed from the δ and β H rhythms. This dependence is further justified within the framework of nested neural oscillations and fits perfectly within the context of recently introduced cortical entrainment to music. Significance. Complying with the contemporary trends towards a multi-scale examination of the brain network organization, our approach specifies the form of neural coordination among rhythms during music listening. Considering its computational efficiency, and in conjunction with the flexibility of in situ electroencephalography

Tune yourself in: Valence and arousal preferences in music-listening choices from adolescence to old age.

Science.gov (United States)

Cohrdes, Caroline; Wrzus, Cornelia; Frisch, Simon; Riediger, Michaela

2017-09-01

In previous studies, older as compared with younger individuals were more strongly motivated to regulate their momentary affect toward pleasant and calm states. Whether these motivational differences are also reflected in regulatory behavior and whether this behavior is efficient in terms of affect change, however, is unclear. To address these issues, we conducted 3 studies with samples ranging in age from adolescence to old adulthood. In Study 1, we developed a novel and age-fair music browsing paradigm for music of diverse musical styles, dates of origin, and affective characteristics. The time spent listening to self-selected music with varying levels of valence and arousal served as an indicator of affect-regulatory preferences in 2 different affectively relevant situations, namely after mood induction in Study 2 and before an upcoming discussion with a stranger in Study 3. As predicted, we found a higher preference for music with positive valence and low arousal in older as compared with younger individuals in both studies. Additionally, the efficacy of music listening as an affect-regulatory strategy was supported because individuals' current affect significantly changed from before to after music listening (Studies 2 and 3), whereas that was not the case in an active control group listening to neutral nonmusical sounds (Study 3). These results extend previous research on affect regulation by demonstrating the utility of the music browsing paradigm as a behavioral indicator of affect-regulatory preferences in individuals from various age groups. They also provide evidence for age differences in, and affect-regulatory effects of, music-choice behavior. (PsycINFO Database Record (c) 2017 APA, all rights reserved).

Data-driven analysis of functional brain interactions during free listening to music and speech.

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Fang, Jun; Hu, Xintao; Han, Junwei; Jiang, Xi; Zhu, Dajiang; Guo, Lei; Liu, Tianming

2015-06-01

Natural stimulus functional magnetic resonance imaging (N-fMRI) such as fMRI acquired when participants were watching video streams or listening to audio streams has been increasingly used to investigate functional mechanisms of the human brain in recent years. One of the fundamental challenges in functional brain mapping based on N-fMRI is to model the brain's functional responses to continuous, naturalistic and dynamic natural stimuli. To address this challenge, in this paper we present a data-driven approach to exploring functional interactions in the human brain during free listening to music and speech streams. Specifically, we model the brain responses using N-fMRI by measuring the functional interactions on large-scale brain networks with intrinsically established structural correspondence, and perform music and speech classification tasks to guide the systematic identification of consistent and discriminative functional interactions when multiple subjects were listening music and speech in multiple categories. The underlying premise is that the functional interactions derived from N-fMRI data of multiple subjects should exhibit both consistency and discriminability. Our experimental results show that a variety of brain systems including attention, memory, auditory/language, emotion, and action networks are among the most relevant brain systems involved in classic music, pop music and speech differentiation. Our study provides an alternative approach to investigating the human brain's mechanism in comprehension of complex natural music and speech.

Electrocorticographic language mapping with a listening task consisting of alternating speech and music phrases.

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Mooij, Anne H; Huiskamp, Geertjan J M; Gosselaar, Peter H; Ferrier, Cyrille H

2016-02-01

Electrocorticographic (ECoG) mapping of high gamma activity induced by language tasks has been proposed as a more patient friendly alternative for electrocortical stimulation mapping (ESM), the gold standard in pre-surgical language mapping of epilepsy patients. However, ECoG mapping often reveals more language areas than considered critical with ESM. We investigated if critical language areas can be identified with a listening task consisting of speech and music phrases. Nine patients with implanted subdural grid electrodes listened to an audio fragment in which music and speech alternated. We analysed ECoG power in the 65-95 Hz band and obtained task-related activity patterns in electrodes over language areas. We compared the spatial distribution of sites that discriminated between listening to speech and music to ESM results using sensitivity and specificity calculations. Our listening task of alternating speech and music phrases had a low sensitivity (0.32) but a high specificity (0.95). The high specificity indicates that this test does indeed point to areas that are critical to language processing. Our test cannot replace ESM, but this short and simple task can give a reliable indication where to find critical language areas, better than ECoG mapping using language tasks alone. Copyright © 2015 International Federation of Clinical Neurophysiology. Published by Elsevier Ireland Ltd. All rights reserved.

Inferior Frontal Gyrus Activation Underlies the Perception of Emotions, While Precuneus Activation Underlies the Feeling of Emotions during Music Listening

Science.gov (United States)

Tabei, Ken-ichi

2015-01-01

While music triggers many physiological and psychological reactions, the underlying neural basis of perceived and experienced emotions during music listening remains poorly understood. Therefore, using functional magnetic resonance imaging (fMRI), I conducted a comparative study of the different brain areas involved in perceiving and feeling emotions during music listening. I measured fMRI signals while participants assessed the emotional expression of music (perceived emotion) and their emotional responses to music (felt emotion). I found that cortical areas including the prefrontal, auditory, cingulate, and posterior parietal cortices were consistently activated by the perceived and felt emotional tasks. Moreover, activity in the inferior frontal gyrus increased more during the perceived emotion task than during a passive listening task. In addition, the precuneus showed greater activity during the felt emotion task than during a passive listening task. The findings reveal that the bilateral inferior frontal gyri and the precuneus are important areas for the perception of the emotional content of music as well as for the emotional response evoked in the listener. Furthermore, I propose that the precuneus, a brain region associated with self-representation, might be involved in assessing emotional responses. PMID:26504353

Inferior Frontal Gyrus Activation Underlies the Perception of Emotions, While Precuneus Activation Underlies the Feeling of Emotions during Music Listening.

Science.gov (United States)

Tabei, Ken-ichi

2015-01-01

While music triggers many physiological and psychological reactions, the underlying neural basis of perceived and experienced emotions during music listening remains poorly understood. Therefore, using functional magnetic resonance imaging (fMRI), I conducted a comparative study of the different brain areas involved in perceiving and feeling emotions during music listening. I measured fMRI signals while participants assessed the emotional expression of music (perceived emotion) and their emotional responses to music (felt emotion). I found that cortical areas including the prefrontal, auditory, cingulate, and posterior parietal cortices were consistently activated by the perceived and felt emotional tasks. Moreover, activity in the inferior frontal gyrus increased more during the perceived emotion task than during a passive listening task. In addition, the precuneus showed greater activity during the felt emotion task than during a passive listening task. The findings reveal that the bilateral inferior frontal gyri and the precuneus are important areas for the perception of the emotional content of music as well as for the emotional response evoked in the listener. Furthermore, I propose that the precuneus, a brain region associated with self-representation, might be involved in assessing emotional responses.

Music-listening habits with MP3 player in a group of adolescents: a descriptive survey.

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Pellegrino, E; Lorini, C; Allodi, G; Buonamici, C; Garofalo, G; Bonaccorsi, G

2013-01-01

Listening to music through portable MP3 players has become a very popular mode among young people and adolescents. The aim of this study is to investigate the behaviors of adolescents engaged in listening to music with MP3 player and the attendance at clubs (pubs, discotheques) where music is played at high volume. Among the 1470 students attending a secondary school in Scandicci (FI) during the school year 2009/2010, 1278 (86.9%) were at school the day of the examination and 1276 completely filled in the questionnaire. Descriptive analysis and univariate and multivariate logistic regression were performed to calculate the degree of association (OR) among the sociodemographic characteristics, listening habits and some factors identified as risky or protective as regards the possibility of developing health disorders. MP3 player users are 88.2% of the sample. Among these, a high proportion engaged behaviours that increase the risk of presenting disorders, including the exposure to high-volume (27.4%). Furthermore, 44.6% use the MP3 while driving. From the regression analysis it emerges that MP3 users showed a sort of addiction: by increasing the time and the occasions of exposure to music, they increased the volume, used maximum or medium-high volume, did not take breaks and did not decrease the volume. The study points out the spread of risky behavior in music listening, so it is necessary to better inform especially the youngsters and achieve specific preventive interventions.

Increase in salivary oxytocin and decrease in salivary cortisol after listening to relaxing slow-tempo and exciting fast-tempo music.

Directory of Open Access Journals (Sweden)

Yuuki Ooishi

Full Text Available Relaxation and excitation are components of the effects of music listening. The tempo of music is often considered a critical factor when determining these effects: listening to slow-tempo and fast-tempo music elicits relaxation and excitation, respectively. However, the chemical bases that underlie these relaxation and excitation effects remain unclear. Since parasympathetic and sympathetic nerve activities are facilitated by oxytocin and glucocorticoid, respectively, we hypothesized that listening to relaxing slow-tempo and exciting fast-tempo music is accompanied by increases in the oxytocin and cortisol levels, respectively. We evaluated the change in the salivary oxytocin and cortisol levels of participants listening to slow-tempo and fast-tempo music sequences. We measured the heart rate (HR and calculated the heart rate variability (HRV to evaluate the strength of autonomic nerve activity. After listening to a music sequence, the participants rated their arousal and valence levels. We found that both the salivary oxytocin concentration and the high frequency component of the HRV (HF increased and the HR decreased when a slow-tempo music sequence was presented. The salivary cortisol level decreased and the low frequency of the HRV (LF to HF ratio (LF/HF increased when a fast-tempo music sequence was presented. The ratio of the change in the oxytocin level was correlated with the change in HF, LF/HF and HR, whereas that in the cortisol level did not show any correlation with indices of autonomic nerve activity. There was no correlation between the change in oxytocin level and self-reported emotions, while the change in cortisol level correlated with the arousal level. These findings suggest that listening to slow-tempo and fast-tempo music is accompanied by an increase in the oxytocin level and a decrease in the cortisol level, respectively, and imply that such music listening-related changes in oxytocin and cortisol are involved in

Increase in salivary oxytocin and decrease in salivary cortisol after listening to relaxing slow-tempo and exciting fast-tempo music

Science.gov (United States)

Watanabe, Ken; Kawato, Suguru; Kashino, Makio

2017-01-01

Relaxation and excitation are components of the effects of music listening. The tempo of music is often considered a critical factor when determining these effects: listening to slow-tempo and fast-tempo music elicits relaxation and excitation, respectively. However, the chemical bases that underlie these relaxation and excitation effects remain unclear. Since parasympathetic and sympathetic nerve activities are facilitated by oxytocin and glucocorticoid, respectively, we hypothesized that listening to relaxing slow-tempo and exciting fast-tempo music is accompanied by increases in the oxytocin and cortisol levels, respectively. We evaluated the change in the salivary oxytocin and cortisol levels of participants listening to slow-tempo and fast-tempo music sequences. We measured the heart rate (HR) and calculated the heart rate variability (HRV) to evaluate the strength of autonomic nerve activity. After listening to a music sequence, the participants rated their arousal and valence levels. We found that both the salivary oxytocin concentration and the high frequency component of the HRV (HF) increased and the HR decreased when a slow-tempo music sequence was presented. The salivary cortisol level decreased and the low frequency of the HRV (LF) to HF ratio (LF/HF) increased when a fast-tempo music sequence was presented. The ratio of the change in the oxytocin level was correlated with the change in HF, LF/HF and HR, whereas that in the cortisol level did not show any correlation with indices of autonomic nerve activity. There was no correlation between the change in oxytocin level and self-reported emotions, while the change in cortisol level correlated with the arousal level. These findings suggest that listening to slow-tempo and fast-tempo music is accompanied by an increase in the oxytocin level and a decrease in the cortisol level, respectively, and imply that such music listening-related changes in oxytocin and cortisol are involved in physiological

Increase in salivary oxytocin and decrease in salivary cortisol after listening to relaxing slow-tempo and exciting fast-tempo music.

Science.gov (United States)

Ooishi, Yuuki; Mukai, Hideo; Watanabe, Ken; Kawato, Suguru; Kashino, Makio

2017-01-01

Relaxation and excitation are components of the effects of music listening. The tempo of music is often considered a critical factor when determining these effects: listening to slow-tempo and fast-tempo music elicits relaxation and excitation, respectively. However, the chemical bases that underlie these relaxation and excitation effects remain unclear. Since parasympathetic and sympathetic nerve activities are facilitated by oxytocin and glucocorticoid, respectively, we hypothesized that listening to relaxing slow-tempo and exciting fast-tempo music is accompanied by increases in the oxytocin and cortisol levels, respectively. We evaluated the change in the salivary oxytocin and cortisol levels of participants listening to slow-tempo and fast-tempo music sequences. We measured the heart rate (HR) and calculated the heart rate variability (HRV) to evaluate the strength of autonomic nerve activity. After listening to a music sequence, the participants rated their arousal and valence levels. We found that both the salivary oxytocin concentration and the high frequency component of the HRV (HF) increased and the HR decreased when a slow-tempo music sequence was presented. The salivary cortisol level decreased and the low frequency of the HRV (LF) to HF ratio (LF/HF) increased when a fast-tempo music sequence was presented. The ratio of the change in the oxytocin level was correlated with the change in HF, LF/HF and HR, whereas that in the cortisol level did not show any correlation with indices of autonomic nerve activity. There was no correlation between the change in oxytocin level and self-reported emotions, while the change in cortisol level correlated with the arousal level. These findings suggest that listening to slow-tempo and fast-tempo music is accompanied by an increase in the oxytocin level and a decrease in the cortisol level, respectively, and imply that such music listening-related changes in oxytocin and cortisol are involved in physiological

Non-expert listeners show decreased heart rate and increased blood pressure (fear bradycardia) in response to atonal music.

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Proverbio, Alice M; Manfrin, Luigi; Arcari, Laura A; De Benedetto, Francesco; Gazzola, Martina; Guardamagna, Matteo; Lozano Nasi, Valentina; Zani, Alberto

2015-01-01

Previous studies suggested that listening to different types of music may modulate differently psychological mood and physiological responses associated with the induced emotions. In this study the effect of listening to instrumental classical vs. atonal contemporary music was examined in a group of 50 non-expert listeners. The subjects' heart rate and diastolic and systolic blood pressure values were measured while they listened to music of different style and emotional typologies. Pieces were selected by asking a group of composers and conservatory professors to suggest a list of the most emotional music pieces (from Renaissance to present time). A total of 214 suggestions from 20 respondents were received. Then it was asked them to identify which pieces best induced in the listener feelings of agitation, joy or pathos and the number of suggested pieces per style was computed. Atonal pieces were more frequently indicated as agitating, and tonal pieces as joyful. The presence/absence of tonality in a musical piece did not affect the affective dimension of pathos (being touching). Among the most frequently cited six pieces were selected that were comparable for structure and style, to represent each emotion and style. They were equally evaluated as unfamiliar by an independent group of 10 students of the same cohort) and were then used as stimuli for the experimental session in which autonomic parameters were recorded. Overall, listening to atonal music (independent of the pieces' emotional characteristics) was associated with a reduced heart rate (fear bradycardia) and increased blood pressure (both diastolic and systolic), possibly reflecting an increase in alertness and attention, psychological tension, and anxiety. This evidence fits with the results of the esthetical assessment showing how, overall, atonal music is perceived as more agitating and less joyful than tonal one.

Non-expert listeners show decreased heart rate and increased blood pressure (fear bradycardia in response to atonal music

Directory of Open Access Journals (Sweden)

Alice Mado eProverbio

2015-10-01

Full Text Available Previous studies suggested that listening to different types of music may modulate differently psychological mood and physiological responses associated with the induced emotions. In this study the effect of listening to instrumental classical vs. atonal contemporary music was examined in a group of 50 non-expert listeners. The subjects’ heart rate and diastolic and systolic blood pressure values were measured while they listened to music of different style and emotional typologies. Pieces were selected by asking a group of composers and conservatory professors to suggest a list of the most emotional music pieces (from Renaissance to present time. A total of 214 suggestions from 20 respondents was received. Then it was asked them to identify which pieces best induced in the listener feelings of agitation, joy or pathos and the number of suggested pieces per style was computed. Atonal pieces were more frequently indicated as agitating, and tonal pieces as joyful. The presence/absence of tonality in a musical piece did not affect the affective dimension of pathos (being touching. Among the most frequently cited six pieces were selected that were comparable for structure and style, to represent each emotion and style. They were equally evaluated as unfamiliar by an independent group of 10 students of the same cohort and were then used as stimuli for the experimental session in which autonomic parameters were recorded. Overall, listening to atonal music (independent of the pieces’ emotional characteristics was associated with a reduced heart rate (fear bradycardia and increased blood pressure (both diastolic and systolic, possibly reflecting an increase in alertness and attention, psychological tension, and anxiety. This evidence fits with the results of the aesthetical assessment showing how, overall, atonal music is perceived as more agitating and less joyful than tonal one.

Non-expert listeners show decreased heart rate and increased blood pressure (fear bradycardia) in response to atonal music

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Proverbio, Alice M.; Manfrin, Luigi; Arcari, Laura A.; De Benedetto, Francesco; Gazzola, Martina; Guardamagna, Matteo; Lozano Nasi, Valentina; Zani, Alberto

2015-01-01

Previous studies suggested that listening to different types of music may modulate differently psychological mood and physiological responses associated with the induced emotions. In this study the effect of listening to instrumental classical vs. atonal contemporary music was examined in a group of 50 non-expert listeners. The subjects’ heart rate and diastolic and systolic blood pressure values were measured while they listened to music of different style and emotional typologies. Pieces were selected by asking a group of composers and conservatory professors to suggest a list of the most emotional music pieces (from Renaissance to present time). A total of 214 suggestions from 20 respondents were received. Then it was asked them to identify which pieces best induced in the listener feelings of agitation, joy or pathos and the number of suggested pieces per style was computed. Atonal pieces were more frequently indicated as agitating, and tonal pieces as joyful. The presence/absence of tonality in a musical piece did not affect the affective dimension of pathos (being touching). Among the most frequently cited six pieces were selected that were comparable for structure and style, to represent each emotion and style. They were equally evaluated as unfamiliar by an independent group of 10 students of the same cohort) and were then used as stimuli for the experimental session in which autonomic parameters were recorded. Overall, listening to atonal music (independent of the pieces’ emotional characteristics) was associated with a reduced heart rate (fear bradycardia) and increased blood pressure (both diastolic and systolic), possibly reflecting an increase in alertness and attention, psychological tension, and anxiety. This evidence fits with the results of the esthetical assessment showing how, overall, atonal music is perceived as more agitating and less joyful than tonal one. PMID:26579029

Listening to Music in the New Ninth Grade Program at Lawrence Academy.

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Peisch, Stephen

1995-01-01

Describes a class for ninth graders at a private school that used the study of music to help develop six basic intellectual skills and to provide a foundation for further creative work. Discusses using the inquiry/discovery method, applying the intellect, listening to and learning from pop music, the dangers of this approach, and the final exam…

Music perception by cochlear implant and normal hearing listeners as measured by the Montreal Battery for Evaluation of Amusia.

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Cooper, William B; Tobey, Emily; Loizou, Philipos C

2008-08-01

The purpose of this study was to explore the utility/possibility of using the Montreal Battery for Evaluation of Amusia (MBEA) test (Peretz, et al., Ann N Y Acad Sci, 999, 58-75) to assess the music perception abilities of cochlear implant (CI) users. The MBEA was used to measure six different aspects of music perception (Scale, Contour, Interval, Rhythm, Meter, and Melody Memory) by CI users and normal-hearing (NH) listeners presented with stimuli processed via CI simulations. The spectral resolution (number of channels) was varied in the CI simulations to determine: (a) the number of channels (4, 6, 8, 12, and 16) needed to achieve the highest levels of music perception and (b) the number of channels needed to produce levels of music perception performance comparable with that of CI users. CI users and NH listeners performed higher on temporal-based tests (Rhythm and Meter) than on pitch-based tests (Scale, Contour, and Interval)--a finding that is consistent with previous research studies. The CI users' scores on pitch-based tests were near chance. The CI users' (but not NH listeners') scores for the Memory test, a test that incorporates an integration of both temporal-based and pitch-based aspects of music, were significantly higher than the scores obtained for the pitch-based Scale test and significantly lower than the temporal-based Rhythm and Meter tests. The data from NH listeners indicated that 16 channels of stimulation did not provide the highest music perception scores and performance was as good as that obtained with 12 channels. This outcome is consistent with other studies showing that NH listeners listening to vocoded speech are not able to use effectively F0 cues present in the envelopes, even when the stimuli are processed with a large number (16) of channels. The CI user data seem to most closely match with the 4- and 6-channel NH listener conditions for the pitch-based tasks. Consistent with previous studies, both CI users and NH listeners

Music Perception by Cochlear Implant and Normal Hearing Listeners as Measured by the Montreal Battery for Evaluation of Amusia

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Cooper, William B.; Tobey, Emily; Loizou, Philipos C.

2009-01-01

Objectives The purpose of this study was to explore the utility/possibility of using the Montreal Battery for Evaluation of Amusia (MBEA) test (Peretz, Champod, & Hyde, 2003) to assess the music perception abilities of cochlear implant (CI) users. Design The MBEA was used to measure six different aspects of music perception (Scale, Contour, Interval, Rhythm, Meter, and Melody Memory) by CI users and normal hearing (NH) listeners presented with stimuli processed via CI simulations. The spectral resolution (number of channels) was varied in the CI simulations to determine: (a) the number of channels (4, 6, 8, 12, 16) needed to achieve the highest levels of music perception and (b) the number of channels needed to produce levels of music perception performance comparable to that of CI users. Results CI users and NH listeners performed higher on temporal-based tests (Rhythm and Meter) than on pitch-based tests (Scale, Contour, and Interval) – a finding that is consistent with previous research studies. The CI users' scores on pitch-based tests were near chance. The CI users' (but not NH listeners') scores for the Memory test, a test that incorporates an integration of both temporal-based and pitch-based aspects of music, were significantly higher than the scores obtained for the pitch-based Scale test and significantly lower than the temporal-based Rhythm and Meter tests. The data from NH listeners indicated that 16 channels of stimulation did not provide the highest music perception scores and performance was as good as that obtained with 12 channels. This outcome is consistent with other studies showing that NH listeners listening to vocoded speech are not able to utilize effectively F0 cues present in the envelopes, even when the stimuli are processed with a large number (16) of channels. The CI user data appear to most closely match with the 4- and 6- channel NH listener conditions for the pitch-based tasks. Conclusions Consistent with previous studies, both CI

Assessment of sound quality perception in cochlear implant users during music listening.

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Roy, Alexis T; Jiradejvong, Patpong; Carver, Courtney; Limb, Charles J

2012-04-01

Although cochlear implant (CI) users frequently report deterioration of sound quality when listening to music, few methods exist to quantify these subjective claims. 1) To design a novel research method for quantifying sound quality perception in CI users during music listening; 2) To validate this method by assessing one attribute of music perception, bass frequency perception, which is hypothesized to be relevant to overall musical sound quality perception. Limitations in bass frequency perception contribute to CI-mediated sound quality deteriorations. The proposed method will quantify this deterioration by measuring CI users' impaired ability to make sound quality discriminations among musical stimuli with variable amounts of bass frequency removal. A method commonly used in the audio industry (multiple stimulus with hidden reference and anchor [MUSHRA]) was adapted for CI users, referred to as CI-MUSHRA. CI users and normal hearing controls were presented with 7 sound quality versions of a musical segment: 5 high pass filter cutoff versions (200-, 400-, 600-, 800-, 1000-Hz) with decreasing amounts of bass information, an unaltered version ("hidden reference"), and a highly altered version (1,000-1,200 Hz band pass filter; "anchor"). Participants provided sound quality ratings between 0 (very poor) and 100 (excellent) for each version; ratings reflected differences in perceived sound quality among stimuli. CI users had greater difficulty making overall sound quality discriminations as a function of bass frequency loss than normal hearing controls, as demonstrated by a significantly weaker correlation between bass frequency content and sound quality ratings. In particular, CI users could not perceive sound quality difference among stimuli missing up to 400 Hz of bass frequency information. Bass frequency impairments contribute to sound quality deteriorations during music listening for CI users. CI-MUSHRA provided a systematic and quantitative assessment of this

Listening to a personal music player is associated with fewer but more serious injuries among snowboarders in a terrain park: a case-control study.

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Russell, Kelly; Meeuwisse, Willem; Nettel-Aguirre, Alberto; Emery, Carolyn A; Gushue, Shantel; Wishart, Jillian; Romanow, Nicole; Rowe, Brian H; Goulet, Claude; Hagel, Brent E

2015-01-01

Some snowboarders listen to music on a personal music player and the objective was to determine if listening to music was associated with injury in a terrain park. A case-control study was conducted at a terrain park in Alberta, Canada during the 2008-2009 and 2009-2010 winter seasons. Cases were snowboarders who were injured in the terrain park and presented to either the ski patrol and/or a nearby emergency department (ED). Demographic, environmental and injury characteristics were collected from standardised ski patrol Accident Report Forms, ED medical records and telephone interviews. Controls were uninjured snowboarders using the same terrain park and were interviewed as they approached the lift-line on randomly selected days and times. Multivariable logistic regression determined if listening to music was associated with the odds of snowboard injury. Overall, 333 injured cases and 1261 non-injured controls were enrolled; 69 (21%) cases and 425 (34%) controls were listening to music. Snowboarders listening to music had significantly lower odds of injury compared with those not listening to music (adjusted odds ratio (OR) 0.68; 95% CI 0.48 to 0.98). Snowboarders listening to music had significantly higher odds of presenting to the ED versus ski patrol only compared with those not listening to music (adjusted OR 2.09; 95% CI 1.07 to 4.05). While listening to music decreased the odds of any injury in the terrain park, it increased the odds of an injury resulting in ED presentation. Published by the BMJ Publishing Group Limited. For permission to use (where not already granted under a licence) please go to http://group.bmj.com/group/rights-licensing/permissions.

Brief Report: Labelling Effects on the Perceived Deleterious Consequences of Pop Music Listening

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North, A.C.; Hargreaves, D.J.

2005-01-01

Several correlational studies have supported the claim of conservative protestors that there exists a positive relationship between listening to pop music and adolescent problem behaviours. However, research on the so-called 'prestige effects' has shown that experimental participants' responses to music can be mediated by manipulations of prior…

Music to whose ears? The effect of social norms on young people's risk perceptions of hearing damage resulting from their music listening behavior.

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Gilliver, Megan; Carter, Lyndal; Macoun, Denise; Rosen, Jenny; Williams, Warwick

2012-01-01

Professional and community concerns about the potentially dangerous noise levels for common leisure activities has led to increased interest on providing hearing health information to participants. However, noise reduction programmes aimed at leisure activities (such as music listening) face a unique difficulty. The noise source that is earmarked for reduction by hearing health professionals is often the same one that is viewed as pleasurable by participants. Furthermore, these activities often exist within a social setting, with additional peer influences that may influence behavior. The current study aimed to gain a better understanding of social-based factors that may influence an individual's motivation to engage in positive hearing health behaviors. Four hundred and eighty-four participants completed questionnaires examining their perceptions of the hearing risk associated with listening to music listening and asking for estimates of their own and their peer's music listening behaviors. Participants were generally aware of the potential risk posed by listening to personal stereo players (PSPs) and the volumes likely to be most dangerous. Approximately one in five participants reported using listening volumes at levels perceived to be dangerous, an incidence rate in keeping with other studies measuring actual PSP use. However, participants showed less awareness of peers' behavior, consistently overestimating the volumes at which they believed their friends listened. Misperceptions of social norms relating to listening behavior may decrease individuals' perceptions of susceptibility to hearing damage. The consequences of hearing health promotion are discussed, along with suggestions relating to the development of new programs.

Musical appreciation

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Medina, Maria del Consuelo

2002-11-01

Pre-school listening to music is the principal way that leads to the appreciation of music that later facilitates knowledge and pleasure in the history of music. At the prescholastic age it is a very important aspect of education, and reasons and suggestions will be given. The activities must be brief, the teachers of music can at the most develop the activity every five minutes, leaving time for rest or expansion. Another suitable way to bring the child to music is through stories, which please all children; let them go to an unreal and fantastic world and listen to a story or an exciting adventure. The story then, should be brief, simple, with action, with familiar characters, but with some mystery; some repetitive element; and an ending both surprising and happy. It is preferable to include small folkloric tales from the universal repertoire, with works of simple and clear structure.

Music Listening in Electric Hearing -designing and testing two novel EEG paradigms for measuring music perception in cochlear implant users

DEFF Research Database (Denmark)

Petersen, Bjørn; Friis Andersen, Anne Sofie; Højlund, Andreas

With the considerable advances made in cochlear implant (CI) technology with regards to speech perception, it is natural that many CI users express hopes of being able to enjoy music. For the majority of CI users, however, the music experience is disappointing and their discrimination of musical...... features as well as self-reported levels of music enjoyment is significantly lower than normal-hearing (NH) listeners (1,2). Therefore, it is important that ongoing efforts are made to improve the quality of music through a CI. To aid in this process, the aim of this study is to validate two new musical...

Can music progress?: Reflections on the history of popular music

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Frit Sajmon

2007-01-01

Full Text Available This paper considers schematically the various discourses through which popular music history is understood. My proposal is that five accounts of musical history (the business model, the musicological model, the sociological model, the historical model and the art history model are commonly deployed in popular music discourse. One implies, superficially at least, that popular music evolves, gets better; four implies that, at least in the longer term, it does not. The concept of ′progress′ is shown to be problematic.

Music induces universal emotion-related psychophysiological responses: comparing Canadian listeners to Congolese Pygmies

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Egermann, Hauke; Fernando, Nathalie; Chuen, Lorraine; McAdams, Stephen

2015-01-01

Subjective and psychophysiological emotional responses to music from two different cultures were compared within these two cultures. Two identical experiments were conducted: the first in the Congolese rainforest with an isolated population of Mebenzélé Pygmies without any exposure to Western music and culture, the second with a group of Western music listeners, with no experience with Congolese music. Forty Pygmies and 40 Canadians listened in pairs to 19 music excerpts of 29–99 s in duration in random order (eight from the Pygmy population and 11 Western instrumental excerpts). For both groups, emotion components were continuously measured: subjective feeling (using a two- dimensional valence and arousal rating interface), peripheral physiological activation, and facial expression. While Pygmy music was rated as positive and arousing by Pygmies, ratings of Western music by Westerners covered the range from arousing to calming and from positive to negative. Comparing psychophysiological responses to emotional qualities of Pygmy music across participant groups showed no similarities. However, Western stimuli, rated as high and low arousing by Canadians, created similar responses in both participant groups (with high arousal associated with increases in subjective and physiological activation). Several low-level acoustical features of the music presented (tempo, pitch, and timbre) were shown to affect subjective and physiological arousal similarly in both cultures. Results suggest that while the subjective dimension of emotional valence might be mediated by cultural learning, changes in arousal might involve a more basic, universal response to low-level acoustical characteristics of music. PMID:25620935

Music Induces Universal Emotion-Related Psychophysiological Responses: Comparing Canadian Listeners To Congolese Pygmies

Directory of Open Access Journals (Sweden)

Hauke eEgermann

2015-01-01

Full Text Available Subjective and psychophysiological emotional responses to music from two different cultures were compared within these two cultures. Two identical experiments were conducted: the first in the Congolese rainforest with an isolated population of Mbenzélé Pygmies without any exposure to Western music and culture, the second with a group of Western music listeners, with no experience with Congolese music. Forty Pygmies and 40 Canadians listened in pairs to 19 music excerpts of 29 to 99 seconds in duration in random order (8 from the Pygmy population and 11 Western instrumental excerpts. For both groups, emotion components were continuously measured: subjective feeling (using a two- dimensional valence and arousal rating interface, peripheral physiological activation, and facial expression. While Pygmy music was rated as positive and arousing by Pygmies, ratings of Western music by Westerners covered the range from arousing to calming and from positive to negative. Comparing psychophysiological responses to emotional qualities of Pygmy music across participant groups showed no similarities. However, Western stimuli, rated as high and low arousing by Canadians, created similar responses in both participant groups (with high arousal associated with increases in subjective and physiological activation. Several low-level acoustical features of the music presented (tempo, pitch, and timbre were shown to affect subjective and physiological arousal similarly in both cultures. Results suggest that while the subjective dimension of emotional valence might be mediated by cultural learning, changes in arousal might involve a more basic, universal response to low-level acoustical characteristics of music.

Ambiguity as an Essential Aesthetic Principle in Musical Listening

DEFF Research Database (Denmark)

Bonde, Anders

2006-01-01

as a superficial feature. In the compositional structure, there are several indications of connection and development which can be explored. Hence a ‘continuity-after-all’ comprehension has been an important principle guiding most commentators, from Edward Cone’s threefold conception of ‘stratification...... in the immediate listening and a sense of coherence in the subsequent musical reflection....

Effects of listening to pleasant music on chronic unilateral neglect: a single-subject study.

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Tsai, Pei-Luen; Chen, Mei-Ching; Huang, Yu-Ting; Lin, Keh-Chung

2013-01-01

Recent studies suggest that the positive emotion induced by pleasant music may improve cognitive functions. We used the single-subject design to study whether listening to preferred music may reduce unilateral neglect in two participants with post-stroke neglect. These participants were instructed to listen to their preferred music every day for 5 weeks, followed by 2 weeks of follow-up assessment. Outcome measures involved the Star Cancellation Test, the Line Bisection Test, and the visual exploration task. A combination of visual analysis and the two-standard-deviation band method was used for data analysis. Both participants showed significant intervention-related improvements on all outcome measures except the Line Bisection Test, on which one participant showed no improvement. The therapeutic effects were maintained during the follow-up phase. The findings suggest that positive emotion, evoked by preferred music, may be used to ameliorate unilateral neglect. Further research using controlled trials is warranted to validate the findings.

Listening level of music through headphones in train car noise environments.

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Shimokura, Ryota; Soeta, Yoshiharu

2012-09-01

Although portable music devices are useful for passing time on trains, exposure to music using headphones for long periods carries the risk of damaging hearing acuity. The aim of this study is to examine the listening level of music through headphones in the noisy environment of a train car. Eight subjects adjusted the volume to an optimum level (L(music)) in a simulated noisy train car environment. In Experiment I, the effects of noise level (L(train)) and type of train noise (rolling, squealing, impact, and resonance) were examined. Spectral and temporal characteristics were found to be different according to the train noise type. In Experiment II, the effects of L(train) and type of music (five vocal and five instrumental music) were examined. Each music type had a different pitch strength and spectral centroid, and each was evaluated by φ(1) and W(φ(0)), respectively. These were classified as factors of the autocorrelation function (ACF) of the music. Results showed that L(music) increased as L(train) increased in both experiments, while the type of music greatly influenced L(music). The type of train noise, however, only slightly influenced L(music). L(music) can be estimated using L(train) and the ACF factors φ(1) and W(φ(0)).

The Effect of Body Movement on Listeners' Perceptions of Musicality in Trombone Quartet Performance

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Silveira, Jason M.

2014-01-01

The purpose of this study was to determine what effect body movement would have on listeners' (N = 90) perceptions of a professional chamber ensemble performance. Specifically, an audio/video recording of a trombone quartet performance was used for the music stimulus. Listeners were asked to rate each performance on the basis of perceived…

Smartphone-based Music Listening to Reduce Pain and Anxiety Before Coronarography: A Focus on Sex Differences.

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Guétin, Stéphane; Brun, Luc; Deniaud, Maelle; Clerc, Jean-Michel; Thayer, Julian F; Koenig, Julian

2016-07-01

Background • Music Care is a smartphone-based application providing a musical intervention for the management of pain and anxiety in a clinical setting. Coronarography is a medical procedure frequently associated with examination anxiety. Objectives • The study intended to perform an initial evaluation of the application for use with patients undergoing a coronarography. Design • The research team performed an uncontrolled, observational study. Setting • The study took place at Nouméa General Hospital in Nouméa, New Caledonia, France. Participants • Participants were 35 patients, 17 women and 18 men, who were undergoing a coronarography between November 2010 and April 2011 at the Nouméa General Hospital. Intervention • Participants listened to a standardized musical sequence of adjustable length by choosing a preferred style of music (eg, classic rock or folk music) from a variety of choices that the research team had chosen to include in the application. Outcome Measures • Before and after listening to the music, all participants were asked to rate their anxiety and pain on an 11-item, visual analogue scale and to complete a questionnaire on their satisfaction with use of the application. Results • The paired sample t test revealed a significant reduction in participants' anxiety (t33 = 4.12, P music. No significant reduction in self-reported pain occurred; however, only a few participants reported pain associated with the procedure. No significant sex differences existed. Women and men both showed reduced anxiety after listening to music as well as reported a high level of satisfaction in using the Music Care application. Conclusions • The smartphone-based Music Care application is an easy-to-use tool to reduce anxiety in patients undergoing coronarography. Future large-scale, controlled trials are necessary to compare its effectiveness with other interventions. Both women and men can benefit from the use of the application.

Non-verbal Full Body Emotional and Social Interaction: A Case Study on Multimedia Systems for Active Music Listening

Science.gov (United States)

Camurri, Antonio

Research on HCI and multimedia systems for art and entertainment based on non-verbal, full-body, emotional and social interaction is the main topic of this paper. A short review of previous research projects in this area at our centre are presented, to introduce the main issues discussed in the paper. In particular, a case study based on novel paradigms of social active music listening is presented. Active music listening experience enables users to dynamically mould expressive performance of music and of audiovisual content. This research is partially supported by the 7FP EU-ICT Project SAME (Sound and Music for Everyone, Everyday, Everywhere, Every Way, www.sameproject.eu).

Increase in salivary oxytocin and decrease in salivary cortisol after listening to relaxing slow-tempo and exciting fast-tempo music

OpenAIRE

Ooishi, Yuuki; Mukai, Hideo; Watanabe, Ken; Kawato, Suguru; Kashino, Makio

2017-01-01

Relaxation and excitation are components of the effects of music listening. The tempo of music is often considered a critical factor when determining these effects: listening to slow-tempo and fast-tempo music elicits relaxation and excitation, respectively. However, the chemical bases that underlie these relaxation and excitation effects remain unclear. Since parasympathetic and sympathetic nerve activities are facilitated by oxytocin and glucocorticoid, respectively, we hypothesized that li...

The cognitive effects of listening to background music on older adults: Processing speed improves with upbeat music, while memory seems to benefit from both upbeat and downbeat music.

OpenAIRE

Sara eBottiroli; Alessia eRosi; Riccardo eRusso; Riccardo eRusso; Tomaso eVecchi; Tomaso eVecchi; Elena eCavallini

2014-01-01

Background music refers to any music played while the listener is performing another activity. Most studies on this effect have been conducted on young adults, while little attention has been paid to the presence of this effect in older adults. Hence, this study aimed to address this imbalance by assessing the impact of different types of background music on cognitive tasks tapping declarative memory and processing speed in older adults. Overall, background music tended to improve performa...

The cognitive effects of listening to background music on older adults: processing speed improves with upbeat music, while memory seems to benefit from both upbeat and downbeat music

OpenAIRE

Bottiroli, Sara; Rosi, Alessia; Russo, Riccardo; Vecchi, Tomaso; Cavallini, Elena

2014-01-01

Background music refers to any music played while the listener is performing another activity. Most studies on this effect have been conducted on young adults, while little attention has been paid to the presence of this effect in older adults. Hence, this study aimed to address this imbalance by assessing the impact of different types of background music on cognitive tasks tapping declarative memory and processing speed in older adults. Overall, background music tended to improve performance...

The Effect of Mindful Listening Instruction on Listening Sensitivity and Enjoyment

Science.gov (United States)

Anderson, William Todd

2012-01-01

The purpose of this study was to examine the effect of Mindful Listening Instruction on Music Listening Sensitivity and Music Listening Enjoyment. The type of mindfulness investigated in this study was of the social-psychological type, which shares both commonalities with and distinctions from meditative mindfulness. Enhanced context awareness,…

Perceiving Speech Rhythm in Music: Listeners Classify Instrumental Songs According to Language of Origin

Science.gov (United States)

Hannon, Eric E.

2009-01-01

Recent evidence suggests that the musical rhythm of a particular culture may parallel the speech rhythm of that culture's language (Patel, A. D., & Daniele, J. R. (2003). "An empirical comparison of rhythm in language and music." "Cognition, 87," B35-B45). The present experiments aimed to determine whether listeners actually perceive such rhythmic…

Stress Reduction Through Listening to Indian Classical Music During Gastroscopy

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M. Raj Kotwal

1998-01-01

Full Text Available The purpose of this study was to examine the effects of music on elevated state of anxiety as many patients become stressed and anxious during diagnostic procedures. The study was conducted on 104 consecutive patients undergoing GI endoscopy for various reasons. Patients were randomly assigned to two groups regardless of sex, age and underlying disease. One group of 54 patients were made to listen to a recorded Indian classical instrumental music before and during the procedure, while the other group of 50 patients did not. Blood pressure, heart rate and respiratory rate were recorded at the beginning of consultation and end of procedure. Perception of procedure using a three point attitude scale was assessed. Our results indicate that the background Indian classical music is efficacious in reducing psychological distress during a gastroscopic examination. We suggest that music could be applied to other medical situations as well, which tend to generate undue psychological stress and anxiety. Music, as a familiar personal and culture medium, can be used to ease anxiety, to act as distractor, to increase discomfort and pain threshold.

Using Rock Music To Teach History.

Science.gov (United States)

Hoffman, Paul Dennis

1985-01-01

A secondary history teacher describes how he uses rock and roll music to help students study and interpret modern American history. Besides being a lot of fun to teach, a rock unit makes students realize that even contemporary music has a place in history. (RM)

Listening to music during regional anesthesia: patients' experiences and the effect on mood.

Science.gov (United States)

Sven-Olof Trängeberg, Örjan; Stomberg, Margareta Warrén

2013-10-01

Many patients experience a sense of anxiety and insecurity during the perianesthesia period. It is important to the care relationship that the nurse be able to help the patient to establish a degree of control over their situation and thus regain their own sense of security. Music therapy can be a useful tool to accomplish this. The purpose of this study was to determine the effect of a music intervention on patient's mood and self-reported satisfaction. A multimodal research design using an open-ended interview and quantitative anxiety scale was used. A total of 15 patients were interviewed with an open question in addition to completing the Hospital Anxiety and Depression (HAD) scale. The interviews were analyzed using qualitative content analysis and the HAD scale according to standard practice. An analysis of the interviews revealed a main theme: a feeling of satisfaction, and three subthemes: positive experience, inner peace, and detachment from reality. It emerged from the interviews that it was important for the patients to select music themselves. Patients had a positive experience, inner peace, and detachment from reality with changes in the patients' state of mind before and after the musical intervention. The anxiety level significantly decreased (P = .019) after the patients listened to music during surgery compared with the prevalence of anxiety before listening to music. This study shows that music has a positive impact on patients undergoing anesthesia. Copyright © 2013 American Society of PeriAnesthesia Nurses. Published by Elsevier Inc. All rights reserved.

Can Listening to Music Decrease Pain, Anxiety, and Stress During a Urodynamic Study? A Randomized Prospective Trial Focusing on Gender Differences.

Science.gov (United States)

Shim, Ji Sung; Chae, Ji Yun; Kang, Sung Gu; Park, Jae Young; Bae, Jae Hyun; Kang, Seok Ho; Park, Hong Seok; Moon, Du Geon; Cheon, Jun; Lee, Jeong Gu; Kim, Je Jong; Oh, Mi Mi

2017-06-01

To evaluate the effect of listening to music on pain, anxiety, or stress during a urodynamic study (UDS). A total of 74 female and 74 male patients who underwent UDS between March 2013 and October 2013 were prospectively randomized. The patients were divided into 2 groups according to gender (female, n = 74 vs male, n = 74) and into 2 subgroups according to whether they listened to music or not. Music group subjects played their preferred music during UDS. Before and after UDS, all subjects completed the State-Trait Anxiety Inventory (STAI) form and their degree of pain, anxiety, and satisfaction during examination were assessed by the visual analog scale (VAS, 0-10). Basic vital signs were also checked before and after the procedure. In the analysis of anxiety, pain, and stress scores, the mean shame, discomfort, and satisfaction scores (VAS) were significantly higher in female patients, whereas the mean score of willingness to retry the procedure was higher in male patients whether listening to music or not (P music group and the no-music group in either gender. In our study, music during UDS did not reduce anxiety, pain, and stress in either gender. In the analysis focusing on gender difference, female patients showed statistically higher levels of pain, anxiety, and stress scores than male patients whether listening to music or not. Copyright © 2017 Elsevier Inc. All rights reserved.

Seizures Induced by Music

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A. O. Ogunyemi

1993-01-01

Full Text Available Musicogenic epilepsy is a rare disorder. Much remains to be learned about the electroclinical features. This report describes a patient who has been followed at our institution for 17 years, and was investigated with long-term telemetered simultaneous video-EEG recordings. She began to have seizures at the age of 10 years. She experienced complex partial seizures, often preceded by elementary auditory hallucination and complex auditory illusion. The seizures occurred in relation to singing, listening to music or thinking about music. She also had occasional generalized tonic clonic seizures during sleep. There was no significant antecedent history. The family history was negative for epilepsy. The physical examination was unremarkable. CT and MRI scans of the brain were normal. During long-term simultaneous video-EEG recordings, clinical and electrographic seizure activities were recorded in association with singing and listening to music. Mathematical calculation, copying or viewing geometric patterns and playing the game of chess failed to evoke seizures.

Music Listening Intervention vs Local Anaesthetic Cream for Pain Management in Infants Undergoing Venepuncture: A Collaborative Trans-Disciplinary Research

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Wen Fen Beh

2018-03-01

Full Text Available Aim: Local anaesthetic cream (EMLA is often used for paediatric procedural pain management. However, there are concerns about dependency on pain medication. A healthier alternative would be to use music listening intervention instead. This study aimed to test the effectiveness of music listening intervention in managing pain for infants undergoing venepuncture procedures in comparison to using EMLA. Materials and Methods: The research was conducted in two phases-in the first phase, surveys were conducted to determine the spectrum of popular Malaysian folk songs for children in nursery schools, and the selection of songs was then rearranged in an instrumental form to be played in the experimental phase. The experimental phase is the second part which involved the focus and control groups of infants that required venepuncture procedures. The focus group was given music listening intervention during the procedure while the control group was given EMLA. Results: The results revealed that there was no statistical difference between the two groups in pain management. Conclusion: This study shows that music listening intervention is comparable to EMLA cream in the management of venepuncture pain based on physiological response and pain behavioural score.

Playing and Listening to Tailor-Made Notched Music: Cortical Plasticity Induced by Unimodal and Multimodal Training in Tinnitus Patients

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Janna Pape

2014-01-01

Full Text Available Background. The generation and maintenance of tinnitus are assumed to be based on maladaptive functional cortical reorganization. Listening to modified music, which contains no energy in the range of the individual tinnitus frequency, can inhibit the corresponding neuronal activity in the auditory cortex. Music making has been shown to be a powerful stimulator for brain plasticity, inducing changes in multiple sensory systems. Using magnetoencephalographic (MEG and behavioral measurements we evaluated the cortical plasticity effects of two months of (a active listening to (unisensory versus (b learning to play (multisensory tailor-made notched music in nonmusician tinnitus patients. Taking into account the fact that uni- and multisensory trainings induce different patterns of cortical plasticity we hypothesized that these two protocols will have different affects. Results. Only the active listening (unisensory group showed significant reduction of tinnitus related activity of the middle temporal cortex and an increase in the activity of a tinnitus-coping related posterior parietal area. Conclusions. These findings indicate that active listening to tailor-made notched music induces greater neuroplastic changes in the maladaptively reorganized cortical network of tinnitus patients while additional integration of other sensory modalities during training reduces these neuroplastic effects.

Playing and listening to tailor-made notched music: cortical plasticity induced by unimodal and multimodal training in tinnitus patients.

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Pape, Janna; Paraskevopoulos, Evangelos; Bruchmann, Maximilian; Wollbrink, Andreas; Rudack, Claudia; Pantev, Christo

2014-01-01

BACKGROUND. The generation and maintenance of tinnitus are assumed to be based on maladaptive functional cortical reorganization. Listening to modified music, which contains no energy in the range of the individual tinnitus frequency, can inhibit the corresponding neuronal activity in the auditory cortex. Music making has been shown to be a powerful stimulator for brain plasticity, inducing changes in multiple sensory systems. Using magnetoencephalographic (MEG) and behavioral measurements we evaluated the cortical plasticity effects of two months of (a) active listening to (unisensory) versus (b) learning to play (multisensory) tailor-made notched music in nonmusician tinnitus patients. Taking into account the fact that uni- and multisensory trainings induce different patterns of cortical plasticity we hypothesized that these two protocols will have different affects. RESULTS. Only the active listening (unisensory) group showed significant reduction of tinnitus related activity of the middle temporal cortex and an increase in the activity of a tinnitus-coping related posterior parietal area. CONCLUSIONS. These findings indicate that active listening to tailor-made notched music induces greater neuroplastic changes in the maladaptively reorganized cortical network of tinnitus patients while additional integration of other sensory modalities during training reduces these neuroplastic effects.

The cognitive effects of listening to background music on older adults: processing speed improves with upbeat music, while memory seems to benefit from both upbeat and downbeat music.

Science.gov (United States)

Bottiroli, Sara; Rosi, Alessia; Russo, Riccardo; Vecchi, Tomaso; Cavallini, Elena

2014-01-01

Background music refers to any music played while the listener is performing another activity. Most studies on this effect have been conducted on young adults, while little attention has been paid to the presence of this effect in older adults. Hence, this study aimed to address this imbalance by assessing the impact of different types of background music on cognitive tasks tapping declarative memory and processing speed in older adults. Overall, background music tended to improve performance over no music and white noise, but not always in the same manner. The theoretical and practical implications of the empirical findings are discussed.

Towards a semiotics of listening

DEFF Research Database (Denmark)

van Leeuwen, Theo

2014-01-01

A study of listening as active participation, focusing on the use of listening shots in films and piano and drums accompaniment in jazz music......A study of listening as active participation, focusing on the use of listening shots in films and piano and drums accompaniment in jazz music...

Preferred sound levels of portable music players and listening habits among adults: a field study.

Science.gov (United States)

Kähäri, Kim R; Aslund, T; Olsson, J

2011-01-01

The main purpose of this descriptive field study was to explore music listening habits and preferred listening levels with portable music players (PMPs). We were also interested in seeing whether any exposure differences could be observed between the sexes. Data were collected during 12 hours at Stockholm Central Station, where people passing by were invited to measure their preferred PMP listening level by using a KEMAR manikin. People were also asked to answer a questionnaire about their listening habits. In all, 60 persons (41 men and 19 women) took part in the questionnaire study and 61 preferred PMP levels to be measured. Forty-one of these sound level measurements were valid to be reported after consideration was taken to acceptable measuring conditions. The women (31 years) and the men (33 years) started to use PMPs on a regular basis in their early 20s. Ear canal headphones/ear buds were the preferred headphone types. Fifty-seven percent of the whole study population used their PMP on a daily basis. The measured LAeq60 sec levels corrected for free field ranged between 73 and 102 dB, with a mean value of 83 dB. Sound levels for different types of headphones are also presented. The results of this study indicate that there are two groups of listeners: people who listen less frequently and at lower, safer sound levels, and people with excessive listening habits that may indeed damage their hearing sensory organ in time.

Preferred sound levels of portable music players and listening habits among adults: A field study

Directory of Open Access Journals (Sweden)

Kim R Kahari

2011-01-01

Full Text Available The main purpose of this descriptive field study was to explore music listening habits and preferred listening levels with portable music players (PMPs. We were also interested in seeing whether any exposure differences could be observed between the sexes. Data were collected during 12 hours at Stockholm Central Station, where people passing by were invited to measure their preferred PMP listening level by using a KEMAR manikin. People were also asked to answer a questionnaire about their listening habits. In all, 60 persons (41 men and 19 women took part in the questionnaire study and 61 preferred PMP levels to be measured. Forty-one of these sound level measurements were valid to be reported after consideration was taken to acceptable measuring conditions. The women (31 years and the men (33 years started to use PMPs on a regular basis in their early 20s. Ear canal headphones/ear buds were the preferred headphone types. Fifty-seven percent of the whole study population used their PMP on a daily basis. The measured LAeq60 sec levels corrected for free field ranged between 73 and 102 dB, with a mean value of 83 dB. Sound levels for different types of headphones are also presented. The results of this study indicate that there are two groups of listeners: people who listen less frequently and at lower, safer sound levels, and people with excessive listening habits that may indeed damage their hearing sensory organ in time.

Music Analysis Down the (You) Tube? Exploring the Potential of Cross-Media Listening for the Music Classroom

Science.gov (United States)

Webb, Michael

2007-01-01

School students' immersion in a rich entertainment media environment has implications for classroom listening. Increasing interaction among media, design, games, communications and arts fields has led to a growing trend in the creative alignment of music and moving image. Video sharing sites such as YouTube are assisting in the proliferation and…

Effect of listening to music and essential oil inhalation on patients undergoing screening CT colonography: A randomized controlled trial

Energy Technology Data Exchange (ETDEWEB)

Nagata, Koichi, E-mail: Nagata7@aol.com [Department of Radiology, Kameda Medical Center, 929 Higashi-cho, Kamogawa, Chiba 296-8602 (Japan); Department of Radiology, Jichi Medical University, 3311-1 Yakushiji, Shimotsuke, Tochigi 329-0498 (Japan); Cancer Screening Technology Division, Research Center for Cancer Prevention and Screening, National Cancer Center, 5-1-1, Tsukiji, Chuo-ku, Tokyo 104-0045 (Japan); Iida, Nao, E-mail: n.iida-xray@kameda.jp [Department of Radiology, Kameda Medical Center Makuhari, 1-3, Nakase, Mihama-ku, Chiba 261-8501 (Japan); Kanazawa, Hidenori, E-mail: r0713hk@jichi.ac.jp [Department of Radiology, Jichi Medical University, 3311-1 Yakushiji, Shimotsuke, Tochigi 329-0498 (Japan); Fujiwara, Masanori, E-mail: m_fujiwara@kameda.jp [Department of Radiology, Kameda Medical Center Makuhari, 1-3, Nakase, Mihama-ku, Chiba 261-8501 (Japan); Mogi, Tomohiro, E-mail: mogi-xray@kameda.jp [Department of Radiology, Kameda Medical Center Makuhari, 1-3, Nakase, Mihama-ku, Chiba 261-8501 (Japan); Mitsushima, Toru, E-mail: mitsushima@kameda.jp [Department of Gastroenterology, Kameda Medical Center Makuhari, 1-3, Nakase, Mihama-ku, Chiba 261-8501 (Japan); Lefor, Alan T., E-mail: alefor@jichi.ac.jp [Department of Surgery, Jichi Medical University, 3311-1 Yakushiji, Shimotsuke, Tochigi 329-0498 (Japan); Sugimoto, Hideharu, E-mail: sugimoto@jichi.ac.jp [Department of Radiology, Jichi Medical University, 3311-1 Yakushiji, Shimotsuke, Tochigi 329-0498 (Japan)

2014-12-15

Highlights: • Music does not decrease patients’ perceived pain or acceptance during CTC. • Aromatherapy does not affect patients’ perceived pain or experience during CTC. • Music and aroma had little effect on vital signs during CTC. • More participants who listened to music requested music during the next CTC. • More participants who inhaled aroma requested aroma during the next CTC. - Abstract: Objective: To prospectively evaluate the effect of listening to music and inhaling aroma oil on patients undergoing screening computed tomography colonography. Materials and methods: Two hundred and twenty four participants were randomly allocated to one of the four groups including: (1) combined music and aroma, (2) music alone, (3) aroma alone, and (4) control. The visual analog scale for pain and a questionnaire were used for subjective outcomes. We also used a pre-test–post-test design to compare the differences in blood pressure and heart rate as objective outcomes. Results: There were no statistical differences between the control group and other groups in the visual analog scale or changes in heart rate. Changes in blood pressure were similar. Participants reported good overall experiences. There were no differences in terms of overall satisfaction, pain rating, willingness to repeat the computed tomography colonography procedure in the future, or preference between colonoscopy and computed tomography colonography. More participants using music and/or aroma requested music and/or aroma during the next computed tomography colonography (P < 0.0001). Conclusion: Although audio and olfactory intervention had little effect on perceived pain or discomfort and vital signs, participants who listened to music and inhaled aroma during the computed tomography colonography preferred music and aroma during the next computed tomography colonography.

Effect of listening to music and essential oil inhalation on patients undergoing screening CT colonography: A randomized controlled trial

International Nuclear Information System (INIS)

Nagata, Koichi; Iida, Nao; Kanazawa, Hidenori; Fujiwara, Masanori; Mogi, Tomohiro; Mitsushima, Toru; Lefor, Alan T.; Sugimoto, Hideharu

2014-01-01

Highlights: • Music does not decrease patients’ perceived pain or acceptance during CTC. • Aromatherapy does not affect patients’ perceived pain or experience during CTC. • Music and aroma had little effect on vital signs during CTC. • More participants who listened to music requested music during the next CTC. • More participants who inhaled aroma requested aroma during the next CTC. - Abstract: Objective: To prospectively evaluate the effect of listening to music and inhaling aroma oil on patients undergoing screening computed tomography colonography. Materials and methods: Two hundred and twenty four participants were randomly allocated to one of the four groups including: (1) combined music and aroma, (2) music alone, (3) aroma alone, and (4) control. The visual analog scale for pain and a questionnaire were used for subjective outcomes. We also used a pre-test–post-test design to compare the differences in blood pressure and heart rate as objective outcomes. Results: There were no statistical differences between the control group and other groups in the visual analog scale or changes in heart rate. Changes in blood pressure were similar. Participants reported good overall experiences. There were no differences in terms of overall satisfaction, pain rating, willingness to repeat the computed tomography colonography procedure in the future, or preference between colonoscopy and computed tomography colonography. More participants using music and/or aroma requested music and/or aroma during the next computed tomography colonography (P < 0.0001). Conclusion: Although audio and olfactory intervention had little effect on perceived pain or discomfort and vital signs, participants who listened to music and inhaled aroma during the computed tomography colonography preferred music and aroma during the next computed tomography colonography

Listening to Music during Warming-Up Counteracts the Negative Effects of Ramadan Observance on Short-Term Maximal Performance

Science.gov (United States)

Baklouti, Hana; Chtourou, Hamdi; Driss, Tarak; Chaouachi, Anis; Chamari, Karim; Souissi, Nizar

2015-01-01

Aim The aim of the present study was to examine whether listening to music during warming-up might influence short-term maximal performance (STMP), cognitive anxiety, self-confidence, and enjoyment during Ramadan, and whether these affects might predict STMP. Methods Nine male physical education students (age: 21 ± 1.1 years; height: 1.8 ± 0.04 m; body mass: 83 ± 5 kg) volunteered to participate in the present study. A within-subjects design consisted of four experimental sessions: Two sessions occurred one week before Ramadan and two others took place during Ramadan. They were scheduled at 5 p.m. and were conducted as follows: After a 10-minute warm-up either with or without listening to music, each participant performed a 5-m multiple shuttle run test, after which he was asked to answer items intended to assess his affective state during the experimental task. Results Our findings revealed that STMP was lower during Ramadan than before Ramadan in the no-music condition. Additionally, it was found that STMP was higher in the music condition than in the no-music condition during Ramadan, and that STMP measured before Ramadan did not differ from that measured during Ramadan in the music condition. Regarding affects, the findings revealed that enjoyment was lower during Ramadan than before Ramadan in the music condition, and that cognitive anxiety was lower in the music condition than in the no-music condition before Ramadan. Self-confidence was not influenced by the experimental conditions. Conclusion This study showed that listening to music during warming-up not only would be beneficial for STMP in Ramadan fasters, but also would counteract the negative effects of Ramadan observance on STMP. PMID:26301508

The cognitive effects of listening to background music on older adults: Processing speed improves with upbeat music, while memory seems to benefit from both upbeat and downbeat music.

Directory of Open Access Journals (Sweden)

Sara eBottiroli

2014-10-01

Full Text Available Background music refers to any music played while the listener is performing another activity. Most studies on this effect have been conducted on young adults, while little attention has been paid to the presence of this effect in older adults. Hence, this study aimed to address this imbalance by assessing the impact of different types of background music on cognitive tasks tapping declarative memory and processing speed in older adults. Overall, background music tended to improve performance over no music and white noise, but not always in the same manner. The theoretical and practical implications of the empirical findings are discussed.

Risky music listening, permanent tinnitus and depression, anxiety, thoughts about suicide and adverse general health.

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Ineke Vogel

Full Text Available OBJECTIVE: To estimate the extent to which exposure to music through earphones or headphones with MP3 players or at discotheques and pop/rock concerts exceeded current occupational safety standards for noise exposure, to examine the extent to which temporary and permanent hearing-related symptoms were reported, and to examine whether the experience of permanent symptoms was associated with adverse perceived general and mental health, symptoms of depression, and thoughts about suicide. METHODS: A total of 943 students in Dutch inner-city senior-secondary vocational schools completed questionnaires about their sociodemographics, music listening behaviors and health. Multiple logistic regression analyses were used to examine associations. RESULTS: About 60% exceeded safety standards for occupational noise exposure; about one third as a result of listening to MP3 players. About 10% of the participants experienced permanent hearing-related symptoms. Temporary hearing symptoms that occurred after using an MP3 player or going to a discotheque or pop/rock concert were associated with exposure to high-volume music. However, compared to participants not experiencing permanent hearing-related symptoms, those experiencing permanent symptoms were less often exposed to high volume music. Furthermore, they reported at least two times more often symptoms of depression, thoughts about suicide and adverse self-assessed general and mental health. CONCLUSIONS: Risky music-listening behaviors continue up to at least the age of 25 years. Permanent hearing-related symptoms are associated with people's health and wellbeing. Participants experiencing such symptoms appeared to have changed their behavior to be less risky. In order to induce behavior change before permanent and irreversible hearing-related symptoms occur, preventive measurements concerning hearing health are needed.

Risky music listening, permanent tinnitus and depression, anxiety, thoughts about suicide and adverse general health.

Science.gov (United States)

Vogel, Ineke; van de Looij-Jansen, Petra M; Mieloo, Cathelijne L; Burdorf, Alex; de Waart, Frouwkje

2014-01-01

To estimate the extent to which exposure to music through earphones or headphones with MP3 players or at discotheques and pop/rock concerts exceeded current occupational safety standards for noise exposure, to examine the extent to which temporary and permanent hearing-related symptoms were reported, and to examine whether the experience of permanent symptoms was associated with adverse perceived general and mental health, symptoms of depression, and thoughts about suicide. A total of 943 students in Dutch inner-city senior-secondary vocational schools completed questionnaires about their sociodemographics, music listening behaviors and health. Multiple logistic regression analyses were used to examine associations. About 60% exceeded safety standards for occupational noise exposure; about one third as a result of listening to MP3 players. About 10% of the participants experienced permanent hearing-related symptoms. Temporary hearing symptoms that occurred after using an MP3 player or going to a discotheque or pop/rock concert were associated with exposure to high-volume music. However, compared to participants not experiencing permanent hearing-related symptoms, those experiencing permanent symptoms were less often exposed to high volume music. Furthermore, they reported at least two times more often symptoms of depression, thoughts about suicide and adverse self-assessed general and mental health. Risky music-listening behaviors continue up to at least the age of 25 years. Permanent hearing-related symptoms are associated with people's health and wellbeing. Participants experiencing such symptoms appeared to have changed their behavior to be less risky. In order to induce behavior change before permanent and irreversible hearing-related symptoms occur, preventive measurements concerning hearing health are needed.

The Effects of Listening to Music Just Before Reading Test on Students’ Test Score

OpenAIRE

MAHDAVI, Mojtaba

2015-01-01

Abstract. In this study the researcher  examined  the  effect  of  music  on  reading  comprehension played just before the test .  Because the emotional consequences of music listening are evident in stress and anxiety removal, it was used as a tool to pacify the mind of the tastes and boost their memory and the related cognitive processes. Experimental group did well with the mean score of) and control group (). This study confirmed that using multimedia devices such as music can not only i...

Connectivity patterns during music listening: Evidence for action-based processing in musicians.

Science.gov (United States)

Alluri, Vinoo; Toiviainen, Petri; Burunat, Iballa; Kliuchko, Marina; Vuust, Peter; Brattico, Elvira

2017-06-01

Musical expertise is visible both in the morphology and functionality of the brain. Recent research indicates that functional integration between multi-sensory, somato-motor, default-mode (DMN), and salience (SN) networks of the brain differentiates musicians from non-musicians during resting state. Here, we aimed at determining whether brain networks differentially exchange information in musicians as opposed to non-musicians during naturalistic music listening. Whole-brain graph-theory analyses were performed on participants' fMRI responses. Group-level differences revealed that musicians' primary hubs comprised cerebral and cerebellar sensorimotor regions whereas non-musicians' dominant hubs encompassed DMN-related regions. Community structure analyses of the key hubs revealed greater integration of motor and somatosensory homunculi representing the upper limbs and torso in musicians. Furthermore, musicians who started training at an earlier age exhibited greater centrality in the auditory cortex, and areas related to top-down processes, attention, emotion, somatosensory processing, and non-verbal processing of speech. We here reveal how brain networks organize themselves in a naturalistic music listening situation wherein musicians automatically engage neural networks that are action-based while non-musicians use those that are perception-based to process an incoming auditory stream. Hum Brain Mapp 38:2955-2970, 2017. © 2017 Wiley Periodicals, Inc. © 2017 Wiley Periodicals, Inc.

The Effects of Listening to Persian Music on the Hand Dexterity and Depression in a Patient with Stroke: A Case Report

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Reyhaneh Maktoufi

2015-09-01

Full Text Available Introduction: Nowadays the use of music therapy for neurological disorders in developed countries is widely emphasized. Despite this, there is little scientific evidence regarding the use of this method for the treatment of Iranian patients with stroke. Case report: Since Iranian patients are more familiar with Persian music, this study was performed to describe the effects of listening to the Persian music played with Daf (an Iranian music instrument in a 54-year-old man with chronic stroke. Discussion: This case report could show for the first time, the positive effect of passive listening to Persian music with Iranian Daf instrument on the hand dexterity and depression in a patient with chronic stroke.

Music listening for anxiety relief in children in the preoperative period: a randomized clinical trial

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Mariana André Honorato Franzoi

Full Text Available ABSTRACT Objective: to investigate the effects of music listening, for 15 minutes, on the preoperative anxiety levels in children undergoing elective surgery in comparison with conventional pediatric surgical care. Method: randomized controlled clinical trial pilot study with 52 children in the preoperative period, aged 3 to 12 years, undergoing elective surgery and randomly allocated in the experimental group (n = 26 and control group (n = 26. Anxiety was assessed in both groups by the application of the modified Yale Preoperative Anxiety Scale and measurement of the physiological variables, upon arrival and 15 minutes after the first measurement. Results: there was a statistically significant difference in preoperative anxiety between the two groups only in relation to the physiological variable, since the respiratory rate of preschool children in the experimental group reduced in the second measurement compared to the control group (p = 0.0453. The experimental group showed a statistically significant reduction in anxiety levels after 15 minutes of music listening (p = 0.0441, specifically with regard to the behavioral domains of activity, vocalization, emotional expression and apparent awakening state. Conclusion: music listening emerges as a potential nursing intervention for relief of preoperative anxiety in children undergoing surgical procedures. RBR-7mcr59.

Music Engineering as a Novel Strategy for Enhancing Music Enjoyment in the Cochlear Implant Recipient.

Science.gov (United States)

Kohlberg, Gavriel D; Mancuso, Dean M; Chari, Divya A; Lalwani, Anil K

2015-01-01

Enjoyment of music remains an elusive goal following cochlear implantation. We test the hypothesis that reengineering music to reduce its complexity can enhance the listening experience for the cochlear implant (CI) listener. Normal hearing (NH) adults (N = 16) and CI listeners (N = 9) evaluated a piece of country music on three enjoyment modalities: pleasantness, musicality, and naturalness. Participants listened to the original version along with 20 modified, less complex, versions created by including subsets of the musical instruments from the original song. NH participants listened to the segments both with and without CI simulation processing. Compared to the original song, modified versions containing only 1-3 instruments were less enjoyable to the NH listeners but more enjoyable to the CI listeners and the NH listeners with CI simulation. Excluding vocals and including rhythmic instruments improved enjoyment for NH listeners with CI simulation but made no difference for CI listeners. Reengineering a piece of music to reduce its complexity has the potential to enhance music enjoyment for the cochlear implantee. Thus, in addition to improvements in software and hardware, engineering music specifically for the CI listener may be an alternative means to enhance their listening experience.

Does Listening to Music during Tonsillectomy Affect Sevoflurane Consumption?

Science.gov (United States)

Doğan Baki, Elif; Ulu, Şahin; Yüksek, Ahmet; Arıcan, Hüseyin; Sivaci, Remziye

2018-03-12

The aim of this study was to investigate the effect of listening to music on the consumption of an anesthetic agent as well as postoperative recovery and pain in children undergoing elective tonsillectomy. Fifty patients were randomized into those to whom music was played during surgery (Group M) and a control group to whom music was not played (Group C). The depth of anesthesia was provided by entropy levels of 50 ± 5 in both groups. Demographic characteristics and hemodynamic parameters were recorded perioperatively. The duration of surgery sevoflurane consumption, eye opening time, and extubation time were also recorded. A value of p < 0.05 was considered statistically significant. Surgical pleth index values measured intraoperatively were statistically lower in Group M than in Group C. In the post-anesthesia care unit children in the music group felt less pain than those in the control group according to Wong-Baker Faces Pain Rating Scale (p = 0.035). The heart rates of the patients in the music group were statistically lower at 30 minutes intraoperatively and at the end of the procedure compared to the values of the control group (p = 0.015). Consumption of sevoflurane was lower in Group M than in Group C but the difference was not statistically significant. The need for additional fentanyl was significantly lower in Group M than in Group C. In this study, the children exposed to music intraoperatively needed less analgesia during surgery, and reported less pain postoperatively, but there was no difference in sevoflurane requirements. ©2018The Author(s). Published by S. Karger AG, Basel.

Listening to the Line: Notes on Music, Globalization, and the US-Mexico Border

Directory of Open Access Journals (Sweden)

Josh Kun

2014-06-01

Full Text Available The following is an experiment in theory and practice, and is therefore divided into two parts. The first introduces the concept of “the aural border”, my attempt to listen to the US-Mexico border as a geography of sound and music. The second explores this notion through an excerpt from a critical performance text of mine, “Border Sound Files: An Audio Essay”, which tells musical stories of the border as a key site of globalization.

When music flows. State and Trait Flow in musical performance, composition and listening: A systematic review

Directory of Open Access Journals (Sweden)

Alice eChirico

2015-06-01

Full Text Available It is not unusual to experience a sense of total absorption, concentration, action-awareness, distortion of time and intrinsic enjoyment during an activity that involves music. Indeed, it is noted that there is a special relationship between these two aspects (i.e., music and flow experience. In order to deeply explore flow in the musical domain, it is crucial to consider the complexity of the flow experience—both as a state and as a trait. Secondly, since music is a multifaceted domain, it is necessary to concentrate on specific music settings, such as (i musical composition; (ii listening; and (iii musical performance. To address these issues, the current review aims to outline flow experience as a trait and as a state in the three above-mentioned musical domains. Clear and useful guidelines to distinguish between flow as a state and as a trait are provided by literature concerning flow assessment. For this purpose, three aspects of the selected studies are discussed and analyzed: (i the characteristics of the flow assessments used; (ii the experimental design; (iii the results; and (iv the interrelations between the three domains. Results showed that the dispositional approach is predominant in the above-mentioned settings, mainly regarding music performance. Several aspects concerning musical contexts still need to be deeply analyzed.Future challenges could include the role of a group level of analysis, overcoming a frequency approach towards dispositional flow, and integrating both state and dispositional flow perspectives in order to deepen comprehension of how flow takes place in musical contexts.Finally, to explain the complex relationship between these two phenomena, we suggest that music and flow could be seen as an emergent embodied system.

When music “flows”. State and trait in musical performance, composition and listening: a systematic review

Science.gov (United States)

Chirico, Alice; Serino, Silvia; Cipresso, Pietro; Gaggioli, Andrea; Riva, Giuseppe

2015-01-01

It is not unusual to experience a sense of total absorption, concentration, action-awareness, distortion of time and intrinsic enjoyment during an activity that involves music. Indeed, it is noted that there is a special relationship between these two aspects (i.e., music and flow experience). In order to deeply explore flow in the musical domain, it is crucial to consider the complexity of the flow experience—both as a “state” and as a “trait.” Secondly, since music is a multifaceted domain, it is necessary to concentrate on specific music settings, such as (i) musical composition; (ii) listening; and (iii) musical performance. To address these issues, the current review aims to outline flow experience as a “trait” and as a “state” in the three above-mentioned musical domains. Clear and useful guidelines to distinguish between flow as a “state” and as a “trait” are provided by literature concerning flow assessment. For this purpose, three aspects of the selected studies are discussed and analyzed: (i) the characteristics of the flow assessments used; (ii) the experimental design; (iii) the results; and (iv) the interrelations between the three domains. Results showed that the dispositional approach is predominant in the above-mentioned settings, mainly regarding music performance. Several aspects concerning musical contexts still need to be deeply analyzed. Future challenges could include the role of a group level of analysis, overcoming a frequency approach toward dispositional flow, and integrating both state and dispositional flow perspectives in order to deepen comprehension of how flow takes place in musical contexts. Finally, to explain the complex relationship between these two phenomena, we suggest that music and flow could be seen as an emergent embodied system. PMID:26175709

Music Engineering as a Novel Strategy for Enhancing Music Enjoyment in the Cochlear Implant Recipient

Directory of Open Access Journals (Sweden)

Gavriel D. Kohlberg

2015-01-01

Full Text Available Objective. Enjoyment of music remains an elusive goal following cochlear implantation. We test the hypothesis that reengineering music to reduce its complexity can enhance the listening experience for the cochlear implant (CI listener. Methods. Normal hearing (NH adults (N=16 and CI listeners (N=9 evaluated a piece of country music on three enjoyment modalities: pleasantness, musicality, and naturalness. Participants listened to the original version along with 20 modified, less complex, versions created by including subsets of the musical instruments from the original song. NH participants listened to the segments both with and without CI simulation processing. Results. Compared to the original song, modified versions containing only 1–3 instruments were less enjoyable to the NH listeners but more enjoyable to the CI listeners and the NH listeners with CI simulation. Excluding vocals and including rhythmic instruments improved enjoyment for NH listeners with CI simulation but made no difference for CI listeners. Conclusions. Reengineering a piece of music to reduce its complexity has the potential to enhance music enjoyment for the cochlear implantee. Thus, in addition to improvements in software and hardware, engineering music specifically for the CI listener may be an alternative means to enhance their listening experience.

A New Look at Teaching Music History.

Science.gov (United States)

Borroff, Edith

1992-01-01

Contends that teaching music history has traditionally focused on five eras of Western music. Relates these periods to concepts of form, space, and understanding. Acknowledges that music education has been ethnocentric and recommends a more universal music education. (CFR)

Structural changes induced by daily music listening in the recovering brain after middle cerebral artery stroke: a voxel-based morphometry study

Directory of Open Access Journals (Sweden)

Teppo eSärkämö

2014-04-01

Full Text Available Music is a highly complex and versatile stimulus for the brain that engages many temporal, frontal, parietal, cerebellar, and subcortical areas involved in auditory, cognitive, emotional, and motor processing. Regular musical activities have been shown to effectively enhance the structure and function of many brain areas, making music a potential tool also in neurological rehabilitation. In our previous randomized controlled study, we found that listening to music on a daily basis can improve cognitive recovery and improve mood after an acute middle cerebral artery (MCA stroke. Extending this study, a voxel-based morphometry (VBM analysis utilizing cost-function masking was performed on the acute and 6-month post-stroke stage structural MRI data of the patients (n = 49 who either listened to their favourite music (music group, n = 16 or verbal material (audio book group, n = 18 or did not receive any listening material (control group, n = 15 during the 6-month recovery period. Although all groups showed significant grey matter volume (GMV increases from the acute to the 6-month stage, there was a specific network of frontal areas [left and right superior frontal gyrus (SFG, right medial SFG] and limbic areas [left ventral / subgenual anterior cingulate cortex (SACC and right ventral striatum (VS] in patients with left hemisphere damage in which the GMV increases were larger in the music group than in the audio book and control groups. Moreover, the GM reorganization in the frontal areas correlated with enhanced recovery of verbal memory, focused attention, and language skills, whereas the GM reorganization in the SACC correlated with reduced negative mood. This study adds on previous results, showing that music listening after stroke not only enhances behavioural recovery, but also induces fine-grained neuroanatomical changes in the recovering brain.

Popular Music in Southeast Asia : Banal Beats, Muted Histories

NARCIS (Netherlands)

Barendregt, Bart; Keppy, Peter; Schulte Nordholt, Henk

2017-01-01

'Popular Music in Southeast Asia: Banal Beats, Muted Histories' offers a cultural history of modern Southeast Asia from the original vantage point of popular music since the 1920s up to the present. By creatively connecting indigenous musical styles with foreign musical genres, Southeast Asians

Changing the tune: listeners like music that expresses a contrasting emotion

Directory of Open Access Journals (Sweden)

E Glenn eSchellenberg

2012-12-01

Full Text Available Theories of aesthetic appreciation propose that (1 a stimulus is liked because it is expected or familiar, (2 a stimulus is liked most when it is neither too familiar nor too novel, or (3 a novel stimulus is liked because it elicits an intensified emotional response. We tested the third hypothesis by examining liking for music as a function of whether the emotion it expressed contrasted with the emotion expressed by music heard previously. Stimuli were 30-s happy- or sad-sounding excerpts from recordings of classical piano music. On each trial, listeners heard a different excerpt and made liking and emotion-intensity ratings. The emotional character of consecutive excerpts was repeated with varying frequencies, followed by an excerpt that expressed a contrasting emotion. As the number of presentations of the background emotion increased, liking and intensity ratings became lower compared to those for the contrasting emotion. Consequently, when the emotional character of the music was relatively novel, listeners’ responses intensified and their appreciation increased.

Everyday music listening and affect regulation: The role of MP3 players

Directory of Open Access Journals (Sweden)

Marie Strand Skånland

2013-08-01

Full Text Available The use of digital portable music devices such as MP3 players has rapidly increased during the last decade, and the sheer availability of music offered by such players raises questions about their impact on listeners’ mental and physical health and well-being. This article explores MP3 player use as an everyday tactic for affect regulation, here understood as an individual's efforts to maintain or change the intensity or duration of a given affect. The ability to understand and regulate affects has significant health implications, and among the tactics relevant to such regulation, engagement with music has proven to be particularly successful. The material presented in this article is based on a qualitative interview study focused on MP3 player use as a medium for musical self-care. Because MP3 users can listen to whatever they want, whenever they want, and target their music in the interests of managing and regulating moods and emotions, the MP3 player represents a valuable and convenient technology of affect regulation.

Event-related brain responses while listening to entire pieces of music

DEFF Research Database (Denmark)

Poikonen, H; Alluri, V; Brattico, E

2016-01-01

ERPs in human elicited by continuous music. The ERPs were recorded during listening to a Tango Nuevo piece, a deep techno track and an acoustic lullaby. Acoustic features related to timbre, harmony, and dynamics of the audio signal were computationally extracted from the musical pieces. Negative...... deflation occurring around 100 milliseconds after the stimulus onset (N100) and positive deflation occurring around 200 milliseconds after the stimulus onset (P200) ERP responses to peak changes in the acoustic features were distinguishable and were often largest for Tango Nuevo. In addition to large...... changes in these musical features, long phases of low values that precede a rapid increase – and that we will call Preceding Low-Feature Phases – followed by a rapid increase enhanced the amplitudes of N100 and P200 responses. These ERP responses resembled those to simpler sounds, making it possible...

Investigation of the Sound Pressure Level (SPL) of earphones during music listening with the use of physical ear canal models

Science.gov (United States)

Aying, K. P.; Otadoy, R. E.; Violanda, R.

2015-06-01

This study investigates on the sound pressure level (SPL) of insert-type earphones that are commonly used for music listening of the general populace. Measurements of SPL from earphones of different respondents were measured by plugging the earphone to a physical ear canal model. Durations of the earphone used for music listening were also gathered through short interviews. Results show that 21% of the respondents exceed the standard loudness/duration relation recommended by the World Health Organization (WHO).

Young Listeners' Music Style Preferences: Patterns Related to Cultural Identification and Language Use

Science.gov (United States)

Brittin, Ruth V.

2014-01-01

Listeners ("N" = 543) in grades 4, 5, and 6 rated their preference for 10 instrumental and vocal selections from various styles, including four popular music selections with versions performed in English, Spanish, or an Asian language. Participants estimated their identification with Spanish/Hispanic/Latino and Asian cultures, the number…

Structural changes induced by daily music listening in the recovering brain after middle cerebral artery stroke: a voxel-based morphometry study.

Science.gov (United States)

Särkämö, Teppo; Ripollés, Pablo; Vepsäläinen, Henna; Autti, Taina; Silvennoinen, Heli M; Salli, Eero; Laitinen, Sari; Forsblom, Anita; Soinila, Seppo; Rodríguez-Fornells, Antoni

2014-01-01

Music is a highly complex and versatile stimulus for the brain that engages many temporal, frontal, parietal, cerebellar, and subcortical areas involved in auditory, cognitive, emotional, and motor processing. Regular musical activities have been shown to effectively enhance the structure and function of many brain areas, making music a potential tool also in neurological rehabilitation. In our previous randomized controlled study, we found that listening to music on a daily basis can improve cognitive recovery and improve mood after an acute middle cerebral artery stroke. Extending this study, a voxel-based morphometry (VBM) analysis utilizing cost function masking was performed on the acute and 6-month post-stroke stage structural magnetic resonance imaging data of the patients (n = 49) who either listened to their favorite music [music group (MG), n = 16] or verbal material [audio book group (ABG), n = 18] or did not receive any listening material [control group (CG), n = 15] during the 6-month recovery period. Although all groups showed significant gray matter volume (GMV) increases from the acute to the 6-month stage, there was a specific network of frontal areas [left and right superior frontal gyrus (SFG), right medial SFG] and limbic areas [left ventral/subgenual anterior cingulate cortex (SACC) and right ventral striatum (VS)] in patients with left hemisphere damage in which the GMV increases were larger in the MG than in the ABG and in the CG. Moreover, the GM reorganization in the frontal areas correlated with enhanced recovery of verbal memory, focused attention, and language skills, whereas the GM reorganization in the SACC correlated with reduced negative mood. This study adds on previous results, showing that music listening after stroke not only enhances behavioral recovery, but also induces fine-grained neuroanatomical changes in the recovering brain.

Structural Changes Induced by Daily Music Listening in the Recovering Brain after Middle Cerebral Artery Stroke: A Voxel-Based Morphometry Study

Science.gov (United States)

Särkämö, Teppo; Ripollés, Pablo; Vepsäläinen, Henna; Autti, Taina; Silvennoinen, Heli M.; Salli, Eero; Laitinen, Sari; Forsblom, Anita; Soinila, Seppo; Rodríguez-Fornells, Antoni

2014-01-01

Music is a highly complex and versatile stimulus for the brain that engages many temporal, frontal, parietal, cerebellar, and subcortical areas involved in auditory, cognitive, emotional, and motor processing. Regular musical activities have been shown to effectively enhance the structure and function of many brain areas, making music a potential tool also in neurological rehabilitation. In our previous randomized controlled study, we found that listening to music on a daily basis can improve cognitive recovery and improve mood after an acute middle cerebral artery stroke. Extending this study, a voxel-based morphometry (VBM) analysis utilizing cost function masking was performed on the acute and 6-month post-stroke stage structural magnetic resonance imaging data of the patients (n = 49) who either listened to their favorite music [music group (MG), n = 16] or verbal material [audio book group (ABG), n = 18] or did not receive any listening material [control group (CG), n = 15] during the 6-month recovery period. Although all groups showed significant gray matter volume (GMV) increases from the acute to the 6-month stage, there was a specific network of frontal areas [left and right superior frontal gyrus (SFG), right medial SFG] and limbic areas [left ventral/subgenual anterior cingulate cortex (SACC) and right ventral striatum (VS)] in patients with left hemisphere damage in which the GMV increases were larger in the MG than in the ABG and in the CG. Moreover, the GM reorganization in the frontal areas correlated with enhanced recovery of verbal memory, focused attention, and language skills, whereas the GM reorganization in the SACC correlated with reduced negative mood. This study adds on previous results, showing that music listening after stroke not only enhances behavioral recovery, but also induces fine-grained neuroanatomical changes in the recovering brain. PMID:24860466

Congenital amusia persists in the developing brain after daily music listening.

Science.gov (United States)

Mignault Goulet, Geneviève; Moreau, Patricia; Robitaille, Nicolas; Peretz, Isabelle

2012-01-01

Congenital amusia is a neurodevelopmental disorder that affects about 3% of the adult population. Adults experiencing this musical disorder in the absence of macroscopically visible brain injury are described as cases of congenital amusia under the assumption that the musical deficits have been present from birth. Here, we show that this disorder can be expressed in the developing brain. We found that (10-13 year-old) children exhibit a marked deficit in the detection of fine-grained pitch differences in both musical and acoustical context in comparison to their normally developing peers comparable in age and general intelligence. This behavioral deficit could be traced down to their abnormal P300 brain responses to the detection of subtle pitch changes. The altered pattern of electrical activity does not seem to arise from an anomalous functioning of the auditory cortex, because all early components of the brain potentials, the N100, the MMN, and the P200 appear normal. Rather, the brain and behavioral measures point to disrupted information propagation from the auditory cortex to other cortical regions. Furthermore, the behavioral and neural manifestations of the disorder remained unchanged after 4 weeks of daily musical listening. These results show that congenital amusia can be detected in childhood despite regular musical exposure and normal intellectual functioning.

Sad music induces pleasant emotion.

Science.gov (United States)

Kawakami, Ai; Furukawa, Kiyoshi; Katahira, Kentaro; Okanoya, Kazuo

2013-01-01

In general, sad music is thought to cause us to experience sadness, which is considered an unpleasant emotion. As a result, the question arises as to why we listen to sad music if it evokes sadness. One possible answer to this question is that we may actually feel positive emotions when we listen to sad music. This suggestion may appear to be counterintuitive; however, in this study, by dividing musical emotion into perceived emotion and felt emotion, we investigated this potential emotional response to music. We hypothesized that felt and perceived emotion may not actually coincide in this respect: sad music would be perceived as sad, but the experience of listening to sad music would evoke positive emotions. A total of 44 participants listened to musical excerpts and provided data on perceived and felt emotions by rating 62 descriptive words or phrases related to emotions on a scale that ranged from 0 (not at all) to 4 (very much). The results revealed that the sad music was perceived to be more tragic, whereas the actual experiences of the participants listening to the sad music induced them to feel more romantic, more blithe, and less tragic emotions than they actually perceived with respect to the same music. Thus, the participants experienced ambivalent emotions when they listened to the sad music. After considering the possible reasons that listeners were induced to experience emotional ambivalence by the sad music, we concluded that the formulation of a new model would be essential for examining the emotions induced by music and that this new model must entertain the possibility that what we experience when listening to music is vicarious emotion.

Sad music induces pleasant emotion

Science.gov (United States)

Kawakami, Ai; Furukawa, Kiyoshi; Katahira, Kentaro; Okanoya, Kazuo

2013-01-01

In general, sad music is thought to cause us to experience sadness, which is considered an unpleasant emotion. As a result, the question arises as to why we listen to sad music if it evokes sadness. One possible answer to this question is that we may actually feel positive emotions when we listen to sad music. This suggestion may appear to be counterintuitive; however, in this study, by dividing musical emotion into perceived emotion and felt emotion, we investigated this potential emotional response to music. We hypothesized that felt and perceived emotion may not actually coincide in this respect: sad music would be perceived as sad, but the experience of listening to sad music would evoke positive emotions. A total of 44 participants listened to musical excerpts and provided data on perceived and felt emotions by rating 62 descriptive words or phrases related to emotions on a scale that ranged from 0 (not at all) to 4 (very much). The results revealed that the sad music was perceived to be more tragic, whereas the actual experiences of the participants listening to the sad music induced them to feel more romantic, more blithe, and less tragic emotions than they actually perceived with respect to the same music. Thus, the participants experienced ambivalent emotions when they listened to the sad music. After considering the possible reasons that listeners were induced to experience emotional ambivalence by the sad music, we concluded that the formulation of a new model would be essential for examining the emotions induced by music and that this new model must entertain the possibility that what we experience when listening to music is vicarious emotion. PMID:23785342

Emotional response to musical repetition.

Science.gov (United States)

Livingstone, Steven R; Palmer, Caroline; Schubert, Emery

2012-06-01

Two experiments examined the effects of repetition on listeners' emotional response to music. Listeners heard recordings of orchestral music that contained a large section repeated twice. The music had a symmetric phrase structure (same-length phrases) in Experiment 1 and an asymmetric phrase structure (different-length phrases) in Experiment 2, hypothesized to alter the predictability of sensitivity to musical repetition. Continuous measures of arousal and valence were compared across music that contained identical repetition, variation (related), or contrasting (unrelated) structure. Listeners' emotional arousal ratings differed most for contrasting music, moderately for variations, and least for repeating musical segments. A computational model for the detection of repeated musical segments was applied to the listeners' emotional responses. The model detected the locations of phrase boundaries from the emotional responses better than from performed tempo or physical intensity in both experiments. These findings indicate the importance of repetition in listeners' emotional response to music and in the perceptual segmentation of musical structure.

Watching television or listening to music while exercising failed to affect post-exercise food intake or energy expenditure in male adolescents.

Science.gov (United States)

Livock, Holly; Barnes, Joel D; Pouliot, Catherine; LeBlanc, Allana G; Saunders, Travis J; Tremblay, Mark S; Prud'homme, Denis; Chaput, Jean-Philippe

2018-08-01

Watching television or listening to music while exercising can serve as motivating factors, making it more pleasant to exercise for some people. However, it is unknown whether these stimuli influence food intake and/or physical activity energy expenditure (PAEE) for the remainder of the day, potentially impacting energy balance and weight control. We examined the effects of watching television or listening to music while exercising on post-exercise energy intake and expenditure. Our study was a randomized crossover design, in which 24 male adolescents (mean age: 14.9 ± 1.1 years) completed three 30-min experimental conditions consisting of walking/jogging on a treadmill at 60% of heart rate reserve while (1) watching television; (2) listening to music; or (3) exercising with no other stimulus (control). An ad libitum lunch was offered immediately after the experimental conditions, and a dietary record was used to assess food intake for the remainder of the day. An Actical accelerometer was used to estimate PAEE until bedtime. The primary outcome measure was post-exercise energy intake and expenditure (kJ). We found that exercising while watching television or listening to music did not significantly affect post-exercise energy intake or energy expenditure. Exercising on a treadmill was found to be significantly more enjoyable while watching television than with no stimulus present. Ratings of perceived exertion were not significantly different between conditions. Overall, our results suggest that watching television or listening to music while exercising does not impact post-exercise energy intake or expenditure in male adolescents, which may have positive implications for adolescents who may need additional motivation to participate in physical activity. Copyright © 2018 Elsevier Ltd. All rights reserved.

The teaching of music history in Japanese music education

Directory of Open Access Journals (Sweden)

Midori Sonoda

2014-05-01

Full Text Available One of the leading institutions in the field of musicology in Japan is the one hosted by “Tokyo University of the Arts” (previously Tokyo National University of Fine Arts and Music. The musicology course, started in 1949, was, and still is, the main promoter of music history teaching in the Japanese university system. A reflection on the over 60 years of its existence, which has been characterized by the fortunate coexistence of musicology students and students of ‘practical’ musical courses, might contribute to raise awareness among European musicologists about the pedagogic-didactic task that is expected of them in the current situation of Western musical culture.

Brain-Activity-Driven Real-Time Music Emotive Control

OpenAIRE

Giraldo, Sergio; Ramirez, Rafael

2013-01-01

Active music listening has emerged as a study field that aims to enable listeners to interactively control music. Most of active music listening systems aim to control music aspects such as playback, equalization, browsing, and retrieval, but few of them aim to control expressive aspects of music to convey emotions. In this study our aim is to enrich the music listening experience by allowing listeners to control expressive parameters in music performances using their perceived emotional stat...

Listening to Learn: The Status of Listening Activities in Secondary Instrumental Ensemble Classes

Science.gov (United States)

Prichard, Stephanie

2013-01-01

The purpose of this study was to determine the status of listening activities as part of middle and high school instrumental music instruction. Research questions addressed teachers' beliefs in the importance of listening, outcomes associated with listening, type and frequency of listening activities, presence of guided listening, and challenges…

Music, empathy and cultural understanding

Science.gov (United States)

Clarke, Eric; DeNora, Tia; Vuoskoski, Jonna

2015-12-01

In the age of the Internet and with the dramatic proliferation of mobile listening technologies, music has unprecedented global distribution and embeddedness in people's lives. It is a source of intense experiences of both the most intimate and solitary, and public and collective, kinds - from an individual with their smartphone and headphones, to large-scale live events and global simulcasts; and it increasingly brings together a huge range of cultures and histories, through developments in world music, sampling, the re-issue of historical recordings, and the explosion of informal and home music-making that circulates via YouTube. For many people, involvement with music can be among the most powerful and potentially transforming experiences in their lives. At the same time, there has been increasing interest in music's communicative and affective capacities, and its potential to act as an agent of social bonding and affiliation. This review critically discusses a considerable body of research and scholarship, across disciplines ranging from the neuroscience and psychology of music to cultural musicology and the sociology and anthropology of music, that provides evidence for music's capacity to promote empathy and social/cultural understanding through powerful affective, cognitive and social factors; and explores ways in which to connect and make sense of this disparate evidence (and counter-evidence). It reports the outcome of an empirical study that tests one aspect of those claims, demonstrating that 'passive' listening to the music of an unfamiliar culture can significantly change the cultural attitudes of listeners with high dispositional empathy; presents a model that brings together the primary components of the music and empathy research into a single framework; and considers both some of the applications, and some of the shortcomings and problems, of understanding music from the perspective of empathy.

Music, empathy and cultural understanding.

Science.gov (United States)

Clarke, Eric; DeNora, Tia; Vuoskoski, Jonna

2015-12-01

In the age of the Internet and with the dramatic proliferation of mobile listening technologies, music has unprecedented global distribution and embeddedness in people's lives. It is a source of intense experiences of both the most intimate and solitary, and public and collective, kinds - from an individual with their smartphone and headphones, to large-scale live events and global simulcasts; and it increasingly brings together a huge range of cultures and histories, through developments in world music, sampling, the re-issue of historical recordings, and the explosion of informal and home music-making that circulates via YouTube. For many people, involvement with music can be among the most powerful and potentially transforming experiences in their lives. At the same time, there has been increasing interest in music's communicative and affective capacities, and its potential to act as an agent of social bonding and affiliation. This review critically discusses a considerable body of research and scholarship, across disciplines ranging from the neuroscience and psychology of music to cultural musicology and the sociology and anthropology of music, that provides evidence for music's capacity to promote empathy and social/cultural understanding through powerful affective, cognitive and social factors; and explores ways in which to connect and make sense of this disparate evidence (and counter-evidence). It reports the outcome of an empirical study that tests one aspect of those claims, demonstrating that 'passive' listening to the music of an unfamiliar culture can significantly change the cultural attitudes of listeners with high dispositional empathy; presents a model that brings together the primary components of the music and empathy research into a single framework; and considers both some of the applications, and some of the shortcomings and problems, of understanding music from the perspective of empathy. Copyright © 2015 Elsevier B.V. All rights reserved.

What makes us like music?

OpenAIRE

Schäfer, Thomas; Sedlmeier, Peter

2009-01-01

Why do we like the music we like and why do different people like different kinds of music? Existing models try to explain music preference as an interplay of musical features, the characteristics of the listener, and the listening context. Hereby, they refer to short-term preference decisions for a given piece of music rather than to the question why we listen to music at all and why we select a particular musical style. In this paper, it is hypothesized that the motivation for music listeni...

Music as Water: The Functions of Music from a Utilitarian Perspective

Directory of Open Access Journals (Sweden)

Liam Maloney

2017-11-01

Full Text Available The rapid increase of technologically enhanced listening platforms gives listeners access to music with ever-increasing ease and ubiquity, giving rise to the suggestion that we should now conceptualize music as a resource similar to water; something that is utilized to achieve everyday goals. This paper proposes that music is a utilitarian resource employed by listeners to augment cognitive, emotional, behavioral, and physiological aspects of the self. To better explore these notions this paper examines the potential role of the “functions of music,” first espoused by Alan P. Merriam in 1964. Merriam suggested music has a situational use and an underlying function (music’s ability to alter the self through listening. The research presented here asserts that listeners interact with specific musical materials to achieve or orientate themselves towards contextually-rooted goals. Reinforcing Tia DeNora’s suggestion that music is a “technology of the self” this research presents the results of a 41 publication meta-analysis exploring the possible functions of music. The resultant Aggregate Thematic Functions Framework (ATF framework identifies 45 possible utilitarian functions of music, spread across five domains of action. The framework also proposes a meta-domain and an emotional sub-domain.

Signal-to-background-ratio preferences of normal-hearing listeners as a function of music

Science.gov (United States)

Barrett, Jillian G.

2005-04-01

The primary purpose of speech is to convey a message. Many factors affect the listener's overall reception, several of which have little to do with the linguistic content itself, but rather with the delivery (e.g., prosody, intonation patterns, pragmatics, paralinguistic cues). Music, however, may convey a message either with or without linguistic content. In instances in which music has lyrics, one cannot assume verbal content will take precedence over sonic properties. Lyric emphasis over other aspects of music cannot be assumed. Singing introduces distortion of the vowel-consonant temporal ratio of speech, emphasizing vowels and de-emphasizing consonants. The phonemic production alterations of singing make it difficult for even those with normal hearing to understand the singer. This investigation was designed to identify singer-to-background-ratio (SBR) prefer- ences for normal hearing adult listeners (as opposed to SBR levels maxi-mizing speech discrimination ability). Stimuli were derived from three different original songs, each produced in two different genres and sung by six different singers. Singer and genre were the two primary contributors to significant differences in SBR preferences, though results clearly indicate genre, style and singer interact in different combinations for each song, each singer, and for each subject in an unpredictable manner.

Manifestations of nationalist attitudes: Domestic music listening, participation in national celebrations, and far right voting

NARCIS (Netherlands)

Meuleman, R.; Lubbers, M.

2013-01-01

In this contribution, we aim to develop an understanding of the behavioural manifestations of nationalism. Building on social identity theory and ethnic competition theory, we examine to what extent nationalist attitudes and perceived cultural ethnic threat are related to domestic music listening,

Dichotic Listening Can Improve Perceived Clarity of Music in Cochlear Implant Users.

Science.gov (United States)

Vannson, Nicolas; Innes-Brown, Hamish; Marozeau, Jeremy

2015-08-26

Musical enjoyment for cochlear implant (CI) recipients is often reported to be unsatisfactory. Our goal was to determine whether the musical experience of postlingually deafened adult CI recipients could be enriched by presenting the bass and treble clef parts of short polyphonic piano pieces separately to each ear (dichotic). Dichotic presentation should artificially enhance the lateralization cues of each part and help the listeners to better segregate them and thus provide greater clarity. We also hypothesized that perception of the intended emotion of the pieces and their overall enjoyment would be enhanced in the dichotic mode compared with the monophonic (both parts in the same ear) and the diotic mode (both parts in both ears). Twenty-eight piano pieces specifically composed to induce sad or happy emotions were selected. The tempo of the pieces, which ranged from lento to presto covaried with the intended emotion (from sad to happy). Thirty participants (11 normal-hearing listeners, 11 bimodal CI and hearing-aid users, and 8 bilaterally implanted CI users) participated in this study. Participants were asked to rate the perceived clarity, the intended emotion, and their preference of each piece in different listening modes. Results indicated that dichotic presentation produced small significant improvements in subjective ratings based on perceived clarity and preference. We also found that preference and clarity ratings were significantly higher for pieces with fast tempi compared with slow tempi. However, no significant differences between diotic and dichotic presentation were found for the participants' preference ratings, or their judgments of intended emotion. © The Author(s) 2015.

Dichotic Listening Can Improve Perceived Clarity of Music in Cochlear Implant Users

Directory of Open Access Journals (Sweden)

Nicolas Vannson

2015-08-01

Full Text Available Musical enjoyment for cochlear implant (CI recipients is often reported to be unsatisfactory. Our goal was to determine whether the musical experience of postlingually deafened adult CI recipients could be enriched by presenting the bass and treble clef parts of short polyphonic piano pieces separately to each ear (dichotic. Dichotic presentation should artificially enhance the lateralization cues of each part and help the listeners to better segregate them and thus provide greater clarity. We also hypothesized that perception of the intended emotion of the pieces and their overall enjoyment would be enhanced in the dichotic mode compared with the monophonic (both parts in the same ear and the diotic mode (both parts in both ears. Twenty-eight piano pieces specifically composed to induce sad or happy emotions were selected. The tempo of the pieces, which ranged from lento to presto covaried with the intended emotion (from sad to happy. Thirty participants (11 normal-hearing listeners, 11 bimodal CI and hearing-aid users, and 8 bilaterally implanted CI users participated in this study. Participants were asked to rate the perceived clarity, the intended emotion, and their preference of each piece in different listening modes. Results indicated that dichotic presentation produced small significant improvements in subjective ratings based on perceived clarity. We also found that preference and clarity ratings were significantly higher for pieces with fast tempi compared with slow tempi. However, no significant differences between diotic and dichotic presentation were found for the participants’ preference ratings, or their judgments of intended emotion.

Constructing Music History in the Classroom

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Maria Rosa De Luca

2016-12-01

Full Text Available The paper focuses on some aspects of the teaching-learning of Music History in the school education system. It concentrates upon contents, strategies and methods of teaching transposition of historical and musical knowledge as a training model for music education oriented on the comprehension of music as culture. Based on this branch of teaching’s model, epistemological assumptions are discussed and relied to various degrees of education, considering also the challenges that the teacher faces in the didactic transposition process of topics.

Congenital amusia persists in the developing brain after daily music listening.

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Geneviève Mignault Goulet

Full Text Available Congenital amusia is a neurodevelopmental disorder that affects about 3% of the adult population. Adults experiencing this musical disorder in the absence of macroscopically visible brain injury are described as cases of congenital amusia under the assumption that the musical deficits have been present from birth. Here, we show that this disorder can be expressed in the developing brain. We found that (10-13 year-old children exhibit a marked deficit in the detection of fine-grained pitch differences in both musical and acoustical context in comparison to their normally developing peers comparable in age and general intelligence. This behavioral deficit could be traced down to their abnormal P300 brain responses to the detection of subtle pitch changes. The altered pattern of electrical activity does not seem to arise from an anomalous functioning of the auditory cortex, because all early components of the brain potentials, the N100, the MMN, and the P200 appear normal. Rather, the brain and behavioral measures point to disrupted information propagation from the auditory cortex to other cortical regions. Furthermore, the behavioral and neural manifestations of the disorder remained unchanged after 4 weeks of daily musical listening. These results show that congenital amusia can be detected in childhood despite regular musical exposure and normal intellectual functioning.

On application of kernel PCA for generating stimulus features for fMRI during continuous music listening.

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Tsatsishvili, Valeri; Burunat, Iballa; Cong, Fengyu; Toiviainen, Petri; Alluri, Vinoo; Ristaniemi, Tapani

2018-06-01

There has been growing interest towards naturalistic neuroimaging experiments, which deepen our understanding of how human brain processes and integrates incoming streams of multifaceted sensory information, as commonly occurs in real world. Music is a good example of such complex continuous phenomenon. In a few recent fMRI studies examining neural correlates of music in continuous listening settings, multiple perceptual attributes of music stimulus were represented by a set of high-level features, produced as the linear combination of the acoustic descriptors computationally extracted from the stimulus audio. NEW METHOD: fMRI data from naturalistic music listening experiment were employed here. Kernel principal component analysis (KPCA) was applied to acoustic descriptors extracted from the stimulus audio to generate a set of nonlinear stimulus features. Subsequently, perceptual and neural correlates of the generated high-level features were examined. The generated features captured musical percepts that were hidden from the linear PCA features, namely Rhythmic Complexity and Event Synchronicity. Neural correlates of the new features revealed activations associated to processing of complex rhythms, including auditory, motor, and frontal areas. Results were compared with the findings in the previously published study, which analyzed the same fMRI data but applied linear PCA for generating stimulus features. To enable comparison of the results, methodology for finding stimulus-driven functional maps was adopted from the previous study. Exploiting nonlinear relationships among acoustic descriptors can lead to the novel high-level stimulus features, which can in turn reveal new brain structures involved in music processing. Copyright © 2018 Elsevier B.V. All rights reserved.

Music listening in families and peer groups: benefits for young people's social cohesion and emotional well-being across four cultures.

Science.gov (United States)

Boer, Diana; Abubakar, Amina

2014-01-01

Families are central to the social and emotional development of youth, and most families engage in musical activities together, such as listening to music or talking about their favorite songs. However, empirical evidence of the positive effects of musical family rituals on social cohesion and emotional well-being is scarce. Furthermore, the role of culture in the shaping of musical family rituals and their psychological benefits has been neglected entirely. This paper investigates musical rituals in families and in peer groups (as an important secondary socialization context) in two traditional/collectivistic and two secular/individualistic cultures, and across two developmental stages (adolescence vs. young adulthood). Based on cross-sectional data from 760 young people in Kenya, the Philippines, New Zealand, and Germany, our study revealed that across cultures music listening in families and in peer groups contributes to family and peer cohesion, respectively. Furthermore, the direct contribution of music in peer groups on well-being appears across cultural contexts, whereas musical family rituals affect emotional well-being in more traditional/collectivistic contexts. Developmental analyses show that musical family rituals are consistently and strongly related to family cohesion across developmental stages, whereas musical rituals in peer groups appear more dependent on the developmental stage (in interaction with culture). Contributing to developmental as well as cross-cultural psychology, this research elucidated musical rituals and their positive effects on the emotional and social development of young people across cultures. The implications for future research and family interventions are discussed.

Functional cerebral distance and the effect of emotional music on spatial rotation scores in undergraduate women and men.

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Bertsch, Sharon; Knee, H Donald; Webb, Jeffrey L

2011-02-01

The influence of listening to music on subsequent spatial rotation scores has a controversial history. The effect is unreliable, seeming to depend on several as yet unexplored factors. Using a large sample (167 women, 160 men; M age = 18.9 yr.), two related variables were investigated: participants' sex and the emotion conveyed by the music. Participants listened to 90 sec. of music that portrayed emotions of approach (happiness), or withdrawal (anger), or heard no music at all. They then performed a two-dimensional spatial rotation task. No significant difference was found in spatial rotation scores between groups exposed to music and those who were not. However, a significant interaction was found based on the sex of the participants and the emotion portrayed in the music they heard. Women's scores increased (relative to a no-music condition) only after hearing withdrawal-based music, while men's scores increased only after listening to the approach-based music. These changes were explained using the theory of functional cerebral distance.

[The phenomenon of pain in the history of music – observations of neurobiological mechanisms of pain and its expressions in western music].

Science.gov (United States)

Gasenzer, E R; Neugebauer, E A M

2014-12-01

Purpose of this essay is to provide a historical overview how music has dealt with the emotion and sensation of pain, as well as an overview over the more recent medical research into the relationship of music and pain. Since the beginnings of western music humans have put their emotions into musical sounds. During the baroque era, composers developed musical styles that expressed human emotions and our experiences of nature. In some compositions, like in operas, we find musical representations of pain. During Romanticism artists began to intrude into the soul of their audience. New expressive harmonies and styles touch the soul and the consciousness of the listener. With the inception of atonality dissonant sounds where experienced as a physical pain.The physiology of deep brain structures (like thalamus, hypothalamus or limbic system) and the physiology of the acoustic pathway process consonant and dissonant sound and musical perceptions in ways, that are similar to the perception of pain. In the thalamus and in the limbic system music and pain meet.The relationships of music and pain is a wide open research field with such interesting questions as the role of dopamine in the perception of consonant or dissonant music, or the processing of pain during music listening. Musicology has not yet embarked on a general investigation of how musical compositions express pain and how that has developed or changed over the centuries. Music therapy, neuro-musicology and the performing arts medicine are scientific fields that offer a lot of ideas for medical and musical research projects. © Georg Thieme Verlag KG Stuttgart · New York.

Genomic Imprinting Is Implicated in the Psychology of Music.

Science.gov (United States)

Mehr, Samuel A; Kotler, Jennifer; Howard, Rhea M; Haig, David; Krasnow, Max M

2017-10-01

Why do people sing to babies? Human infants are relatively altricial and need their parents' attention to survive. Infant-directed song may constitute a signal of that attention. In Prader-Willi syndrome (PWS), a rare disorder of genomic imprinting, genes from chromosome 15q11-q13 that are typically paternally expressed are unexpressed, which results in exaggeration of traits that reduce offspring's investment demands on the mother. PWS may thus be associated with a distinctive musical phenotype. We report unusual responses to music in people with PWS. Subjects with PWS ( N = 39) moved more during music listening, exhibited greater reductions in heart rate in response to music listening, and displayed a specific deficit in pitch-discrimination ability relative to typically developing adults and children ( N = 589). Paternally expressed genes from 15q11-q13, which are unexpressed in PWS, may thus increase demands for music and enhance perceptual sensitivity to music. These results implicate genomic imprinting in the psychology of music, informing theories of music's evolutionary history.

Structural changes induced by daily music listening in the recovering brain after middle cerebral artery stroke: a voxel-based morphometry study

OpenAIRE

Särkämö, Teppo; Ripollés, Pablo; Vepsäläinen, Henna; Autti, Taina; Silvennoinen, Heli M.; Salli, Eero; Laitinen, Sari; Forsblom, Anita; Soinila, Seppo; Rodríguez Fornells, Antoni

2014-01-01

[Abstract.] Music is a highly complex and versatile stimulus for the brain that engages many temporal, frontal, parietal, cerebellar, and subcortical areas involved in auditory, cognitive, emotional, and motor processing. Regular musical activities have been shown to effectively enhance the structure and function of many brain areas, making music a potential tool also in neuro- logical rehabilitation. In our previous randomized controlled study, we found that listening to music...

Gender and the performance of music

Science.gov (United States)

Sergeant, Desmond C.; Himonides, Evangelos

2014-01-01

This study evaluates propositions that have appeared in the literature that music phenomena are gendered. Were they present in the musical “message,” gendered qualities might be imparted at any of three stages of the music–communication interchange: the process of composition, its realization into sound by the performer, or imposed by the listener in the process of perception. The research was designed to obtain empirical evidence to enable evaluation of claims of the presence of gendering at these three stages. Three research hypotheses were identified and relevant literature of music behaviors and perception reviewed. New instruments of measurement were constructed to test the three hypotheses: (i) two listening sequences each containing 35 extracts from published recordings of compositions of the classical music repertoire, (ii) four “music characteristics” scales, with polarities defined by verbal descriptors designed to assess the dynamic and emotional valence of the musical extracts featured in the listening sequences. 69 musically-trained listeners listened to the two sequences and were asked to identify the sex of the performing artist of each musical extract; a second group of 23 listeners evaluated the extracts applying the four music characteristics scales. Results did not support claims that music structures are inherently gendered, nor proposals that performers impart their own-sex-specific qualities to the music. It is concluded that gendered properties are imposed subjectively by the listener, and these are primarily related to the tempo of the music. PMID:24795663

The importance of music to adolescents.

Science.gov (United States)

North, A C; Hargreaves, D J; O'Neill, S A

2000-06-01

The study aims to determine the importance of music to adolescents in England, and investigates why they listen to and perform music. A total of 2465 adolescents (1149 males; 1266 females; 50 participants did not state their sex) between 13 and 14 years of age who were attending Year 9 at one of 22 secondary schools in the North Staffordshire region of England. A questionnaire asked participants (a) about their degree of involvement with musical activities; (b) to rate the importance of music relative to other activities; and (c) to rate the importance of several factors that might determine why they and other people of their age and sex might listen to/perform pop and classical music. Responses indicated that i) over 50% of respondents either played an instrument currently or had played regularly before giving up, and the sample listened to music for an average of 2.45 hours per day; ii) listening to music was preferred to other indoor activities but not to outdoor activities; iii) listening to/playing pop music has different perceived benefits to listening to/playing classical music; iv) responses to suggested reasons for listening to music could be grouped into three factors; and v) responses to suggested reasons for playing music could be grouped into four factors. These results indicate that music is important to adolescents, and that this is because it allows them to (a) portray an 'image' to the outside world and (b) satisfy their emotional needs.

Independent component processes underlying emotions during natural music listening.

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Rogenmoser, Lars; Zollinger, Nina; Elmer, Stefan; Jäncke, Lutz

2016-09-01

The aim of this study was to investigate the brain processes underlying emotions during natural music listening. To address this, we recorded high-density electroencephalography (EEG) from 22 subjects while presenting a set of individually matched whole musical excerpts varying in valence and arousal. Independent component analysis was applied to decompose the EEG data into functionally distinct brain processes. A k-means cluster analysis calculated on the basis of a combination of spatial (scalp topography and dipole location mapped onto the Montreal Neurological Institute brain template) and functional (spectra) characteristics revealed 10 clusters referring to brain areas typically involved in music and emotion processing, namely in the proximity of thalamic-limbic and orbitofrontal regions as well as at frontal, fronto-parietal, parietal, parieto-occipital, temporo-occipital and occipital areas. This analysis revealed that arousal was associated with a suppression of power in the alpha frequency range. On the other hand, valence was associated with an increase in theta frequency power in response to excerpts inducing happiness compared to sadness. These findings are partly compatible with the model proposed by Heller, arguing that the frontal lobe is involved in modulating valenced experiences (the left frontal hemisphere for positive emotions) whereas the right parieto-temporal region contributes to the emotional arousal. © The Author (2016). Published by Oxford University Press. For Permissions, please email: journals.permissions@oup.com.

Emoções de uma escuta musical afetam a percepção subjetiva de tempo Emotions from listening to music affect the subjective perception of time

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Danilo Ramos

2012-01-01

Full Text Available Este estudo verificou se emoções percebidas durante uma escuta musical influenciam a percepção temporal. Músicos e não músicos foram submetidos a tarefas de escuta de trechos musicais do repertório erudito ocidental com 20 segundos de duração cada um e tarefas de associação temporal de cada trecho ouvido a durações padrões, que variavam de 16 a 24 segundos. Os trechos musicais empregados eram representativos de uma dentre as categorias emocionais Alegria, Tristeza, Serenidade ou Medo / Raiva. Uma análise de variância mostrou que, enquanto os não músicos apresentaram subestimações temporais associadas a pelo menos um trecho musical de cada uma das categorias emocionais, os músicos subestimaram todos os trechos musicais tristes, relacionados às características de baixo arousal e valência afetiva negativa.This study examined whether perceived emotions during music listening tasks influence time perception. Musicians and non-musicians were submitted to tasks of listening to musical excerpts from Western classical repertoire of 20 seconds and tasks of temporal association of each piece of music to standard durations, ranging from 16 to 24 seconds. Musical excerpts were representative from one of the following emotional categories: Happiness, Sadness, Threat and Peacefulness. An analysis of variance showed that, while non-musicians showed temporal underestimations associated with, at least, one piece of music from each emotional category, musicians underestimated all sad musical excerpts, related to low arousal and negative valence features.

Music enjoyment with cochlear implantation.

Science.gov (United States)

Prevoteau, Charlotte; Chen, Stephanie Y; Lalwani, Anil K

2018-10-01

Since the advent of cochlear implant (CI) surgery in the 1960s, there have been remarkable technological and surgical advances enabling excellent speech perception in quiet with many CI users able to use the telephone. However, many CI users struggle with music perception, particularly with the pitch-based and melodic elements of music. Yet remarkably, despite poor music perception, many CI users enjoy listening to music based on self-report questionnaires, and prospective studies have suggested a disassociation between music perception and enjoyment. Music enjoyment is arguably a more functional measure of one's listening experience, and thus enhancing one's listening experience is a worthy goal. Recent studies have shown that re-engineering music to reduce its complexity may enhance enjoyment in CI users and also delineate differences in musical preferences from normal hearing listeners. Copyright © 2017 Elsevier B.V. All rights reserved.

Changing their tune : How consumers' adoption of online streaming affects music consumption and discovery

NARCIS (Netherlands)

Datta, Hannes; Knox, George; Bronnenberg, Bart

Instead of purchasing individual content, streaming adopters rent access to libraries, with content being free at the margin. In this paper, we study how the adoption of music streaming affects consumers’ listening behavior. Using a unique panel data set of individual consumers’ listening histories

Music listening in families and peer groups: Benefits for young people's social cohesion and emotional well-being across four cultures

Directory of Open Access Journals (Sweden)

Diana eBoer

2014-05-01

Full Text Available Families are central to the social and emotional development of youth, and most families engage in musical activities together, such as listening to music or talking about their favorite songs. However, empirical evidence of the positive effects of musical family rituals on social cohesion and emotional well-being is scarce. Furthermore, the role of culture in the shaping of musical family rituals and their psychological benefits has been neglected entirely. This paper investigates musical rituals in families and in peer groups (as an important secondary socialization context in two traditional/collectivistic and two secular/individualistic cultures, and across two developmental stages (adolescence vs. young adulthood. Based on cross-sectional data from 760 young people in Kenya, the Philippines, New Zealand and Germany, our study revealed that across cultures music listening in families and in peer groups contributes to family and peer cohesion respectively. Furthermore, the direct contribution of music in peer groups on well-being appears across cultural contexts, whereas musical family rituals affect emotional well-being in more traditional/collectivistic contexts. Developmental analyses show that musical family rituals are consistently and strongly related to family cohesion across developmental stages, whereas musical rituals in peer groups appear more dependent on the developmental stage (in interaction with culture. Contributing to developmental as well as cross-cultural psychology, this research elucidated musical rituals and their positive effects on the emotional and social development of young people across cultures. The implications for future research and family interventions are discussed.

Music listening in families and peer groups: benefits for young people's social cohesion and emotional well-being across four cultures

Science.gov (United States)

Boer, Diana; Abubakar, Amina

2014-01-01

Families are central to the social and emotional development of youth, and most families engage in musical activities together, such as listening to music or talking about their favorite songs. However, empirical evidence of the positive effects of musical family rituals on social cohesion and emotional well-being is scarce. Furthermore, the role of culture in the shaping of musical family rituals and their psychological benefits has been neglected entirely. This paper investigates musical rituals in families and in peer groups (as an important secondary socialization context) in two traditional/collectivistic and two secular/individualistic cultures, and across two developmental stages (adolescence vs. young adulthood). Based on cross-sectional data from 760 young people in Kenya, the Philippines, New Zealand, and Germany, our study revealed that across cultures music listening in families and in peer groups contributes to family and peer cohesion, respectively. Furthermore, the direct contribution of music in peer groups on well-being appears across cultural contexts, whereas musical family rituals affect emotional well-being in more traditional/collectivistic contexts. Developmental analyses show that musical family rituals are consistently and strongly related to family cohesion across developmental stages, whereas musical rituals in peer groups appear more dependent on the developmental stage (in interaction with culture). Contributing to developmental as well as cross-cultural psychology, this research elucidated musical rituals and their positive effects on the emotional and social development of young people across cultures. The implications for future research and family interventions are discussed. PMID:24847296

The Beat of Boyle Street: Empowering Aboriginal Youth through Music Making

Science.gov (United States)

Wang, Elaine L.

2010-01-01

An irrepressibly popular musical phenomenon, hip-hop is close to spoken word and focuses on lyrics with a message, reviving local traditions of song that tell histories, counsel listeners, and challenge participants to outdo one another in clever exchanges. A hip-hop music-making program in Edmonton, Canada, successfully reengages at-risk…

American Handbooks of Music History: Breadth, Depth, and the Critique of Pedagogy

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C. Matthew Balensuela

2015-12-01

Full Text Available American music history textbooks have traditionally covered the entire history of Western music in a single volume. This approach reflects the now dominant teaching methodology at American universities of a multiple-semester survey that covers the breadth of music history from Ancient Greece to modern times. An obvious problem with a broad survey is the lack of depth on issues relevant to current musicological scholarship such as music in society, feminism, archival research, or patronage. As new approaches to teaching music history become more popular in US colleges, in part due to the “pedagogy movement” in American musicology, the canonical status of single-volume history of music is under increased scrutiny and review.

History of Baroque Music in Brief.

Science.gov (United States)

Music Educators Journal, 1985

1985-01-01

The year 1985 marks the 300th birthday of three masters of Baroque music: Johann Sebastian Bach, George Frederic Handel, and Dominico Scarlatti. A summary of the history of Baroque music and a profile of the three composers, which can be used to teach secondary students about the period, are provided. (RM)

INFLUENCE OF MUSIC TYPE LISTENING ON ANAEROBIC PERFORMANCE AND SALIVARY CORTISOL IN MALES ATHLETES

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Mohammad Ghaderi.

2012-12-01

Full Text Available Music has been widely recommended as a technique to enhance the psychophysical state of participants in sport and exercise. However, there is scant scientific evidence to clarify its proposed benefits. Therefore, the aim of this study was to determine the effect of fast and slow rhythm of music on anaerobic performance and salivary cortisol concentration in trained men. Thirty male physical education college students (ages: 25.66±3.89 yr, height: 176.65 ± 7.66 cm, body mass: 78.45±16.20 kg voluntary participated in this study and divided to three groups: fast music, slow music, and no music(control. All subjects performed the coninghum test following a 20% grate and 14.3km/h speed on the treadmill. For measuring of cortisol, not stimulated samples of saliva collected, 15 minutes befor and immediately 5 and 30 minute after the exercise. No significant differences were found in anaerobic performance among the three groups in pretest indicating homogeneity of the groups. However, salivary cortisol no significant in anaerobic performance 5 and 30 minute after exercise as well. Summarily, Music doed not have a positive effect on performance, this study provided some support for the hypothesis that listening fast and slow music not significantly impacted during supramaximal exercise.

Daydreams and trait affect: The role of the listener's state of mind in the emotional response to music.

Science.gov (United States)

Martarelli, Corinna S; Mayer, Boris; Mast, Fred W

2016-11-01

Music creates room for the mind to wander, mental time travel, and departures into more fantastical worlds. We examined the mediating role of daydreams and the moderating function of personality differences for the emotional response to music by using a moderated mediation approach. The results showed that the valence of daydreams played a mediating role in the reaction to the musical experience: happy music was related to more positive daydreams, which were associated with greater relaxation with the happy music and to greater liking of the happy music. Furthermore, negative affect (trait) moderated the direct effect of sad vs. happy music on the liking of the music: individuals with high scores on negative affect preferred sad music. The results are discussed with regard to the interplay of general and personality-specific processes as it is relevant to better understand the effects music can have on the listeners. Copyright © 2016 Elsevier Inc. All rights reserved.

The Effects of Musical and Linguistic Components in Recognition of Real-World Musical Excerpts by Cochlear Implant Recipients and Normal-Hearing Adults

Science.gov (United States)

Gfeller, Kate; Jiang, Dingfeng; Oleson, Jacob; Driscoll, Virginia; Olszewski, Carol; Knutson, John F.; Turner, Christopher; Gantz, Bruce

2011-01-01

Background Cochlear implants (CI) are effective in transmitting salient features of speech, especially in quiet, but current CI technology is not well suited in transmission of key musical structures (e.g., melody, timbre). It is possible, however, that sung lyrics, which are commonly heard in real-world music may provide acoustical cues that support better music perception. Objective The purpose of this study was to examine how accurately adults who use CIs (n=87) and those with normal hearing (NH) (n=17) are able to recognize real-world music excerpts based upon musical and linguistic (lyrics) cues. Results CI recipients were significantly less accurate than NH listeners on recognition of real-world music with or, in particular, without lyrics; however, CI recipients whose devices transmitted acoustic plus electric stimulation were more accurate than CI recipients reliant upon electric stimulation alone (particularly items without linguistic cues). Recognition by CI recipients improved as a function of linguistic cues. Methods Participants were tested on melody recognition of complex melodies (pop, country, classical styles). Results were analyzed as a function of: hearing status and history, device type (electric only or acoustic plus electric stimulation), musical style, linguistic and musical cues, speech perception scores, cognitive processing, music background, age, and in relation to self-report on listening acuity and enjoyment. Age at time of testing was negatively correlated with recognition performance. Conclusions These results have practical implications regarding successful participation of CI users in music-based activities that include recognition and accurate perception of real-world songs (e.g., reminiscence, lyric analysis, listening for enjoyment). PMID:22803258

The effects of musical and linguistic components in recognition of real-world musical excerpts by cochlear implant recipients and normal-hearing adults.

Science.gov (United States)

Gfeller, Kate; Jiang, Dingfeng; Oleson, Jacob J; Driscoll, Virginia; Olszewski, Carol; Knutson, John F; Turner, Christopher; Gantz, Bruce

2012-01-01

Cochlear implants (CI) are effective in transmitting salient features of speech, especially in quiet, but current CI technology is not well suited in transmission of key musical structures (e.g., melody, timbre). It is possible, however, that sung lyrics, which are commonly heard in real-world music may provide acoustical cues that support better music perception. The purpose of this study was to examine how accurately adults who use CIs (n = 87) and those with normal hearing (NH) (n = 17) are able to recognize real-world music excerpts based upon musical and linguistic (lyrics) cues. CI recipients were significantly less accurate than NH listeners on recognition of real-world music with or, in particular, without lyrics; however, CI recipients whose devices transmitted acoustic plus electric stimulation were more accurate than CI recipients reliant upon electric stimulation alone (particularly items without linguistic cues). Recognition by CI recipients improved as a function of linguistic cues. Participants were tested on melody recognition of complex melodies (pop, country, & classical styles). Results were analyzed as a function of: hearing status and history, device type (electric only or acoustic plus electric stimulation), musical style, linguistic and musical cues, speech perception scores, cognitive processing, music background, age, and in relation to self-report on listening acuity and enjoyment. Age at time of testing was negatively correlated with recognition performance. These results have practical implications regarding successful participation of CI users in music-based activities that include recognition and accurate perception of real-world songs (e.g., reminiscence, lyric analysis, & listening for enjoyment).

History of music therapy treatment interventions for children with autism.

Science.gov (United States)

Reschke-Hernández, Alaine E

2011-01-01

The purpose of this paper is to provide a systematic review of the history of music therapy research and treatment of children with autism. Understanding such history is important in order to improve clinical efficacy and inform future research. This paper includes a history of autism diagnosis, reviews strengths and limitations of music therapy practice with children with autism from 1940-2009, and suggests direction for future music therapy research and clinical practice with this population. Literature was limited to the English language and obtained with the following search terms: autism, autistic, (early) infantile autism, child, therapeutic music, musical therapy, and music therapy. Table of contents from music therapy journals were searched, and reference lists from obtained articles were perused for additional articles. This historical review focused primarily on journal articles, however, books and book chapters that appeared to hold particular historical significance were also included.

Using music activities to enhance the listening skills and language skills of Grade 1, English first additional language learners

Directory of Open Access Journals (Sweden)

Hugo, Anna J.

2013-12-01

Full Text Available Music activities can be used to develop and enhance young learners’ listening abilities. Listening is a language skill which is a prerequisite for the development of other language skills and especially for the development of a person’s speaking abilities. It is also a prerequisite for the development of a person’s language abilities in a second language. In a research project involving a group of 70 English first additional language learners, two Grade 1 classes were selected. One class was the experimental group and the other class was the comparison group. Over a period of six months the experimental group received planned music activities daily. When the two groups were retested after six months, significant differences in the means between the experimental and the control groups were found. The experimental group significantly improved their listening skills in English as a second language (ESL. This has implications for teaching ESL learners in the Foundation Phase.

A History of Education in Music

Science.gov (United States)

Colwell, Richard

2012-01-01

Music has pervaded American history since the founding fathers sang hymns aboard the Mayflower. From that time until the present, music has been so embedded in U.S. society that it is experienced subconsciously in events and activities that are a part of daily life. Learning and instruction take place in the home, in churches, in the community,…

Music Researchers' Musical Engagement

Science.gov (United States)

Wollner, Clemens; Ginsborg, Jane; Williamon, Aaron

2011-01-01

There is an increasing awareness of the importance of reflexivity across various disciplines, which encourages researchers to scrutinize their research perspectives. In order to contextualize and reflect upon research in music, this study explores the musical background, current level of musical engagement and the listening habits of music…

Unraveling the mystery of music: music as an evolved group process.

Science.gov (United States)

Loersch, Chris; Arbuckle, Nathan L

2013-11-01

As prominently highlighted by Charles Darwin, music is one of the most mysterious aspects of human nature. Despite its ubiquitous presence across cultures and throughout recorded history, the reason humans respond emotionally to music remains unknown. Although many scientists and philosophers have offered hypotheses, there is little direct empirical evidence for any perspective. Here we address this issue, providing data which support the idea that music evolved in service of group living. Using 7 studies, we demonstrate that people's emotional responses to music are intricately tied to the other core social phenomena that bind us together into groups. In sum, this work establishes human musicality as a special form of social cognition and provides the first direct support for the hypothesis that music evolved as a tool of social living. In addition, the findings provide a reason for the intense psychological pull of music in modern life, suggesting that the pleasure we derive from listening to music results from its innate connection to the basic social drives that create our interconnected world. PsycINFO Database Record (c) 2013 APA, all rights reserved.

Empathic Listening as a Transferable Skill

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Anthony Gritten

2015-09-01

Full Text Available This text responds to Deniz Peters' argument with three things: a broad context for empathic listening based on its value as a transferable skill; a comment on the relationship between musical empathy and "social empathy via music"; and a comment on the "indeterminacy" at the beginning of empathic listening.

Teaching students with developmental disabilities to operate an iPod Touch(®) to listen to music.

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Kagohara, Debora M; Sigafoos, Jeff; Achmadi, Donna; van der Meer, Larah; O'Reilly, Mark F; Lancioni, Giulio E

2011-01-01

We evaluated an intervention procedure for teaching three students with developmental disabilities to independently operate a portable multimedia device (i.e., an iPod Touch(®)) to listen to music. The intervention procedure included the use of video modeling, which was presented on the same iPod Touch(®) that the students were taught to operate to listen to music. Four phases (i.e., baseline, intervention, fading, and follow-up) were arranged in accordance with a delayed multiple-probe across participants design. During baseline, the students performed from 25 to 62.5% of the task analyzed steps correctly. With intervention, all three students correctly performed 80-100% of the steps and maintained this level of performance when video modeling was removed and during follow-up. The findings suggest that the video modeling procedure was effective for teaching the students to independently operate a portable multimedia device to access age-appropriate leisure content. Copyright © 2011 Elsevier Ltd. All rights reserved.

The Music History Classroom, a cura di James A. Davis

Directory of Open Access Journals (Sweden)

Maria Rosa De Luca

2016-12-01

Full Text Available The Music History Classroom collects eleven articles by different authors, who discuss the teaching and learning processes in music history in undergraduate and graduate courses of US universities.

Musical competence of preschool teachers

OpenAIRE

Grdešič, Irena

2012-01-01

My diploma deals with musical competencies of preschool teachers. Music education includes many different activities: singing various songs, playing different instruments, listening to music, being creative while listening to music and creating the music itself. It is of utmost importance that kindergarten teachers are capable of mediating music to the children and are able to incorporate it into the every day of their kindergarten activities. Music helps calm children down, it relaxes them, ...

Gender and the performance of music

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Desmond C Sergeant

2014-04-01

Full Text Available The study evaluates propositions that have appeared in the literature that music phenomena are gendered. If such propositions are substantive, gendered qualities might be imparted to the musical ‘message’ at any of three stages of the music–communication interchange: the process of composition, its realization into sound by the performer, or superimposed in the course of listener perceptions. Four research hypotheses are identified and relevant literature of music behaviours and perception reviewed. New instruments of measurement were constructed to test the four hypotheses: i two listening sequences each containing 35 extracts from published recordings of compositions of the classical music repertoire, ii four ‘music characteristics’ scales, with polarities defined by verbal descriptors designed to assess the dynamic and emotional valence of the musical extracts featured in the listening sequences. 69 musically trained listeners heard the two sequences and were asked to identify the sex of the performing artist of each musical extract; a second group of 23 listeners evaluated the extracts applying the four music characteristics scales. Results did not support claims that music structures are inherently gendered, nor proposals that performers impart their own-sex-specific qualities to the music. It is concluded that if gendering of music is a reality, the properties are imposed subjectively by the perceiver, and the respective qualities appear to be primarily related to the tempo of the music.

Effects of background music on concentration of workers.

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Huang, Rong-Hwa; Shih, Yi-Nuo

2011-01-01

Background music is a common element in daily living and the workplace. Determination of whether background music affects human work concentration is a relevant concern. Studies have found background music influences human behavior, and this study attempts to understand how background music and listener fondness for types of music affects worker concentration. This study analyzes how different types of background music--and how listeners' degree of preference for the background music--can affect listener concentration in attention testing through Randomized Controlled Trial (RCT). Data were collected from 89 workers. The participants ranged in age between 19 and 28 years old, with an average age of 24 years old. We conclude background music influenced listener attention. This influence has more to do with listener fondness for the music than with type of music. Compared to situations without background music, the likelihood of background music affecting test-taker attention performance is likely to increase with the degree to which the test-taker likes or dislikes the music. It is important not to select music that workers strongly like or dislike when making a selection of background music to avoid negatively affecting worker concentration.

The bias of "music-infected consciousness": the aesthetics of listening in the laboratory and on the city streets of Fin-de-Siècle Berlin and Vienna.

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Hui, Alexandra E

2012-01-01

Shifts in the psychophysical study of sound sensation reinforced the changing status of musical expertise in the nineteenth century. The Carl Stumpf-Wilhelm Wundt debate about tone-differentiation experimentation narrowed the conception of hearing. For Stumpf, "music consciousness" (Musikbewusstsein) granted the experimental subjects exceptional insight into sound sensation. This belief reflected a cultural reevaluation of listening, exemplified in music critic Eduard Hanslick decrying the scourge of the city: the piano playing of the neighbors. Stumpf and Hanslick's defenses of subjective musical expertise both inside the laboratory and on the city streets reveal the increasingly divergent conceptions of hearing and listening. © 2012 Wiley Periodicals, Inc.

The Relationship between University Students' Attitude to Listening to Music and Their Level of Optimism

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Aksoy, Nil

2014-01-01

The purpose of this study is to analyse the relationship between university students' attitude to listening to music and their level of optimism. The study group for the research consists of 508 students who studied at Aksaray University in the 2012-13 academic year. Simple random sampling is used. In this study, the "Attitude Scale for…

Variation in Music Player Listening Level as a Function of Campus Location.

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Park, Yunea; Guercio, Diana; Ledon, Victoria; Le Prell, Colleen G

2017-04-01

There has been significant discussion in the literature regarding music player use by adolescents and young adults, including whether device use is driving an increase in hearing loss in these populations. While many studies report relatively safe preferred listening levels, some studies with college student participants have reported listening habits that may put individuals at risk for noise-induced hearing loss (NIHL) if those listening habits continue over the long term. The goal of the current investigation was to extend listening level data collection sites from urban city settings studied by others to a more rural campus setting. This was a prospective study. Participants were 138 students on the University of Florida campus (94 males, 44 females), 18 years or older (mean = 21 years; range: 18-33 years). In this investigation, the current output level (listening level) was measured from personal listening devices used by students as they passed by a recruiting table located in one of three areas of the University of Florida campus. One location was in an open-air campus square; the other two locations were outside the campus recreation building ("gym") and outside the undergraduate library, with participants recruited as they exited the gym or library buildings. After providing written informed consent, participants completed a survey that included questions about demographics and typical listening habits (hours per day, days per week). The output level on their device was then measured using a "Jolene" mannequin. Average listening levels for participants at the three locations were as follows: gym: 85.9 ± 1.4 dBA; campus square: 83.3 ± 2.0 dBA; library: 76.9 ± 1.3 dBA. After adjusting to free-field equivalent level, average listening levels were gym: 79.7 ± 1.4 dBA; campus square: 76.9 ± 2.1 dBA; library: 70.4 ± 1.4 dBA. There were no statistically significant differences between male and female listeners, and there were no reliable differences as a

Emotions induced by operatic music: psychophysiological effects of music, plot, and acting: a scientist's tribute to Maria Callas.

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Balteş, Felicia Rodica; Avram, Julia; Miclea, Mircea; Miu, Andrei C

2011-06-01

Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates. Copyright © 2011 Elsevier Inc. All rights reserved.

Young people's topography of musical functions: personal, social and cultural experiences with music across genders and six societies.

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Boer, Diana; Fischer, Ronald; Tekman, Hasan Gürkan; Abubakar, Amina; Njenga, Jane; Zenger, Markus

2012-01-01

How can we understand the uses of music in daily life? Music is a universal phenomenon but with significant interindividual and cultural variability. Listeners' gender and cultural background may influence how and why music is used in daily life. This paper reports the first investigation of a holistic framework and a new measure of music functions (RESPECT-music) across genders and six diverse cultural samples (students from Germany, Kenya, Mexico, New Zealand, Philippines, and Turkey). Two dimensions underlie the mental representation of music functions. First, music can be used for contemplation or affective functions. Second, music can serve intrapersonal, social, and sociocultural functions. Results reveal that gender differences occur for affective functions, indicating that female listeners use music more for affective functions, i.e., emotional expression, dancing, and cultural identity. Country differences are moderate for social functions (values, social bonding, dancing) and strongest for sociocultural function (cultural identity, family bonding, political attitudes). Cultural values, such as individualism-collectivism and secularism-traditionalism, can help explain cross-cultural differences in the uses of music. Listeners from more collectivistic cultures use music more frequently for expressing values and cultural identity. Listeners from more secular and individualistic cultures like to dance more. Listeners from more traditional cultures use music more for expressing values and cultural identity, and they bond more frequently with their families over music. The two dimensions of musical functions seem systematically underpinned by listeners' gender and cultural background. We discuss the uses of music as behavioral expressions of affective and contemplative as well as personal, social, and sociocultural aspects in terms of affect proneness and cultural values.

Measurement of Acceptable Noise Level with Background Music.

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Ahn, Hyun-Jung; Bahng, Junghwa; Lee, Jae Hee

2015-09-01

Acceptable noise level (ANL) is a measure of the maximum background noise level (BNL) that a person is willing to tolerate while following a target story. Although researchers have used various sources of target sound in ANL measures, a limited type of background noise has been used. Extending the previous study of Gordon-Hickey & Moore (2007), the current study determined the effect of music genre and tempo on ANLs as possible factors affecting ANLs. We also investigated the relationships between individual ANLs and the familiarity of music samples and between music ANLs and subjective preference. Forty-one participants were seperated into two groups according to their ANLs, 29 low-ANL listeners and 12 high-ANL listeners. Using Korean ANL material, the individual ANLs were measured based on the listeners' most comfortable listening level and BNL. The ANLs were measured in six conditions, with different music tempo (fast, slow) and genre (K-pop, pop, classical) in a counterbalanced order. Overall, ANLs did not differ by the tempo of background music, but music genre significantly affected individual ANLs. We observed relatively higher ANLs with K-pop music and relatively lower ANLs with classical music. This tendency was similar in both low-ANL and high-ANL groups. However, the subjective ratings of music familiarity and preference affected ANLs differently for low-ANL and high-ANL groups. In contrast to the low-ANL listeners, the ANLs of the high-ANL listeners were significantly affected by music familiarity and preference. The genre of background music affected ANLs obtained using background music. The degree of music familiarity and preference appears to be associated with individual susceptibility to background music only for listeners who are greatly annoyed by background noise (high-ANL listeners).

Stimulating and relaxing effect of apperception music in the context of martial arts

OpenAIRE

ŠPIČKA, Roman

2013-01-01

The work deals with the influence of music on mental and physical manifestations of a personality in the practice of the Taekwon-Do. The theoretical part describes the history and the present of the Taekwon-Do, the basic structure of the music therapy and various effects of music, Taekwon-Do exercises and a relaxation. The practical part compares four groups of probands who practiced or relaxed listening to a music or without any music. My research was focused on the emotional level and the h...

The Italian Music Industry

OpenAIRE

Barbarito Luca; Ardizzone Antonella

2010-01-01

The Music Industry is a complex system in which many different actors interact. In this system there are suppliers of musical instruments, music schools, authors, singers, the phonographic industry, live events organizations and also the suppliers of those electronic devices necessary to listen to the music. This paper tries to analyze the size of those segments, their changes, and which are the key nodes in this system. Also the way we listen to music has changed a lot in this last 10 years,...

Music and psychophysiological recovery from stress.

Science.gov (United States)

Radstaak, Mirjam; Geurts, Sabine A E; Brosschot, Jos F; Kompier, Michiel A J

2014-09-01

This experimental study examined whether listening to self-chosen music after stress exposure improves mood, decreases subjective arousal and rumination, and facilitates cardiovascular recovery. Participants (N = 123) were exposed to a mental arithmetic task with harassment to induce stress. Afterward, participants were randomly assigned to one of four "recovery" conditions where they (1) listened to self-chosen relaxing music, (2) listened to self-chosen happy music, (3) listened to an audio book, or (4) sat in silence. After this 5-minute "recovery manipulation period," participants sat in silence for another 5 minutes. Systolic blood pressure, diastolic blood pressure, and heart rate were continuously measured. The recovery conditions caused differences in positive affect (F(3,119) = 13.13, p music or happy music. The conditions showed no differences in subjective arousal (F(3,117) = 2.03, p = .11) and rumination (F(3,119) = 1.10, p = .35). Systolic blood pressure recovery, however, differed between the conditions (linear time trend: F(3,116) = 4.50, p = .005; quadratic time trend: F(3,115) = 5.24, p = .002). Listening to both relaxing and happy music delayed systolic blood pressure recovery when compared with both control conditions. Listening to self-selected music is an effective mood enhancer, but it delays blood pressure recovery.

Music as therapy in early history.

Science.gov (United States)

Thaut, Michael H

2015-01-01

The notion of music as therapy is based on ancient cross-cultural beliefs that music can have a "healing" effect on mind and body. Explanations for the therapeutic mechanisms in music have almost always included cultural and social science-based causalities about the uses and functions of music in society. However, it is also important to note that the view of music as "therapy" was also always strongly influenced by the view and understanding of the concepts and causes of disease. Magical/mystical concepts of illness and "rational" medicine probably lived side by side for thousands of years. Not until the late-nineteenth and early-twentieth centuries were the scientific foundations of medicine established, which allowed the foundations of music in therapy to progress from no science to soft science and most recently to actual brain science. Evidence for "early music therapy" will be discussed in four broad historical-cultural divisions: preliterate cultures; early civilizations in Mesopotamia, Egypt, Israel; Greek Antiquity; Middle Ages, Renaissance, and Baroque. In reviewing "early music therapy" practice, from mostly unknown periods of early history (using preliterate cultures as a window) to increasingly better documented times, including preserved notation samples of actual "healing" music, five theories and applications of early music therapy can be differentiated. © 2015 Elsevier B.V. All rights reserved.

Do dopaminergic gene polymorphisms affect mesolimbic reward activation of music listening response? Therapeutic impact on Reward Deficiency Syndrome (RDS).

Science.gov (United States)

Blum, Kenneth; Chen, Thomas J H; Chen, Amanda L H; Madigan, Margaret; Downs, B William; Waite, Roger L; Braverman, Eric R; Kerner, Mallory; Bowirrat, Abdalla; Giordano, John; Henshaw, Harry; Gold, Mark S

2010-03-01

Using fMRI, Menon and Levitin [9] clearly found for the first time that listening to music strongly modulates activity in a network of mesolimbic structures involved in reward processing including the nucleus accumbens (NAc) and the ventral tegmental area (VTA), as well as the hypothalamus, and insula, which are thought to be involved in regulating autonomic and physiological responses to rewarding and emotional stimuli. Importantly, responses in the NAc and VTA were strongly correlated pointing to an association between dopamine release and NAc response to music. Listing to pleasant music induced a strong response and significant activation of the VTA-mediated interaction of the NAc with the hypothalamus, insula, and orbitofrontal cortex. Blum et al. [10] provided the first evidence that the dopamine D2 receptor gene (DRD2) Taq 1 A1 allele significantly associated with severe alcoholism whereby the author's suggested that they found the first "reward gene" located in the mesolimbic system. The enhanced functional and effective connectivity between brain regions mediating reward, autonomic, and cognitive processing provides insight into understanding why listening to music is one of the most rewarding and pleasurable human experiences. However, little is known about why some people have a more or less powerful mesolimbic experience when they are listening to music. It is well-known that music may induce an endorphinergic response that is blocked by naloxone, a known opioid antagonist (Goldstein [19]). Opioid transmission in the NAc is associated with dopamine release in the VTA. Moreover, dopamine release in the VTA is linked to polymorphisms of the DRD2 gene and even attention-deficit hyperactivity disorder (ADHD), whereby carriers of the DRD2 A1 allele show a reduced NAc release of dopamine (DA). Thus it is conjectured that similar mechanisms in terms of adequate dopamine release and subsequent activation of reward circuitry by listening to music might also be

Increased anxiety induced by listening to unpleasant music during stress exposure is associated with reduced blood pressure and ACTH responses in healthy men.

Science.gov (United States)

Jezova, Daniela; Hlavacova, Natasa; Makatsori, Aikaterini; Duncko, Roman; Loder, Ingrid; Hinghofer-Szalkay, Helmut

2013-01-01

The relationship between anxiety and the neuroendocrine response to stress stimuli is still not fully understood. The aim of this study was to evaluate the contribution of an acute increase in state anxiety to neuroendocrine activation under stress conditions. To do so, it was necessary to find a stress condition of the same character and intensity with and without a rise in state anxiety. We decided to examine the effects of listening to music on anxiety and to apply a new methodological approach. A group of 14 healthy volunteers participated in a counterbalanced crossover design study. The stress procedure consisted of mental (Stroop test, mental arithmetic) and physical (handgrip exercise) tasks combined with listening to music played forward (pleasant) or backwards (unpleasant). The results confirmed our hypothesis, namely the condition with listening to unpleasant music was anxiogenic, while the other was not. In case of increased state anxiety, the rise in ACTH concentrations in response to mental challenge and the increase in systolic blood pressure induced by handgrip exercise was reduced compared to the situation with unchanged anxiety. Concentrations of testosterone, oxytocin, vasopressin and aldosterone were slightly increased in response to the stress paradigm accompanied with increased anxiety. In conclusion, the present data demonstrate that an acute increase in state anxiety contributes to neuroendocrine activation under stress conditions. Moreover, the results show that listening to music may both positively and negatively influence the perception of stress and the level of anxiety, which might have functional consequences. Copyright © 2013 S. Karger AG, Basel.

Listeners' and Performers' Shared Understanding of Jazz Improvisations.

Science.gov (United States)

Schober, Michael F; Spiro, Neta

2016-01-01

This study explores the extent to which a large set of musically experienced listeners share understanding with a performing saxophone-piano duo, and with each other, of what happened in three improvisations on a jazz standard. In an online survey, 239 participants listened to audio recordings of three improvisations and rated their agreement with 24 specific statements that the performers and a jazz-expert commenting listener had made about them. Listeners endorsed statements that the performers had agreed upon significantly more than they endorsed statements that the performers had disagreed upon, even though the statements gave no indication of performers' levels of agreement. The findings show some support for a more-experienced-listeners-understand-more-like-performers hypothesis: Listeners with more jazz experience and with experience playing the performers' instruments endorsed the performers' statements more than did listeners with less jazz experience and experience on different instruments. The findings also strongly support a listeners-as-outsiders hypothesis: Listeners' ratings of the 24 statements were far more likely to cluster with the commenting listener's ratings than with either performer's. But the pattern was not universal; particular listeners even with similar musical backgrounds could interpret the same improvisations radically differently. The evidence demonstrates that it is possible for performers' interpretations to be shared with very few listeners, and that listeners' interpretations about what happened in a musical performance can be far more different from performers' interpretations than performers or other listeners might assume.

LISTEN WHILE YOU WORK? The Attitude of Healthcare Professionals to Music in the OR.

Science.gov (United States)

Faraj, Adna Abdilmajeedn; Wright, P; Haneef, J H S; Jones, Adrian

2015-06-01

Although the playing of music is commonplace in the operating theatre, there is nothing in the literature examining whether staff feel this is beneficial. Questionnaires were distributed amongst a random selection of staff in practice at a district general hospital: medical staff from a range of surgical specialities, anaesthetists, and all grades of perioperative staff (nurse/operating department practitioners/healthcare assistants) were encouraged to participate. There were 121 health professionals in total working in the operating theatres. The authors compared the responses to each question amongst the respondents, to check for the tendency to correlate. Out of the 52 health professionals who responded, 36 stated that music is played in their theatre either every day, or two to three times a week. Only five respondents felt that this was too often. Fifteen percent of medical staff were of the opinion that the nursing staff controlled the choice of music. Nursing staff were almost evenly split in thinking that nursing staff, surgical staff and the whole theatre team controlled the choice of music. The majority of both nursing and medical staff felt that they enjoyed their work more and performed better when music was played in theatre. The study concluded that the majority of theatre staff found listening to music while they work a positive experience. The potential for music to have a distracting or detrimental effect on a minority of individuals should always be considered.

Chill-inducing music enhances altruism in humans

Directory of Open Access Journals (Sweden)

Hajime eFukui

2014-10-01

Full Text Available Music is a universal feature of human cultures, and it has both fascinated and troubled many researchers. In this paper we show through the Dictator Game that an individual’s listening to preferred chill-inducing music may promote altruistic behavior that extends beyond the bounds of kin selection or reciprocal altruism. Participants were 22 undergraduate and postgraduate students who were divided into two groups, the In-group (IG and the Out-group (OG, and they acted as dictators. The dictators listened to their own preferred chill-inducing music, to music they disliked, or to silence, and then played the Dictator Game. In this hypothetical experiment, the dictators were given real money (which they did not keep and were asked to distribute it to the recipients, who were presented as stylized images of men and women displayed on a computer screen. The dictators played the Dictator Game both before and after listening to the music. Both male and female dictators gave more money after listening to their preferred music and less after listening to the music they disliked, whereas silence had no effect on the allocated amounts. The group to which the recipient belonged did not influence these trends. The results suggest that listening to preferred chill-inducing music promotes altruistic behavior.

Chill-inducing music enhances altruism in humans.

Science.gov (United States)

Fukui, Hajime; Toyoshima, Kumiko

2014-01-01

Music is a universal feature of human cultures, and it has both fascinated and troubled many researchers. In this paper we show through the dictator game (DG) that an individual's listening to preferred "chill-inducing" music may promote altruistic behavior that extends beyond the bounds of kin selection or reciprocal altruism. Participants were 22 undergraduate and postgraduate students who were divided into two groups, the in-group and the out-group, and they acted as dictators. The dictators listened to their own preferred "chill-inducing" music, to music they disliked, or to silence, and then played the DG. In this hypothetical experiment, the dictators were given real money (which they did not keep) and were asked to distribute it to the recipients, who were presented as stylized images of men and women displayed on a computer screen. The dictators played the DG both before and after listening to the music. Both male and female dictators gave more money after listening to their preferred music and less after listening to the music they disliked, whereas silence had no effect on the allocated amounts. The group to which the recipient belonged did not influence these trends. The results suggest that listening to preferred "chill-inducing" music promotes altruistic behavior.

Using listener-based perceptual features as intermediate representations in music information retrieval.

Science.gov (United States)

Friberg, Anders; Schoonderwaldt, Erwin; Hedblad, Anton; Fabiani, Marco; Elowsson, Anders

2014-10-01

The notion of perceptual features is introduced for describing general music properties based on human perception. This is an attempt at rethinking the concept of features, aiming to approach the underlying human perception mechanisms. Instead of using concepts from music theory such as tones, pitches, and chords, a set of nine features describing overall properties of the music was selected. They were chosen from qualitative measures used in psychology studies and motivated from an ecological approach. The perceptual features were rated in two listening experiments using two different data sets. They were modeled both from symbolic and audio data using different sets of computational features. Ratings of emotional expression were predicted using the perceptual features. The results indicate that (1) at least some of the perceptual features are reliable estimates; (2) emotion ratings could be predicted by a small combination of perceptual features with an explained variance from 75% to 93% for the emotional dimensions activity and valence; (3) the perceptual features could only to a limited extent be modeled using existing audio features. Results clearly indicated that a small number of dedicated features were superior to a "brute force" model using a large number of general audio features.

Exposure Influences Expressive Timing Judgments in Music

Science.gov (United States)

Honing, Henkjan; Ladinig, Olivia

2009-01-01

This study is concerned with the question whether, and to what extent, listeners' previous exposure to music in everyday life, and expertise as a result of formal musical training, play a role in making expressive timing judgments in music. This was investigated by using a Web-based listening experiment in which listeners with a wide range of…

Listeners' and performers' shared understanding of jazz improvisations

Directory of Open Access Journals (Sweden)

Michael F Schober

2016-11-01

Full Text Available This study explores the extent to which a large set of musically experienced listeners share understanding with a performing saxophone-piano duo, and with each other, of what happened in three improvisations on a jazz standard. In an online survey, 239 participants listened to audio recordings of three improvisations and rated their agreement with 24 specific statements that the performers and a jazz-expert commenting listener had made about them. Listeners endorsed statements that the performers had agreed upon significantly more than they endorsed statements that the performers had disagreed upon, even though the statements gave no indication of performers' levels of agreement. The findings show some support for a more-experienced-listeners-understand-more-like-performers hypothesis: Listeners with more jazz experience and with experience playing the performers' instruments endorsed the performers' statements more than did listeners with less jazz experience and experience on different instruments. The findings also strongly support a listeners-as-outsiders hypothesis: Listeners' ratings of the 24 statements were far more likely to cluster with the commenting listener's ratings than with either performer's. But the pattern was not universal; particular listeners even with similar musical backgrounds could interpret the same improvisations radically differently. The evidence demonstrates that it is possible for performers' interpretations to be shared with very few listeners, and that listeners’ interpretations about what happened in a musical performance can be far more different from performers’ interpretations than performers or other listeners might assume.

The Band Effect – physically strenuous music making increases aesthetic appreciation of music

Directory of Open Access Journals (Sweden)

Thomas Hans Fritz

2016-10-01

Full Text Available The aesthetic appreciation of music is strongly influenced by cultural background and personal taste. One would expect that this would complicate the utilizability of musical feedback in paradigms, such that music would only be perceived as a reward if it complies to personal aesthetic appreciation. Here we report data where we assessed aesthetic appreciation of music after 1. a physically strenuous music improvisation and 2. after passive music listening (where participants aesthetically assessed similar music. Data are reported from two experiments where different patient groups performed Jymmin, a music feedback method where exercise equipment is modified in such a way that it can be played like musical instruments by modulating musical parameters in a composition software. This combines physical exertion with musical performance in a fashion that has previously been shown to have a number of positive psychological effects such as enhanced mood and reduced perceived exertion. In both experiments aesthetic appreciation of musical presentations during Jymmin and a control condition without musical agency were compared. Data show that both patient groups perceived the musical outcome of their own performance as more aesthetically pleasing than similar music they listened to passively. This suggests that the act of making music (when combined with physical exertion is associated with a positivity bias about the perceived aesthetical quality of the musical outcome. The outcome of personal musical agency thus tends to be perceived as rewarding even if it does not comply with personal aesthetic appreciation. This suggests that musical feedback interventions may not always have to be highly individualized because individual taste may not always be crucial. The results also suggest that the method applied here may be efficient at encouraging music listeners to actively explore new musical styles that they might otherwise be reluctant to listen to (e

Orff Music Therapy: History, Principles and Further Development

Directory of Open Access Journals (Sweden)

Melanie Voigt

2013-12-01

Full Text Available Orff Music Therapy, a developmental approach to music therapy, was developed by Gertrud Orff within the framework of social paediatrics in Munich, Germany. A short historical background of Orff Music Therapy is discussed. The history of the clinical setting in which it was developed is described as is Gertrud Orff’s professional background. The role of Orff-Schulwerk in Orff Music Therapy and the development of theoretical foundations are discussed. Current principles and practice of Orff Music Therapy, illustrated by a case example show how the profile of Orff Music Therapy has developed. On the basis of the case example, theory is related to practice. Finally, changes influencing Orff Music Therapy today, training and research are considered.

The Duration of Self-Selected Music Needed to Reduce Preoperative Anxiety.

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McClurkin, Sylva L; Smith, Claudia D

2016-06-01

Preoperative anxiety affects patients both physically and psychologically. It may also influence the patient's perioperative experience and result in reduced patient satisfaction with care and potentially delayed recovery. Previous research indicates that patients who listen to music in the perioperative setting experience less anxiety than patients who do not listen to music. Research does not address the duration of music required to effectively reduce anxiety in this population. A randomized control trial was used. Two intervention groups (15-minute music and 30-minute music) and one control group (no music) were compared. Patients (n = 133) demonstrated less anxiety after listening to either 15 or 30 minutes of music (P music demonstrated less anxiety than those who did not listen to music (P = .005), whereas patients (n = 41) who listened to 30 minutes of music demonstrated less anxiety than those who did not listen to music (P music preoperatively is an effective method to reduce anxiety in patients who are about to have surgery. Copyright © 2016 American Society of PeriAnesthesia Nurses. Published by Elsevier Inc. All rights reserved.

Headphone listening habits and hearing thresholds in swedish adolescents

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Stephen E Widen

2017-01-01

Full Text Available Introduction: The aim of this study was to investigate self-reported hearing and portable music listening habits, measured hearing function and music exposure levels in Swedish adolescents. The study was divided into two parts. Materials and Methods: The first part included 280 adolescents, who were 17 years of age and focused on self-reported data on subjective hearing problems and listening habits regarding portable music players. From this group, 50 adolescents volunteered to participate in Part II of the study, which focused on audiological measurements and measured listening volume. Results: The results indicated that longer lifetime exposure in years and increased listening frequency were associated with poorer hearing thresholds and more self-reported hearing problems. A tendency was found for listening to louder volumes and poorer hearing thresholds. Women reported more subjective hearing problems compared with men but exhibited better hearing thresholds. In contrast, men reported more use of personal music devices, and they listen at higher volumes. Discussion: Additionally, the study shows that adolescents listening for ≥3 h at every occasion more likely had tinnitus. Those listening at ≥85 dB LAeq, FF and listening every day exhibited poorer mean hearing thresholds, reported more subjective hearing problems and listened more frequently in school and while sleeping. Conclusion: Although the vast majority listened at moderate sound levels and for shorter periods of time, the study also indicates that there is a subgroup (10% that listens between 90 and 100 dB for longer periods of time, even during sleep. This group might be at risk for developing future noise-induced hearing impairments.

Music and hearing aids.

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Madsen, Sara M K; Moore, Brian C J

2014-10-31

The signal processing and fitting methods used for hearing aids have mainly been designed to optimize the intelligibility of speech. Little attention has been paid to the effectiveness of hearing aids for listening to music. Perhaps as a consequence, many hearing-aid users complain that they are not satisfied with their hearing aids when listening to music. This issue inspired the Internet-based survey presented here. The survey was designed to identify the nature and prevalence of problems associated with listening to live and reproduced music with hearing aids. Responses from 523 hearing-aid users to 21 multiple-choice questions are presented and analyzed, and the relationships between responses to questions regarding music and questions concerned with information about the respondents, their hearing aids, and their hearing loss are described. Large proportions of the respondents reported that they found their hearing aids to be helpful for listening to both live and reproduced music, although less so for the former. The survey also identified problems such as distortion, acoustic feedback, insufficient or excessive gain, unbalanced frequency response, and reduced tone quality. The results indicate that the enjoyment of listening to music with hearing aids could be improved by an increase of the input and output dynamic range, extension of the low-frequency response, and improvement of feedback cancellation and automatic gain control systems. © The Author(s) 2014.

Music and Hearing Aids

Directory of Open Access Journals (Sweden)

Sara M. K. Madsen

2014-10-01

Full Text Available The signal processing and fitting methods used for hearing aids have mainly been designed to optimize the intelligibility of speech. Little attention has been paid to the effectiveness of hearing aids for listening to music. Perhaps as a consequence, many hearing-aid users complain that they are not satisfied with their hearing aids when listening to music. This issue inspired the Internet-based survey presented here. The survey was designed to identify the nature and prevalence of problems associated with listening to live and reproduced music with hearing aids. Responses from 523 hearing-aid users to 21 multiple-choice questions are presented and analyzed, and the relationships between responses to questions regarding music and questions concerned with information about the respondents, their hearing aids, and their hearing loss are described. Large proportions of the respondents reported that they found their hearing aids to be helpful for listening to both live and reproduced music, although less so for the former. The survey also identified problems such as distortion, acoustic feedback, insufficient or excessive gain, unbalanced frequency response, and reduced tone quality. The results indicate that the enjoyment of listening to music with hearing aids could be improved by an increase of the input and output dynamic range, extension of the low-frequency response, and improvement of feedback cancellation and automatic gain control systems.

Teaching Students with Developmental Disabilities to Operate an iPod Touch[R] to Listen to Music

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Kagohara, Debora M.; Sigafoos, Jeff; Achmadi, Donna; van der Meer, Larah; O'Reilly, Mark F.; Lancioni, Giulio E.

2011-01-01

We evaluated an intervention procedure for teaching three students with developmental disabilities to independently operate a portable multimedia device (i.e., an iPod Touch[R]) to listen to music. The intervention procedure included the use of video modeling, which was presented on the same iPod Touch[R] that the students were taught to operate…

Mobile phone conversations, listening to music and quiet (electric) cars : are traffic sounds important for safe cycling?

NARCIS (Netherlands)

Stelling-Konczak, A. Wee, G.P. van Commandeur, J.J.F. & Hagenzieker, M.P.

2017-01-01

Listening to music or talking on the phone while cycling as well as the growing number of quiet (electric) cars on the road can make the use of auditory cues challenging for cyclists. The present study examined to what extent and in which traffic situations traffic sounds are important for safe

Mobile phone conversations, listening to music and quiet (electric) cars : Are traffic sounds important for safe cycling?

NARCIS (Netherlands)

Stelling-Konczak, A.; van Wee, G. P.; Commandeur, J. J.F.; Hagenzieker, M.

2017-01-01

Listening to music or talking on the phone while cycling as well as the growing number of quiet (electric) cars on the road can make the use of auditory cues challenging for cyclists. The present study examined to what extent and in which traffic situations traffic sounds are important for safe

Improved motor sequence retention by motionless listening.

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Lahav, Amir; Katz, Tal; Chess, Roxanne; Saltzman, Elliot

2013-05-01

This study examined the effect of listening to a newly learned musical piece on subsequent motor retention of the piece. Thirty-six non-musicians were trained to play an unfamiliar melody on a piano keyboard. Next, they were randomly assigned to participate in three follow-up listening sessions over 1 week. Subjects who, during their listening sessions, listened to the same initial piece showed significant improvements in motor memory and retention of the piece despite the absence of physical practice. These improvements included increased pitch accuracy, time accuracy, and dynamic intensity of key pressing. Similar improvements, though to a lesser degree, were observed in subjects who, during their listening sessions, were distracted by another task. Control subjects, who after learning the piece had listened to nonmusical sounds, showed impaired motoric retention of the piece at 1 week from the initial acquisition day. These results imply that motor sequences can be established in motor memory without direct access to motor-related information. In addition, the study revealed that the listening-induced improvements did not generalize to the learning of a new musical piece composed of the same notes as the initial piece learned, limiting the effects to musical motor sequences that are already part of the individual's motor repertoire.

Sensorimotor adaptation is influenced by background music.

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Bock, Otmar

2010-06-01

It is well established that listening to music can modify subjects' cognitive performance. The present study evaluates whether this so-called Mozart Effect extends beyond cognitive tasks and includes sensorimotor adaptation. Three subject groups listened to musical pieces that in the author's judgment were serene, neutral, or sad, respectively. This judgment was confirmed by the subjects' introspective reports. While listening to music, subjects engaged in a pointing task that required them to adapt to rotated visual feedback. All three groups adapted successfully, but the speed and magnitude of adaptive improvement was more pronounced with serene music than with the other two music types. In contrast, aftereffects upon restoration of normal feedback were independent of music type. These findings support the existence of a "Mozart effect" for strategic movement control, but not for adaptive recalibration. Possibly, listening to music modifies neural activity in an intertwined cognitive-emotional network.

Music in the recovering brain

OpenAIRE

Särkämö, Teppo

2011-01-01

Listening to music involves a widely distributed bilateral network of brain regions that controls many auditory perceptual, cognitive, emotional, and motor functions. Exposure to music can also temporarily improve mood, reduce stress, and enhance cognitive performance as well as promote neural plasticity. However, very little is currently known about the relationship between music perception and auditory and cognitive processes or about the potential therapeutic effects of listening to music ...

Relationship between spectrotemporal modulation detection and music perception in normal-hearing, hearing-impaired, and cochlear implant listeners.

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Choi, Ji Eun; Won, Jong Ho; Kim, Cheol Hee; Cho, Yang-Sun; Hong, Sung Hwa; Moon, Il Joon

2018-01-15

The objective of this study was to examine the relationship between spectrotemporal modulation (STM) sensitivity and the ability to perceive music. Ten normal-nearing (NH) listeners, ten hearing aid (HA) users with moderate hearing loss, and ten cochlear Implant (CI) users participated in this study. Three different types of psychoacoustic tests including spectral modulation detection (SMD), temporal modulation detection (TMD), and STM were administered. Performances on these psychoacoustic tests were compared to music perception abilities. In addition, psychoacoustic mechanisms involved in the improvement of music perception through HA were evaluated. Music perception abilities in unaided and aided conditions were measured for HA users. After that, HA benefit for music perception was correlated with aided psychoacoustic performance. STM detection study showed that a combination of spectral and temporal modulation cues were more strongly correlated with music perception abilities than spectral or temporal modulation cues measured separately. No correlation was found between music perception performance and SMD threshold or TMD threshold in each group. Also, HA benefits for melody and timbre identification were significantly correlated with a combination of spectral and temporal envelope cues though HA.

The link between systematc planned listening to a chosen musical programme and autism spectrum disorders and moderate mental development disorders

OpenAIRE

Škrlj Trošt, Kristina

2016-01-01

The results of the research carried out so far show that a systematically planned listening program stimulates different parts of the brain and enables their synchronic interaction. It also stimulates and improves certain thinking functions and processes in the brain, which are connected to some cognitive abilities which may seem unrelated. These results encouraged us to study if music activities with the emphasis on systematically planned listening programme help a child with autism spectrum...

Effect of Active Music Therapy and Individualized Listening to Music on Dementia: A Multicenter Randomized Controlled Trial.

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Raglio, Alfredo; Bellandi, Daniele; Baiardi, Paola; Gianotti, Marta; Ubezio, Maria Chiara; Zanacchi, Elisa; Granieri, Enrico; Imbriani, Marcello; Stramba-Badiale, Marco

2015-08-01

To assess the effects of active music therapy (MT) and individualized listening to music (LtM) on behavioral and psychological symptoms of dementia (BPSDs) in persons with dementia (PWDs). Randomized controlled trial. Nine Italian institutions. Persons with moderate to severe dementia and BPSDs (N = 120) were randomized to one of three treatments. All groups received standard care (SC), and two groups attended 20 individualized MT or LtM sessions, twice a week, in addition to SC. The Neuropsychiatric Inventory (NPI), Cornell Scale for Depression in Dementia (CSDD), and Cornell-Brown Scale for Quality of Life in Dementia (CBS-QoL) were administered before treatment, after treatment, and at follow-up to evaluate behavioral and psychological outcomes. A specific coding scheme (Music Therapy Check List-Dementia) was used to evaluate the MT process. Behavioral assessment did not show significant differences between groups. All groups showed a reduction over time in NPI global score (P ≤ .001), CSDD (P = .001), and CBS-QoL (P = .01). The NPI global score fell 28% in the MT group, 12% in the LtM group, and 21% in the SC group at the end of treatment. An exploratory post hoc analysis showed similar within-group improvements for the NPI Delusion, Anxiety, and Disinhibition subscales. In the MT group, communication and relationships between the music therapists and PWDs showed a positive albeit nonsignificant trend during treatment. The addition of MT or LtM to standard care did not have a significant effect on BPSDs in PWDs. Further studies on the effects of the integration of standard care with different types of music interventions on BPSD in PWD are warranted. © 2015, Copyright the Authors Journal compilation © 2015, The American Geriatrics Society.

Musical feedback during exercise machine workout enhances mood

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Thomas Hans Fritz

2013-12-01

Full Text Available Music making has a number of beneficial effects for motor tasks compared to passive music listening. Given that recent research suggests that high energy musical activities elevate positive affect more strongly than low energy musical activities, we here investigated a recent method that combined music making with systematically increasing physiological arousal by exercise machine workout. We compared mood and anxiety after two exercise conditions on non-cyclical exercise machines, one with passive music listening and the other with musical feedback (where participants could make music with the exercise machines. The results showed that agency during exercise machine workout (an activity we previously labeled jymmin—a cross between jammin and gym had an enhancing effect on mood compared to workout with passive music listening. Furthermore, the order in which the conditions were presented mediated the effect of musical agency for this subscale When participants first listened passively, the difference in mood between the two conditions was greater, suggesting that a stronger increase in hormone levels (e.g. endorphins during the active condition may have caused the observed effect. Given an enhanced mood after training with musical feedback compared to passively listening to the same type of music during workout, the results suggest that exercise machine workout with musical feedback (jymmin makes the act of exercise machine training more desirable.

Effects of listening to music on pain intensity and pain distress after surgery: an intervention.

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Vaajoki, Anne; Pietilä, Anna-Maija; Kankkunen, Päivi; Vehviläinen-Julkunen, Katri

2012-03-01

To evaluate the effects of music listening on pain intensity and pain distress on the first and second postoperative days in abdominal surgery patients and the long-term effects of music on the third postoperative day. Music has been found to relieve pain intensity in surgery patients. There are only a few studies on music intervention in abdominal surgery. Music intervention studies assessing multidimensional pain such as pain intensity and pain distress are also scarce. Prospective clinical study with two parallel groups. Patients undergoing elective abdominal surgery (n = 168) were divided into either a music group (n = 83) or a control group (n = 85). Patients assessed pain intensity and pain distress in bed rest, during deep breathing and in shifting position once in the evening of the operation day and on the first and second postoperative days in the morning, at noon and in the evening. On the third postoperative day, the patients assessed their pain intensity and pain distress only once. In the music group, the patients' pain intensity and pain distress in bed rest, during deep breathing and in shifting position were significantly lower on the second postoperative day compared with control group of patients. On the third postoperative day, when long-term effects of music on pain intensity and pain distress were assessed, there were no significant differences between music and control groups. This study demonstrates that the use of music alleviates pain intensity and pain distress in bed rest, during deep breathing and in shifting position after abdominal surgery on the second postoperative day. Music intervention is safe, inexpensive and easily used to improve the healing environment for abdominal surgery patients. Music intervention should be offered as an adjunct alternative to pharmacological pain relief after abdominal surgery in nursing practice. © 2011 Blackwell Publishing Ltd.

CONCEPT OF MUSIC AND LISTENED SOME GENRES OF MUSIC IN TURKEY

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Cigdem Eda Angi

2015-02-01

Full Text Available In this research, the definition and development of music and music’s types from the first period to the present day is analysed briefly. According to the research, the music types which will be searched, are arabesque music, blues music/jazz music, hiphop/rap music, classical music, pop music, rock/metal music, sufi music, Turkish folk music, Turkish art music. The research is a descriptive workout due to its purpose and method used. This research is important by means of being a source for the researchers and explaining various music types.

From the Functions of Music to Music Preference

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Schafer, Thomas; Sedlmeier, Peter

2009-01-01

To date, not much is known about how the functions of music relate to music preference. This article examines the basic hypothesis that the strength of preference for a given kind of music depends on the degree to which that kind of music serves the needs of the listener; that is, how well the respective functions of music are fulfilled. Study 1,…

CONCEPT OF MUSIC AND LISTENED SOME GENRES OF MUSIC IN TURKEY

OpenAIRE

Cigdem Eda Angi

2015-01-01

In this research, the definition and development of music and music’s types from the first period to the present day is analysed briefly. According to the research, the music types which will be searched, are arabesque music, blues music/jazz music, hiphop/rap music, classical music, pop music, rock/metal music, sufi music, Turkish folk music, Turkish art music. The research is a descriptive workout due to its purpose and method used. This research is important by means of being a source for ...

Musical Preference and Music Education: Musical Preferences of Turkish University Students and Their Levels in Genre Identification

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Gürgen, Elif Tekin

2016-01-01

The aim of this study was to investigate if there is any relationship between musical preference, genre identification and frequency of listening to music genres, and whether musical training and gender played a role in these factors. A total of 205 college music and non-music majors recorded their preference for 13 music excerpts in popular,…

Music through the ages: Trends in musical engagement and preferences from adolescence through middle adulthood.

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Bonneville-Roussy, Arielle; Rentfrow, Peter J; Xu, Man K; Potter, Jeff

2013-10-01

Are there developmental trends in how individuals experience and engage with music? Data from 2 large cross-sectional studies involving more than a quarter of a million individuals were used to investigate age differences in musical attitudes and preferences from adolescence through middle age. Study 1 investigated age trends in musical engagement. Results indicated that (a) the degree of importance attributed to music declines with age but that adults still consider music important, (b) young people listen to music significantly more often than do middle-aged adults, and (c) young people listen to music in a wide variety of contexts, whereas adults listen to music primarily in private contexts. Study 2 examined age trends in musical preferences. Results indicated that (a) musical preferences can be conceptualized in terms of a 5-dimensional age-invariant model, (b) certain music-preference dimensions decrease with age (e.g., Intense, Contemporary), whereas preferences for other music dimensions increase with age (e.g., Unpretentious, Sophisticated), and (c) age trends in musical preferences are closely associated with personality. Normative age trends in musical preferences corresponded with developmental changes in psychosocial development, personality, and auditory perception. Overall, the findings suggest that musical preferences are subject to a variety of developmental influences throughout the life span.

Listen while you work? The attitude of healthcare professionals to music in the operating theatre.

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Faraj, A A; Wright, A P; Haneef, J H S; Jones, A

2014-09-01

Although the playing of music is commonplace in the operating theatre, there is nothing in the literature examining whether staff feel this is beneficial. Questionnaires were distributed amongst a random selection of staff in practice at a district general hospital: medical staff from a range of surgical specialities, anaesthetists, and all grades of perioperative staff (nurse/operating department practitioners/healthcare assistants) were encouraged to participate. There were 121 health professionals in total working in the operating theatres. The authors compared the responses to each question amongst the respondents, to check for the tendency to correlate. Out of the 52 health professionals who responded, 36 stated that music is played in their theatre either every day, or two to three times a week. Only five respondents felt that this was too often. Fifteen percent of medical staff were of the opinion that the nursing staff controlled the choice of music. Nursing staff were almost evenly split in thinking that nursing staff, surgical staff and the whole theatre team controlled the choice of music. The majority of both nursing and medical staff felt that they enjoyed their work more and performed better when music was played in theatre. The study concluded that the majority of theatre staff found listening to music while they work a positive experience. The potential for music to have a distracting or detrimental effect on a minority of individuals should always be considered.

Effect of listening to Vedic chants and Indian classical instrumental music on patients undergoing upper gastrointestinal endoscopy: A randomized control trial.

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Padam, Anita; Sharma, Neetu; Sastri, O S K S; Mahajan, Shivani; Sharma, Rajesh; Sharma, Deepak

2017-01-01

A high level of preoperative anxiety is common among patients undergoing medical and surgical procedures. Anxiety impacts of gastroenterological procedures on psychological and physiological responses are worth consideration. To analyze the effect of listening to Vedic chants and Indian classical instrumental music on anxiety levels and on blood pressure (BP), heart rate (HR), and oxygen saturation in patients undergoing upper gastrointestinal (GI) endoscopy. A prospective, randomized controlled trial was done on 199 patients undergoing upper GI endoscopy. On arrival, their anxiety levels were assessed using state and trait scores and various physiological parameters such as HR, BP, and SpO 2 . Patients were randomly divided into three groups: Group I of 67 patients who were made to listen prerecorded Vedic chants for 10 min, Group II consisting of 66 patients who listened to Indian classical instrumental music for 10 min, and Group III of 66 controls who remained seated for same period in the same environment. Thereafter, their anxiety state scores and physiological parameters were reassessed. A significant reduction in anxiety state scores was observed in the patients in Group I (from 40.4 ± 8.9 to 38.5 ± 10.7; P classical instrumental music has beneficial effects on alleviating anxiety levels induced by apprehension of invasive procedures and can be of therapeutic use.

Listener Habits and Choices — and Their Implications for Public Performance Venues

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DODD, G.

2001-01-01

An 11-year longitudinal survey of patterns and preferences in music listening has revealed that a large majority of people would prefer to listen to music performed live but that only a small percentage of their exposure to music actually occurs at live performances. An initial analysis of the first few years of the survey suggests that choices concerning music can be influenced by cultural background, and that predominant music sources change as new technology becomes available. Reasons given by listeners for preferring to listen to a traditional, mechanical instrument rather than an electro-acoustic version of it indicate they are sensitive to an “originality” criterion. As a consequence, concert halls should be designed to operate as passive acoustics spaces. Further, listeners' reasons for electing to attend a live performance rather than listen to a recording or a live broadcast suggest that hall designers should try to maximize the sense of two-way communication between performers and listeners. An implication of this is that where active acoustics systems are to be incorporated in variable acoustics auditoria, those active systems which use a non-in-line approach are to be preferred over in-line schemes. However, listener evolution and new expectations may require a fundamental change in our approach to the acoustics of live performance venues.

Impact of Noise Reduction Algorithm in Cochlear Implant Processing on Music Enjoyment.

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Kohlberg, Gavriel D; Mancuso, Dean M; Griffin, Brianna M; Spitzer, Jaclyn B; Lalwani, Anil K

2016-06-01

Noise reduction algorithm (NRA) in speech processing strategy has positive impact on speech perception among cochlear implant (CI) listeners. We sought to evaluate the effect of NRA on music enjoyment. Prospective analysis of music enjoyment. Academic medical center. Normal-hearing (NH) adults (N = 16) and CI listeners (N = 9). Subjective rating of music excerpts. NH and CI listeners evaluated country music piece on three enjoyment modalities: pleasantness, musicality, and naturalness. Participants listened to the original version and 20 modified, less complex versions created by including subsets of musical instruments from the original song. NH participants listened to the segments through CI simulation and CI listeners listened to the segments with their usual speech processing strategy, with and without NRA. Decreasing the number of instruments was significantly associated with increase in the pleasantness and naturalness in both NH and CI subjects (p  0.05): this was true for the original and the modified music segments with one to three instruments (p > 0.05). NRA does not affect music enjoyment in CI listener or NH individual with CI simulation. This suggests that strategies to enhance speech processing will not necessarily have a positive impact on music enjoyment. However, reducing the complexity of music shows promise in enhancing music enjoyment and should be further explored.

Music cognition: a developmental perspective.

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Stalinski, Stephanie M; Schellenberg, E Glenn

2012-10-01

Although music is universal, there is a great deal of cultural variability in music structures. Nevertheless, some aspects of music processing generalize across cultures, whereas others rely heavily on the listening environment. Here, we discuss the development of musical knowledge, focusing on four themes: (a) capabilities that are present early in development; (b) culture-general and culture-specific aspects of pitch and rhythm processing; (c) age-related changes in pitch perception; and (d) developmental changes in how listeners perceive emotion in music. Copyright © 2012 Cognitive Science Society, Inc.

音乐声的情感属性与听者的情绪反应%Emotional Attributes of the Musical Sound and Mood Reactions of the Listeners

Institute of Scientific and Technical Information of China (English)

杨倩; 孟子厚

2013-01-01

以音乐声的情感为目标进行标注与分类，考察不同情感类别的音乐声对听者情绪的影响，分析听者情绪分量和音乐声情感属性之间的关联。%The musical sound was labelled and classified according to the different emotions, in the purpose of observation on the emotional influence that different types of music have on listeners, and analysis of the correlation between the mood components of the listeners and the emotional attributes of the musical sound.

Machine listening intelligence

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Cella, C. E.

2017-05-01

This manifesto paper will introduce machine listening intelligence, an integrated research framework for acoustic and musical signals modelling, based on signal processing, deep learning and computational musicology.

Listening to music during sprint interval exercise: The impact on exercise attitudes and intentions.

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Stork, Matthew J; Martin Ginis, Kathleen A

2017-10-01

This study investigated the impact of listening to music during exercise on perceived enjoyment, attitudes and intentions towards sprint interval training (SIT). Twenty men (24.8 ± 4.5 years) and women (20.1 ± 2.6 years) unfamiliar with SIT exercise completed two acute sessions of SIT, one with and one without music. Perceived enjoyment, attitudes and intentions towards SIT were measured post-exercise for each condition. Attitudes and intentions to engage in SIT were also measured at baseline and follow-up. Post-exercise attitudes mediated the effects of enjoyment on intentions in the music condition (95% confidence interval [CI]: [0.01, 0.07], κ 2  = 0.36) and in the no music condition (95% CI: [0.01, 0.08], κ 2  = 0.37). Attitudes towards SIT were significantly more positive following the music than no music condition (P = 0.004), while intentions towards SIT were not (P = 0.29). Further, attitudes and intentions towards SIT did not change from baseline to follow-up (Ps > 0.05). These findings revealed that participants had relatively positive attitudes and intentions towards SIT, which did not become more negative despite experiencing intense SIT protocols. This study highlights the importance of acute affective responses to SIT exercise for influencing one's attitudes and intentions towards participating in SIT exercise. Such factors could ultimately play a key role in determining whether an individual engages in SIT exercise in the long term.

Turn Off the Music! Music Impairs Visual Associative Memory Performance in Older Adults

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Reaves, Sarah; Graham, Brittany; Grahn, Jessica; Rabannifard, Parissa; Duarte, Audrey

2016-01-01

Purpose of the Study: Whether we are explicitly listening to it or not, music is prevalent in our environment. Surprisingly, little is known about the effect of environmental music on concurrent cognitive functioning and whether young and older adults are differentially affected by music. Here, we investigated the impact of background music on a concurrent paired associate learning task in healthy young and older adults. Design and Methods: Young and older adults listened to music or to silence while simultaneously studying face–name pairs. Participants’ memory for the pairs was then tested while listening to either the same or different music. Participants also made subjective ratings about how distracting they found each song to be. Results: Despite the fact that all participants rated music as more distracting to their performance than silence, only older adults’ associative memory performance was impaired by music. These results are most consistent with the theory that older adults’ failure to inhibit processing of distracting task-irrelevant information, in this case background music, contributes to their memory impairments. Implications: These data have important practical implications for older adults’ ability to perform cognitively demanding tasks even in what many consider to be an unobtrusive environment. PMID:26035876

Music Preferences and Civic Activism of Young People

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Leung, Ambrose; Kier, Cheryl

2008-01-01

This study examines the relationship between music preferences and civic activism among 182 participants aged 14-24 years. Our analyses show that participants who regularly listened to certain music genres such as classical, opera, musicals, new age, easy listening, house, world music, heavy metal, punk, and ska were significantly more likely to…

Exposure influences expressive timing judgments in music

NARCIS (Netherlands)

Honing, H.; Ladinig, O.

2009-01-01

This study is concerned with the question whether, and to what extent, listeners' previous exposure to music in everyday life, and expertise as a result of formal musical training, play a role in making expressive timing judgments in music. This was investigated by using a Web-based listening

Making Listening Instruction Meaningful: A Literature Review

Science.gov (United States)

Todd, Jennifer R.; Mishra, Jennifer

2013-01-01

Listening to, analyzing, and describing music, is perhaps the most difficult standard to present effectively in allotted classroom time. The purpose of this literature review is to better understand what constitutes effective listening instruction by examining students' listening practices, receptiveness, attentiveness, and activities that lead to…

Emotional Responses to Music: Shifts in Frontal Brain Asymmetry Mark Periods of Musical Change.

Science.gov (United States)

Arjmand, Hussain-Abdulah; Hohagen, Jesper; Paton, Bryan; Rickard, Nikki S

2017-01-01

Recent studies have demonstrated increased activity in brain regions associated with emotion and reward when listening to pleasurable music. Unexpected change in musical features intensity and tempo - and thereby enhanced tension and anticipation - is proposed to be one of the primary mechanisms by which music induces a strong emotional response in listeners. Whether such musical features coincide with central measures of emotional response has not, however, been extensively examined. In this study, subjective and physiological measures of experienced emotion were obtained continuously from 18 participants (12 females, 6 males; 18-38 years) who listened to four stimuli-pleasant music, unpleasant music (dissonant manipulations of their own music), neutral music, and no music, in a counter-balanced order. Each stimulus was presented twice: electroencephalograph (EEG) data were collected during the first, while participants continuously subjectively rated the stimuli during the second presentation. Frontal asymmetry (FA) indices from frontal and temporal sites were calculated, and peak periods of bias toward the left (indicating a shift toward positive affect) were identified across the sample. The music pieces were also examined to define the temporal onset of key musical features. Subjective reports of emotional experience averaged across the condition confirmed participants rated their music selection as very positive, the scrambled music as negative, and the neutral music and silence as neither positive nor negative. Significant effects in FA were observed in the frontal electrode pair FC3-FC4, and the greatest increase in left bias from baseline was observed in response to pleasurable music. These results are consistent with findings from previous research. Peak FA responses at this site were also found to co-occur with key musical events relating to change, for instance, the introduction of a new motif, or an instrument change, or a change in low level acoustic

Emotional Responses to Music: Shifts in Frontal Brain Asymmetry Mark Periods of Musical Change

Directory of Open Access Journals (Sweden)

Hussain-Abdulah Arjmand

2017-12-01

Full Text Available Recent studies have demonstrated increased activity in brain regions associated with emotion and reward when listening to pleasurable music. Unexpected change in musical features intensity and tempo – and thereby enhanced tension and anticipation – is proposed to be one of the primary mechanisms by which music induces a strong emotional response in listeners. Whether such musical features coincide with central measures of emotional response has not, however, been extensively examined. In this study, subjective and physiological measures of experienced emotion were obtained continuously from 18 participants (12 females, 6 males; 18–38 years who listened to four stimuli—pleasant music, unpleasant music (dissonant manipulations of their own music, neutral music, and no music, in a counter-balanced order. Each stimulus was presented twice: electroencephalograph (EEG data were collected during the first, while participants continuously subjectively rated the stimuli during the second presentation. Frontal asymmetry (FA indices from frontal and temporal sites were calculated, and peak periods of bias toward the left (indicating a shift toward positive affect were identified across the sample. The music pieces were also examined to define the temporal onset of key musical features. Subjective reports of emotional experience averaged across the condition confirmed participants rated their music selection as very positive, the scrambled music as negative, and the neutral music and silence as neither positive nor negative. Significant effects in FA were observed in the frontal electrode pair FC3–FC4, and the greatest increase in left bias from baseline was observed in response to pleasurable music. These results are consistent with findings from previous research. Peak FA responses at this site were also found to co-occur with key musical events relating to change, for instance, the introduction of a new motif, or an instrument change, or a

The Meaning of Musical Instruments and Music Technologies in Children's Lives

DEFF Research Database (Denmark)

Bang, Jytte Susanne

2014-01-01

with a musical instrument. The more so when what is practiced by the instrument is classical music. This gap between music as consumed (listening to) and music as practiced (playing) is interesting from a developmental perspective: what does it mean for a child to play a musical instrument? And in which ways may...

Investigating country-specific music preferences and music recommendation algorithms with the LFM-1b dataset.

Science.gov (United States)

Schedl, Markus

2017-01-01

Recently, the LFM-1b dataset has been proposed to foster research and evaluation in music retrieval and music recommender systems, Schedl (Proceedings of the ACM International Conference on Multimedia Retrieval (ICMR). New York, 2016). It contains more than one billion music listening events created by more than 120,000 users of Last.fm. Each listening event is characterized by artist, album, and track name, and further includes a timestamp. Basic demographic information and a selection of more elaborate listener-specific descriptors are included as well, for anonymized users. In this article, we reveal information about LFM-1b's acquisition and content and we compare it to existing datasets. We furthermore provide an extensive statistical analysis of the dataset, including basic properties of the item sets, demographic coverage, distribution of listening events (e.g., over artists and users), and aspects related to music preference and consumption behavior (e.g., temporal features and mainstreaminess of listeners). Exploiting country information of users and genre tags of artists, we also create taste profiles for populations and determine similar and dissimilar countries in terms of their populations' music preferences. Finally, we illustrate the dataset's usage in a simple artist recommendation task, whose results are intended to serve as baseline against which more elaborate techniques can be assessed.

Developing the musical brain to boost early pre-verbal, communication and listening skills: The implications for musicality development pre- and post-cochlear implantation. It is not just about Nursery Rhymes!

Science.gov (United States)

Rocca, Christine

2015-09-01

A growing body of evidence suggests that musical activities can enhance the listening brain and develop higher cognitive functions, including linguistic abilities. The BabyBeats™ early intervention resource, a musical habilitation resource, was designed to improve early parent interaction, early listening behaviour, early communication skills, and social and emotional development, pre- and post-implantation. A feasibility study was conducted on families from the UK. There were two groups: seven babies 12 months old. Audit data were collected based on a simple parental and professional feedback questionnaire, completed at the end of an 8-month trial. Parental feedback was positive and ideas from the resource were carried over into the family's everyday routines. Parents and professionals observed increased vocalisation, attention, and anticipation of the activities in their babies. Parents also reported increased confidence in singing, moving, and playing with their baby. These preliminary outcomes suggest that this type of intervention may lead to earlier development of communication and listening skills when used in combination with appropriate amplification. The next steps will be to include more infants, match the groups regarding age and developmental stage, to observe the infants for a longer period and to compare outcomes over time.

Towards the improvement of the musical experiences of cochlear implant users

OpenAIRE

Moir, Zack

2011-01-01

Most previous research into cochlear implant (CI) mediated music listening deals with the mechanisms and efficacy of music perception and does not often account for the listeners real-world musical experience. Measurements of music perception ability are based on listening tasks such as pitch-discrimination, timbre-recognition and rhythmic-identification, and rarely (if ever) relate to the individual experience of the human subject. The exploration of musical experience, howeve...

Coping with stress: the effectiveness of different types of music.

Science.gov (United States)

Labbé, Elise; Schmidt, Nicholas; Babin, Jonathan; Pharr, Martha

2007-12-01

Listening to classical and self-selected relaxing music after exposure to a stressor should result in significant reductions in anxiety, anger, and sympathetic nervous system arousal, and increased relaxation compared to those who sit in silence or listen to heavy metal music. Fifty-six college students, 15 males and 41 females, were exposed to different types of music genres after experiencing a stressful test. Several 4 x 2 mixed design analyses of variance were conducted to determine the effects of music and silence conditions (heavy metal, classical, or self-selected music and silence) and time (pre-post music) on emotional state and physiological arousal. Results indicate listening to self-select or classical music, after exposure to a stressor, significantly reduces negative emotional states and physiological arousal compared to listening to heavy metal music or sitting in silence.

Music interventions for dental anxiety.

Science.gov (United States)

Bradt, J; Teague, A

2018-04-01

Anxiety is a significant issue in the dental care of adults and children. Dental anxiety often leads to avoidance of dental care which may result in significant deterioration of oral and dental health. Non-pharmacological anxiety management interventions such as music listening are increasingly used in dental care. Although efficacy for music's anxiolytic effects has been established for pre-operative anxiety, findings regarding the use of music listening for dental anxiety are inconclusive, especially for children. The use of music for passive distraction may not be adequate for children and highly anxious adults. Instead, interventions offered by a trained music therapist may be needed to optimize music's anxiolytic impact. Music therapy interventions are individualized to the patient's presenting needs and geared at enhancing patients' active engagement in the management of their anxiety. Interventions may include (i) active refocusing of attention, (ii) music-guided deep breathing, (iii) music-assisted relaxation, and (iv) music-guided imagery. In addition, music therapists can teach patients music-based anxiety management skills prior to dental treatments, offer them the opportunity to express emotions related to the upcoming procedure, and help them gain a sense of control and safety. Clinical guidelines for the use of music listening by dental practitioners are offered. © 2016 John Wiley & Sons A/S. Published by John Wiley & Sons Ltd.

Teaching National and General History of Music at College Level and at the University of Zagreb

Directory of Open Access Journals (Sweden)

Stanislav Tuksar

2017-01-01

Full Text Available The teaching of music history at various colleges and at the University of Zagreb (founded in 1669, and renewed in 1874 started during the 1920s. However, its prehistory goes back to the 1890s: the first courses in music history were taught at the music school of the Narodni zemaljski glasbeni zavod (Institute of Music from 1890 on, only to be continued later at the Croatian Conservatory (1916. With the Academy of Music (1922 music history began to be taught at university level as a main, compulsory subject, while at the Faculty of Humanities (in 1928-1938; 1981-1994, the Catholic Theological Faculty with its Institute for Church Music (probably since 1951, the Teacher’s College (since 1951 and Croatian Studies (since 1994, all within the University of Zagreb (to which the Academy of Music joined only in 1980, it was taught in the form of a mixture of obligatory and elective subjects. Among a number of more or less outstanding personalities who figured as teachers of music history, including composers, music theorists, conductors, organists, music critics, and expert music historians, mention should be made of the world-known musicologist Dragan Plamenac (who served as ‘Privatdozent’ at the Faculty of Humanities in 1928-1938 period and of Josip Andreis, who taught Croatian and European music history in parallel at the Academy of Music from 1948 to 1972. In 1970 a modern Department of Musicology was created replacing the old Historical Department, where the new generation of musicologists such as Ivan Supičić and Koraljka Kos introduced new international standards in teaching methods. Tutorial books and other necessary literature for students were at first written by domestic musicologists, so that, for example, from 1950s to 1990s J. Andreis was the author of influential books covering both history of Croatian music and the history of European music, used not only in Croatia but also throughout the former Yugoslavia. The present teaching

Emotion felt by the listener and expressed by the music: literature review and theoretical perspectives

Science.gov (United States)

Schubert, Emery

2013-01-01

In his seminal paper, Gabrielsson (2002) distinguishes between emotion felt by the listener, here: “internal locus of emotion” (IL), and the emotion the music is expressing, here: “external locus of emotion” (EL). This paper tabulates 16 comparisons of felt versus expressed emotions in music published in the decade 2003–2012 consisting of 19 studies/experiments and provides some theoretical perspectives. The key findings were that (1) IL rating was frequently rated statistically the same or lower than the corresponding EL rating (e.g., lower felt happiness rating compared to the apparent happiness of the music), and that (2) self-select and preferred music had a smaller gap across the emotion loci than experimenter-selected and disliked music. These key findings were explained by an “inhibited” emotional contagion mechanism, where the otherwise matching felt emotion may have been attenuated by some other factor such as social context. Matching between EL and IL for loved and self-selected pieces was explained by the activation of “contagion” circuits. Physiological arousal, personality and age, as well as musical features (tempo, mode, putative emotions) also influenced perceived and felt emotion distinctions. A variety of data collection formats were identified, but mostly using rating items. In conclusion, a more systematic use of terminology appears desirable. Two broad categories, namely matched and unmatched, are proposed as being sufficient to capture the relationships between EL and IL, instead of four categories as suggested by Gabrielsson. PMID:24381565

Emotion felt by the listener and expressed by the music: literature review and theoretical perspectives.

Science.gov (United States)

Schubert, Emery

2013-12-17

In his seminal paper, Gabrielsson (2002) distinguishes between emotion felt by the listener, here: "internal locus of emotion" (IL), and the emotion the music is expressing, here: "external locus of emotion" (EL). This paper tabulates 16 comparisons of felt versus expressed emotions in music published in the decade 2003-2012 consisting of 19 studies/experiments and provides some theoretical perspectives. The key findings were that (1) IL rating was frequently rated statistically the same or lower than the corresponding EL rating (e.g., lower felt happiness rating compared to the apparent happiness of the music), and that (2) self-select and preferred music had a smaller gap across the emotion loci than experimenter-selected and disliked music. These key findings were explained by an "inhibited" emotional contagion mechanism, where the otherwise matching felt emotion may have been attenuated by some other factor such as social context. Matching between EL and IL for loved and self-selected pieces was explained by the activation of "contagion" circuits. Physiological arousal, personality and age, as well as musical features (tempo, mode, putative emotions) also influenced perceived and felt emotion distinctions. A variety of data collection formats were identified, but mostly using rating items. In conclusion, a more systematic use of terminology appears desirable. Two broad categories, namely matched and unmatched, are proposed as being sufficient to capture the relationships between EL and IL, instead of four categories as suggested by Gabrielsson.

Ancient Worship Wars: An Investigation of Conflict in Church Music History

Directory of Open Access Journals (Sweden)

Michael J. Wood

2014-11-01

Full Text Available The purpose of this research is to prove that conflict in church music is nothing new. Even in the time of the early church fathers, dissenting views on what were acceptable and unacceptable practices in church music were present. The music of the 2nd century through the 14th century is examined. The method used to find specific conflicts in church music history involved reading early Christian literature on music. When possible, both sides of the conflicts included in the project are presented. However, oftentimes only one side of an argument can be found since there is not an abundant supply of early Christian writings on music. When this is the case, a brief attempt at reconstructing the opposing side is made. The most important resources for this research were James McKinnon’s Music in Early Christian Literature and Oliver Strunk’s Source Readings in Music History: Revised Edition. These were integral to this project as they provided primary sources translated into English.

Towards a Personal Automatic Music Playlist Generation Alogorithm: the need for Contextual Information

OpenAIRE

Reynolds, Gordon; Barry, Dan; Burke, Ted; Coyle, Eugene

2007-01-01

Large music collections afford the listener flexibility in the form of choice, which enables the listener to choose the appropriate piece of music to enhance or complement their listening scenario on-demand. However, bundled with such a large music collection is the daunting task of manually searching through each entry in the collection to find the appropriate song required by the listener. This often leaves the listener frustrated when trying to select songs from a large music collection. I...

STS-36 Commander Creighton listens to music on OV-104's forward flight deck

Science.gov (United States)

1990-01-01

STS-36 Commander John O. Creighton, smiling and wearing a headset, listens to music as the tape recorder freefloats in front of him. During this lighter moment of the mission, Creighton is positioned at the commanders station on the forward flight deck of Atlantis, Orbiter Vehicle (OV) 104. Forward flight deck windows W1 and W2 appear on his left. Creighton and four other astronauts spent four days, 10 hours and 19 minutes aboard the spacecraft for the Department of Defense (DOD) devoted mission.