Musically induced arousal affects pain perception in females but not in males: a psychophysiological examination.

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Kenntner-Mabiala, Ramona; Gorges, Susanne; Alpers, Georg W; Lehmann, Andreas C; Pauli, Paul

2007-04-01

The present study investigated affective and physiological responses to changes of tempo and mode in classical music and their effects on heat pain perception. Thirty-eight healthy non-musicians (17 female) listened to sequences of 24 music stimuli which were variations of 4 pieces of classical music. Tempo (46, 60, and 95 beats/min) and mode (major and minor) were manipulated digitally, all other musical elements were held constant. Participants rated valence, arousal, happiness and sadness of the musical stimuli as well as the intensity and the unpleasantness of heat pain stimuli which were applied during music listening. Heart rate, respiratory rate and end-tidal PCO(2) were recorded. Pain ratings were highest for the fastest tempo. Also, participants' arousal ratings, their respiratory rate and heart rate were accelerated by the fastest tempo. The modulation of pain perception by the tempo of music seems to be mediated by the listener's arousal.

The Musical Emotional Bursts: A validated set of musical affect bursts to investigate auditory affective processing.

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Sébastien ePaquette

2013-08-01

Full Text Available The Musical Emotional Bursts (MEB consist of 80 brief musical executions expressing basic emotional states (happiness, sadness and fear and neutrality. These musical bursts were designed to be the musical analogue of the Montreal Affective Voices (MAV – a set of brief non-verbal affective vocalizations portraying different basic emotions. The MEB consist of short (mean duration: 1.6 sec improvisations on a given emotion or of imitations of a given MAV stimulus, played on a violin (n:40 or a clarinet (n:40. The MEB arguably represent a primitive form of music emotional expression, just like the MAV represent a primitive form of vocal, nonlinguistic emotional expression. To create the MEB, stimuli were recorded from 10 violinists and 10 clarinetists, and then evaluated by 60 participants. Participants evaluated 240 stimuli (30 stimuli x 4 [3 emotions + neutral] x 2 instruments by performing either a forced-choice emotion categorization task, a valence rating task or an arousal rating task (20 subjects per task; 40 MAVs were also used in the same session with similar task instructions. Recognition accuracy of emotional categories expressed by the MEB (n:80 was lower than for the MAVs but still very high with an average percent correct recognition score of 80.4%. Highest recognition accuracies were obtained for happy clarinet (92.0% and fearful or sad violin (88.0% each MEB stimuli. The MEB can be used to compare the cerebral processing of emotional expressions in music and vocal communication, or used for testing affective perception in patients with communication problems.

Directing physiology and mood with music : validation of an affective music player

NARCIS (Netherlands)

Zwaag, van der M.D.; Janssen, J.H.; Westerink, J.H.D.M.

2013-01-01

Music is important in everyday life, as it provides entertainment and influences our moods. As music is widely available, it is becoming increasingly difficult to select songs to suit our mood. An affective music player can remove this obstacle by taking a desired mood as input and then selecting

Neural responses to nostalgia-evoking music modeled by elements of dynamic musical structure and individual differences in affective traits.

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Barrett, Frederick S; Janata, Petr

2016-10-01

Nostalgia is an emotion that is most commonly associated with personally and socially relevant memories. It is primarily positive in valence and is readily evoked by music. It is also an idiosyncratic experience that varies between individuals based on affective traits. We identified frontal, limbic, paralimbic, and midbrain brain regions in which the strength of the relationship between ratings of nostalgia evoked by music and blood-oxygen-level-dependent (BOLD) signal was predicted by affective personality measures (nostalgia proneness and the sadness scale of the Affective Neuroscience Personality Scales) that are known to modulate the strength of nostalgic experiences. We also identified brain areas including the inferior frontal gyrus, substantia nigra, cerebellum, and insula in which time-varying BOLD activity correlated more strongly with the time-varying tonal structure of nostalgia-evoking music than with music that evoked no or little nostalgia. These findings illustrate one way in which the reward and emotion regulation networks of the brain are recruited during the experiencing of complex emotional experiences triggered by music. These findings also highlight the importance of considering individual differences when examining the neural responses to strong and idiosyncratic emotional experiences. Finally, these findings provide a further demonstration of the use of time-varying stimulus-specific information in the investigation of music-evoked experiences. Copyright © 2016 Elsevier Ltd. All rights reserved.

Affective responses in tamarins elicited by species-specific music

OpenAIRE

Snowdon, Charles T.; Teie, David

2009-01-01

Theories of music evolution agree that human music has an affective influence on listeners. Tests of non-humans provided little evidence of preferences for human music. However, prosodic features of speech (‘motherese’) influence affective behaviour of non-verbal infants as well as domestic animals, suggesting that features of music can influence the behaviour of non-human species. We incorporated acoustical characteristics of tamarin affiliation vocalizations and tamarin threat vocalizations...

Anhedonia to music and mu-opioids: Evidence from the administration of naltrexone

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Mallik, Adiel; Chanda, Mona Lisa; Levitin, Daniel J.

2017-01-01

Music’s universality and its ability to deeply affect emotions suggest an evolutionary origin. Previous investigators have found that naltrexone (NTX), a μ-opioid antagonist, may induce reversible anhedonia, attenuating both positive and negative emotions. The neurochemical basis of musical experience is not well-understood, and the NTX-induced anhedonia hypothesis has not been tested with music. Accordingly, we administered NTX or placebo on two different days in a double-blind crossover study, and assessed participants’ responses to music using both psychophysiological (objective) and behavioral (subjective) measures. We found that both positive and negative emotions were attenuated. We conclude that endogenous opioids are critical to experiencing both positive and negative emotions in music, and that music uses the same reward pathways as food, drug and sexual pleasure. Our findings add to the growing body of evidence for the evolutionary biological substrates of music. PMID:28176798

Positive valence music restores executive control over sustained attention.

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Baldwin, Carryl L; Lewis, Bridget A

2017-01-01

Music sometimes improves performance in sustained attention tasks. But the type of music employed in previous investigations has varied considerably, which can account for equivocal results. Progress has been hampered by lack of a systematic database of music varying in key characteristics like tempo and valence. The aims of this study were to establish a database of popular music varying along the dimensions of tempo and valence and to examine the impact of music varying along these dimensions on restoring attentional resources following performance of a sustained attention to response task (SART) vigil. Sixty-nine participants rated popular musical selections that varied in valence and tempo to establish a database of four musical types: fast tempo positive valence, fast tempo negative valence, slow tempo positive valence, and slow tempo negative valence. A second group of 89 participants performed two blocks of the SART task interspersed with either no break or a rest break consisting of 1 of the 4 types of music or silence. Presenting positive valence music (particularly of slow tempo) during an intermission between two successive blocks of the SART significantly decreased miss rates relative to negative valence music or silence. Results support an attentional restoration theory of the impact of music on sustained attention, rather than arousal theory and demonstrate a means of restoring sustained attention. Further, the results establish the validity of a music database that will facilitate further investigations of the impact of music on performance.

Pleasurable music affects reinforcement learning according to the listener

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Gold, Benjamin P.; Frank, Michael J.; Bogert, Brigitte; Brattico, Elvira

2013-01-01

Mounting evidence links the enjoyment of music to brain areas implicated in emotion and the dopaminergic reward system. In particular, dopamine release in the ventral striatum seems to play a major role in the rewarding aspect of music listening. Striatal dopamine also influences reinforcement learning, such that subjects with greater dopamine efficacy learn better to approach rewards while those with lesser dopamine efficacy learn better to avoid punishments. In this study, we explored the practical implications of musical pleasure through its ability to facilitate reinforcement learning via non-pharmacological dopamine elicitation. Subjects from a wide variety of musical backgrounds chose a pleasurable and a neutral piece of music from an experimenter-compiled database, and then listened to one or both of these pieces (according to pseudo-random group assignment) as they performed a reinforcement learning task dependent on dopamine transmission. We assessed musical backgrounds as well as typical listening patterns with the new Helsinki Inventory of Music and Affective Behaviors (HIMAB), and separately investigated behavior for the training and test phases of the learning task. Subjects with more musical experience trained better with neutral music and tested better with pleasurable music, while those with less musical experience exhibited the opposite effect. HIMAB results regarding listening behaviors and subjective music ratings indicate that these effects arose from different listening styles: namely, more affective listening in non-musicians and more analytical listening in musicians. In conclusion, musical pleasure was able to influence task performance, and the shape of this effect depended on group and individual factors. These findings have implications in affective neuroscience, neuroaesthetics, learning, and music therapy. PMID:23970875

Emotions over time: synchronicity and development of subjective, physiological, and facial affective reactions to music.

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Grewe, Oliver; Nagel, Frederik; Kopiez, Reinhard; Altenmüller, Eckart

2007-11-01

Most people are able to identify basic emotions expressed in music and experience affective reactions to music. But does music generally induce emotion? Does it elicit subjective feelings, physiological arousal, and motor reactions reliably in different individuals? In this interdisciplinary study, measurement of skin conductance, facial muscle activity, and self-monitoring were synchronized with musical stimuli. A group of 38 participants listened to classical, rock, and pop music and reported their feelings in a two-dimensional emotion space during listening. The first entrance of a solo voice or choir and the beginning of new sections were found to elicit interindividual changes in subjective feelings and physiological arousal. Quincy Jones' "Bossa Nova" motivated movement and laughing in more than half of the participants. Bodily reactions such as "goose bumps" and "shivers" could be stimulated by the "Tuba Mirum" from Mozart's Requiem in 7 of 38 participants. In addition, the authors repeated the experiment seven times with one participant to examine intraindividual stability of effects. This exploratory combination of approaches throws a new light on the astonishing complexity of affective music listening.

Situated navigational working memory: the role of positive mood.

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Palmiero, Massimiliano; Nori, Raffaella; Rogolino, Carmelo; D'Amico, Simonetta; Piccardi, Laura

2015-09-01

The perspective of situated cognition assumes that cognition is not separated from the context. In the present study, the issue if visuospatial memory and navigational working memory are situated was explored by manipulating participants' mood (positive, negative and neutral) while performing two different tasks. College students were randomly assigned to the group of positive, negative or neutral music. Participants filled out the positive and negative affect schedule (PANAS) before and after carrying out the Corsi Test and the Walking Corsi Test. Both tasks were performed forward and backward. Music was played throughout the memory tasks. Firstly, comparing pre-mood induction PANAS scores to post-mood induction PANAS scores, results showed that only positive affects were manipulated: After mood induction, the Positive Music Group produced higher scores, whereas the Negative Music Group produced lower scores than before mood induction; the Neutral Music Group produced no effect. Secondly, the Positive Music Group produced higher scores than Negative and Neutral Music Groups both at the Corsi Test and at the Walking Corsi Test. These results show that situational contexts that induce a specific mood can affect visuospatial memory and navigational working memory, and open to the idea that positive emotions may play a crucial role in enhancing navigational strategies.

Chill-inducing music enhances altruism in humans

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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.

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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.

Affective responses to music in depressed individuals : Aesthetic judgments, emotions, and the impact of music-evoked autobiographical memories

OpenAIRE

Sakka, Laura Stavroula

2018-01-01

Music’s powerful influence on our affective states is often utilized in everyday life for emotion regulation and in music-therapeutic interventions against depression. Given this ability of music to influence emotions and symptoms in depressed people, it appears imperative to understand how these individuals affectively respond to music. The primary aim of this thesis is to explore whether depressed individuals have distinct affective responses to music, in terms of aesthetic judgments, emoti...

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

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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.

I-space: the effects of emotional valence and source of music on interpersonal distance.

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Ana Tajadura-Jiménez

Full Text Available BACKGROUND: The ubiquitous use of personal music players in over-crowded public transport alludes to the hypothesis that apart from making the journey more pleasant, listening to music through headphones may also affect representations of our personal space, that is, the emotionally-tinged zone around the human body that people feel is "their space". We evaluated the effects of emotional valence (positive versus negative and source (external, i.e. loudspeakers, versus embedded, i.e. headphones of music on the participant's interpersonal distance when interacting with others. METHODOLOGY/PRINCIPAL FINDINGS: Personal space was evaluated as the comfort interpersonal distance between participant and experimenter during both active and passive approach tasks. Our results show that, during passive approach tasks, listening to positive versus negative emotion-inducing music reduces the representation of personal space, allowing others to come closer to us. With respect to a no-music condition, an embedded source of positive emotion-inducing music reduced personal space, while an external source of negative emotion-inducing music expanded personal space. CONCLUSIONS/SIGNIFICANCE: The results provide the first empirical evidence of the relation between induced emotional state, as a result of listening to positive music through headphones, and personal space when interacting with others. This research might help to understand the benefit that people find in using personal music players in crowded situations, such as when using the public transport in urban settings.

Music's Relevance for People Affected by Cancer: A Meta-Ethnography and Implications for Music Therapists.

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O'Callaghan, Clare C; McDermott, Fiona; Reid, Philippa; Michael, Natasha; Hudson, Peter; Zalcberg, John R; Edwards, Jane

2016-01-01

Evidence supports music-based oncologic support interventions including music therapy. By comparison, little is understood about music-based self-care. This meta-ethnography examined five published qualitative studies to extend understanding of music's relevance, including helpfulness, for people affected by cancer; including children, adolescents, and adults with cancer, carers, and the bereaved. To improve understanding of music's broad relevance for those affected by cancer. Meta-ethnography strategies informed the analysis. Five studies were synthesized that included 138 participants: 26 children and 28 parents of children with cancer; 12 adolescents and young adults with cancer; 52 adults with cancer; 12 carers; and 8 bereaved. Studies' category and thematic findings were compared and integrated into third-order interpretations, and a line of argument. Perspectives from the five studies that illuminated the line of argument were developed. Music usage can remain incidental, continue normally, and/or change because of cancer's harsh effects. Music can be a lifeline, support biopsychosocial and spiritual well-being, or become elusive, that is, difficult to experience. Music helps or intrudes because it extends self-awareness and social connections, and prompts play, memories, imageries, and legacies. Music therapists may help patients and carers to recover or extend music's helpful effects. Cancer care can be improved through offering music-based resources/services, which give cancer patients and carers opportunities to extend music usage for personal support and, for carers, to support patients. Music therapists can advocate for such resources and educate health professionals about assessing/recognizing when patients' and carers' changed music behaviors signify additional support needs. © the American Music Therapy Association 2016. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.

Music-evoked nostalgia: affect, memory, and personality.

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Barrett, Frederick S; Grimm, Kevin J; Robins, Richard W; Wildschut, Tim; Sedikides, Constantine; Janata, Petr

2010-06-01

Participants listened to randomly selected excerpts of popular music and rated how nostalgic each song made them feel. Nostalgia was stronger to the extent that a song was autobiographically salient, arousing, familiar, and elicited a greater number of positive, negative, and mixed emotions. These effects were moderated by individual differences (nostalgia proneness, mood state, dimensions of the Affective Neurosciences Personality Scale, and factors of the Big Five Inventory). Nostalgia proneness predicted stronger nostalgic experiences, even after controlling for other individual difference measures. Nostalgia proneness was predicted by the Sadness dimension of the Affective Neurosciences Personality Scale and Neuroticism of the Big Five Inventory. Nostalgia was associated with both joy and sadness, whereas nonnostalgic and nonautobiographical experiences were associated with irritation.

Type of musical soundtrack affects behavior in gambling.

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Mentzoni, Rune A; Laberg, Jon Christian; Brunborg, Geir Scott; Molde, Helge; Ståle, Pallesen

2014-06-01

A long existing notion is that the presence of music might affect gambling behavior. In spite of this, little empirical research on the subject exists. The main aim of the present study was to corroborate and elaborate on the existing findings concerning gambling and music through a laboratory based experiment. A nonclinical sample of 101 undergraduate students (72 females, 29 males) played a computerized gambling task in which either a high-tempo or a low-tempo musical soundtrack was present. Persistence in gambling, reaction time and evaluation of the game comprised the outcome variables. Low-tempo music was associated with increased gambling persistence in terms of overall number of bets placed, whereas high-tempo music was associated with intensified gambling in terms of faster reaction time per placed bet. Type of soundtrack was not associated with game evaluation. Our findings add to the existing knowledge by showing that both low-tempo and high-tempo music can be associated with more risky gambling behavior, the former by increasing gambling persistence and the latter by reducing reaction time for bets placed. In sum, the existing studies provide compelling evidence that music can affect various aspects of gambling behavior. These findings may have clinical implications by educating gamblers on the effects of structural mechanisms in gambling on behavior.

Alteration of complex negative emotions induced by music in euthymic patients with bipolar disorder.

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Choppin, Sabine; Trost, Wiebke; Dondaine, Thibaut; Millet, Bruno; Drapier, Dominique; Vérin, Marc; Robert, Gabriel; Grandjean, Didier

2016-02-01

Research has shown bipolar disorder to be characterized by dysregulation of emotion processing, including biases in facial expression recognition that is most prevalent during depressive and manic states. Very few studies have examined induced emotions when patients are in a euthymic phase, and there has been no research on complex emotions. We therefore set out to test emotional hyperreactivity in response to musical excerpts inducing complex emotions in bipolar disorder during euthymia. We recruited 21 patients with bipolar disorder (BD) in a euthymic phase and 21 matched healthy controls. Participants first rated their emotional reactivity on two validated self-report scales (ERS and MAThyS). They then rated their music-induced emotions on nine continuous scales. The targeted emotions were wonder, power, melancholy and tension. We used a specific generalized linear mixed model to analyze the behavioral data. We found that participants in the euthymic bipolar group experienced more intense complex negative emotions than controls when the musical excerpts induced wonder. Moreover, patients exhibited greater emotional reactivity in daily life (ERS). Finally, a greater experience of tension while listening to positive music seemed to be mediated by greater emotional reactivity and a deficit in executive functions. The heterogeneity of the BD group in terms of clinical characteristics may have influenced the results. Euthymic patients with bipolar disorder exhibit more complex negative emotions than controls in response to positive music. Copyright © 2015 Elsevier B.V. All rights reserved.

Active Music Classes in Infancy Enhance Musical, Communicative and Social Development

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Gerry, David; Unrau, Andrea; Trainor, Laurel J.

2012-01-01

Previous studies suggest that musical training in children can positively affect various aspects of development. However, it remains unknown as to how early in development musical experience can have an effect, the nature of any such effects, and whether different types of music experience affect development differently. We found that random…

White Matter Correlates of Musical Anhedonia: Implications for Evolution of Music

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Psyche Loui

2017-09-01

Full Text Available Recent theoretical advances in the evolution of music posit that affective communication is an evolutionary function of music through which the mind and brain are transformed. A rigorous test of this view should entail examining the neuroanatomical mechanisms for affective communication of music, specifically by comparing individual differences in the general population with a special population who lacks specific affective responses to music. Here we compare white matter connectivity in BW, a case with severe musical anhedonia, with a large sample of control subjects who exhibit normal variability in reward sensitivity to music. We show for the first time that structural connectivity within the reward system can predict individual differences in musical reward in a large population, but specific patterns in connectivity between auditory and reward systems are special in an extreme case of specific musical anhedonia. Results support and extend the Mixed Origins of Music theory by identifying multiple neural pathways through which music might operate as an affective signaling system.

Music Communicates Affects, Not Basic Emotions - A Constructionist Account of Attribution of Emotional Meanings to Music.

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Cespedes-Guevara, Julian; Eerola, Tuomas

2018-01-01

Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music's ability to express core affects and the influence of top-down and contextual information in the listener's mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be

Genomics studies on musical aptitude, music perception, and practice.

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Järvelä, Irma

2018-03-23

When searching for genetic markers inherited together with musical aptitude, genes affecting inner ear development and brain function were identified. The alpha-synuclein gene (SNCA), located in the most significant linkage region of musical aptitude, was overexpressed when listening and performing music. The GATA-binding protein 2 gene (GATA2) was located in the best associated region of musical aptitude and regulates SNCA in dopaminergic neurons, thus linking DNA- and RNA-based studies of music-related traits together. In addition to SNCA, several other genes were linked to dopamine metabolism. Mutations in SNCA predispose to Lewy-body dementia and cause Parkinson disease in humans and affect song production in songbirds. Several other birdsong genes were found in transcriptome analysis, suggesting a common evolutionary background of sound perception and production in humans and songbirds. Regions of positive selection with musical aptitude contained genes affecting auditory perception, cognitive performance, memory, human language development, and song perception and production of songbirds. The data support the role of dopaminergic pathway and their link to the reward mechanism as a molecular determinant in positive selection of music. Integration of gene-level data from the literature across multiple species prioritized activity-dependent immediate early genes as candidate genes in musical aptitude and listening to and performing music. © 2018 New York Academy of Sciences.

Musically induced ASMR : an amalgamated experience

OpenAIRE

Kobayashi, Juri

2015-01-01

Musically induced ASMR is an Autonomous Sensory Meridian Response triggered by music. The term ASMR is best known on the internet by communities who report experiencing this phenomenon. It is most simply understood as an experience like musical chills, however can be triggered by nearly any form of stimuli. The current study employed grounded theory, a meticulous and established qualitative research method for developing theory that serves to explain salient characteristics of ...

Universal and culture-specific factors in the recognition and performance of musical affect expressions.

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Laukka, Petri; Eerola, Tuomas; Thingujam, Nutankumar S; Yamasaki, Teruo; Beller, Grégory

2013-06-01

We present a cross-cultural study on the performance and perception of affective expression in music. Professional bowed-string musicians from different musical traditions (Swedish folk music, Hindustani classical music, Japanese traditional music, and Western classical music) were instructed to perform short pieces of music to convey 11 emotions and related states to listeners. All musical stimuli were judged by Swedish, Indian, and Japanese participants in a balanced design, and a variety of acoustic and musical cues were extracted. Results first showed that the musicians' expressive intentions could be recognized with accuracy above chance both within and across musical cultures, but communication was, in general, more accurate for culturally familiar versus unfamiliar music, and for basic emotions versus nonbasic affective states. We further used a lens-model approach to describe the relations between the strategies that musicians use to convey various expressions and listeners' perceptions of the affective content of the music. Many acoustic and musical cues were similarly correlated with both the musicians' expressive intentions and the listeners' affective judgments across musical cultures, but the match between musicians' and listeners' uses of cues was better in within-cultural versus cross-cultural conditions. We conclude that affective expression in music may depend on a combination of universal and culture-specific factors.

Dance and Music in "Gangnam Style": How Dance Observation Affects Meter Perception.

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Lee, Kyung Myun; Barrett, Karen Chan; Kim, Yeonhwa; Lim, Yeoeun; Lee, Kyogu

2015-01-01

Dance and music often co-occur as evidenced when viewing choreographed dances or singers moving while performing. This study investigated how the viewing of dance motions shapes sound perception. Previous research has shown that dance reflects the temporal structure of its accompanying music, communicating musical meter (i.e. a hierarchical organization of beats) via coordinated movement patterns that indicate where strong and weak beats occur. Experiments here investigated the effects of dance cues on meter perception, hypothesizing that dance could embody the musical meter, thereby shaping participant reaction times (RTs) to sound targets occurring at different metrical positions.In experiment 1, participants viewed a video with dance choreography indicating 4/4 meter (dance condition) or a series of color changes repeated in sequences of four to indicate 4/4 meter (picture condition). A sound track accompanied these videos and participants reacted to timbre targets at different metrical positions. Participants had the slowest RT's at the strongest beats in the dance condition only. In experiment 2, participants viewed the choreography of the horse-riding dance from Psy's "Gangnam Style" in order to examine how a familiar dance might affect meter perception. Moreover, participants in this experiment were divided into a group with experience dancing this choreography and a group without experience. Results again showed slower RTs to stronger metrical positions and the group with experience demonstrated a more refined perception of metrical hierarchy. Results likely stem from the temporally selective division of attention between auditory and visual domains. This study has implications for understanding: 1) the impact of splitting attention among different sensory modalities, and 2) the impact of embodiment, on perception of musical meter. Viewing dance may interfere with sound processing, particularly at critical metrical positions, but embodied familiarity with

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

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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

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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

Analyzing Music Services Positioning Through Qualitative Research

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Manuel Cuadrado

2015-12-01

Full Text Available Information technologies have produced new ways of distributing and consuming music, mainly by youth, in relation to both goods and services. In the case of goods, there has been a dramatic shift from traditional ways of buying and listening to music to new digital platforms. There has also been an evolution in relation to music services. In this sense, live music concerts have been losing their audiences over the past few years, as have music radio stations, in favor of streaming platforms. Curious about this phenomenon, we conducted an exploratory research in order to analyze how all these services, both traditional and new ones were perceived. Specifically, we aimed to study youth´s assessment of the three most relevant music service categories: music radio stations, digital streaming platforms, and pop-rock music festivals. To do so, we used the projective technique of image association to gather information. The population of the study consisted of individuals between 18 and 25 years of age. Our results, after using content analysis, were poor due to spontaneous recall. Therefore, we duplicated the study, but in a more focus-oriented way. Information gathered this time allowed us not only to better know how all these organizations are positioned but also to obtain a list of descriptors to be used in a subsequent descriptive research study.

Age-related differences in affective responses to and memory for emotions conveyed by music: a cross-sectional study

OpenAIRE

Vieillard , Sandrine; Gilet , Anne-Laure ,

2013-01-01

International audience; There is mounting evidence that aging is associated with the maintenance of positive affect and the decrease of negative affect to ensure emotion regulation goals. Previous empirical studies have primarily focused on a visual or autobiographical form of emotion communication. To date, little investigation has been done on musical emotions. The few studies that have addressed aging and emotions in music were mainly interested in emotion recognition, thus leaving unexplo...

Age-related differences in affective responses to and memory for emotions conveyed by music: a cross-sectional study

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Sandrine eVieillard

2013-10-01

Full Text Available There is mounting evidence that aging is associated with the maintenance of positive affect and the decrease of negative affect to ensure emotion regulation goals. Previous empirical studies have primarily focused on a visual or autobiographical form of emotion communication. To date, little investigation has been done on musical emotions. The few studies that have addressed aging and emotions in music were mainly interested in emotion recognition, thus leaving unexplored the question of how aging may influence emotional responses to and memory for music. In the present study, eighteen older (60-84 years and eighteen younger (19-24 years listeners were asked to evaluate the strength of their experienced emotion on happy, peaceful, sad, and scary musical excerpts (Vieillard, et al., 2008 while facial muscle activity was recorded. Participants then performed an incidental recognition task followed by a task in which they judged to what extent they experienced happiness, peacefulness, sadness, and fear when listening to music. Compared to younger adults, older adults (a reported a stronger emotional reactivity for happiness than other emotion categories, (b showed an increased zygomatic activity for scary stimuli, (c were more likely to falsely recognize happy music, and (d showed a decrease in their responsiveness to sad and scary music. These results are in line with previous findings and extend them to emotion experience and memory recognition, corroborating the view of age-related changes in emotional responses to music in a positive direction away from negativity.

Age-related differences in affective responses to and memory for emotions conveyed by music: a cross-sectional study.

Science.gov (United States)

Vieillard, Sandrine; Gilet, Anne-Laure

2013-01-01

There is mounting evidence that aging is associated with the maintenance of positive affect and the decrease of negative affect to ensure emotion regulation goals. Previous empirical studies have primarily focused on a visual or autobiographical form of emotion communication. To date, little investigation has been done on musical emotions. The few studies that have addressed aging and emotions in music were mainly interested in emotion recognition, thus leaving unexplored the question of how aging may influence emotional responses to and memory for emotions conveyed by music. In the present study, eighteen older (60-84 years) and eighteen younger (19-24 years) listeners were asked to evaluate the strength of their experienced emotion on happy, peaceful, sad, and scary musical excerpts (Vieillard et al., 2008) while facial muscle activity was recorded. Participants then performed an incidental recognition task followed by a task in which they judged to what extent they experienced happiness, peacefulness, sadness, and fear when listening to music. Compared to younger adults, older adults (a) reported a stronger emotional reactivity for happiness than other emotion categories, (b) showed an increased zygomatic activity for scary stimuli, (c) were more likely to falsely recognize happy music, and (d) showed a decrease in their responsiveness to sad and scary music. These results are in line with previous findings and extend them to emotion experience and memory recognition, corroborating the view of age-related changes in emotional responses to music in a positive direction away from negativity.

Musical Intensity in Affect Regulation: Uncovering Hope and Resilience Through Heavy Music

OpenAIRE

Hereld, Diana Christine

2016-01-01

This thesis discusses the nature of music’s impact on identity, subjectivity, and the self. To better understand music’s role in promoting hope and resilience, I pinpoint how heavy, intense, and highly emotive music applied over distinct listening practices impacts the regulation of affect and self-destructive impulses in individuals who suffer from trauma, mental illness, or self-destructive behavior. This research also investigates the characteristic of intensity often found in heavy music ...

Are Age-Related Differences Between Young and Older Adults in an Affective Working Memory Test Sensitive to the Music Effects?

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Erika eBorella

2014-11-01

Full Text Available There are evidences showing that music can affect cognitive performance by improving our emotional state. The aim of the current study was to analyze whether age-related differences between young and older adults in a Working Memory (WM Span test in which the stimuli to be recalled have a different valence (i.e., neutral, positive, or negative words, are sensitive to exposure to music. Because some previous studies showed that emotional words can sustain older adults’ performance in WM, we examined whether listening to music could enhance the benefit of emotional material, with respect to neutral words, on WM performance decreasing the age-related difference between younger and older adults. In particular, the effect of two types of music (Mozart vs. Albinoni, which differ in tempo, arousal and mood induction, on age-related differences in an affective version of the Operation WM Span task were analyzed.Results showed no effect of music on the WM test regardless of the emotional content of the music (Mozart vs. Albinoni. However, as in previous studies, a valence effect for the words in the WM task was found with a higher number of negative words recalled with respect to positive and neutral ones in both younger and older adults. When individual differences, in terms of accuracy in the processing phase of the Operation Span task, were considered, only younger low-performing participants were affected by the type music, with the Albinoni condition that lowered their performance with respect to the Mozart condition. Such a result suggests that individual differences in WM performance, at least when young adults are considered, could be affected by the type of music.Altogether, these findings suggest that complex span tasks, such as WM tasks, along with age-related differences are less sensitive to music effects.

Are age-related differences between young and older adults in an affective working memory test sensitive to the music effects?

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Borella, Erika; Carretti, Barbara; Grassi, Massimo; Nucci, Massimo; Sciore, Roberta

2014-01-01

There are evidences showing that music can affect cognitive performance by improving our emotional state. The aim of the current study was to analyze whether age-related differences between young and older adults in a Working Memory (WM) Span test in which the stimuli to be recalled have a different valence (i.e., neutral, positive, or negative words), are sensitive to exposure to music. Because some previous studies showed that emotional words can sustain older adults' performance in WM, we examined whether listening to music could enhance the benefit of emotional material, with respect to neutral words, on WM performance decreasing the age-related difference between younger and older adults. In particular, the effect of two types of music (Mozart vs. Albinoni), which differ in tempo, arousal and mood induction, on age-related differences in an affective version of the Operation WM Span task was analyzed. Results showed no effect of music on the WM test regardless of the emotional content of the music (Mozart vs. Albinoni). However, a valence effect for the words in the WM task was found with a higher number of negative words recalled with respect to positive and neutral ones in both younger and older adults. When individual differences in terms of accuracy in the processing phase of the Operation Span task were considered, only younger low-performing participants were affected by the type music, with the Albinoni condition that lowered their performance with respect to the Mozart condition. Such a result suggests that individual differences in WM performance, at least when young adults are considered, could be affected by the type of music. Altogether, these findings suggest that complex span tasks, such as WM tasks, along with age-related differences are not sensitive to music effects.

Interactive effects of music tempi and intensities on grip strength and subjective affect.

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Karageorghis, C I; Cheek, P; Simpson, S D; Bigliassi, M

2018-03-01

Pretask music is widely used by athletes albeit there is scant empirical evidence to support its use. The present study extended a line of work into pretask music by examining the interactive effects of music tempo and intensity (volume) on the performance of a simple motor skill and subjective affect. A 2 × 2 within-subjects factorial design was employed with an additional no-music control, the scores from which were used as a covariate. A sample of 52 male athletes (M age  = 26.1 ± 4.8 years) was exposed to five conditions: fast/loud (126 bpm/80 dBA), fast/quiet (126 bpm/70 dBA), slow/loud (87 bpm/80 dBA), slow/quiet (87 bpm/70 dBA) music, and a no-music control. Dependent variables were grip strength, measured with a handgrip dynamometer, and subjective affect, assessed by use of the Affect Grid. The tempo and intensity components of music had interactive effects for grip strength but only main effects for subjective affect. Fast-tempo music played at a high intensity yielded the highest grip strength, while fast-tempo music played at a low-intensity resulted in much lower grip strength (M diff.  = -1.11 Force kg). For affective valence, there were main effects of tempo and intensity, with fast and loud music yielding the highest scores. For affective arousal, there was no difference between tempi although there was between intensities, with the high-intensity condition yielding higher scores. The present findings indicate the utility of fast/loud pretask music in enhancing affective valence and arousal in preparation for a simple or gross motor task. © 2017 John Wiley & Sons A/S. Published by John Wiley & Sons Ltd.

Music Communicates Affects, Not Basic Emotions – A Constructionist Account of Attribution of Emotional Meanings to Music

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Julian Cespedes-Guevara

2018-02-01

Full Text Available Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence. Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological

Music Communicates Affects, Not Basic Emotions – A Constructionist Account of Attribution of Emotional Meanings to Music

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Cespedes-Guevara, Julian; Eerola, Tuomas

2018-01-01

Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be

Affective priming effects of musical sounds on the processing of word meaning.

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Steinbeis, Nikolaus; Koelsch, Stefan

2011-03-01

Recent studies have shown that music is capable of conveying semantically meaningful concepts. Several questions have subsequently arisen particularly with regard to the precise mechanisms underlying the communication of musical meaning as well as the role of specific musical features. The present article reports three studies investigating the role of affect expressed by various musical features in priming subsequent word processing at the semantic level. By means of an affective priming paradigm, it was shown that both musically trained and untrained participants evaluated emotional words congruous to the affect expressed by a preceding chord faster than words incongruous to the preceding chord. This behavioral effect was accompanied by an N400, an ERP typically linked with semantic processing, which was specifically modulated by the (mis)match between the prime and the target. This finding was shown for the musical parameter of consonance/dissonance (Experiment 1) and then extended to mode (major/minor) (Experiment 2) and timbre (Experiment 3). Seeing that the N400 is taken to reflect the processing of meaning, the present findings suggest that the emotional expression of single musical features is understood by listeners as such and is probably processed on a level akin to other affective communications (i.e., prosody or vocalizations) because it interferes with subsequent semantic processing. There were no group differences, suggesting that musical expertise does not have an influence on the processing of emotional expression in music and its semantic connotations.

Age-related differences in affective responses to and memory for emotions conveyed by music: a cross-sectional study

Science.gov (United States)

Vieillard, Sandrine; Gilet, Anne-Laure

2013-01-01

There is mounting evidence that aging is associated with the maintenance of positive affect and the decrease of negative affect to ensure emotion regulation goals. Previous empirical studies have primarily focused on a visual or autobiographical form of emotion communication. To date, little investigation has been done on musical emotions. The few studies that have addressed aging and emotions in music were mainly interested in emotion recognition, thus leaving unexplored the question of how aging may influence emotional responses to and memory for emotions conveyed by music. In the present study, eighteen older (60–84 years) and eighteen younger (19–24 years) listeners were asked to evaluate the strength of their experienced emotion on happy, peaceful, sad, and scary musical excerpts (Vieillard et al., 2008) while facial muscle activity was recorded. Participants then performed an incidental recognition task followed by a task in which they judged to what extent they experienced happiness, peacefulness, sadness, and fear when listening to music. Compared to younger adults, older adults (a) reported a stronger emotional reactivity for happiness than other emotion categories, (b) showed an increased zygomatic activity for scary stimuli, (c) were more likely to falsely recognize happy music, and (d) showed a decrease in their responsiveness to sad and scary music. These results are in line with previous findings and extend them to emotion experience and memory recognition, corroborating the view of age-related changes in emotional responses to music in a positive direction away from negativity. PMID:24137141

Music influences ratings of the affect of visual stimuli

NARCIS (Netherlands)

Hanser, W.E.; Mark, R.E.

2013-01-01

This review provides an overview of recent studies that have examined how music influences the judgment of emotional stimuli, including affective pictures and film clips. The relevant findings are incorporated within a broader theory of music and emotion, and suggestions for future research are

Hearing feelings: affective categorization of music and speech in alexithymia, an ERP study.

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Katharina Sophia Goerlich

Full Text Available BACKGROUND: Alexithymia, a condition characterized by deficits in interpreting and regulating feelings, is a risk factor for a variety of psychiatric conditions. Little is known about how alexithymia influences the processing of emotions in music and speech. Appreciation of such emotional qualities in auditory material is fundamental to human experience and has profound consequences for functioning in daily life. We investigated the neural signature of such emotional processing in alexithymia by means of event-related potentials. METHODOLOGY: Affective music and speech prosody were presented as targets following affectively congruent or incongruent visual word primes in two conditions. In two further conditions, affective music and speech prosody served as primes and visually presented words with affective connotations were presented as targets. Thirty-two participants (16 male judged the affective valence of the targets. We tested the influence of alexithymia on cross-modal affective priming and on N400 amplitudes, indicative of individual sensitivity to an affective mismatch between words, prosody, and music. Our results indicate that the affective priming effect for prosody targets tended to be reduced with increasing scores on alexithymia, while no behavioral differences were observed for music and word targets. At the electrophysiological level, alexithymia was associated with significantly smaller N400 amplitudes in response to affectively incongruent music and speech targets, but not to incongruent word targets. CONCLUSIONS: Our results suggest a reduced sensitivity for the emotional qualities of speech and music in alexithymia during affective categorization. This deficit becomes evident primarily in situations in which a verbalization of emotional information is required.

Hearing Feelings: Affective Categorization of Music and Speech in Alexithymia, an ERP Study

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Goerlich, Katharina Sophia; Witteman, Jurriaan; Aleman, André; Martens, Sander

2011-01-01

Background Alexithymia, a condition characterized by deficits in interpreting and regulating feelings, is a risk factor for a variety of psychiatric conditions. Little is known about how alexithymia influences the processing of emotions in music and speech. Appreciation of such emotional qualities in auditory material is fundamental to human experience and has profound consequences for functioning in daily life. We investigated the neural signature of such emotional processing in alexithymia by means of event-related potentials. Methodology Affective music and speech prosody were presented as targets following affectively congruent or incongruent visual word primes in two conditions. In two further conditions, affective music and speech prosody served as primes and visually presented words with affective connotations were presented as targets. Thirty-two participants (16 male) judged the affective valence of the targets. We tested the influence of alexithymia on cross-modal affective priming and on N400 amplitudes, indicative of individual sensitivity to an affective mismatch between words, prosody, and music. Our results indicate that the affective priming effect for prosody targets tended to be reduced with increasing scores on alexithymia, while no behavioral differences were observed for music and word targets. At the electrophysiological level, alexithymia was associated with significantly smaller N400 amplitudes in response to affectively incongruent music and speech targets, but not to incongruent word targets. Conclusions Our results suggest a reduced sensitivity for the emotional qualities of speech and music in alexithymia during affective categorization. This deficit becomes evident primarily in situations in which a verbalization of emotional information is required. PMID:21573026

How musical training affects cognitive development: rhythm, reward and other modulating variables.

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Miendlarzewska, Ewa A; Trost, Wiebke J

2013-01-01

Musical training has recently gained additional interest in education as increasing neuroscientific research demonstrates its positive effects on brain development. Neuroimaging revealed plastic changes in the brains of adult musicians but it is still unclear to what extent they are the product of intensive music training rather than of other factors, such as preexisting biological markers of musicality. In this review, we synthesize a large body of studies demonstrating that benefits of musical training extend beyond the skills it directly aims to train and last well into adulthood. For example, children who undergo musical training have better verbal memory, second language pronunciation accuracy, reading ability and executive functions. Learning to play an instrument as a child may even predict academic performance and IQ in young adulthood. The degree of observed structural and functional adaptation in the brain correlates with intensity and duration of practice. Importantly, the effects on cognitive development depend on the timing of musical initiation due to sensitive periods during development, as well as on several other modulating variables. Notably, we point to motivation, reward and social context of musical education, which are important yet neglected factors affecting the long-term benefits of musical training. Further, we introduce the notion of rhythmic entrainment and suggest that it may represent a mechanism supporting learning and development of executive functions. It also hones temporal processing and orienting of attention in time that may underlie enhancements observed in reading and verbal memory. We conclude that musical training uniquely engenders near and far transfer effects, preparing a foundation for a range of skills, and thus fostering cognitive development.

How musical training affects cognitive development: rhythm, reward and other modulating variables.

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Ewa Aurelia Miendlarzewska

2014-01-01

Full Text Available Musical training has recently gained additional interest in education as increasing neuroscientific research demonstrates its positive effects on brain development. Neuroimaging revealed plastic changes in the brains of adult musicians but it is still unclear to what extent they are the product of intensive music training rather than of other factors, such as preexisting biological markers of musicality. In this review, we synthesize a large body of studies demonstrating that benefits of musical training extend beyond the skills it directly aims to train and last well into adulthood. For example, children who undergo musical training have better verbal memory, second language pronunciation accuracy, reading ability and executive functions. Learning to play an instrument as a child may even predict academic performance and IQ in young adulthood. The degree of observed structural and functional adaptation in the brain correlates with intensity and duration of practice. Importantly, the effects on cognitive development depend on the timing of musical initiation due to sensitive periods during development, as well as on several other modulating variables. Notably, we point to motivation, reward and social context of musical education, which are important yet neglected factors affecting the long-term benefits of musical training. Further, we introduce the notion of rhythmic entrainment and suggest that it may represent a mechanism supporting learning and development of executive functions. It also hones temporal processing and orienting of attention in time that may underlie enhancements observed in reading and verbal memory. We conclude that musical training uniquely engenders near and far transfer effects, preparing a foundation for a range of skills, and thus fostering cognitive development.

Active music classes in infancy enhance musical, communicative and social development.

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Gerry, David; Unrau, Andrea; Trainor, Laurel J

2012-05-01

Previous studies suggest that musical training in children can positively affect various aspects of development. However, it remains unknown as to how early in development musical experience can have an effect, the nature of any such effects, and whether different types of music experience affect development differently. We found that random assignment to 6 months of active participatory musical experience beginning at 6 months of age accelerates acquisition of culture-specific knowledge of Western tonality in comparison to a similar amount of passive exposure to music. Furthermore, infants assigned to the active musical experience showed superior development of prelinguistic communicative gestures and social behaviour compared to infants assigned to the passive musical experience. These results indicate that (1) infants can engage in meaningful musical training when appropriate pedagogical approaches are used, (2) active musical participation in infancy enhances culture-specific musical acquisition, and (3) active musical participation in infancy impacts social and communication development. © 2012 Blackwell Publishing Ltd.

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

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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.

How do musical tonality and experience affect visual working memory?

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Yang, Hua; Lu, Jing; Gong, Diankun; Yao, Dezhong

2016-01-20

The influence of music on the human brain has continued to attract increasing attention from neuroscientists and musicologists. Currently, tonal music is widely present in people's daily lives; however, atonal music has gradually become an important part of modern music. In this study, we conducted two experiments: the first one tested for differences in perception of distractibility between tonal music and atonal music. The second experiment tested how tonal music and atonal music affect visual working memory by comparing musicians and nonmusicians who were placed in contexts with background tonal music, atonal music, and silence. They were instructed to complete a delay matching memory task. The results show that musicians and nonmusicians have different evaluations of the distractibility of tonal music and atonal music, possibly indicating that long-term training may lead to a higher auditory perception threshold among musicians. For the working memory task, musicians reacted faster than nonmusicians in all background music cases, and musicians took more time to respond in the tonal background music condition than in the other conditions. Therefore, our results suggest that for a visual memory task, background tonal music may occupy more cognitive resources than atonal music or silence for musicians, leaving few resources left for the memory task. Moreover, the musicians outperformed the nonmusicians because of the higher sensitivity to background music, which also needs a further longitudinal study to be confirmed.

Music application alleviates short-term memory impairments through increasing cell proliferation in the hippocampus of valproic acid-induced autistic rat pups.

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Lee, Sung-Min; Kim, Bo-Kyun; Kim, Tae-Woon; Ji, Eun-Sang; Choi, Hyun-Hee

2016-06-01

Autism is a neurodevelopmental disorder and this disorder shows impairment in reciprocal social interactions, deficits in communication, and restrictive and repetitive patterns of behaviors and interests. The effect of music on short-term memory in the view of cell proliferation in the hippocampus was evaluated using valproic acid-induced autistic rat pups. Animal model of autism was made by subcutaneous injection of 400-mg/kg valproic acid into the rat pups on the postnatal day 14. The rat pups in the music-applied groups were exposed to the 65-dB comfortable classic music for 1 hr once a day, starting postnatal day 15 and continued until postnatal day 28. In the present results, short-term memory was deteriorated by autism induction. The numbers of 5-bromo-2'-deoxyridine (BrdU)-positive, Ki-67-positive, and doublecortin (DCX)-positive cells in the hippocampal dentate gyrus were decreased by autism induction. Brain-derived neurotrophic factor (BDNF) and tyrosine kinase B (TrkB) expressions in the hippocampus were also suppressed in the autistic rat pups. Music application alleviated short-term memory deficits with enhancing the numbers of BrdU-positive, Ki-67-positive, and DCX-positive cells in the autistic rat pups. Music application also enhanced BDNF and TrkB expressions in the autistic rat pups. The present study show that application of music enhanced hippocampal cell proliferation and alleviated short-term memory impairment through stimulating BDNF-TrkB signaling in the autistic rat pups. Music can be suggested as the therapeutic strategy to overcome the autism-induced memory deficits.

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

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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.

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.

The Nature of Affective Priming in Music and Speech

NARCIS (Netherlands)

Goerlich, K.S.; Witteman, J.; Schiller, N.O.; Van Heuven, V.J.; Aleman, A.; Martens, S.

The phenomenon of affective priming has caught scientific interest for over 30 years, yet the nature of the affective priming effect remains elusive. This study investigated the underlying mechanism of cross-modal affective priming and the influence of affective incongruence in music and speech on

Individual Differences in Beat Perception Affect Gait Responses to Low- and High-Groove Music

Science.gov (United States)

Leow, Li-Ann; Parrott, Taylor; Grahn, Jessica A.

2014-01-01

Slowed gait in patients with Parkinson’s disease (PD) can be improved when patients synchronize footsteps to isochronous metronome cues, but limited retention of such improvements suggest that permanent cueing regimes are needed for long-term improvements. If so, music might make permanent cueing regimes more pleasant, improving adherence; however, music cueing requires patients to synchronize movements to the “beat,” which might be difficult for patients with PD who tend to show weak beat perception. One solution may be to use high-groove music, which has high beat salience that may facilitate synchronization, and affective properties, which may improve motivation to move. As a first step to understanding how beat perception affects gait in complex neurological disorders, we examined how beat perception ability affected gait in neurotypical adults. Synchronization performance and gait parameters were assessed as healthy young adults with strong or weak beat perception synchronized to low-groove music, high-groove music, and metronome cues. High-groove music was predicted to elicit better synchronization than low-groove music, due to its higher beat salience. Two musical tempi, or rates, were used: (1) preferred tempo: beat rate matched to preferred step rate and (2) faster tempo: beat rate adjusted to 22.5% faster than preferred step rate. For both strong and weak beat-perceivers, synchronization performance was best with metronome cues, followed by high-groove music, and worst with low-groove music. In addition, high-groove music elicited longer and faster steps than low-groove music, both at preferred tempo and at faster tempo. Low-groove music was particularly detrimental to gait in weak beat-perceivers, who showed slower and shorter steps compared to uncued walking. The findings show that individual differences in beat perception affect gait when synchronizing footsteps to music, and have implications for using music in gait rehabilitation. PMID:25374521

Individual differences in beat perception affect gait responses to low- and high-groove music.

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Li-Ann eLeow

2014-10-01

Full Text Available Slowed gait in Parkinson’s disease (PD patients can be improved when patients synchronize footsteps to isochronous metronome cues, but limited retention of such improvements suggest that permanent cueing regimes are needed for long-term improvements. If so, music might make permanent cueing regimes more pleasant, improving adherence; however, music cueing requires patients to synchronize movements to the beat, which might be difficult for PD patients who tend to show weak beat perception. One solution may be to use high groove music, which has high beat salience that may facilitate synchronization, and affective properties which may improve motivation to move. As a first step in understanding how beat perception affects gait in complex neurological disorders, we examined how beat perception ability affected gait in neurotypical adults. Synchronization performance and gait parameters were assessed as healthy young adults with strong or weak beat perception synchronized to low groove music, high groove music, and metronome cues. High groove music was predicted to elicit better synchronization than low groove music, due to its higher beat salience. Two musical tempi, or rates, were used: (1 preferred tempo: beat rate matched to preferred step rate and (2 faster tempo: beat rate adjusted to 22.5% faster than preferred step rate. For both strong and weak beat-perceivers, synchronization performance was best with metronome cues, followed by high groove music, and worst with low groove music. In addition, high groove music elicited longer and faster steps than low groove music, both at preferred tempo and at faster tempo. Low groove music was particularly detrimental to gait in weak beat-perceivers, who showed slower and shorter steps compared to uncued walking. The findings show that individual differences in beat perception affect gait when synchronizing footsteps to music, and have implications for using music in gait rehabilitation.

Affective Music Information Retrieval

OpenAIRE

Wang, Ju-Chiang; Yang, Yi-Hsuan; Wang, Hsin-Min

2015-01-01

Much of the appeal of music lies in its power to convey emotions/moods and to evoke them in listeners. In consequence, the past decade witnessed a growing interest in modeling emotions from musical signals in the music information retrieval (MIR) community. In this article, we present a novel generative approach to music emotion modeling, with a specific focus on the valence-arousal (VA) dimension model of emotion. The presented generative model, called \\emph{acoustic emotion Gaussians} (AEG)...

Electroencephalography Amplitude Modulation Analysis for Automated Affective Tagging of Music Video Clips

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Andrea Clerico

2018-01-01

Full Text Available The quantity of music content is rapidly increasing and automated affective tagging of music video clips can enable the development of intelligent retrieval, music recommendation, automatic playlist generators, and music browsing interfaces tuned to the users' current desires, preferences, or affective states. To achieve this goal, the field of affective computing has emerged, in particular the development of so-called affective brain-computer interfaces, which measure the user's affective state directly from measured brain waves using non-invasive tools, such as electroencephalography (EEG. Typically, conventional features extracted from the EEG signal have been used, such as frequency subband powers and/or inter-hemispheric power asymmetry indices. More recently, the coupling between EEG and peripheral physiological signals, such as the galvanic skin response (GSR, have also been proposed. Here, we show the importance of EEG amplitude modulations and propose several new features that measure the amplitude-amplitude cross-frequency coupling per EEG electrode, as well as linear and non-linear connections between multiple electrode pairs. When tested on a publicly available dataset of music video clips tagged with subjective affective ratings, support vector classifiers trained on the proposed features were shown to outperform those trained on conventional benchmark EEG features by as much as 6, 20, 8, and 7% for arousal, valence, dominance and liking, respectively. Moreover, fusion of the proposed features with EEG-GSR coupling features showed to be particularly useful for arousal (feature-level fusion and liking (decision-level fusion prediction. Together, these findings show the importance of the proposed features to characterize human affective states during music clip watching.

Exposure to music and noise-induced hearing loss (NIHL among professional pop/rock/jazz musicians

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Dana N Halevi-Katz

2015-01-01

Full Text Available Noise-induced hearing loss (NIHL has been extensively studied in industrial work environments. With the advent of new technologies, loud music has been increasingly affecting listeners outside of the industrial setting. Most research on the effects of music and hearing loss has focused on classical musicians. The purpose of the current study was to examine the relationship between the amount of experience a professional pop/rock/jazz musician has and objective and subjective variables of the musician′s hearing loss. This study also examined professional pop/rock/jazz musicians′ use of hearing protection devices in relation to the extent of their exposure to amplified music. Forty-four pop/rock/jazz musicians were interviewed using the Pop/Rock/Jazz Musician′s Questionnaire (PRJMQ in order to obtain self-reported symptoms of tinnitus and hyperacusis. Forty-two of the subjects were also tested for air-conduction hearing thresholds in the frequency range of 1-8 kHz. Results show that the extent of professional pop/rock/jazz musicians′ exposure to amplified music was related to both objective and subjective variables of hearing loss: Greater musical experience was positively linked to higher hearing thresholds in the frequency range of 3-6 kHz and to the subjective symptom of tinnitus. Weekly hours playing were found to have a greater effect on hearing loss in comparison to years playing. Use of hearing protection was not linked to the extent of exposure to amplified music. It is recommended that further research be conducted with a larger sample, in order to gain a greater understanding of the detrimental effects of hours playing versus years playing.

Exposure to music and noise-induced hearing loss (NIHL) among professional pop/rock/jazz musicians.

Science.gov (United States)

Halevi-Katz, Dana N; Yaakobi, Erez; Putter-Katz, Hanna

2015-01-01

Noise-induced hearing loss (NIHL) has been extensively studied in industrial work environments. With the advent of new technologies, loud music has been increasingly affecting listeners outside of the industrial setting. Most research on the effects of music and hearing loss has focused on classical musicians. The purpose of the current study was to examine the relationship between the amount of experience a professional pop/rock/jazz musician has and objective and subjective variables of the musician's hearing loss. This study also examined professional pop/rock/jazz musicians' use of hearing protection devices in relation to the extent of their exposure to amplified music. Forty-four pop/rock/jazz musicians were interviewed using the Pop/Rock/Jazz Musician's Questionnaire (PRJMQ) in order to obtain self-reported symptoms of tinnitus and hyperacusis. Forty-two of the subjects were also tested for air-conduction hearing thresholds in the frequency range of 1-8 kHz. Results show that the extent of professional pop/rock/jazz musicians' exposure to amplified music was related to both objective and subjective variables of hearing loss: Greater musical experience was positively linked to higher hearing thresholds in the frequency range of 3-6 kHz and to the subjective symptom of tinnitus. Weekly hours playing were found to have a greater effect on hearing loss in comparison to years playing. Use of hearing protection was not linked to the extent of exposure to amplified music. It is recommended that further research be conducted with a larger sample, in order to gain a greater understanding of the detrimental effects of hours playing versus years playing.

Personality traits correlate with characteristics of music-induced movement

OpenAIRE

Luck, Geoff; Saarikallio, Suvi; Toiviainen, Petri

2009-01-01

Individual factors such as personality are essential for understanding musical experiences and engagement with music. Personality has been shown to be related to musical preferences and experiences, but little is known about how it affects music-related movement. The current study examined whether personality traits were related to the way in which people moved spontaneously to music. Twenty young adults (7 males, and 13 females, mean age 24.0 years) were asked to move spontaneously to a 12 b...

Low degree of formal education and musical experience predict degree of music-induced stress reduction in relatives and friends of patients: a single-center, randomized controlled trial.

Science.gov (United States)

Tilt, Alexandra C; Werner, Paul D; Brown, David F; Alam, Hassan B; Warshaw, Andrew L; Parry, Blair A; Jazbar, Brigita; Booker, Abigail; Stangenberg, Lars; Fricchione, Gregory L; Benson, Herbert; Lillemoe, Keith D; Conrad, Claudius

2013-05-01

tendency to respond positively to music in a group setting can predict the effectiveness of music-induced relaxation.

Music-Induced Analgesia in Chronic Pain Conditions: A Systematic Review and Meta-Analysis.

Science.gov (United States)

Garza-Villarreal, Eduardo A; Pando, Victor; Vuust, Peter; Parsons, Christine

2017-11-01

Music is increasingly used as an adjuvant for the management of chronic pain (CP), as it is non-invasive, inexpensive, and patients usually report positive experiences with it. However, little is known about its clinical efficacy in chronic pain patients. We aimed to determine the effect of music as an adjuvant for chronic pain, as well as to identify characteristics of music interventions associated with positive clinical outcomes. In this systematic review and meta-analysis, we investigated randomized controlled trials (RCTs) of adult patients that reported any type of music intervention for chronic pain, chosen by the researcher or patient, lasting for any duration. Searches were performed using PsycINFO, Scopus, and PubMed for RCTs published until the end of May 2016. The primary outcome was reduction in self-reported pain using a standardized pain measurement instrument, reported post-intervention. The secondary outcomes were: quality of life measures, depression, anxiety, and related measures. The study was pre-registered with PROSPERO (CRD42016039837), and the meta-analysis was performed using RevMan 5.3 (The Nordic Cochrane Centre for The Cochrane Collaboration, Copenhagen, Denmark). We identified 768 titles and abstracts, and we included 14 RTCs that fulfilled our criteria. The sample size of the studies varied between 25 and 200 patients. We found that music reduced self-reported chronic pain and depressive symptoms. We also found that music had a greater effect when the patient chose the music, compared to when the researcher chose it. The sample size of RCTs was small and sometimes with different outcome measures. There was high heterogeneity associated with pooled estimates. Our analysis suggests that music may be beneficial as an adjuvant for chronic pain patients, as it reduces self-reported pain and its common comorbidities. Importantly, the analgesic effect of music appears higher with self-chosen over researcher-chosen music. Pain, music

Self-selected music-induced reduction of perceived exertion during moderate-intensity exercise does not interfere with post-exercise improvements in inhibitory control.

Science.gov (United States)

Tanaka, Daichi; Tsukamoto, Hayato; Suga, Tadashi; Takenaka, Saki; Hamaoka, Takafumi; Hashimoto, Takeshi; Isaka, Tadao

2018-05-26

Acute aerobic exercise improves inhibitory control (IC). This improvement is often associated with increases in perceived exertion during exercise. However, listening to music during aerobic exercise mitigates an exercise-induced increase in perceived exertion. Thus, it is hypothesized that such effects of music may interfere with exercise-induced improvements in IC. To test this hypothesis, we examined the effect of music on post-exercise IC improvements that were induced by moderate-intensity exercise. Fifteen healthy young men performed cycle ergometer exercise with music or non-music. The exercise was performed using a moderate-intensity of 60% of VO 2 peak for 30 min. The music condition was performed while listening to self-selected music. The non-music condition involved no music. To evaluate IC, the Stroop task was administered before exercise, immediately after exercise, and during the 30-min post-exercise recovery period. The rate of perceived exertion immediately before moderate-intensity exercise completed was significantly lower in music condition than in non-music condition. The IC significantly improved immediately after exercise and during the post-exercise recovery period compared to before exercise in both music and non-music conditions. The post-exercise IC improvements did not significantly differ between the two conditions. These findings indicate that self-selected music-induced mitigation of the increase in perceived exertion during moderate-intensity exercise dose not interfere with exercise-induced improvements in IC. Therefore, we suggest that listening to music may be a beneficial strategy in mitigating the increase in perceived exertion during aerobic exercise without decreasing the positive effects on IC. Copyright © 2018 Elsevier Inc. All rights reserved.

See hear: psychological effects of music and music-video during treadmill running.

Science.gov (United States)

Hutchinson, Jasmin C; Karageorghis, Costas I; Jones, Leighton

2015-04-01

There is a paucity of work addressing the distractive, affect-enhancing, and motivational influences of music and video in combination during exercise. We examined the effects of music and music-and-video on a range of psychological and psychophysical variables during treadmill running at intensities above and below ventilatory threshold (VT). Participants (N = 24) exercised at 10 % of maximal capacity below VT and 10 % above under music-only, music-and-video, and control conditions. There was a condition × intensity × time interaction for perceived activation and state motivation, and an intensity × time interaction for state attention, perceived exertion (RPE), and affective valence. The music-and-video condition elicited the highest levels of dissociation, lowest RPE, and most positive affective responses regardless of exercise intensity. Attentional manipulations influence psychological and psychophysical variables at exercise intensities above and below VT, and this effect is enhanced by the combined presentation of auditory and visual stimuli.

Music-induced emotions can be predicted from a combination of brain activity and acoustic features.

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Daly, Ian; Williams, Duncan; Hallowell, James; Hwang, Faustina; Kirke, Alexis; Malik, Asad; Weaver, James; Miranda, Eduardo; Nasuto, Slawomir J

2015-12-01

It is widely acknowledged that music can communicate and induce a wide range of emotions in the listener. However, music is a highly-complex audio signal composed of a wide range of complex time- and frequency-varying components. Additionally, music-induced emotions are known to differ greatly between listeners. Therefore, it is not immediately clear what emotions will be induced in a given individual by a piece of music. We attempt to predict the music-induced emotional response in a listener by measuring the activity in the listeners electroencephalogram (EEG). We combine these measures with acoustic descriptors of the music, an approach that allows us to consider music as a complex set of time-varying acoustic features, independently of any specific music theory. Regression models are found which allow us to predict the music-induced emotions of our participants with a correlation between the actual and predicted responses of up to r=0.234,pmusic induced emotions can be predicted by their neural activity and the properties of the music. Given the large amount of noise, non-stationarity, and non-linearity in both EEG and music, this is an encouraging result. Additionally, the combination of measures of brain activity and acoustic features describing the music played to our participants allows us to predict music-induced emotions with significantly higher accuracies than either feature type alone (p<0.01). Copyright © 2015 Elsevier Inc. All rights reserved.

Beyond intensity: Spectral features effectively predict music-induced subjective arousal.

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Gingras, Bruno; Marin, Manuela M; Fitch, W Tecumseh

2014-01-01

Emotions in music are conveyed by a variety of acoustic cues. Notably, the positive association between sound intensity and arousal has particular biological relevance. However, although amplitude normalization is a common procedure used to control for intensity in music psychology research, direct comparisons between emotional ratings of original and amplitude-normalized musical excerpts are lacking. In this study, 30 nonmusicians retrospectively rated the subjective arousal and pleasantness induced by 84 six-second classical music excerpts, and an additional 30 nonmusicians rated the same excerpts normalized for amplitude. Following the cue-redundancy and Brunswik lens models of acoustic communication, we hypothesized that arousal and pleasantness ratings would be similar for both versions of the excerpts, and that arousal could be predicted effectively by other acoustic cues besides intensity. Although the difference in mean arousal and pleasantness ratings between original and amplitude-normalized excerpts correlated significantly with the amplitude adjustment, ratings for both sets of excerpts were highly correlated and shared a similar range of values, thus validating the use of amplitude normalization in music emotion research. Two acoustic parameters, spectral flux and spectral entropy, accounted for 65% of the variance in arousal ratings for both sets, indicating that spectral features can effectively predict arousal. Additionally, we confirmed that amplitude-normalized excerpts were adequately matched for loudness. Overall, the results corroborate our hypotheses and support the cue-redundancy and Brunswik lens models.

New Orleans bounce music, sexuality, and affect

DEFF Research Database (Denmark)

Schoux Casey, Christina

2018-01-01

This article explores how language, sexuality, and affect are circuited in New Orleans bounce music. Bounce features lyrics that characterize the performers as queer, describe sex explicitly, celebrate sex between male-bodied people, and expose the hypocrisy of straight-acting men. Bounce lyrics...

An Analysis of Factors Affecting Thai Consumers’ Intention to Use Music Streaming Services

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Pannawit Sanitnarathorn

2018-04-01

Full Text Available The growth of music streaming can best be understood by knowing that over one billion people worldwide use YouTube with 80 percent of YouTube’s billions of views per day coming from outside of the U.S. Digital music revenues, previously driven by purchases (downloads, now mostly derive from access-based consumption (streams. Thailand’s smartphone-enabled youthful consumers are in the top of most global statistics and lead many regional internet/digital related categories. This paper, therefore, investigated a multitude of factors including perceived ease of use, perceived usefulness, and attitude, to determine the factors affecting Thai digital music streaming usage intention. From the 300 Thai music streaming users surveyed and analyzed by use of a structural equation model by SmartPLS software it was determined that attitude affects music streaming’s usage intention to the greatest extent with an intermediate input into perceived ease of use and perceived usefulness. However, perceived ease of use also indirectly affects music streaming’s usage intention the most through perceived usefulness and attitude.

Inharmonic music elicits more negative affect and interferes more with a concurrent cognitive task than does harmonic music.

Science.gov (United States)

Bonin, Tanor; Smilek, Daniel

2016-04-01

We evaluated whether task-irrelevant inharmonic music produces greater interference with cognitive performance than task-irrelevant harmonic music. Participants completed either an auditory (Experiment 1) or a visual (Experiment 2) version of the cognitively demanding 2-back task in which they were required to categorize each digit in a sequence of digits as either being a target (a digit also presented two positions earlier in the sequence) or a distractor (all other items). They were concurrently exposed to either task-irrelevant harmonic music (judged to be consonant), task-irrelevant inharmonic music (judged to be dissonant), or no music at all as a distraction. The main finding across both experiments was that performance on the 2-back task was worse when participants were exposed to inharmonic music than when they were exposed to harmonic music. Interestingly, performance on the 2-back task was generally the same regardless of whether harmonic music or no music was played. We suggest that inharmonic, dissonant music interferes with cognitive performance by requiring greater cognitive processing than harmonic, consonant music, and speculate about why this might be.

Emotions Induced by Operatic Music: Psychophysiological Effects of Music, Plot, and Acting: A Scientist's Tribute to Maria Callas

Science.gov (United States)

Baltes, Felicia Rodica; Avram, Julia; Miclea, Mircea; Miu, Andrei C.

2011-01-01

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…

Empathy manipulation impacts music-induced emotions: a psychophysiological study on opera.

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Andrei C Miu

Full Text Available This study investigated the effects of voluntarily empathizing with a musical performer (i.e., cognitive empathy on music-induced emotions and their underlying physiological activity. N = 56 participants watched video-clips of two operatic compositions performed in concerts, with low or high empathy instructions. Heart rate and heart rate variability, skin conductance level (SCL, and respiration rate (RR were measured during music listening, and music-induced emotions were quantified using the Geneva Emotional Music Scale immediately after music listening. Listening to the aria with sad content in a high empathy condition facilitated the emotion of nostalgia and decreased SCL, in comparison to the low empathy condition. Listening to the song with happy content in a high empathy condition also facilitated the emotion of power and increased RR, in comparison to the low empathy condition. To our knowledge, this study offers the first experimental evidence that cognitive empathy influences emotion psychophysiology during music listening.

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, affect, method, data: reflections on the Carroll versus Kivy debate.

Science.gov (United States)

Konecni, Vladimir J

2013-01-01

The comprehensive exchange between Noel Carroll and Peter Kivy, which took place in 2007, addressed key issues in the relationship between music and affect. More than in any prior philosophical debate on this topic, experimental psychologists' methods and data played a significant role. However, to a nontrivial extent, the findings-perhaps especially the dubious-were misconstrued or misused, usually without acknowledging the existence of contrary data-based opinion within the psychology of music itself. Therefore, one objective of the present article is to identify the specific problematic features and shed light on the broader context shared by the two disciplines. A complementary goal is to examine contributions to philosophers' transgressions by music psychologists' insufficiently conscientious reporting, frequent overgeneralizations, and unawareness of philosophers' critical arguments. Another objective is to examine the current status of key concepts-the relevant music, basic emotions, mood, expression, induction, movement and dance, and methods (including introspection and experimental procedures)-thus perhaps enabling the discussion of music and affect to proceed with fewer misunderstandings. Finally, the article moves beyond the initial debate and builds on a remarkable agreement of philosophical and psychological opinion on a key issue (the induction of non-basic emotions by absolute music) to reach a new conceptual ground.

Positive Musical Experiences in Education: Music as a Social Praxis

Science.gov (United States)

Cabedo-Mas, Alberto; Díaz-Gómez, Maravillas

2013-01-01

This research explores the possibilities of music education in relation to improved interpersonal and social relationships. The paper focuses mainly on music teachers in primary and secondary schools in Spain. It aims to collect, analyse and provide arguments to defend a musical education that integrates musical diversity and facilitates the…

Plasticity of the human auditory cortex related to musical training.

Science.gov (United States)

Pantev, Christo; Herholz, Sibylle C

2011-11-01

During the last decades music neuroscience has become a rapidly growing field within the area of neuroscience. Music is particularly well suited for studying neuronal plasticity in the human brain because musical training is more complex and multimodal than most other daily life activities, and because prospective and professional musicians usually pursue the training with high and long-lasting commitment. Therefore, music has increasingly been used as a tool for the investigation of human cognition and its underlying brain mechanisms. Music relates to many brain functions like perception, action, cognition, emotion, learning and memory and therefore music is an ideal tool to investigate how the human brain is working and how different brain functions interact. Novel findings have been obtained in the field of induced cortical plasticity by musical training. The positive effects, which music in its various forms has in the healthy human brain are not only important in the framework of basic neuroscience, but they also will strongly affect the practices in neuro-rehabilitation. Copyright © 2011 Elsevier Ltd. All rights reserved.

Music for free? How free ad-funded downloads affect consumer choice

NARCIS (Netherlands)

Papies, Dominik; Eggers, Felix; Wloemert, Nils

2011-01-01

The market for digital content (e.g., music or movies) has been affected by large numbers of Internet users downloading content for free from illegitimate sources. The music industry has been exposed most severely to these developments and has reacted with several different online business models

Effects of differentiated music on cycling time trial.

Science.gov (United States)

Lim, H B T; Atkinson, G; Karageorghis, C I; Eubank, M R; Eubank, M M

2009-06-01

The aim of this study was to investigate the effects of music introduced and removed during a 10-km cycling time trial with reference to Rejeski's parallel processing theory and Karageorghis, Terry and Lane's conceptual framework for the prediction of responses to asynchronous music during sub-maximal exercise. A range of performance variables, ratings of perceived exertion, positive affect, negative affect, and blood lactate were assessed. Eleven males (mean age=24.9, s=6.1 years) completed a 10-km time trial under three conditions; no music, music played initially then removed between 5-10 km, and music played between 5-10 km only. Variables of time, power, cadence, speed, RPE, blood lactate, positive and negative affect were analysed using a ConditionxDistance ANOVA. There was no significant main effect for music conditions for the performance variables, perceived exertion, blood lactate, and affect (p>0.05). Nevertheless, a significant interaction effect for ConditionxDistance was found for cycling speed, with participants cycling 1-1.25 km/h faster at the start of the music introduced time trial than in both the music removed and no music time trials (pmusic during exercise and this finding can be used to extend current theory as it does not specifically address the periodic use music. The fact that participants exercised harder when they expected music to be introduced at a later stage illustrates the behavioural influences that music can engender during self-paced exercise.

An affective music player: Methods and models for physiological computing

NARCIS (Netherlands)

Janssen, J.H.; Westerink, J.H.D.M.; van den Broek, Egon

2009-01-01

Affective computing is embraced by many to create more intelligent systems and smart environments. In this thesis, a specific affective application is envisioned: an affective physiological music player (APMP), which should be able to direct its user's mood. In a first study, the relationship

Modelling audiovisual integration of affect from videos and music.

Science.gov (United States)

Gao, Chuanji; Wedell, Douglas H; Kim, Jongwan; Weber, Christine E; Shinkareva, Svetlana V

2018-05-01

Two experiments examined how affective values from visual and auditory modalities are integrated. Experiment 1 paired music and videos drawn from three levels of valence while holding arousal constant. Experiment 2 included a parallel combination of three levels of arousal while holding valence constant. In each experiment, participants rated their affective states after unimodal and multimodal presentations. Experiment 1 revealed a congruency effect in which stimulus combinations of the same extreme valence resulted in more extreme state ratings than component stimuli presented in isolation. An interaction between music and video valence reflected the greater influence of negative affect. Video valence was found to have a significantly greater effect on combined ratings than music valence. The pattern of data was explained by a five parameter differential weight averaging model that attributed greater weight to the visual modality and increased weight with decreasing values of valence. Experiment 2 revealed a congruency effect only for high arousal combinations and no interaction effects. This pattern was explained by a three parameter constant weight averaging model with greater weight for the auditory modality and a very low arousal value for the initial state. These results demonstrate key differences in audiovisual integration between valence and arousal.

Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians

Directory of Open Access Journals (Sweden)

D. Ramos

2011-02-01

Full Text Available The combined influence of tempo and mode on emotional responses to music was studied by crossing 7 changes in mode with 3 changes in tempo. Twenty-four musicians aged 19 to 25 years (12 males and 12 females and 24 nonmusicians aged 17 to 25 years (12 males and 12 females were required to perform two tasks: 1 listening to different musical excerpts, and 2 associating an emotion to them such as happiness, serenity, fear, anger, or sadness. ANOVA showed that increasing the tempo strongly affected the arousal (F(2,116 = 268.62, mean square error (MSE = 0.6676, P < 0.001 and, to a lesser extent, the valence of emotional responses (F(6,348 = 8.71, MSE = 0.6196, P < 0.001. Changes in modes modulated the affective valence of the perceived emotions (F(6,348 = 4.24, MSE = 0.6764, P < 0.001. Some interactive effects were found between tempo and mode (F (1,58 = 115.6, MSE = 0.6428, P < 0.001, but, in most cases, the two parameters had additive effects. This finding demonstrates that small changes in the pitch structures of modes modulate the emotions associated with the pieces, confirming the cognitive foundation of emotional responses to music.

Influences of rhythm- and timbre-related musical features on characteristics of music-induced movement.

Science.gov (United States)

Burger, Birgitta; Thompson, Marc R; Luck, Geoff; Saarikallio, Suvi; Toiviainen, Petri

2013-01-01

Music makes us move. Several factors can affect the characteristics of such movements, including individual factors or musical features. For this study, we investigated the effect of rhythm- and timbre-related musical features as well as tempo on movement characteristics. Sixty participants were presented with 30 musical stimuli representing different styles of popular music, and instructed to move along with the music. Optical motion capture was used to record participants' movements. Subsequently, eight movement features and four rhythm- and timbre-related musical features were computationally extracted from the data, while the tempo was assessed in a perceptual experiment. A subsequent correlational analysis revealed that, for instance, clear pulses seemed to be embodied with the whole body, i.e., by using various movement types of different body parts, whereas spectral flux and percussiveness were found to be more distinctly related to certain body parts, such as head and hand movement. A series of ANOVAs with the stimuli being divided into three groups of five stimuli each based on the tempo revealed no significant differences between the groups, suggesting that the tempo of our stimuli set failed to have an effect on the movement features. In general, the results can be linked to the framework of embodied music cognition, as they show that body movements are used to reflect, imitate, and predict musical characteristics.

Influences of rhythm- and timbre-related musical features on characteristics of music-induced movement

Directory of Open Access Journals (Sweden)

Birgitta eBurger

2013-04-01

Full Text Available Music makes us move. Several factors can affect the characteristics of such movements, including individual factors or musical features. For this study, we investigated the effect of rhythm- and timbre-related musical features as well as tempo on movement characteristics. Sixty participants were presented with 30 musical stimuli representing different styles of popular music, and instructed to move along with the music. Optical motion capture was used to record participants’ movements. Subsequently, eight movement features and four rhythm- and timbre-related musical features were computationally extracted from the data, while the tempo was assessed in a perceptual experiment. A subsequent correlational analysis revealed that, for instance, clear pulses seemed to be embodied with the whole body, i.e., by using various movement types of different body parts, whereas spectral flux and percussiveness were found to be more distinctly related to certain body parts, such as head and hand movement. A series of ANOVAs with the stimuli being divided into three groups of five stimuli each based on the tempo revealed no significant differences between the groups, suggesting that the tempo of our stimuli set failed to have an effect on the movement features. In general, the results can be linked to the framework of embodied music cognition, as they show that body movements are used to reflect, imitate, and predict musical characteristics.

Improving Self-Esteem in General Music

Science.gov (United States)

Culp, Mara E.

2016-01-01

Positive self-esteem helps students succeed in and outside of music classrooms. High self-esteem is associated with a positive self-image and fine musicianship. Conversely, low self-esteem is associated with a negative self-image and poorer musicianship. Because students' self-esteem may affect their participation in music classes, the music…

Sex differences in visuospatial and navigational working memory: the role of mood induced by background music.

Science.gov (United States)

Palmiero, Massimiliano; Nori, Raffaella; Rogolino, Carmelo; D'amico, Simonetta; Piccardi, Laura

2016-08-01

Sex differences in visuospatial abilities are long debated. Men generally outperform women, especially in wayfinding or learning a route or a sequence of places. These differences might depend on women's disadvantage in underlying spatial competences, such as mental rotation, and on the strategies used, as well as on emotions and on self-belief about navigational skills, not related to actual skill-levels. In the present study, sex differences in visuospatial and navigational working memory in emotional contexts were investigated. Participants' mood was manipulated by background music (positive, negative or neutral) while performing on the Corsi Block-tapping Task (CBT) and Walking Corsi (WalCT) test. In order to assess the effectiveness of mood manipulation, participants filled in the Positive and Negative Affect Schedule before and after carrying out the visuospatial tasks. Firstly, results showed that after mood induction, only the positive affect changed, whereas the negative affect remained unconfounded by mood and by sex. This finding is in line with the main effect of 'group' on all tests used: the positive music group scored significantly higher than other groups. Secondly, although men outperformed women in the CBT forward condition and in the WalCT forward and backward conditions, they scored higher than women only in the WalCT with the negative background music. This means that mood cannot fully explain sex differences in visuospatial and navigational working memory. Our results suggest that sex differences in the CBT and WalCT can be better explained by differences in spatial competences rather than by emotional contexts.

Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians.

Science.gov (United States)

Ramos, D; Bueno, J L O; Bigand, E

2011-02-01

The combined influence of tempo and mode on emotional responses to music was studied by crossing 7 changes in mode with 3 changes in tempo. Twenty-four musicians aged 19 to 25 years (12 males and 12 females) and 24 nonmusicians aged 17 to 25 years (12 males and 12 females) were required to perform two tasks: 1) listening to different musical excerpts, and 2) associating an emotion to them such as happiness, serenity, fear, anger, or sadness. ANOVA showed that increasing the tempo strongly affected the arousal (F(2,116) = 268.62, mean square error (MSE) = 0.6676, P effects were found between tempo and mode (F (1,58) = 115.6, MSE = 0.6428, P effects. This finding demonstrates that small changes in the pitch structures of modes modulate the emotions associated with the pieces, confirming the cognitive foundation of emotional responses to music.

The pleasures of sad music: a systematic review.

Science.gov (United States)

Sachs, Matthew E; Damasio, Antonio; Habibi, Assal

2015-01-01

Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of feelings and is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable: (1) when it is perceived as non-threatening; (2) when it is aesthetically pleasing; and (3) when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated.

Pleasant music as a countermeasure against visually induced motion sickness.

Science.gov (United States)

Keshavarz, Behrang; Hecht, Heiko

2014-05-01

Visually induced motion sickness (VIMS) is a well-known side-effect in virtual environments or simulators. However, effective behavioral countermeasures against VIMS are still sparse. In this study, we tested whether music can reduce the severity of VIMS. Ninety-three volunteers were immersed in an approximately 14-minute-long video taken during a bicycle ride. Participants were randomly assigned to one of four experimental groups, either including relaxing music, neutral music, stressful music, or no music. Sickness scores were collected using the Fast Motion Sickness Scale and the Simulator Sickness Questionnaire. Results showed an overall trend for relaxing music to reduce the severity of VIMS. When factoring in the subjective pleasantness of the music, a significant reduction of VIMS occurred only when the presented music was perceived as pleasant, regardless of the music type. In addition, we found a gender effect with women reporting more sickness than men. We assume that the presentation of pleasant music can be an effective, low-cost, and easy-to-administer method to reduce VIMS. Copyright © 2013 Elsevier Ltd and The Ergonomics Society. All rights reserved.

How Musical Instrumentation Affects Perceptual Identification of Musical Genres

OpenAIRE

Brene, Sofia; Thome, Carl

2014-01-01

A listening experiment was conducted to investigate which musical instruments are the most important for defining certain musical genres. 66 participants genre classified a series of audio samples, with the same songs recurring both with full instrumentation and partial instrumentation. The report used the collected genre classifications to clarify therelationship between certain musical genres and song instrumentation. A numericalanalysis of the classifications, in the context of genre tradi...

Feeling worse to feel better: pain-offset relief simultaneously stimulates positive affect and reduces negative affect.

Science.gov (United States)

Franklin, Joseph C; Lee, Kent M; Hanna, Eleanor K; Prinstein, Mitchell J

2013-04-01

Although pain itself induces negative affect, the removal (or offset) of pain induces a powerful state of relief. Despite being implicated in a wide range of psychological and behavioral phenomena, relief remains a poorly understood emotion. In particular, some theorists associate relief with increased positive affect, whereas others associate relief with diminished negative affect. In the present study, we examined the affective nature of relief in a pain-offset paradigm with psychophysiological measures that were specific to negative valence (startle eyeblink reactivity) and positive valence (startle postauricular reactivity). Results revealed that pain offset simultaneously stimulates positive affect and diminishes negative affect for at least several seconds. Results also indicated that pain intensity differentially affects the positive and negative valence aspects of relief. These findings clarify the affective nature of relief and provide insight into why people engage in both normal and abnormal behaviors associated with relief.

The effects of tempo and familiarity on children's affective interpretation of music.

Science.gov (United States)

Mote, Jasmine

2011-06-01

When and how does one learn to associate emotion with music? This study attempted to address this issue by examining whether preschool children use tempo as a cue in determining whether a song is happy or sad. Instrumental versions of children's songs were played at different tempos to adults and children ages 3 to 5 years. Familiar and unfamiliar songs were used to examine whether familiarity affected children's identification of emotion in music. The results indicated that adults, 4 year olds and 5 year olds rated fast songs as significantly happier than slow songs. However, 3 year olds failed to rate fast songs differently than slow songs at above-chance levels. Familiarity did not significantly affect children's identification of happiness and sadness in music.

The joy of heartfelt music: An examination of emotional and physiological responses.

Science.gov (United States)

Lynar, Emily; Cvejic, Erin; Schubert, Emery; Vollmer-Conna, Ute

2017-10-01

Music-listening can be a powerful therapeutic tool for mood rehabilitation, yet quality evidence for its validity as a singular treatment is scarce. Specifically, the relationship between music-induced mood improvement and meaningful physiological change, as well as the influence of music- and person-related covariates on these outcomes are yet to be comprehensively explored. Ninety-four healthy participants completed questionnaires probing demographics, personal information, and musical background. Participants listened to two prescribed musical pieces (one classical, one jazz), an "uplifting" piece of their own choice, and an acoustic control stimulus (white noise) in randomised order. Physiological responses (heart rate, respiration, galvanic skin response) were recorded throughout. After each piece, participants rated their subjective responses on a series of Likert scales. Subjectively, the self-selected pieces induced the most joy, and the classical piece was perceived as most relaxing, consistent with the arousal ratings proposed by a music selection panel. These two stimuli led to the greatest overall improvement in composite emotional state from baseline. Psycho-physiologically, self-selected pieces often elicited a "eustress" response ("positive arousal"), whereas classical music was associated with the highest heart rate variability. Very few person-related covariates appeared to affect responses, and music-related covariates (besides self-selection) appeared arbitrary. These data provide strong evidence that optimal music for therapy varies between individuals. Our findings additionally suggest that the self-selected music was most effective for inducing a joyous state; while low arousal classical music was most likely to shift the participant into a state of relaxation. Therapy should attempt to find the most effective and "heartfelt" music for each listener, according to therapeutic goals. Copyright © 2017 Elsevier B.V. All rights reserved.

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

Directory of Open Access Journals (Sweden)

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.

Science.gov (United States)

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.

Relations of nostalgia with music to emotional response and recall of autobiographical memory

OpenAIRE

小林, 麻美; 岩永, 誠; 生和, 秀敏

2002-01-01

Previous researches suggest that musical mood and preferences affects on emotional response, and that context of music also affects on musical-dependent memory. We often feel 'nostalgia' when listening to old familiar tunes. Nostalgia is related to eliciting positive emotions, recall of autobiographical memory and positive evaluations for recall contents. The present study aimed to examine effects of musical mood, preference and nostalgia on emotional responses, the amounts of recall of autob...

Are age-related differences between young and older adults in an affective working memory test sensitive to the music effects?

OpenAIRE

Borella, Erika; Carretti, Barbara; Grassi, Massimo; Nucci, Massimo; Sciore, Roberta

2014-01-01

There are evidences showing that music can affect cognitive performance by improving our emotional state. The aim of the current study was to analyze whether age-related differences between young and older adults in a Working Memory (WM) Span test in which the stimuli to be recalled have a different valence (i.e., neutral, positive, or negative words), are sensitive to exposure to music. Because some previous studies showed that emotional words can sustain older adults’ performance in WM, we ...

How musical training affects cognitive development: rhythm, reward and other modulating variables.

OpenAIRE

Ewa Aurelia Miendlarzewska; Ewa Aurelia Miendlarzewska; Wiebke Johanna Trost

2014-01-01

Musical training has recently gained additional interest in education as increasing neuroscientific research demonstrates its positive effects on brain development. Neuroimaging revealed plastic changes in the brains of adult musicians but it is still unclear to what extent they are the product of intensive music training rather than of other factors, such as preexisting biological markers of musicality. In this review, we synthesize a large body of studies demonstrating that benefits of musi...

How musical training affects cognitive development: rhythm, reward and other modulating variables

OpenAIRE

Miendlarzewska, Ewa A.; Trost, Wiebke J.

2014-01-01

Musical training has recently gained additional interest in education as increasing neuroscientific research demonstrates its positive effects on brain development. Neuroimaging revealed plastic changes in the brains of adult musicians but it is still unclear to what extent they are the product of intensive music training rather than of other factors, such as preexisting biological markers of musicality. In this review, we synthesize a large body of studies demonstrating that benefits of musi...

Neural correlates of cross-modal affective priming by music in Williams syndrome.

Science.gov (United States)

Lense, Miriam D; Gordon, Reyna L; Key, Alexandra P F; Dykens, Elisabeth M

2014-04-01

Emotional connection is the main reason people engage with music, and the emotional features of music can influence processing in other domains. Williams syndrome (WS) is a neurodevelopmental genetic disorder where musicality and sociability are prominent aspects of the phenotype. This study examined oscillatory brain activity during a musical affective priming paradigm. Participants with WS and age-matched typically developing controls heard brief emotional musical excerpts or emotionally neutral sounds and then reported the emotional valence (happy/sad) of subsequently presented faces. Participants with WS demonstrated greater evoked fronto-central alpha activity to the happy vs sad musical excerpts. The size of these alpha effects correlated with parent-reported emotional reactivity to music. Although participant groups did not differ in accuracy of identifying facial emotions, reaction time data revealed a music priming effect only in persons with WS, who responded faster when the face matched the emotional valence of the preceding musical excerpt vs when the valence differed. Matching emotional valence was also associated with greater evoked gamma activity thought to reflect cross-modal integration. This effect was not present in controls. The results suggest a specific connection between music and socioemotional processing and have implications for clinical and educational approaches for WS.

Multiple sampling ionization chamber (MUSIC) for investigation of fusion induced by halo nuclei

International Nuclear Information System (INIS)

Petrascu, H.; Kumagai, H.; Tanihata, I.; Fueloep, Zs.; Petrascu, M.

1999-01-01

A high resolution MUSIC for low and medium energy ions up to ∼ 20 AMeV, for investigation of fusion processes induced by halo nuclei, has been achieved. The chamber was used in the first experiments, aiming at investigating fusion processes induced by 9,11 Li with light targets. In these experiments MUSIC was used for the identification of the inclusive evaporation residues produced in the Si detector target, mounted inside the chamber. By using MUSIC it was possible to separate the inclusive spectra corresponding to the fusion processes, from the background due to the energy degraded beam particles. In principle such a chamber could be also used for investigation of particular fusion channels produced in the entrance window. In this case one could obtain the fusion product trajectory angle with the horizontal plane, by coupling each anode pad to a TDC. The chamber was also provided by a position grid, mounted between the Frisch grid and the anode pads. The energy loss distribution widths were measured using α particles. The chamber was filled with P-10 gas at pressures between 200 and 300 torr. The obtained resolution corresponding to a single pad, is close to the limit derived from the theory of Badhwar. (authors)

A developmental study of the affective value of tempo and mode in music.

Science.gov (United States)

Dalla Bella, S; Peretz, I; Rousseau, L; Gosselin, N

2001-07-01

Do children use the same properties as adults in determining whether music sounds happy or sad? We addressed this question with a set of 32 excerpts (16 happy and 16 sad) taken from pre-existing music. The tempo (i.e. the number of beats per minute) and the mode (i.e. the specific subset of pitches used to write a given musical excerpt) of these excerpts were modified independently and jointly in order to measure their effects on happy-sad judgments. Adults and children from 3 to 8 years old were required to judge whether the excerpts were happy or sad. The results show that as adults, 6--8-year-old children are affected by mode and tempo manipulations. In contrast, 5-year-olds' responses are only affected by a change of tempo. The youngest children (3--4-year-olds) failed to distinguish the happy from the sad tone of the music above chance. The results indicate that tempo is mastered earlier than mode to infer the emotional tone conveyed by music.

The Pleasures of Sad Music: A Systematic Review

Directory of Open Access Journals (Sweden)

Matthew eSachs

2015-07-01

Full Text Available Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of feelings and is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable (1 when it is perceived as non-threatening; (2 when it is aesthetically pleasing; and (3 when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated.

Songs for the ego: Theorizing musical self-enhancement

Directory of Open Access Journals (Sweden)

Paul eElvers

2016-01-01

Full Text Available This paper outlines a theoretical account of musical self-enhancement. I claim that listening to music serves as a resource for actively manipulating affective states so that a positive self-view is maintained and a sense of optimism is provided. Self-enhancement—the process by which individuals modify their self-worth and gain self-esteem—typically takes place in social interactions. I argue that experiencing music may serve as a unique aesthetic surrogate for interaction, which equally enables self-enhancement. This ability relies on three main characteristics of the musical experience, namely, its capacity to (a evoke empathetic feelings, (b elicit social cohesion and affiliation, and (c elicit feelings of reward. I outline how these characteristics relate to theories of music cognition and empirical findings in psychology and neuroscience research. I also explain the specifics of musical self-enhancement and how it differs from music’s other regulatory functions such as mood- and emotion regulation. My aim in introducing the notion of musical self-enhancement is to broaden our understanding of how music functions as an environmental resource entailing access to unique affective states and how musical experiences are co-constituted by both the agent and the sonic environment. This specific use of music for self-enhancement can be regarded as a form of affective niche construction, providing the external conditions in which people can experience themselves more positively and maintain high self-esteem.

Songs for the Ego: Theorizing Musical Self-Enhancement

Science.gov (United States)

Elvers, Paul

2016-01-01

This paper outlines a theoretical account of musical self-enhancement. I claim that listening to music serves as a resource for actively manipulating affective states so that a positive self-view is maintained and a sense of optimism is provided. Self-enhancement—the process by which individuals modify their self-worth and gain self-esteem—typically takes place in social interactions. I argue that experiencing music may serve as a unique “esthetic surrogate” for interaction, which equally enables self-enhancement. This ability relies on three main characteristics of the musical experience, namely, its capacity to (a) evoke empathetic feelings, (b) elicit social cohesion and affiliation, and (c) elicit feelings of reward. I outline how these characteristics relate to theories of music cognition and empirical findings in psychology and neuroscience research. I also explain the specifics of musical self-enhancement and how it differs from music’s other regulatory functions such as mood- and emotion regulation. My aim in introducing the notion of musical self-enhancement is to broaden our understanding of how music functions as an environmental resource entailing access to unique affective states and how musical experiences are co-constituted by both the agent and the sonic environment. This specific use of music for self-enhancement can be regarded as a form of affective niche construction, providing the external conditions in which people can experience themselves more positively and maintain high self-esteem. PMID:26834675

Music and Affective Phenomena: A 20-Year Content and Bibliometric Analysis of Research in Three Eminent Journals

Science.gov (United States)

Diaz, Frank M.; Silveira, Jason M.

2014-01-01

The purpose of this study was to establish trends in the study of music and affective phenomena through a content and bibliometric analysis of three eminent music research journals, the "Journal of Research in Music Education", "Psychology of Music", and "Music Perception", for the years 1990 through 2009. Excluding…

Biological bases of human musicality.

Science.gov (United States)

Perrone-Capano, Carla; Volpicelli, Floriana; di Porzio, Umberto

2017-04-01

Music is a universal language, present in all human societies. It pervades the lives of most human beings and can recall memories and feelings of the past, can exert positive effects on our mood, can be strongly evocative and ignite intense emotions, and can establish or strengthen social bonds. In this review, we summarize the research and recent progress on the origins and neural substrates of human musicality as well as the changes in brain plasticity elicited by listening or performing music. Indeed, music improves performance in a number of cognitive tasks and may have beneficial effects on diseased brains. The emerging picture begins to unravel how and why particular brain circuits are affected by music. Numerous studies show that music affects emotions and mood, as it is strongly associated with the brain's reward system. We can therefore assume that an in-depth study of the relationship between music and the brain may help to shed light on how the mind works and how the emotions arise and may improve the methods of music-based rehabilitation for people with neurological disorders. However, many facets of the mind-music connection still remain to be explored and enlightened.

Syncopation, body-movement and pleasure in groove music.

OpenAIRE

Witek, MA; Clarke, EF; Wallentin, M; Kringelbach, ML; Vuust, P

2014-01-01

Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a ...

Psychophysical and ergogenic effects of synchronous music during treadmill walking.

Science.gov (United States)

Karageorghis, Costas I; Mouzourides, Denis A; Priest, David-Lee; Sasso, Tariq A; Morrish, Daley J; Walley, Carolyn J

2009-02-01

The present study examined the impact of motivational music and oudeterous (neutral in terms of motivational qualities) music on endurance and a range of psychophysical indices during a treadmill walking task. Experimental participants (N=30; mean age=20.5 years, SD=1.0 years) selected a program of either pop or rock tracks from artists identified in an earlier survey. They walked to exhaustion, starting at 75% maximal heart rate reserve, under conditions of motivational synchronous music, oudeterous synchronous music, and a no-music control. Dependent measures included time to exhaustion, ratings of perceived exertion (RPE), and in-task affect (both recorded at 2-min intervals), and exercise-induced feeling states. A one-way repeated measures ANOVA was used to analyze time to exhaustion data. Two-way repeated measures (Music Condition ? Trial Point) ANOVAs were used to analyze in-task measures, whereas a one-way repeated measures MANOVA was used to analyze the exercise-induced feeling states data. Results indicated that endurance was increased in both music conditions and that motivational music had a greater ergogenic effect than did oudeterous music (pmusic when compared with control throughout the trial (p.05) upon RPE or exercise-induced feeling states, although a moderate effect size was recorded for the latter (etap2=.09). The present results indicate that motivational synchronous music can elicit an ergogenic effect and enhance in-task affect during an exhaustive endurance task.

Psychophysiological effects of music on acute recovery from high-intensity interval training

OpenAIRE

Jones, L; Tiller, NB; Karageorghis, CI

2016-01-01

Numerous studies have examined the multifarious effects of music applied during exercise but few have assessed the efficacy of music as an aid to recovery. Music might facilitate physiological recovery via the entrainment of respiratory rhythms with music tempo. High-intensity exercise training is not typically associated with positive affective responses, and thus ways of assuaging negative affect warrant further exploration. This study assessed the psychophysiological effects of music on ac...

Loud music listening.

Science.gov (United States)

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.

Musical Applications and Design Techniques for the Gametrak Tethered Spatial Position Controller

DEFF Research Database (Denmark)

Freed, Adrian; Overholt, Daniel; Hansen, Anne-Marie

2009-01-01

The Gametrak spatial position controller has been saved from the fate of so many discontinued gaming controllers to become an attractive and increasingly popular platform for experimental musical controllers, math and science manipulatives, large scale interactive installations and as a playful...... tangible gaming interface that promotes inter-generational creative play and discovery . After introducing the peculiarities of the GameTrak and comparing it to related spatial position sensing systems we survey musical applications of the device. The short paper format cannot do justice to the depth...

Effects of Relaxing Music on Mental Fatigue Induced by a Continuous Performance Task: Behavioral and ERPs Evidence.

Science.gov (United States)

Guo, Wei; Ren, Jie; Wang, Biye; Zhu, Qin

2015-01-01

The purpose of this study was to investigate whether listening to relaxing music would help reduce mental fatigue and to maintain performance after a continuous performance task. The experiment involved two fatigue evaluation phases carried out before and after a fatigue inducing phase. A 1-hour AX-continuous performance test was used to induce mental fatigue in the fatigue-inducing phase, and participants' subjective evaluation on the mental fatigue, as well as their neurobehavioral performance in a Go/NoGo task, were measured before and after the fatigue-inducing phase. A total of 36 undergraduate students (18-22 years) participated in the study and were randomly assigned to the music group and control group. The music group performed the fatigue-inducing task while listening to relaxing music, and the control group performed the same task without any music. Our results revealed that after the fatigue-inducing phase, (a) the music group demonstrated significantly less mental fatigue than control group, (b) reaction time significantly increased for the control group but not for the music group, (c) larger Go-P3 and NoGo-P3 amplitudes were observed in the music group, although larger NoGo-N2 amplitudes were detected for both groups. These results combined to suggest that listening to relaxing music alleviated the mental fatigue associated with performing an enduring cognitive-motor task.

Modelling Perception of Structure and Affect in Music: Spectral Centroid and Wishart's Red Bird

Directory of Open Access Journals (Sweden)

Roger T. Dean

2011-12-01

Full Text Available Pearce (2011 provides a positive and interesting response to our article on time series analysis of the influences of acoustic properties on real-time perception of structure and affect in a section of Trevor Wishart’s Red Bird (Dean & Bailes, 2010. We address the following topics raised in the response and our paper. First, we analyse in depth the possible influence of spectral centroid, a timbral feature of the acoustic stream distinct from the high level general parameter we used initially, spectral flatness. We find that spectral centroid, like spectral flatness, is not a powerful predictor of real-time responses, though it does show some features that encourage its continued consideration. Second, we discuss further the issue of studying both individual responses, and as in our paper, group averaged responses. We show that a multivariate Vector Autoregression model handles the grand average series quite similarly to those of individual members of our participant groups, and we analyse this in greater detail with a wide range of approaches in work which is in press and continuing. Lastly, we discuss the nature and intent of computational modelling of cognition using acoustic and music- or information theoretic data streams as predictors, and how the music- or information theoretic approaches may be applied to electroacoustic music, which is ‘sound-based’ rather than note-centred like Western classical music.

Music during Lectures: Will Students Learn Better?

Science.gov (United States)

Dosseville, Fabrice; Laborde, Sylvain; Scelles, Nicolas

2012-01-01

We investigated the influence of music during learning on the academic performance of undergraduate students, and more particularly the influence of affects induced by music. Altogether 249 students were involved in the study, divided into a control group and an experimental group. Both groups attended the same videotaped lecture, with the…

Enhancing inhibition-induced plasticity in tinnitus--spectral energy contrasts in tailor-made notched music matter.

Directory of Open Access Journals (Sweden)

Alwina Stein

Full Text Available Chronic tinnitus seems to be caused by reduced inhibition among frequency selective neurons in the auditory cortex. One possibility to reduce tinnitus perception is to induce inhibition onto over-activated neurons representing the tinnitus frequency via tailor-made notched music (TMNM. Since lateral inhibition is modifiable by spectral energy contrasts, the question arises if the effects of inhibition-induced plasticity can be enhanced by introducing increased spectral energy contrasts (ISEC in TMNM. Eighteen participants suffering from chronic tonal tinnitus, pseudo randomly assigned to either a classical TMNM or an ISEC-TMNM group, listened to notched music for three hours on three consecutive days. The music was filtered for both groups by introducing a notch filter centered at the individual tinnitus frequency. For the ISEC-TMNM group a frequency bandwidth of 3/8 octaves on each side of the notch was amplified, additionally, by about 20 dB. Before and after each music exposure, participants rated their subjectively perceived tinnitus loudness on a visual analog scale. During the magnetoencephalographic recordings, participants were stimulated with either a reference tone of 500 Hz or a test tone with a carrier frequency representing the individual tinnitus pitch. Perceived tinnitus loudness was significantly reduced after TMNM exposure, though TMNM type did not influence the loudness ratings. Tinnitus related neural activity in the N1m time window and in the so called tinnitus network comprising temporal, parietal and frontal regions was reduced after TMNM exposure. The ISEC-TMNM group revealed even enhanced inhibition-induced plasticity in a temporal and a frontal cortical area. Overall, inhibition of tinnitus related neural activity could be strengthened in people affected with tinnitus by increasing spectral energy contrast in TMNM, confirming the concepts of inhibition-induced plasticity via TMNM and spectral energy contrasts.

The Authorship of a Musical Work and the Position of a Music Arranger (Avtorstvo glasbenega dela in položaj glasbenega aranžerja

Directory of Open Access Journals (Sweden)

Matija Damjan

2015-11-01

Full Text Available The creation of the final form of a piece of popular music usually involves several people: the composer, the lyricist, the music arranger, performers, sound engineers, etc. The article explores under what conditions the contributions of these persons constitute co-authorship of a piece of music and discusses in which phase a musical work can be considered finished. The copyright status of a music arranger is discussed in particular, whose work is usually defined in theory as adaptation of existing musical works, whereas in the practice of Slovenian popular music, arrangers often act as co-authors of new original music. The last part of the article examines the rules on the duration of rights in musical works produced in co-authorship and discusses in what way the ownership and the duration of copyrights in musical works is affected by Directive 2011/77/EU, which sets out unified rules on the duration of rights in musical compositions with words.

The effect of preferred music on mood and performance in a high-cognitive demand occupation.

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Lesiuk, Teresa

2010-01-01

Mild positive affect has been shown in the psychological literature to improve cognitive skills of creative problem-solving and systematic thinking. Individual preferred music listening offers opportunity for improved positive affect. The purpose of this study was to examine the effect of preferred music listening on state-mood and cognitive performance in a high-cognitive demand occupation. Twenty-four professional computer information systems developers (CISD) from a North American IT company participated in a 3-week study with a music/no music/music weekly design. During the music weeks, participants listened to their preferred music "when they wanted, as they wanted." Self-reports of State Positive Affect, State Negative Affect, and Cognitive Performance were measured throughout the 3 weeks. Results indicate a statistically significant improvement in both state-mood and cognitive performance scores. "High-cognitive demand" is a relative term given that challenges presented to individuals may occur on a cognitive continuum from need for focus and selective attention to systematic analysis and creative problem-solving. The findings and recommendations have important implications for music therapists in their knowledge of the effect of music on emotion and cognition, and, as well, have important implications for music therapy consultation to organizations.

Music-induced analgesia in chronic pain conditions: a systematic review and meta- analysis

DEFF Research Database (Denmark)

Garza-Villarreal, Eduardo A.; Pando, Victor; Vuust, Peter

2017-01-01

Background: Music is increasingly used as an adjuvant for chronic pain management as it is non-invasive, inexpensive, and patients usually report positive experiences with it. However, little is known about its clinical efficacy in chronic pain patients. Objectives: We aimed to determine the effect...... of music as an adjuvant for chronic pain, as well as to identify characteristics of music interventions associated wit positive clinical outcomes. Study Design: In this systematic review and meta-analysis, we investigated randomized controlled trials (RCTs) of adult patients that reported any type of music...... 14 RTCs that fulfilled our criteria. The sample size of the studies varied between 25 and 200 participants. Results: We found that music reduced self-reported chronic pain and depressive symptoms. We also found music had a greater effect when the participant chose the music compared to when...

Analyzing Music Services Positioning Through Qualitative Research

OpenAIRE

Cuadrado, Manuel; Miquel, María José; Montoro, Juan D.

2015-01-01

Information technologies have produced new ways of distributing and consuming music, mainly by youth, in relation to both goods and services. In the case of goods, there has been a dramatic shift from traditional ways of buying and listening to music to new digital platforms. There has also been an evolution in relation to music services. In this sense, live music concerts have been losing their audiences over the past few years, as have music radio stations, in favor of streaming platforms. ...

Collegiate Connections: The Story of a Licensed Teacher in a Paraprofessional Music Position--A Cautionary Tale

Science.gov (United States)

Conway, Colleen; Rawlings, Jared; Wolfgram, T. J.

2014-01-01

A trained music educator accepted a band paraprofessional position and discovered some of the challenges inherent in the role. Certified for K-12 music, he was hired part-time in a large suburban instrumental music program. The job, although interesting and challenging, did not pay enough to sustain him financially. Other music educators warned…

Influence of music on steroid hormones and the relationship between receptor polymorphisms and musical ability: a pilot study.

Science.gov (United States)

Fukui, Hajime; Toyoshima, Kumiko

2013-01-01

Studies have shown that music confers plasticity to the brain. In a preliminary pilot study, we examined the effect of music listening on steroid hormones and the relationship between steroid hormone receptor polymorphisms and musical ability. Twenty-one subjects (10 males and 11 females) were recruited and divided into musically talented and control groups. The subjects selected (1) music they preferred (chill-inducing music) and (2) music they did not like. Before and after the experiments, saliva was collected to measure the levels of steroid hormones such as testosterone, estradiol, and cortisol. DNA was also isolated from the saliva samples to determine the androgen receptor (AR) and arginine vasopressin receptor 1A genotypes. Advanced Measures of Music Audiation (AMMA) was used to determine the musical ability of the subjects. With both types of music, the cortisol levels decreased significantly in both sexes. The testosterone (T) levels declined in males when they listened to both types of music. In females, the T levels increased in those listening to chill-inducing music but declined when they listened to music they disliked. However, these differences were not significant. The 17-beta estradiol levels increased in males with both types of music, whereas the levels increased with chill-inducing music but declined with disliked music in females. The AMMA scores were higher for the short repeat length-type AR than for the long repeat length-type. Comparisons of AR polymorphisms and T levels before the experiments showed that the T levels were within the low range in the short repeat length-type group and there was a positive relationship with the repeat length, although it was not significant. This is the first study conducted in humans to analyze the relationships between the AR gene, T levels, and musical ability.

Musical expertise induces neuroplasticity of the planum temporale.

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Meyer, Martin; Elmer, Stefan; Jäncke, Lutz

2012-04-01

The present manuscript summarizes and discusses the implications of recent neuroimaging studies, which have investigated the relationship between musical expertise and structural, as well as functional, changes in an auditory-related association cortex, namely, the planum temporale (PT). Since the bilateral PT is known to serve as a spectrotemporal processor that supports perception of acoustic modulations in both speech and music, it comes as no surprise that musical expertise corresponds to functional sensitivity and neuroanatomical changes in cortical architecture. In this context, we focus on the following question: To what extent does musical expertise affect the functioning of the left and right plana temporalia? We discuss the relationship between behavioral, hemodynamic, and neuroanatomical data obtained from musicians in light of maturational and developmental issues. In particular, we introduce two studies of our group that show to what extent brains of musicians are more proficient in phonetic task performance. © 2012 New York Academy of Sciences.

Musical Meaning in the Lives of Those Affected by the Holocaust: Implications for Music Education

Science.gov (United States)

Cunningham, Deborah A.

2014-01-01

This qualitative study investigated the role of music in the lives of those affected by the Holocaust. Participants were identified through purposeful and snowball sampling techniques, and a total of five were selected based on their connection to the Holocaust. Participants included those incarcerated in camps and ghettos, those who escaped…

'I love Rock 'n' Roll'--music genre preference modulates brain responses to music.

Science.gov (United States)

Istók, Eva; Brattico, Elvira; Jacobsen, Thomas; Ritter, Aileen; Tervaniemi, M

2013-02-01

The present study examined the effect of participants' music genre preference on the neural processes underlying evaluative and cognitive judgements of music using the event-related potential technique. To this aim, two participant groups differing in their preference for Latin American and Heavy Metal music performed a liking judgement and a genre classification task on a variety of excerpts of either music genre. A late positive potential (LPP) was elicited in all conditions between 600 and 900 ms after stimulus onset. During the genre classification task, an early negativity was elicited by the preferred compared to the non-preferred music at around 230-370 ms whereas the non-preferred genre was characterized by a larger LPP. The findings suggest that evaluative and cognitive judgements of music are accompanied by affective responses and that the valence of music may spontaneously modulate early processes of music categorization even when no overt liking judgement is required. Copyright © 2012 Elsevier B.V. All rights reserved.

Psychophysiological effects of music on acute recovery from high-intensity interval training.

Science.gov (United States)

Jones, Leighton; Tiller, Nicholas B; Karageorghis, Costas I

2017-03-01

Numerous studies have examined the multifarious effects of music applied during exercise but few have assessed the efficacy of music as an aid to recovery. Music might facilitate physiological recovery via the entrainment of respiratory rhythms with music tempo. High-intensity exercise training is not typically associated with positive affective responses, and thus ways of assuaging negative affect warrant further exploration. This study assessed the psychophysiological effects of music on acute recovery and prevalence of entrainment in between bouts of high-intensity exercise. Thirteen male runners (M age =20.2±1.9years; BMI=21.7±1.7; V̇O 2 max=61.6±6.1mL·kg·min -1 ) completed three exercise sessions comprising 5×5-min bouts of high-intensity intervals interspersed with 3-min periods of passive recovery. During recovery, participants were administered positively-valenced music of a slow-tempo (55-65bpm), fast-tempo (125-135bpm), or a no-music control. A range of measures including affective responses, RPE, cardiorespiratory indices (gas exchange and pulmonary ventilation), and music tempo-respiratory entrainment were recorded during exercise and recovery. Fast-tempo, positively-valenced music resulted in higher Feeling Scale scores throughout recovery periods (pmusic-moderated differences in cardiorespiratory responses. In conclusion, fast-tempo, positively-valenced music applied during recovery periods engenders a more pleasant experience. However, there is limited evidence that music expedites cardiorespiratory recovery in between bouts of high-intensity exercise. These findings have implications for athletic training strategies and individuals seeking to make high-intensity exercise sessions more pleasant. Copyright © 2016 Elsevier Inc. All rights reserved.

Investigation of musicality in birdsong.

Science.gov (United States)

Rothenberg, David; Roeske, Tina C; Voss, Henning U; Naguib, Marc; Tchernichovski, Ofer

2014-02-01

Songbirds spend much of their time learning, producing, and listening to complex vocal sequences we call songs. Songs are learned via cultural transmission, and singing, usually by males, has a strong impact on the behavioral state of the listeners, often promoting affiliation, pair bonding, or aggression. What is it in the acoustic structure of birdsong that makes it such a potent stimulus? We suggest that birdsong potency might be driven by principles similar to those that make music so effective in inducing emotional responses in humans: a combination of rhythms and pitches-and the transitions between acoustic states-affecting emotions through creating expectations, anticipations, tension, tension release, or surprise. Here we propose a framework for investigating how birdsong, like human music, employs the above "musical" features to affect the emotions of avian listeners. First we analyze songs of thrush nightingales (Luscinia luscinia) by examining their trajectories in terms of transitions in rhythm and pitch. These transitions show gradual escalations and graceful modifications, which are comparable to some aspects of human musicality. We then explore the feasibility of stripping such putative musical features from the songs and testing how this might affect patterns of auditory responses, focusing on fMRI data in songbirds that demonstrate the feasibility of such approaches. Finally, we explore ideas for investigating whether musical features of birdsong activate avian brains and affect avian behavior in manners comparable to music's effects on humans. In conclusion, we suggest that birdsong research would benefit from current advances in music theory by attempting to identify structures that are designed to elicit listeners' emotions and then testing for such effects experimentally. Birdsong research that takes into account the striking complexity of song structure in light of its more immediate function - to affect behavioral state in listeners - could

A tribute to Charlie Chaplin: Induced positive affect improves reward-based decision-learning in Parkinson’s Disease

Directory of Open Access Journals (Sweden)

K. Richard eRidderinkhof

2012-06-01

Full Text Available Reward-based decision-learning refers to the process of learning to select those actions that lead to rewards while avoiding actions that lead to punishments. This process, known to rely on dopaminergic activity in striatal brain regions, is compromised in Parkinson’s disease (PD. We hypothesized that such decision-learning deficits are alleviated by induced positive affect, which is thought to incur transient boosts in midbrain and striatal dopaminergic activity. Computational measures of probabilistic reward-based decision-learning were determined for 51 patients diagnosed with PD. Previous work has shown these measures to rely on the nucleus caudatus (outcome evaluation during the early phases of learning and the putamen (reward prediction during later phases of learning. We observed that induced positive affect facilitated learning, through its effects on reward prediction rather than outcome evaluation. Viewing a few minutes of comedy clips served to remedy dopamine-related problems in putamen-based frontostriatal circuitry and, consequently, in learning to predict which actions will yield reward.

The influence of sexual music videos on adolescents' misogynistic beliefs: the role of video content, gender, and affective engagement

NARCIS (Netherlands)

van Oosten, J.M.F.; Peter, J.; Valkenburg, P.M.

2015-01-01

Research on how sexual music videos affect beliefs related to sexual aggression is rare and has not differentiated between the effects of music videos by male and female artists. Moreover, little is known about the affective processes that underlie the effects of sexual music videos. Using data from

Musical space synesthesia: automatic, explicit and conceptual connections between musical stimuli and space.

Science.gov (United States)

Akiva-Kabiri, Lilach; Linkovski, Omer; Gertner, Limor; Henik, Avishai

2014-08-01

In musical-space synesthesia, musical pitches are perceived as having a spatially defined array. Previous studies showed that symbolic inducers (e.g., numbers, months) can modulate response according to the inducer's relative position on the synesthetic spatial form. In the current study we tested two musical-space synesthetes and a group of matched controls on three different tasks: musical-space mapping, spatial cue detection and a spatial Stroop-like task. In the free mapping task, both synesthetes exhibited a diagonal organization of musical pitch tones rising from bottom left to the top right. This organization was found to be consistent over time. In the subsequent tasks, synesthetes were asked to ignore an auditory or visually presented musical pitch (irrelevant information) and respond to a visual target (i.e., an asterisk) on the screen (relevant information). Compatibility between musical pitch and the target's spatial location was manipulated to be compatible or incompatible with the synesthetes' spatial representations. In the spatial cue detection task participants had to press the space key immediately upon detecting the target. In the Stroop-like task, they had to reach the target by using a mouse cursor. In both tasks, synesthetes' performance was modulated by the compatibility between irrelevant and relevant spatial information. Specifically, the target's spatial location conflicted with the spatial information triggered by the irrelevant musical stimulus. These results reveal that for musical-space synesthetes, musical information automatically orients attention according to their specific spatial musical-forms. The present study demonstrates the genuineness of musical-space synesthesia by revealing its two hallmarks-automaticity and consistency. In addition, our results challenge previous findings regarding an implicit vertical representation for pitch tones in non-synesthete musicians. Copyright © 2014 Elsevier Inc. All rights reserved.

Chemotherapy-Induced Nausea and Vomiting Mitigation With Music Interventions
.

Science.gov (United States)

Kiernan, Jason M; Conradi Stark, Jody; Vallerand, April H

2018-01-01

Despite three decades of studies examining music interventions as a mitigant of chemotherapy-induced nausea and vomiting (CINV), to date, no systematic review of this literature exists.
. PubMed, Scopus, PsycInfo®, CINAHL®, Cochrane Library, and Google Scholar were searched. Keywords for all databases were music, chemotherapy, and nausea.
. All studies were appraised for methodology and results.
. 10 studies met inclusion criteria for review. Sample sizes were generally small and nonrandomized. Locus of control for music selection was more often with the investigator rather than the participant. Few studies controlled for the emetogenicity of the chemotherapy administered, nor for known patient-specific risk factors for CINV.
. The existing data have been largely generated by nurse scientists, and implications for nursing practice are many, because music interventions are low-cost, easily accessible, and without known adverse effects. However, this specific body of knowledge requires additional substantive inquiry to generate clinically relevant data.

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.

A Functional MRI Study of Happy and Sad Emotions in Music with and without Lyrics

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Brattico, Elvira; Alluri, Vinoo; Bogert, Brigitte; Jacobsen, Thomas; Vartiainen, Nuutti; Nieminen, Sirke; Tervaniemi, Mari

2011-01-01

Musical emotions, such as happiness and sadness, have been investigated using instrumental music devoid of linguistic content. However, pop and rock, the most common musical genres, utilize lyrics for conveying emotions. Using participants’ self-selected musical excerpts, we studied their behavior and brain responses to elucidate how lyrics interact with musical emotion processing, as reflected by emotion recognition and activation of limbic areas involved in affective experience. We extracted samples from subjects’ selections of sad and happy pieces and sorted them according to the presence of lyrics. Acoustic feature analysis showed that music with lyrics differed from music without lyrics in spectral centroid, a feature related to perceptual brightness, whereas sad music with lyrics did not diverge from happy music without lyrics, indicating the role of other factors in emotion classification. Behavioral ratings revealed that happy music without lyrics induced stronger positive emotions than happy music with lyrics. We also acquired functional magnetic resonance imaging data while subjects performed affective tasks regarding the music. First, using ecological and acoustically variable stimuli, we broadened previous findings about the brain processing of musical emotions and of songs versus instrumental music. Additionally, contrasts between sad music with versus without lyrics recruited the parahippocampal gyrus, the amygdala, the claustrum, the putamen, the precentral gyrus, the medial and inferior frontal gyri (including Broca’s area), and the auditory cortex, while the reverse contrast produced no activations. Happy music without lyrics activated structures of the limbic system and the right pars opercularis of the inferior frontal gyrus, whereas auditory regions alone responded to happy music with lyrics. These findings point to the role of acoustic cues for the experience of happiness in music and to the importance of lyrics for sad musical emotions

A Functional MRI Study of Happy and Sad Emotions in Music with and without Lyrics.

Science.gov (United States)

Brattico, Elvira; Alluri, Vinoo; Bogert, Brigitte; Jacobsen, Thomas; Vartiainen, Nuutti; Nieminen, Sirke; Tervaniemi, Mari

2011-01-01

Musical emotions, such as happiness and sadness, have been investigated using instrumental music devoid of linguistic content. However, pop and rock, the most common musical genres, utilize lyrics for conveying emotions. Using participants' self-selected musical excerpts, we studied their behavior and brain responses to elucidate how lyrics interact with musical emotion processing, as reflected by emotion recognition and activation of limbic areas involved in affective experience. We extracted samples from subjects' selections of sad and happy pieces and sorted them according to the presence of lyrics. Acoustic feature analysis showed that music with lyrics differed from music without lyrics in spectral centroid, a feature related to perceptual brightness, whereas sad music with lyrics did not diverge from happy music without lyrics, indicating the role of other factors in emotion classification. Behavioral ratings revealed that happy music without lyrics induced stronger positive emotions than happy music with lyrics. We also acquired functional magnetic resonance imaging data while subjects performed affective tasks regarding the music. First, using ecological and acoustically variable stimuli, we broadened previous findings about the brain processing of musical emotions and of songs versus instrumental music. Additionally, contrasts between sad music with versus without lyrics recruited the parahippocampal gyrus, the amygdala, the claustrum, the putamen, the precentral gyrus, the medial and inferior frontal gyri (including Broca's area), and the auditory cortex, while the reverse contrast produced no activations. Happy music without lyrics activated structures of the limbic system and the right pars opercularis of the inferior frontal gyrus, whereas auditory regions alone responded to happy music with lyrics. These findings point to the role of acoustic cues for the experience of happiness in music and to the importance of lyrics for sad musical emotions.

A functional MRI study of happy and sad emotions in music with and without lyrics

Directory of Open Access Journals (Sweden)

Elvira eBrattico

2011-12-01

Full Text Available Musical emotions, such as happiness and sadness, have been investigated using instrumental music devoid of linguistic content. However, pop and rock, the most common musical genres, utilize lyrics for conveying emotions. Using participants’ self-selected musical excerpts, we studied their behavior and brain responses to elucidate how lyrics interact with musical emotion processing, as reflected by emotion recognition and activation of limbic areas involved in affective experience. We extracted samples from subjects’ selections of sad and happy pieces and sorted them according to the presence of lyrics. Acoustic feature analysis showed that music with lyrics differed from music without lyrics in spectral centroid, a feature related to perceptual brightness, whereas sad music with lyrics did not diverge from happy music without lyrics, indicating the role of other factors in emotion classification. Behavioral ratings revealed that happy music without lyrics induced stronger positive emotions than happy music with lyrics. We also acquired functional magnetic resonance imaging (fMRI data while subjects performed affective tasks regarding the music. First, using ecological and acoustically variable stimuli, we broadened previous findings about the brain processing of musical emotions and of songs versus instrumental music. Additionally, contrasts between sad music with versus without lyrics recruited the parahippocampal gyrus, the amygdala, the claustrum, the putamen, the precentral gyrus, the medial and inferior frontal gyri (including Broca’s area, and the auditory cortex, while the reverse contrast produced no activations. Happy music without lyrics activated structures of the limbic system and the right pars opercularis of the inferior frontal gyrus, whereas auditory regions alone responded to happy music with lyrics. These findings point to the role of acoustic cues for the experience of happiness in music and to the importance of lyrics

When music tempo affects the temporal congruence between physical practice and motor imagery.

Science.gov (United States)

Debarnot, Ursula; Guillot, Aymeric

2014-06-01

When people listen to music, they hear beat and a metrical structure in the rhythm; these perceived patterns enable coordination with the music. A clear correspondence between the tempo of actual movement (e.g., walking) and that of music has been demonstrated, but whether similar coordination occurs during motor imagery is unknown. Twenty participants walked naturally for 8m, either physically or mentally, while listening to slow and fast music, or not listening to anything at all (control condition). Executed and imagined walking times were recorded to assess the temporal congruence between physical practice (PP) and motor imagery (MI). Results showed a difference when comparing slow and fast time conditions, but each of these durations did not differ from soundless condition times, hence showing that body movement may not necessarily change in order to synchronize with music. However, the main finding revealed that the ability to achieve temporal congruence between PP and MI times was altered when listening to either slow or fast music. These data suggest that when physical movement is modulated with respect to the musical tempo, the MI efficacy of the corresponding movement may be affected by the rhythm of the music. Practical applications in sport are discussed as athletes frequently listen to music before competing while they mentally practice their movements to be performed. Copyright © 2014 Elsevier B.V. All rights reserved.

Music Education: A Vehicle for Fostering Positive Youth Development

African Journals Online (AJOL)

In the contemporary Nigerian society, many youths are faced with various challenges. The inability of these young people to cope with these challenges result in all-risk behavior such as lack of confidence, low self-esteem, low motivation, etc. Over the years, indulging in music program has proved to yield positive results in ...

Generalizations of the subject-independent feature set for music-induced emotion recognition.

Science.gov (United States)

Lin, Yuan-Pin; Chen, Jyh-Horng; Duann, Jeng-Ren; Lin, Chin-Teng; Jung, Tzyy-Ping

2011-01-01

Electroencephalogram (EEG)-based emotion recognition has been an intensely growing field. Yet, how to achieve acceptable accuracy on a practical system with as fewer electrodes as possible is less concerned. This study evaluates a set of subject-independent features, based on differential power asymmetry of symmetric electrode pairs [1], with emphasis on its applicability to subject variability in music-induced emotion classification problem. Results of this study have evidently validated the feasibility of using subject-independent EEG features to classify four emotional states with acceptable accuracy in second-scale temporal resolution. These features could be generalized across subjects to detect emotion induced by music excerpts not limited to the music database that was used to derive the emotion-specific features.

Music benefits on postoperative distress and pain in pediatric day care surgery

Directory of Open Access Journals (Sweden)

Valeria Calcaterra

2014-09-01

Full Text Available Postoperative effect of music listening has not been established in pediatric age. Response on postoperative distress and pain in pediatric day care surgery has been evaluated. Forty-two children were enrolled. Patients were randomly assigned to the music-group (music intervention during awakening period or the non-music group (standard postoperative care. Slow and fast classical music and pauses were recorded and played via ambient speakers. Heart rate, blood pressure, oxygen saturation, glucose and cortisol levels, faces pain scale and Face, Legs, Activity, Cry, Consolability (FLACC Pain Scale were considered as indicators of response to stress and pain experience. Music during awakening induced lower increase of systolic and diastolic blood pressure levels. The non-music group showed progressive increasing values of glycemia; in music-group the curve of glycemia presented a plateau pattern (P<0.001. Positive impact on reactions to pain was noted using the FLACC scale. Music improves cardiovascular parameters, stress-induced hyperglycemia. Amelioration on pain perception is more evident in older children. Positive effects seems to be achieved by the alternation of fast, slow rhythms and pauses even in pediatric age.

Evaluating Musical Foreshadowing of Videogame Narrative Experiences

DEFF Research Database (Denmark)

Scirea, Marco; Cheong, Yun-Gyung; Nelson, Mark

2014-01-01

undergraduate and graduate students participated in the study. Statistical analyses suggest that the use of musical cues for narrative foreshadowing induces a better perceived consistency between music and game narrative. Surprisingly, false foreshadowing was found to enhance the player's enjoyment.......We experiment with mood-expressing, procedurally generated music for narrative foreshadowing in videogames, investigating the relationship between music and the player's experience of narrative events in a game. We designed and conducted a user study in which the game's music expresses true...... foreshadowing in some trials (e.g. foreboding music before a negative event) and false foreshadowing in others (e.g. happy music that does not lead to a positive event). We observed players playing the game, recorded analytics data, and had them complete a survey upon completion of the gameplay. Thirty...

Negative affect reduces performance in implicit sequence learning.

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Junchen Shang

Full Text Available BACKGROUND: It is well documented that positive rather than negative moods encourage integrative processing of conscious information. However, the extent to which implicit or unconscious learning can be influenced by affective states remains unclear. METHODOLOGY/PRINCIPAL FINDINGS: A Serial Reaction Time (SRT task with sequence structures requiring integration over past trials was adopted to examine the effect of affective states on implicit learning. Music was used to induce and maintain positive and negative affective states. The present study showed that participants in negative rather than positive states learned less of the regularity. Moreover, the knowledge was shown by a Bayesian analysis to be largely unconscious as participants were poor at recognizing the regularity. CONCLUSIONS/SIGNIFICANCE: The results demonstrated that negative rather than positive affect inhibited implicit learning of complex structures. Our findings help to understand the effects of affective states on unconscious or implicit processing.

Cortical plasticity induced by short-term multimodal musical rhythm training.

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Claudia Lappe

Full Text Available Performing music is a multimodal experience involving the visual, auditory, and somatosensory modalities as well as the motor system. Therefore, musical training is an excellent model to study multimodal brain plasticity. Indeed, we have previously shown that short-term piano practice increase the magnetoencephalographic (MEG response to melodic material in novice players. Here we investigate the impact of piano training using a rhythmic-focused exercise on responses to rhythmic musical material. Musical training with non musicians was conducted over a period of two weeks. One group (sensorimotor-auditory, SA learned to play a piano sequence with a distinct musical rhythm, another group (auditory, A listened to, and evaluated the rhythmic accuracy of the performances of the SA-group. Training-induced cortical plasticity was evaluated using MEG, comparing the mismatch negativity (MMN in response to occasional rhythmic deviants in a repeating rhythm pattern before and after training. The SA-group showed a significantly greater enlargement of MMN and P2 to deviants after training compared to the A- group. The training-induced increase of the rhythm MMN was bilaterally expressed in contrast to our previous finding where the MMN for deviants in the pitch domain showed a larger right than left increase. The results indicate that when auditory experience is strictly controlled during training, involvement of the sensorimotor system and perhaps increased attentional recources that are needed in producing rhythms lead to more robust plastic changes in the auditory cortex compared to when rhythms are simply attended to in the auditory domain in the absence of motor production.

Effect of environmental noise and music on dexmedetomidine-induced sedation in dogs

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Julia D. Albright

2017-07-01

Full Text Available Background Previous studies in human patients suggest depth of sedation may be affected by environmental noise or music; however, related data in domestic animals is limited. The objective of the current study was to investigate the effect of noise and music on dexmedetomidine-induced (DM- 10 µg/kg, IM sedation in 10 dogs. Methods In a crossover design, post-DM injection dogs were immediately subjected to recorded human voices at either 55–60 decibel (dB (Noise 1 or 80–85 dB (Noise 2; classical music at 45–50 dB (Music; or background noise of 40–45 dB (Control+. Control− included IM saline injection and exposure to 40–45 dB background noise. Sedation was assessed via monitoring spontaneous behavior and accelerometry (delta-g throughout three 20-min evaluation periods: baseline, noise exposure, and post-treatment. Sedation was further assessed during two restraint tests at 30 min (R1 and 40 min (R2 post-injection. A mixed model for crossover design was used to determine the effect of noise exposure and time on either spontaneous behavior scores or delta-g. The restraint scores were analyzed using a two-way repeated measures ANOVA. Results Spontaneous behavior scores indicated less sedation during Noise 2 compared to Control+ (P = 0.05. R2 restraint scores for all DM treatments except Noise 2 indicated significantly higher sedation than Control− [C+ (P = 0.003, M (P = 0.014 and N1 (P = 0.044]. Discussion Results suggest that the quality of sedation is negatively impacted by high-intensity noise conditions (80–85 dB, but exposure to music did not improve sedation in this population of research dogs.

The Effect of Positive Affect on the Memory of Pain.

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Bąbel, Przemysław

2017-06-01

The aim of the study was to assess the accuracy of the memory of experimentally induced pain and the affect that accompanies experimentally induced pain. Sixty-two healthy female volunteers participated in the study. In the first phase of the study, the participants received three pain stimuli and rated pain intensity, pain unpleasantness, state anxiety, and their positive and negative affect. About a month later, in the second phase of the study, the participants were asked to rate the pain intensity, pain unpleasantness, state anxiety, and the emotions they had felt during the first phase of the study. Both recalled pain intensity and recalled pain unpleasantness were found to be underestimated. Although the positive affect that accompanied pain was remembered accurately, recalled negative affect was overestimated and recalled state anxiety was underestimated. Experienced pain, recalled state anxiety, and recalled positive affect accounted for 44% of the total variance in predicting recalled pain intensity and 61% of the total variance in predicting recalled pain unpleasantness. Together with recent research findings on the memory of other types of pain, the present study supports the idea that pain is accompanied by positive as well as negative emotions, and that positive affect influences the memory of pain. Copyright © 2017 American Society for Pain Management Nursing. Published by Elsevier Inc. All rights reserved.

Music and the Mind: Music's Healing Powers

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Caroilyn S. Ticker

2017-03-01

Full Text Available Music makes you smarter: or at least that is what the "experts" are saying. CDs are sold of Mozart's Sonatas for babies, and parents are urged to give their children music lessons in the belief that music does something to our brains which in turn makes us more intelligent. But is this really true? Does music really affect the brain in the powerful way that scientists are suggesting, or is it hearsay? In this paper I investigate the effects of music on our brain's plasticity and cognition by looking at several different experimental studies. Specifically I will address how music affects brain plasticity, emotion, physical health and linguistic processing, and how these effects in turn make music a beneficial tool for therapy, particularly in patients with Traumatic-Brain Injury (TBI and Autism-Spectrum Disorder.

A Force from the Beginning: Wellbeing in the Affective Intensities of Pop Music

Directory of Open Access Journals (Sweden)

Gavin J Andrews

2014-10-01

Full Text Available The health impact of music is an emerging interest of research, although few studies have attempted to understand what it might be specifically about popular music that momentarily lifts people and gives them an immediate sense of wellbeing. This paper proposes some basic ideas in this area, using Daft Punk’s Get Lucky to explore how such experiences might be facilitated from an artistic and production standpoint. Features the song and its performance scenarios are related to Deleuzian ideas on affect. It is suggested that the physical characteristics of musical sound contribute an important auditory ingredient to affective intensities; mobile energies emerging from force encounters within assemblages of humans and non-humans. These intensities might be experienced as ‘feeling states’; somatically registered vibes and passions that flow through songs, environments and listeners alike. Through the registering of lyrical and other meanings, these feeling states might then slide into consciously known attitudes and emotions.

On the relationship between positive and negative affect: Their correlation and their co-occurrence.

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Larsen, Jeff T; Hershfield, Hal E; Stastny, Bradley J; Hester, Neil

2017-03-01

Understanding the nature of emotional experience requires understanding the relationship between positive and negative affect. Two particularly important aspects of that relationship are the extent to which positive and negative affect are correlated with one another and the extent to which they co-occur. Some researchers have assumed that weak negative correlations imply greater co-occurrence (i.e., more mixed emotions) than do strong negative correlations, but others have noted that correlations may imply very little about co-occurrence. We investigated the relationship between the correlation between positive and negative affect and co-occurrence. Participants in each of 2 samples provided moment-to-moment happiness and sadness ratings as they watched an evocative film and listened to music. Results indicated (a) that 4 measures of the correlation between positive and negative affect were quite highly related to 1 another; (b) that the strength of the correlation between measures of mixed emotions varied considerably; (c) that correlational measures were generally (but not always) weakly correlated with mixed emotion measures; and (d) that bittersweet stimuli consistently led to elevations in mixed emotion measures but did not consistently weaken the correlation between positive and negative affect. Results highlight that the correlation between positive and negative affect and their co-occurrence are distinct aspects of the relationship between positive and negative affect. Such insight helps clarify the implications of existing work on age-related and cultural differences in emotional experience and sets the stage for greater understanding of the experience of mixed emotions. (PsycINFO Database Record (c) 2017 APA, all rights reserved).

Multidimensional scaling of musical time estimations.

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Cocenas-Silva, Raquel; Bueno, José Lino Oliveira; Molin, Paul; Bigand, Emmanuel

2011-06-01

The aim of this study was to identify the psycho-musical factors that govern time evaluation in Western music from baroque, classic, romantic, and modern repertoires. The excerpts were previously found to represent variability in musical properties and to induce four main categories of emotions. 48 participants (musicians and nonmusicians) freely listened to 16 musical excerpts (lasting 20 sec. each) and grouped those that seemed to have the same duration. Then, participants associated each group of excerpts to one of a set of sine wave tones varying in duration from 16 to 24 sec. Multidimensional scaling analysis generated a two-dimensional solution for these time judgments. Musical excerpts with high arousal produced an overestimation of time, and affective valence had little influence on time perception. The duration was also overestimated when tempo and loudness were higher, and to a lesser extent, timbre density. In contrast, musical tension had little influence.

Effects of musical tempo on physiological, affective, and perceptual variables and performance of self-selected walking pace.

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Almeida, Flávia Angélica Martins; Nunes, Renan Felipe Hartmann; Ferreira, Sandro Dos Santos; Krinski, Kleverton; Elsangedy, Hassan Mohamed; Buzzachera, Cosme Franklin; Alves, Ragami Chaves; Gregorio da Silva, Sergio

2015-06-01

[Purpose] This study investigated the effects of musical tempo on physiological, affective, and perceptual responses as well as the performance of self-selected walking pace. [Subjects] The study included 28 adult women between 29 and 51 years old. [Methods] The subjects were divided into three groups: no musical stimulation group (control), and 90 and 140 beats per minute musical tempo groups. Each subject underwent three experimental sessions: involved familiarization with the equipment, an incremental test to exhaustion, and a 30-min walk on a treadmill at a self-selected pace, respectively. During the self-selected walking session, physiological, perceptual, and affective variables were evaluated, and walking performance was evaluated at the end. [Results] There were no significant differences in physiological variables or affective response among groups. However, there were significant differences in perceptual response and walking performance among groups. [Conclusion] Fast music (140 beats per minute) promotes a higher rating of perceived exertion and greater performance in self-selected walking pace without significantly altering physiological variables or affective response.

Relationships between Flow Experience, Life Meaningfulness and Subjective Well-being in Music Students

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Martin Sedlár

2014-01-01

Full Text Available The study examines relationships between flow experience in musical activities, life meaningfulness and subjective well – being. Life meaningfulness belongs to eudaimonic good life, subjective well–being belongs to hedonic good life and flow seems to be combination of both approaches. It is supposed that flow experience in musical activity and life meaningfulness should have positive impact on subjective well –being. The research sample consisted of 96 university music students (37 males, 59 females from the Music and Dance Faculty, Academy of Performing Arts in Bratislava, Slovakia. Dispositional Flow Scale–2, which measures nine dimension of flow, was used for measuring frequency o f flow experience. Life Meaningfulness Scale, which measures three dimensions of life meaningfulness, was used for measuring meaningfulness of life. Positive and Negative Affect Schedule measured affective components of subjective well–being, and Satisfaction with Life Scale measured cognitive component of subjective well–being. Categorization revealed that the most favourite performing musical activities are creative musical activities, such as reproduction and production, during which music students relatively often experience flow. The results of correlation analysis showed that total scores of flow experience, life meaningfulness and components of subjective well–being, significantly correlate each other. Aspects of flow, clear goals and autotelic experience are positively related to cognitive and motivational dimension of life meaningfulness and also to positive affectivity. Loss of self–consciousness and autotelic experience are positively related to emotional dimension of life meaningfulness. Challenge–skill balance, action–awareness merging, clear goals, concentration on task at hand, sense of control and autotelic experience are negatively related to negative affectivity. Challenge–skill balance and autotelic experience are related to

The music of morality and logic

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Bruno eMesz

2015-07-01

Full Text Available Musical theory has built on the premise that musical structures can refer to something different from themselves (1. The aim of this work is to statistically corroborate the intuitions of musical thinkers and practitioners from Plato to Boethius to the purveyors of the Baroque Doctrine of Affections that music can express complex human concepts beyond merely happy and sad (2. To do so, we ask whether musical improvisations can be used to classify the semantic category of the word that triggers them. We investigated two specific domains of semantics: morality and logic. While morality has been historically associated with music, logic concepts, which involve more abstract forms of thought, are more rarely associated with music. We examined musical improvisations inspired by positive and negative morality (e.g. good and evil and logic concepts (true and false, analyzing the associations between these words and their musical representations in terms of acoustic and perceptual features. We found that music conveys information about valence (good and true vs. evil and false with remarkable consistency across individuals. This information is carried by several musical dimensions which act in synergy to achieve very high classification accuracy. Positive concepts are represented by music with more ordered pitch structure and lower harmonic and sensorial dissonance than negative concepts. Music also conveys information indicating whether the word which triggered it belongs to the domains of logic or morality (true vs. good, principally through musical articulation. In summary, improvisations consistently map logic and morality information to specific musical dimensions, testifying the capacity of music to accurately convey semantic information in domains related to abstract forms of thought.

Negative mood state enhances the susceptibility to unpleasant events: neural correlates from a music-primed emotion classification task.

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Jiajin Yuan

Full Text Available BACKGROUND: Various affective disorders are linked with enhanced processing of unpleasant stimuli. However, this link is likely a result of the dominant negative mood derived from the disorder, rather than a result of the disorder itself. Additionally, little is currently known about the influence of mood on the susceptibility to emotional events in healthy populations. METHOD: Event-Related Potentials (ERP were recorded for pleasant, neutral and unpleasant pictures while subjects performed an emotional/neutral picture classification task during positive, neutral, or negative mood induced by instrumental Chinese music. RESULTS: Late Positive Potential (LPP amplitudes were positively related to the affective arousal of pictures. The emotional responding to unpleasant pictures, indicated by the unpleasant-neutral differences in LPPs, was enhanced during negative compared to neutral and positive moods in the entire LPP time window (600-1000 ms. The magnitude of this enhancement was larger with increasing self-reported negative mood. In contrast, this responding was reduced during positive compared to neutral mood in the 800-1000 ms interval. Additionally, LPP reactions to pleasant stimuli were similar across positive, neutral and negative moods except those in the 800-900 ms interval. IMPLICATIONS: Negative mood intensifies the humans' susceptibility to unpleasant events in healthy individuals. In contrast, music-induced happy mood is effective in reducing the susceptibility to these events. Practical implications of these findings were discussed.

Influence of music on anxiety induced by fear of heights in virtual reality

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Sofia eSeinfeld

2016-01-01

Full Text Available Music is a potent mood regulator that can induce relaxation and reduce anxiety in different situations. While several studies demonstrate that certain types of music have a subjective anxiolytic effect, the reported results from physiological responses are less conclusive. Virtual reality allows us to study diverse scenarios of real life under strict experimental control while preserving high ecological validity. We aimed to study the modulating effect of music on the anxiety responses triggered by an immersive virtual reality scenario designed to induce fear of heights. Subjects experienced a virtual scenario depicting an exterior elevator platform ascending and descending the total height of its 350 meters tall supporting structure. Participants were allocated to either a group that experienced the elevator ride with background music or without, in a between-groups design. Furthermore, each group included participants with different degrees of fear of heights, ranging from low to high fear. Recordings of heart rate, galvanic skin response, body balance, and head movements were obtained during the experiments. Subjective anxiety was measured by means of three questionnaires. The scenario produced significant changes in subjective and physiological measures, confirming its efficacy as a stressor. A significant increase in state anxiety was found between pre and post-assessment in the silence group, but not in the music group indicating that post-stress recovery was faster in the musical group. Results suggest that music can ameliorate the subjective anxiety produced by fear of heights.

Influence of Music on Anxiety Induced by Fear of Heights in Virtual Reality.

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Seinfeld, Sofia; Bergstrom, Ilias; Pomes, Ausias; Arroyo-Palacios, Jorge; Vico, Francisco; Slater, Mel; Sanchez-Vives, Maria V

2015-01-01

Music is a potent mood regulator that can induce relaxation and reduce anxiety in different situations. While several studies demonstrate that certain types of music have a subjective anxiolytic effect, the reported results from physiological responses are less conclusive. Virtual reality allows us to study diverse scenarios of real life under strict experimental control while preserving high ecological validity. We aimed to study the modulating effect of music on the anxiety responses triggered by an immersive virtual reality scenario designed to induce fear of heights. Subjects experienced a virtual scenario depicting an exterior elevator platform ascending and descending the total height of its 350 meters tall supporting structure. Participants were allocated to either a group that experienced the elevator ride with background music or without, in a between-groups design. Furthermore, each group included participants with different degrees of fear of heights, ranging from low to high fear. Recordings of heart rate, galvanic skin response, body balance, and head movements were obtained during the experiments. Subjective anxiety was measured by means of three questionnaires. The scenario produced significant changes in subjective and physiological measures, confirming its efficacy as a stressor. A significant increase in state anxiety was found between pre and post-assessment in the silence group, but not in the music group, indicating that post-stress recovery was faster in the musical group. Results suggest that music can ameliorate the subjective anxiety produced by fear of heights.

The effects of music tempo and loudness level on treadmill exercise.

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Edworthy, Judy; Waring, Hannah

2006-12-15

This study examined the effects of loudness and tempo of background music on exercise performance. A total of 30 volunteers performed five 10-min exercise sessions on a treadmill. The music listened to whilst exercising was either fast/loud, fast/quiet, slow/loud, slow/quiet or absent. Measures of running speed, heart rate, perceived exertion and affect were taken. Significant effects and interactions were found for running speed and heart rate across the different music tempo and loudness levels. More positive affect was observed during the music condition in comparison to the 'no music' condition. No significant differences for perceived exertion were found across conditions. These results confirm that fast, loud music might be played to enhance optimal exercising, and show how loudness and tempo interact.

Coping-Infused Dialogue through Patient-Preferred Live Music: A Medical Music Therapy Protocol and Randomized Pilot Study for Hospitalized Organ Transplant Patients.

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Hogan, Tyler James; Silverman, Michael J

2015-01-01

Solid organ transplant patients often experience a variety of psychosocial stressors that can lead to distress and may hinder successful recovery. Using coping-infused dialogue (CID) through patient- preferred live music (PPLM) music therapy sessions may improve mood and decrease pain while also imparting psychoeducational knowledge concerning the identification of local and global problems and coping skills. The purpose of this pilot study was to develop a coping-based medical music therapy protocol that combines coping-infused dialogue (CID) with patient-preferred live music (PPLM) and measure the effects of the resulting CID-PPLM protocol on mood (positive and negative affect) and pain in hospitalized transplant patients. Our study used a pre-/posttest single-session wait-list control design. Participants (N=25) were randomly assigned to experimental (CID-PPLM) or control (usual care) conditions. Participants in the CID-PPLM condition received a single 30-minute session that integrated stressor identification and knowledge of coping skills (CID) with patient-preferred live music (PPLM). Results indicated no between-group differences at pretest and significant correlations between pre- and posttest measures. Concerning posttest ANCOVA analyses, there were significant between-group differences in positive affect, negative affect, and pain, with experimental participants having more favorable posttest scores than control participants. Effect sizes were in the medium-to-large range for positive affect (η2=.198), negative affect (η2=.422), and pain (η2=.303). CID through receptive PPLM may be an effective protocol for improving mood and decreasing pain in organ transplant recipients. MT interventions can be an important tool to develop rapport and enhance outcomes with patients. As greater engagement during interventions may have stronger treatment effects, we recommend future research examining patient engagement as a potential mediator of intervention effects

Domain-Specific Aspects of Technological Pedagogical Content Knowledge: Music Education and the Importance of Affect

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Macrides, Elena; Angeli, Charoula

2018-01-01

The present study addresses the lack of a theoretical framework for the integration of technology in music teaching and learning, and explores, within the framework of Technological Pedagogical Content Knowledge (TPACK), the importance of affect in the instructional design of music lessons. The purpose of this study is twofold: (a) to extend the…

Sharing experienced sadness : Negotiating meanings of self-defined sad music within a group interview session

OpenAIRE

Peltola, Henna-Riikka

2017-01-01

Sadness induced by music listening has been a popular research focus in music and emotion research. Despite the wide consensus in affective sciences that emotional experiences are social processes, previous studies have only concentrated on individuals. Thus, the intersubjective dimension of musical experience – how music and music-related emotions are experienced between individuals – has not been investigated. In order to tap into shared emotional experiences, group discussions about experi...

Digital music consumption on the Internet: Evidence from clickstream data

OpenAIRE

Aguiar, Luis; Martens, Bertin

2016-01-01

We use clickstream data on a panel of more than 16,500 European consumers to analyze the relationship between different online music consumption channels. In particular, we revisit the question of sales displacement in the digital era, and analyze how licensed online music streaming affects digital music purchasing behavior. Our results show no evidence of digital music sales displacement by unlicensed downloading and present, for some countries in our sample, a rather small but positive elas...

Effects of five-element music therapy on elderly people with seasonal affective disorder in a Chinese nursing home.

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Liu, Xifang; Niu, Xin; Feng, Qianjin; Liu, Yaming

2014-04-01

To explore the effects of five-element music therapy on elderly patients with seasonal affective disorder in a Chinese nursing home. The patients (n = 50) were recruited from a Shijingshan district nursing home in Beijing, China. They were randomly assigned to two groups, a treatment group and a control group, with 25 participants in each group. The patients received music therapy for 1-2 h each week over an 8-week period. The music therapy involved four phases: introduction, activities, listening to the Chinese five-element music, and a concluding phase. The participants in the control group did not listen to the five-element music. This study consisted of two parts: (a) a qualitative study that used focus groups to understand the feelings of the patients with seasonal affective disorder; (b) a quantitative study that involved administration of the self-rating depression scale (SDS) and Hamilton depression scale (HAMD) before and after treatment. (a) Qualitative analysis results: strength derived from the five-element group music therapy and emotional adjustment. The five-element group music therapy can reduce patients' psychological distress and let them feel inner peace and enhance their life satisfaction. (b) No significant difference in SDS and HAMD scores was found between the two groups (P > 0.05) prior to treatment. After treatment, the mean SDS score of the control group was 49.9 +/- 18.8, while the treatment group's score was 40.2 +/- 18.1. The HAMD score of the control group was 11.2 +/-3.1, and the treatment group's score was 8.8 +/- 4.9. Following 8 weeks of music therapy, the SDS and HAMD scores of the treatment group were significantly lower than those for the control group (P music therapy alleviated the symptoms of seasonal affective disorder in the elderly patients.

Music, emotions and first impression perceptions of a healthcare institutions’ quality: An experimental investigation

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Ivana First Komen

2015-03-01

Full Text Available One of the direct ways of influencing emotions and service quality perceptions is by music stimulation. The purpose of this research is to examine the impact of music of different musical elements (i.e. sad vs. happy music on respondents' emotions and their first impression perceptions of a healthcare institution's quality. The research was designed as an experimental simulation, i.e. data were collected in an online survey from respondents randomly assigned to evaluate a presentation consisting of multiple images of a healthcare institution in one of three experimental conditions (absence of, happy, and sad music stimulation. The results, in alliance with previous research, demonstrate a relationship between emotions and first impression quality perceptions and between music and emotions, but no relationship between music and first impression quality perception. The obtained significant results yet again emphasize the importance of inducing positive customer emotions as they lead to positive first impression service quality evaluations that subsequently provide appreciated returns. They also stress the importance of carefully choosing music when inducing emotions as music with different musical elements results in different emotional states. One of the limitations of this research is the non-real life situation experimental setting, which is to be overcome in future research.

Positive mood as a mediator of the relations among musical preference, postconsumption product evaluation, and consumer satisfaction.

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Teng, Ching-I; Tseng, Hsu-Min; Wu, Heng-Hui

2007-06-01

This study of how positive mood mediates the influences of musical preference and postconsumption product evaluation on consumer satisfaction focuses specifically on a model in which positive mood fully mediates the influences. The proposed model is compared with two competing models, and a structural equation model is used to test and compare the three theory-driven models. This study sampled 247 students majoring in management at a single university. They had mean age of 23 yr. (SD=2.5). This study used questionnaires to measure subjects' evaluations of a cup of coffee, preference for the music broadcast in the coffee shop, positive mood, and satisfaction after they had the coffee. Analysis indicated that the proposed model outperformed the two competing models in describing the data using chi-square difference tests. Positive mood was identified as a full mediator of the relationship between musical preference and consumer satisfaction. Moreover, the results demonstrate for service managers the importance of creating positive consumer mood.

Toward a neural chronometry for the aesthetic experience of music.

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Brattico, Elvira; Bogert, Brigitte; Jacobsen, Thomas

2013-01-01

Music is often studied as a cognitive domain alongside language. The emotional aspects of music have also been shown to be important, but views on their nature diverge. For instance, the specific emotions that music induces and how they relate to emotional expression are still under debate. Here we propose a mental and neural chronometry of the aesthetic experience of music initiated and mediated by external and internal contexts such as intentionality, background mood, attention, and expertise. The initial stages necessary for an aesthetic experience of music are feature analysis, integration across modalities, and cognitive processing on the basis of long-term knowledge. These stages are common to individuals belonging to the same musical culture. The initial emotional reactions to music include the startle reflex, core "liking," and arousal. Subsequently, discrete emotions are perceived and induced. Presumably somatomotor processes synchronizing the body with the music also come into play here. The subsequent stages, in which cognitive, affective, and decisional processes intermingle, require controlled cross-modal neural processes to result in aesthetic emotions, aesthetic judgments, and conscious liking. These latter aesthetic stages often require attention, intentionality, and expertise for their full actualization.

Toward a Neural Chronometry for the Aesthetic Experience of Music

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Brattico, Elvira; Bogert, Brigitte; Jacobsen, Thomas

2013-01-01

Music is often studied as a cognitive domain alongside language. The emotional aspects of music have also been shown to be important, but views on their nature diverge. For instance, the specific emotions that music induces and how they relate to emotional expression are still under debate. Here we propose a mental and neural chronometry of the aesthetic experience of music initiated and mediated by external and internal contexts such as intentionality, background mood, attention, and expertise. The initial stages necessary for an aesthetic experience of music are feature analysis, integration across modalities, and cognitive processing on the basis of long-term knowledge. These stages are common to individuals belonging to the same musical culture. The initial emotional reactions to music include the startle reflex, core “liking,” and arousal. Subsequently, discrete emotions are perceived and induced. Presumably somatomotor processes synchronizing the body with the music also come into play here. The subsequent stages, in which cognitive, affective, and decisional processes intermingle, require controlled cross-modal neural processes to result in aesthetic emotions, aesthetic judgments, and conscious liking. These latter aesthetic stages often require attention, intentionality, and expertise for their full actualization. PMID:23641223

Can You Feel It?: Evaluation of Affective Expression in Music Generated by MetaCompose

DEFF Research Database (Denmark)

Scirea, Marco; Eklund, Peter; Togelius, Julian

2017-01-01

-piece. Music clips including transitions and with static affective states were produced by MetaCompose and a quantitative user study was performed. Participants were tasked with annotating the perceived mood and moreover were asked to annotate in real-time changes in valence. The data collected confirms......This paper describes an evaluation conducted on the MetaCompose music generator, which is based on evolutionary computation and uses a hybrid evolutionary technique that combines FI-2POP and multi-objective optimization. The main objective of MetaCompose is to create music in real-time that can...... express different mood-states. The experiment presented here aims to evaluate: (i) if the perceived mood experienced by the participants of a music score matches intended mood the system is trying to express and (ii) if participants can identify transitions in the mood expression that occur mid...

Epidemiology, Treatment Efficacy, and Anxiety Aspects of Music Students Affected by Playing-Related Pain: A Retrospective Evaluation with Follow-up.

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Ioannou, Christos I; Hafer, Julia; Lee, André; Altenmüller, Eckart

2018-03-01

Playing-related pain (PRP) is a common problem among music students. We retrospectively assessed epidemiological factors that contributed to the manifestation of PRP and evaluated the efficacy of treatment methods used by affected music students. The long-term course of PRP symptoms was also examined, along with current (today) levels of trait anxieties. Demographic and epidemiological data of 186 music students who visited the musicians' outpatient clinic over a 5-year period were retrieved. Of these students, 122 had been diagnosed with PRP and were invited to participate (response rate 61.5%) in a follow-up online survey to: a) estimate the long-term course of their PRP symptoms, b) assess the efficacy of treatment methods they used, and c) assess their current trait anxiety (general and performance-related) using two standardized psychodiagnostic questionnaires. Two-thirds of music students who sought medical care were affected by PRP, with most being affected during their first year of studies, and with 69% having acute rather than chronic pain. The sudden increase in practice time was the main triggering factor for PRP (but not for non-PRP-related problems). Concerning the course of PRP, almost all students recovered or improved significantly. Students reported that "active" treatment methods (e.g., physical activities) were more effective than "passive" methods (e.g., oral medications). Psychodiagnostic questionnaires indicated that about 40% of PRP-affected students currently had increased levels of trait anxieties (music and non-music related), possibly warranting further medical assistance. PRP in music students occurs mainly at the beginning of their studies and has a good prognosis, although recovery may be lengthy. It is necessary to provide students with early information about PRP and about the multidimensional treatment framework that allows for individualized care of PRP in affected music students.

Psychological and Psychophysiological Effects of Recuperative Music Postexercise.

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Karageorghis, Costas I; Bruce, Andrew C; Pottratz, Suzanne T; Stevens, Rebecca C; Bigliassi, Marcelo; Hamer, Mark

2018-04-01

Few studies have examined the psychological and psychophysiological effects of recuperative music after exhaustive exercise. The main purpose of the present study was to examine the effects of two music conditions compared with a no-music control on psychological and psychophysiological recovery processes after exercise. A randomized, fully counterbalanced, crossover design was used. Core affect, salivary cortisol, heart rate, and blood pressure were measured before exhaustive exercise, immediately after, and in 10-, 20-, and 30-min intervals during passive recovery (21 women and 21 men; 20.9 ± 1.7 yr) over three separate trials (slow, sedative music; fast, stimulative music; no-music control). The exercise task entailed incremental cycle ergometry performed at 75 rpm with an increase in intensity of 22.5 W·min at the end of each minute until exhaustion. Data were analyzed using mixed-model 3 (condition) × 4 (time) × 2 (gender) MANOVA/ANCOVA. The largest decline in affective arousal between active and passive recovery phases was evident in the slow, sedative condition (ηp = 0.50). Women had a more pronounced reduction in arousal than did men in the slow, sedative music condition. Heart rate measures showed that fast, stimulative music inhibited the return of heart rate toward resting levels (ηp = 0.06). Similarly, salivary cortisol levels tended to be lower in response to slow, sedative music (ηp = 0.11). There was a main effect of condition for affective valence indicating that the slow, sedative condition elicited more positive affective responses compared with the control and fast, stimulative conditions (ηp = 0.12). The present findings support the notion that slow, sedative music can expedite the recovery process immediately after strenuous exercise.

Music to the inner ears: exploring individual differences in musical imagery.

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Beaty, Roger E; Burgin, Chris J; Nusbaum, Emily C; Kwapil, Thomas R; Hodges, Donald A; Silvia, Paul J

2013-12-01

In two studies, we explored the frequency and phenomenology of musical imagery. Study 1 used retrospective reports of musical imagery to assess the contribution of individual differences to imagery characteristics. Study 2 used an experience sampling design to assess the phenomenology of musical imagery over the course of one week in a sample of musicians and non-musicians. Both studies found episodes of musical imagery to be common and positive: people rarely wanted such experiences to end and often heard music that was personally meaningful. Several variables predicted musical imagery, including personality, musical preferences, and positive mood. Musicians tended to hear musical imagery more often, but they reported less frequent episodes of deliberately-generated imagery. Taken together, the present research provides new insights into individual differences in musical imagery, and it supports the emerging view that such experiences are common, positive, and more voluntary than previously recognized. Copyright © 2013 Elsevier Inc. All rights reserved.

Making music in a group: synchronization and shared experience.

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Overy, Katie

2012-04-01

To consider the full impact of musical learning on the brain, it is important to study the nature of everyday, non-expert forms of musical behavior alongside expert instrumental training. Such informal forms of music making tend to include social interaction, synchronization, body movements, and positive shared experiences. Here, I propose that when designing music intervention programs for scientific purposes, such features may have advantages over instrumental training, depending on the specific research aims, contexts, and measures. With reference to a selection of classroom approaches to music education and to the shared affective motion experience (SAME) model of emotional responses to music, I conclude that group learning may be particularly valuable in music pedagogy. © 2012 New York Academy of Sciences.

Position coding effects in a 2D scenario: the case of musical notation.

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Perea, Manuel; García-Chamorro, Cristina; Centelles, Arnau; Jiménez, María

2013-07-01

How does the cognitive system encode the location of objects in a visual scene? In the past decade, this question has attracted much attention in the field of visual-word recognition (e.g., "jugde" is perceptually very close to "judge"). Letter transposition effects have been explained in terms of perceptual uncertainty or shared "open bigrams". In the present study, we focus on note position coding in music reading (i.e., a 2D scenario). The usual way to display music is the staff (i.e., a set of 5 horizontal lines and their resultant 4 spaces). When reading musical notation, it is critical to identify not only each note (temporal duration), but also its pitch (y-axis) and its temporal sequence (x-axis). To examine note position coding, we employed a same-different task in which two briefly and consecutively presented staves contained four notes. The experiment was conducted with experts (musicians) and non-experts (non-musicians). For the "different" trials, the critical conditions involved staves in which two internal notes that were switched vertically, horizontally, or fully transposed--as well as the appropriate control conditions. Results revealed that note position coding was only approximate at the early stages of processing and that this encoding process was modulated by expertise. We examine the implications of these findings for models of object position encoding. Copyright © 2013 Elsevier B.V. All rights reserved.

Syncopation, body-movement and pleasure in groove music.

Science.gov (United States)

Witek, Maria A G; Clarke, Eric F; Wallentin, Mikkel; Kringelbach, Morten L; Vuust, Peter

2014-01-01

Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a web-based survey which investigated the relationship between syncopation and ratings of wanting to move and experienced pleasure. Participants heard funk drum-breaks with varying degrees of syncopation and audio entropy, and rated the extent to which the drum-breaks made them want to move and how much pleasure they experienced. While entropy was found to be a poor predictor of wanting to move and pleasure, the results showed that medium degrees of syncopation elicited the most desire to move and the most pleasure, particularly for participants who enjoy dancing to music. Hence, there is an inverted U-shaped relationship between syncopation, body-movement and pleasure, and syncopation seems to be an important structural factor in embodied and affective responses to groove.

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

Positive and negative affect produce opposing task-irrelevant stimulus preexposure effects.

Science.gov (United States)

Lazar, Josef; Kaplan, Oren; Sternberg, Terri; Lubow, R E

2012-06-01

In three experiments, groups were exposed to either positive or negative affect video clips, after which they were presented with a series of task-irrelevant stimuli. In the subsequent test task, subjects were required to learn an association between the previously irrelevant stimulus and a consequence, and between a new stimulus and a consequence. Induced positive affect produced a latent inhibition effect (poorer evidence of learning with the previously irrelevant stimulus than with the novel stimulus). In opposition to this, induced negative affect resulted in better evidence of learning with a previously irrelevant stimulus than with a novel stimulus. In general, the opposing effects also were present in participants scoring high on self-report questionnaires of depression (Experiments 2 and 3). These unique findings were predicted and accounted for on the basis of two principles: (a) positive affect broadens the attentional field and negative affect contracts it; and (b) task-irrelevant stimuli are processed in two successive stages, the first encodes stimulus properties, and the second encodes stimulus relationships. The opposing influences of negative and positive mood on the processing of irrelevant stimuli have implications for the role of emotion in general theories of cognition, and possibly for resolving some of the inconsistent findings in research with schizophrenia patients.

Effect of sleep-inducing music on sleep in persons with percutaneous transluminal coronary angiography in the cardiac care unit.

Science.gov (United States)

Ryu, Min-Jung; Park, Jeong Sook; Park, Heeok

2012-03-01

The study compared the effect of earplug-delivered sleep-inducing music on sleep in persons with percutaneous transluminal coronary angiography in the cardiac care unit. Diverse types of music have been claimed to improve sleeping elsewhere, but relatively little is known in South Korea. Most studies investigating the effect of sleep-inducing music on sleep have involved persons with insomnia, even though many persons with cardiovascular disease in the intensive care unit suffer from sleeping problems. There is a need to investigate the effect of sleep-inducing music on sleep disorders in persons with percutaneous transluminal coronary angiography in the cardiac care unit. An experimental research design was used. Data collection was conducted in the cardiac care unit of K University Hospital in D city, from 3 September-4 October 2010. Fifty-eight subjects participated and were randomly assigned to the experimental group (earplug-delivered sleep-inducing music for 52 min beginning at 10:00 pm, while wearing an eyeshield, n = 29) and the control group (no music, but earplugs and eyeshield worn, n = 29). The quantity and quality of sleep were measured using questionnaires at 7 am the next morning for each group. Participants in the experimental group reported that the sleeping quantity and quality were significantly higher than control group (t = 3·181, p = 0·002, t = 5·269, p music significantly improved sleep in patients with percutaneous transluminal coronary angiography at a cardiac care unit. Offering earplugs and playing sleep-inducing music may be a meaningful and easily enacted nursing intervention to improve sleep for intensive care unit patients. Nurses working at cardiac care unit can use music to improve sleeping in clients with percutaneous transluminal coronary angiography. © 2011 Blackwell Publishing Ltd.

Mapping aesthetic musical emotions in the brain

OpenAIRE

Trost, Johanna Wiebke; Ethofer, Thomas Stefan; Zentner, Marcel Robert; Vuilleumier, Patrik

2012-01-01

Music evokes complex emotions beyond pleasant/unpleasant or happy/sad dichotomies usually investigated in neuroscience. Here, we used functional neuroimaging with parametric analyses based on the intensity of felt emotions to explore a wider spectrum of affective responses reported during music listening. Positive emotions correlated with activation of left striatum and insula when high-arousing (Wonder, Joy) but right striatum and orbitofrontal cortex when low-arousing (Nostalgia, Tenderness...

Music and language: musical alexia and agraphia.

Science.gov (United States)

Brust, J C

1980-06-01

Two aphasic right-handed professional musicians with left hemispheric lesions had disturbed musical function, especially musical alexia and agraphia. In Case 1 aphasia was of transcortical sensory type, with severe agraphia and decreased comprehension of written words, although she could match them with pictures. Except for reading and writing, musical ability was normal; she could sing in five languages. Musical alexia and agraphia affected pitch symbols more than rhythm. Case 2 had conduction aphasia and severe expressive amusia, especially for rhythm. Although his language alexia and agraphia were milder than Case 1's, his musical alexia and agraphia were more severe, affecting rhythm as much as pitch. In neither patient were those aspects of musical notation either closest to verbal language or most dependent upon temporal (sequential) processing maximally impaired. These cases are consistent with the literature in suggesting that the presence or absence of aphasia or of right or left hemispheric damage fails to predict the presence, type, or severity of amusia, including musical alexia and agraphia. The popular notion that receptive amusia follows lesions of the language-dominant temporal lobe, whereas expressive amusia follows non-dominant frontal lobe damage, is an over-simplification, as is the view that increasing musical sophistication causes a shift of musical processing from the right hemisphere to the left.

Music-colour synaesthesia: Concept, context and qualia.

Science.gov (United States)

Curwen, Caroline

2018-05-01

This review provides a commentary on coloured-hearing arising on hearing music: music-colour synaesthesia. Although traditionally explained by the hyperconnectivity theory (Ramachandran & Hubbard, 2001a) and the disinhibited feedback theory (Grossenbacher & Lovelace, 2001) as a purely perceptual phenomenon, the review of eight coloured-hearing neuroimaging studies shows that it may not be assumed that these explanations are directly translatable to music-colour synaesthesia. The concept of 'ideaesthesia' (Nikolić, 2009) and the role of conceptual and semantic inducers challenge the likelihood of a single mechanism underlying the cause of synaesthesia and argue for a move away from a purely sensory to sensory explanation. Finally, music-colour synaesthesia forms a challenge for established philosophical theories and the position of synaesthesia is considered within the larger context of musical qualia. Copyright © 2018 Elsevier Inc. All rights reserved.

atonal music as a tool to manage noise caused stress

OpenAIRE

Dalsborn, Sabina

2018-01-01

Noise related stress and its consequences affect people regardless of age and is a problem that increases constantly. Among different treatments, music appears to be a common feature with a clear dominance of tonal genre among the receptive methods. The purpose of this study was to investigate whether negative emotions and negative cognitive assessments elicited by stimulus atonal music can be positively affected through organized selective attention directed towards individual sound elements...

Beats, Flesh, and Grain : Sonic Tactility and Affect in Electronic Dance Music

NARCIS (Netherlands)

Garcia, Luis-Manuel

2015-01-01

This essay sets out to explore the tactilization of sound in electronic dance music (EDM), which offers an important sensory-affective bridge between touch, sonic experience, and an expansive sense of connection in dancing crowds. EDM events tend to engender spaces of heightened tactility and

Predicting musically induced emotions from physiological inputs: linear and neural network models.

Science.gov (United States)

Russo, Frank A; Vempala, Naresh N; Sandstrom, Gillian M

2013-01-01

Listening to music often leads to physiological responses. Do these physiological responses contain sufficient information to infer emotion induced in the listener? The current study explores this question by attempting to predict judgments of "felt" emotion from physiological responses alone using linear and neural network models. We measured five channels of peripheral physiology from 20 participants-heart rate (HR), respiration, galvanic skin response, and activity in corrugator supercilii and zygomaticus major facial muscles. Using valence and arousal (VA) dimensions, participants rated their felt emotion after listening to each of 12 classical music excerpts. After extracting features from the five channels, we examined their correlation with VA ratings, and then performed multiple linear regression to see if a linear relationship between the physiological responses could account for the ratings. Although linear models predicted a significant amount of variance in arousal ratings, they were unable to do so with valence ratings. We then used a neural network to provide a non-linear account of the ratings. The network was trained on the mean ratings of eight of the 12 excerpts and tested on the remainder. Performance of the neural network confirms that physiological responses alone can be used to predict musically induced emotion. The non-linear model derived from the neural network was more accurate than linear models derived from multiple linear regression, particularly along the valence dimension. A secondary analysis allowed us to quantify the relative contributions of inputs to the non-linear model. The study represents a novel approach to understanding the complex relationship between physiological responses and musically induced emotion.

Predicting musically induced emotions from physiological inputs: Linear and neural network models

Directory of Open Access Journals (Sweden)

Frank A. Russo

2013-08-01

Full Text Available Listening to music often leads to physiological responses. Do these physiological responses contain sufficient information to infer emotion induced in the listener? The current study explores this question by attempting to predict judgments of 'felt' emotion from physiological responses alone using linear and neural network models. We measured five channels of peripheral physiology from 20 participants – heart rate, respiration, galvanic skin response, and activity in corrugator supercilii and zygomaticus major facial muscles. Using valence and arousal (VA dimensions, participants rated their felt emotion after listening to each of 12 classical music excerpts. After extracting features from the five channels, we examined their correlation with VA ratings, and then performed multiple linear regression to see if a linear relationship between the physiological responses could account for the ratings. Although linear models predicted a significant amount of variance in arousal ratings, they were unable to do so with valence ratings. We then used a neural network to provide a nonlinear account of the ratings. The network was trained on the mean ratings of eight of the 12 excerpts and tested on the remainder. Performance of the neural network confirms that physiological responses alone can be used to predict musically induced emotion. The nonlinear model derived from the neural network was more accurate than linear models derived from multiple linear regression, particularly along the valence dimension. A secondary analysis allowed us to quantify the relative contributions of inputs to the nonlinear model. The study represents a novel approach to understanding the complex relationship between physiological responses and musically induced emotion.

The Impact of Budget Cutbacks on Music Teaching Positions and District Funding in Three Midwestern States

Science.gov (United States)

Burrack, Frederick William; Payne, Phillip; Bazan, Dale E.; Hellman, Daniel S.

2014-01-01

The purpose of this study was to investigate the existence and impact of budgetary cutbacks to music teaching positions and district funding in three Midwestern states, namely Kansas, Nebraska, and Missouri. The results revealed cuts to staffing and district funding of music programs without a reduction in student enrollments in 2011-2012…

Cardiovascular, cerebrovascular, and respiratory changes induced by different types of music in musicians and non-musicians: the importance of silence.

Science.gov (United States)

Bernardi, L; Porta, C; Sleight, P

2006-04-01

To assess the potential clinical use, particularly in modulating stress, of changes in the cardiovascular and respiratory systems induced by music, specifically tempo, rhythm, melodic structure, pause, individual preference, habituation, order effect of presentation, and previous musical training. Measurement of cardiovascular and respiratory variables while patients listened to music. University research laboratory for the study of cardiorespiratory autonomic function. 12 practising musicians and 12 age matched controls. After a five minute baseline, presentation in random order of six different music styles (first for a two minute, then for a four minute track), with a randomly inserted two minute pause, in either sequence. Breathing rate, ventilation, carbon dioxide, RR interval, blood pressure, mid-cerebral artery flow velocity, and baroreflex. Ventilation, blood pressure, and heart rate increased and mid-cerebral artery flow velocity and baroreflex decreased with faster tempi and simpler rhythmic structures compared with baseline. No habituation effect was seen. The pause reduced heart rate, blood pressure, and minute ventilation, even below baseline. An order effect independent of style was evident for mid-cerebral artery flow velocity, indicating a progressive reduction with exposure to music, independent of style. Musicians had greater respiratory sensitivity to the music tempo than did non-musicians. Music induces an arousal effect, predominantly related to the tempo. Slow or meditative music can induce a relaxing effect; relaxation is particularly evident during a pause. Music, especially in trained subjects, may first concentrate attention during faster rhythms, then induce relaxation during pauses or slower rhythms.

Towards a neural chronometric framework for the aesthetic experience of music

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Elvira eBrattico

2013-05-01

Full Text Available Music is often studied as a cognitive domain alongside language. The emotional aspects of music have also been shown to be important, but views on their nature diverge. For instance, the specific emotions that music induces and how they relate to emotional expression are still under debate. Here we propose a mental and neural chronometry of the aesthetic experience of music initiated and mediated by external and internal contexts such as intentionality, background mood, attention, and expertise. The initial stages necessary for an aesthetic experience of music are feature analysis, integration across modalities, and cognitive processing on the basis of long-term knowledge. These stages are common to individuals belonging to the same musical culture. The initial emotional reactions to music include the startle reflex, core ‘liking’, and arousal. Subsequently, discrete emotions are perceived and induced. Presumably somatomotor processes synchronizing the body with the music also come into play here. The subsequent stages, in which cognitive, affective, and decisional processes intermingle, require controlled cross-modal neural processes to result in aesthetic emotions, aesthetic judgments, and conscious liking. These latter aesthetic stages often require attention, intentionality, and expertise for their full actualization.

Music Consumption and Publishing in Todays Music Industry : Music publishing for an independent record label

OpenAIRE

Pienimäki, Kristian

2015-01-01

For the last two decades the changes in music technology and music consumption have affected music publishing as well as its viability. Much due to music digitalization and the overall decline in physical sales, the music industry has been forced to re-evaluate the means of publishing. The topic of the thesis is of current interest since the music industry is still in the state of change and new research is important. The thesis was assigned by an independent record label called Meiän Mu...

How Does This Make You Feel? A Comparison of Four Affect Induction Procedures

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Xuan eZhang

2014-07-01

Full Text Available Affect is a fundamental aspect of the human mind. An increasing number of experiments attempt to examine the influence of affect on other psychological phenomena. To accomplish this research, it is necessary to experimentally modify participants’ affective states. In the present experiment, we compared the effectiveness of four commonly used affect induction procedures. Participants were randomly assigned to either a pleasant or an unpleasant affect induction group, and then underwent four different affect induction procedures: (1 recall of an affectively salient event accompanied by affectively congruent music, (2 script-driven guided imagery, (3 viewing images while listening to affectively congruent music, and (4 posing affective facial actions, body postures, and vocal expressions. All four affect induction methods were successful in inducing both pleasant and unpleasant affective states. The combined image/music and recall/music procedures were most effective in enhancing pleasant affect, whereas the combined image/music procedure was most effective in enhancing unpleasant affect. Implications for the scientific study of affect are discussed.

Evidence of noise-induced hearing loss in young people studying popular music.

Science.gov (United States)

Barlow, Christopher

2011-06-01

The number of students studying popular music, music technology, and sound engineering courses at both school and university to has increased rapidly in the last few years. These students are generally involved in music-making/recording and listening to a high level, usually in environments with amplified music. Recent studies have shown that these students are potentially exposed to a high risk of noise-induced hearing loss (NIHL( and are not covered by the same regulatory framework as employees. This study examined the pure tone air conduction hearing thresholds of 50 undergraduate students, including recent school leavers, on a range of popular music courses, to assess if there was evidence of hearing loss. Forty-four percent of students showed evidence of audiometric notch at 4-6 kHz, and 16% were classified under the UK Occupational Health and Safety guidelines as exhibiting mild hearing loss. Instance of audiometric notch was considerably higher than reported from studies of the general population but was around the same level or lower than that reported from studies of "traditional" music courses and conservatoires, suggesting no higher risk for popular music students than for "classical" music students. No relationship with age was present, suggesting that younger students were as likely to exhibit audiometric notch as mature students. This indicates that these students may be damaging their hearing through leisure activities while still at school, suggesting a need for robust education measures to focus on noise exposure of young people.

Initial experiments with Multiple Musical Gestures

DEFF Research Database (Denmark)

Jensen, Kristoffer; Graugaard, Lars

2005-01-01

The classic orchestra has a diminishing role in society, while hard-disc recorded music plays a predominant role today. A simple to use pointer interface in 2D for producing music is presented as a means for playing in a social situation. The sounds of the music are produced by a low-level...... synthesizer, and the music is produced by simple gestures that are repeated easily. The gestures include left-to-right and right-to-left motion shapes for spectral envelope and temporal envelope of the sounds, with optional backwards motion for the addition of noise; downward motion for note onset and several...... other manipulation gestures. The initial position controls which parameter is being affected, the notes intensity is controlled by the downward gesture speed, and a sequence is finalized instantly with one upward gesture. The synthesis employs a novel interface structure, the multiple musical gesture...

Music benefits on postoperative distress and pain in pediatric day care surgery.

Science.gov (United States)

Calcaterra, Valeria; Ostuni, Selene; Bonomelli, Irene; Mencherini, Simonetta; Brunero, Marco; Zambaiti, Elisa; Mannarino, Savina; Larizza, Daniela; Albertini, Riccardo; Tinelli, Carmine; Pelizzo, Gloria

2014-08-12

Postoperative effect of music listening has not been established in pediatric age. Response on postoperative distress and pain in pediatric day care surgery has been evaluated. Forty-two children were enrolled. Patients were randomly assigned to the music-group (music intervention during awakening period) or the non-music group (standard postoperative care). Slow and fast classical music and pauses were recorded and played via ambient speakers. Heart rate, blood pressure, oxygen saturation, glucose and cortisol levels, faces pain scale and Face, Legs, Activity, Cry, Consolability (FLACC) Pain Scale were considered as indicators of response to stress and pain experience. Music during awakening induced lower increase of systolic and diastolic blood pressure levels. The non-music group showed progressive increasing values of glycemia; in music-group the curve of glycemia presented a plateau pattern (PMusic improves cardiovascular parameters, stress-induced hyperglycemia. Amelioration on pain perception is more evident in older children. Positive effects seems to be achieved by the alternation of fast, slow rhythms and pauses even in pediatric age.

Influence of music training on academic examination-induced stress in Thai adolescents.

Science.gov (United States)

Laohawattanakun, Janejira; Chearskul, Supornpim; Dumrongphol, Hattaya; Jutapakdeegul, Nuanchan; Yensukjai, Juntima; Khumphan, Nipaporn; Niltiean, Songwit; Thangnipon, Wipawan

2011-01-10

Several pieces of evidence suggest that academic examinations fulfill the classical requirement of a psychological stressor. Academic examinations represent a stressful challenge to many students, but studies on examination-dependent corticosteroid response, a sensitive physiological indicator of a stress response, are inconsistent. In addition, several studies showed that music can decrease cortisol and adrenocorticotropic hormone (ACTH) levels, and other studies have found that music also may enhance a variety of cognitive functions, such as attention, learning, communication and memory. The present study investigated cortisol response in saliva of Thai adolescents taking academic examinations and analyzed the differences of the stress response between musician and control subjects. Also, we observed whether the academic examination-dependent corticosteroid response affected learning and memory in the test subjects, which comprised 30 musician and 30 control students, age ranging from 15 to 17 years. Mathematical examinations were used as the stressor. Pre- and post-academic examination saliva cortisol levels were measured including self-estimated stress levels. Results showed that the pre-academic examination saliva cortisol concentrations of the musician group are significantly lower than those of the control group, whereas there is no difference in the stress inventory scores. Interestingly, among students with grade point average (GPA) of >3.50, pre-academic examination cortisol levels are significantly lower in the musician compared with control group. This study suggests that under academic examination-induced stress condition, music training can reduce saliva cortisol level in Thai adolescents. Copyright © 2010 Elsevier Ireland Ltd. All rights reserved.

Autobiographical memories of young adults elicited by positive musical stimuli

OpenAIRE

Gonçalves, Ana Margarida Silva

2015-01-01

Dissertação de mestrado integrado em Psicologia Studies on autobiographical memories have shown the presence of three main components: childhood amnesia, recency effect and reminiscence bump (Rubin, 1986). Previous research suggests that autobiographical memories elicited by positive stimuli are associated with highly, specific and generally pleasant episodes (Krumhansl & Zupnick, 2013). Music has an important and highly emotional and social role in individual’s lives. The p...

The Implicit Positive and Negative Affect Test: Validity and Relationship with Cardiovascular Stress-Responses.

Science.gov (United States)

van der Ploeg, Melanie M; Brosschot, Jos F; Thayer, Julian F; Verkuil, Bart

2016-01-01

Self-report, i.e., explicit, measures of affect cannot fully explain the cardiovascular (CV) responses to stressors. Measuring affect beyond self-report, i.e., using implicit measures, could add to our understanding of stress-related CV activity. The Implicit Positive and Negative Affect Test (IPANAT) was administered in two studies to test its ecological validity and relation with CV responses and self-report measures of affect. In Study 1 students (N = 34) viewed four film clips inducing anger, happiness, fear, or no emotion, and completed the IPANAT and the Positive And Negative Affect Scale at baseline and after each clip. Implicit negative affect (INA) was higher and implicit positive affect (IPA) was lower after the anger inducing clip and vice versa after the happiness inducing clip. In Study 2 students performed a stressful math task with (n = 14) or without anger harassment (n = 15) and completed the IPANAT and a Visual Analog Scale as an explicit measure afterwards. Systolic (SBP), diastolic (DBP) blood pressure, heart rate (HR), heart rate variability (HRV), and total peripheral resistance (TPR) were recorded throughout. SBP and DBP were higher and TPR was lower in the harassment condition during the task with a prolonged effect on SBP and DBP during recovery. As expected, explicit negative affect (ENA) was higher and explicit positive affect (EPA) lower after harassment, but ENA and EPA were not related to CV activity. Although neither INA nor IPA differed between the tasks, during both tasks higher INA was related to higher SBP, lower HRV and lower TPR and to slower recovery of DBP after both tasks. Low IPA was related to slower recovery of SBP and DBP after the tasks. Implicit affect was not related to recovery of HR, HRV, and TPR. In conclusion, the IPANAT seems to respond to film clip-induced negative and positive affect and was related to CV activity during and after stressful tasks. These findings support the theory that implicitly measured affect

Positive affect and age as predictors of exercise compliance

Directory of Open Access Journals (Sweden)

Danilo Garcia

2014-12-01

Full Text Available Physical exercise is linked to individuals whose affect profiles are invariably positive and it induces anti-apoptotic and anti-excitotoxic effects, buttressing blood–brain barrier intactness in both healthy individuals and those suffering from disorders accompanying overweight and obesity. In this regard, exercise offers a unique non-pharmacologic, non-invasive intervention that incorporates different regimes, whether dynamic or static, endurance, or resistance. In this brief report we present a self-reported study carried out on an adolescent and adult population (N = 280, 144 males and 136 females, which indicated that the propensity and compliance for exercise, measured as the “Archer ratio”, was predicted by a positive affect. This association is discussed from the perspective of health, well-being, affect dimensions, and age.

Syncopation, body-movement and pleasure in groove music.

Directory of Open Access Journals (Sweden)

Maria A G Witek

Full Text Available Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a web-based survey which investigated the relationship between syncopation and ratings of wanting to move and experienced pleasure. Participants heard funk drum-breaks with varying degrees of syncopation and audio entropy, and rated the extent to which the drum-breaks made them want to move and how much pleasure they experienced. While entropy was found to be a poor predictor of wanting to move and pleasure, the results showed that medium degrees of syncopation elicited the most desire to move and the most pleasure, particularly for participants who enjoy dancing to music. Hence, there is an inverted U-shaped relationship between syncopation, body-movement and pleasure, and syncopation seems to be an important structural factor in embodied and affective responses to groove.

Neural correlates of the popular music phenomenon: evidence from functional MRI and PET imaging

Energy Technology Data Exchange (ETDEWEB)

Chen, Qiaozhen [The Second Affiliated Hospital of Zhejiang University School of Medicine, Department of Psychiatry, Hangzhou (China); Zhejiang University Medical PET Center, Hangzhou (China); Institute of Nuclear Medicine and Molecular Imaging of Zhejiang University, Hangzhou (China); Key Laboratory of Medical Molecular Imaging of Zhejiang Province, Hangzhou (China); The Second Affiliated Hospital of Zhejiang University School of Medicine, Department of Nuclear Medicine, Hangzhou, Zhejiang (China); Zhang, Ying; Hou, Haifeng; Du, Fenglei; Wu, Shuang; Chen, Lin; Shen, Yehua; Chao, Fangfang; Zhang, Hong; Tian, Mei [Zhejiang University Medical PET Center, Hangzhou (China); Institute of Nuclear Medicine and Molecular Imaging of Zhejiang University, Hangzhou (China); Key Laboratory of Medical Molecular Imaging of Zhejiang Province, Hangzhou (China); The Second Affiliated Hospital of Zhejiang University School of Medicine, Department of Nuclear Medicine, Hangzhou, Zhejiang (China); Chung, June-key [Seoul National University Hospital, Department of Nuclear Medicine, Seoul (Korea, Republic of)

2017-06-15

Music can induce different emotions. However, its neural mechanism remains unknown. The aim of this study was to use functional magnetic resonance imaging (fMRI) and position emission tomography (PET) imaging for mapping of neural changes under the most popular music in healthy volunteers. Blood-oxygen-level-dependent (BOLD) fMRI and monoamine receptor PET imaging with {sup 11}C-N-methylspiperone ({sup 11}C-NMSP) were conducted under the popular music Gangnam Style and light music A Comme Amour in healthy subjects. PET and fMRI images were analyzed by using the Statistical Parametric Mapping software (SPM). Significantly increased fMRI BOLD signals were found in the bilateral superior temporal cortices, left cerebellum, left putamen and right thalamus cortex. Monoamine receptor availability was increased significantly in the left superior temporal gyrus and left putamen, but decreased in the bilateral superior occipital cortices under the Gangnam Style compared with the light music condition. Significant positive correlation was found between {sup 11}C-NMSP binding and fMRI BOLD signals in the left temporal cortex. Furthermore, increased {sup 11}C-NMSP binding in the left putamen was positively correlated with the mood arousal level score under the Gangnam Style condition. Popular music Gangnam Style can arouse pleasure experience and strong emotional response. The left putamen is positively correlated with the mood arousal level score under the Gangnam Style condition. Our results revealed characteristic patterns of brain activity associated with Gangnam Style, and may also provide more general insights into the music-induced emotional processing. (orig.)

Neural correlates of the popular music phenomenon: evidence from functional MRI and PET imaging.

Science.gov (United States)

Chen, Qiaozhen; Zhang, Ying; Hou, Haifeng; Du, Fenglei; Wu, Shuang; Chen, Lin; Shen, Yehua; Chao, Fangfang; Chung, June-Key; Zhang, Hong; Tian, Mei

2017-06-01

Music can induce different emotions. However, its neural mechanism remains unknown. The aim of this study was to use functional magnetic resonance imaging (fMRI) and position emission tomography (PET) imaging for mapping of neural changes under the most popular music in healthy volunteers. Blood-oxygen-level-dependent (BOLD) fMRI and monoamine receptor PET imaging with 11 C-N-methylspiperone ( 11 C-NMSP) were conducted under the popular music Gangnam Style and light music A Comme Amour in healthy subjects. PET and fMRI images were analyzed by using the Statistical Parametric Mapping software (SPM). Significantly increased fMRI BOLD signals were found in the bilateral superior temporal cortices, left cerebellum, left putamen and right thalamus cortex. Monoamine receptor availability was increased significantly in the left superior temporal gyrus and left putamen, but decreased in the bilateral superior occipital cortices under the Gangnam Style compared with the light music condition. Significant positive correlation was found between 11 C-NMSP binding and fMRI BOLD signals in the left temporal cortex. Furthermore, increased 11 C-NMSP binding in the left putamen was positively correlated with the mood arousal level score under the Gangnam Style condition. Popular music Gangnam Style can arouse pleasure experience and strong emotional response. The left putamen is positively correlated with the mood arousal level score under the Gangnam Style condition. Our results revealed characteristic patterns of brain activity associated with Gangnam Style, and may also provide more general insights into the music-induced emotional processing.

Neural correlates of the popular music phenomenon: evidence from functional MRI and PET imaging

International Nuclear Information System (INIS)

Chen, Qiaozhen; Zhang, Ying; Hou, Haifeng; Du, Fenglei; Wu, Shuang; Chen, Lin; Shen, Yehua; Chao, Fangfang; Zhang, Hong; Tian, Mei; Chung, June-key

2017-01-01

Music can induce different emotions. However, its neural mechanism remains unknown. The aim of this study was to use functional magnetic resonance imaging (fMRI) and position emission tomography (PET) imaging for mapping of neural changes under the most popular music in healthy volunteers. Blood-oxygen-level-dependent (BOLD) fMRI and monoamine receptor PET imaging with "1"1C-N-methylspiperone ("1"1C-NMSP) were conducted under the popular music Gangnam Style and light music A Comme Amour in healthy subjects. PET and fMRI images were analyzed by using the Statistical Parametric Mapping software (SPM). Significantly increased fMRI BOLD signals were found in the bilateral superior temporal cortices, left cerebellum, left putamen and right thalamus cortex. Monoamine receptor availability was increased significantly in the left superior temporal gyrus and left putamen, but decreased in the bilateral superior occipital cortices under the Gangnam Style compared with the light music condition. Significant positive correlation was found between "1"1C-NMSP binding and fMRI BOLD signals in the left temporal cortex. Furthermore, increased "1"1C-NMSP binding in the left putamen was positively correlated with the mood arousal level score under the Gangnam Style condition. Popular music Gangnam Style can arouse pleasure experience and strong emotional response. The left putamen is positively correlated with the mood arousal level score under the Gangnam Style condition. Our results revealed characteristic patterns of brain activity associated with Gangnam Style, and may also provide more general insights into the music-induced emotional processing. (orig.)

High resolution multiple sampling ionization chamber (MUSIC) sensitive to position coordinates

International Nuclear Information System (INIS)

Petrascu, H.; Kumagai, H.; Tanihata, I.; Petrascu, M.

1999-01-01

A new type of MUSIC sensitive to position coordinates is reported. The development of the first version of this type of chamber is based on the principles presented by Badhwar in 1973. The present detector will be used in experiments on fusion by using radioactive beams. This chamber due to the high resolution is suitable to identification and tracking of low Z particles. One of our goals, when we started this work, was to reduce as much as possible the Z value of particles that can be 'seen' by an ionization chamber. The resolution of the chamber was significantly improved by connecting the preamplifiers directly to the MUSIC's pads. These preamplifiers are able to work in vacuum and very low gas pressure. In this way the value of signal to noise ratio was increased by a factor of ∼10. The detector is of Frisch grid type, with the anode split into 10 active pads. It is the first model of a MUSIC with the field shared between the position grid and the anode pads. The Frisch grid was necessary because the detector is originally designed for very accurate energy measurements and particle identification. A drawing of this detector is shown. The detector itself consists of four main parts. The first one is the constant field-gradient cage, sandwiched in between the cathode and the Frisch grid. The second is the Frisch grid. The third is the position grid located under the Frisch grid. The last one is the plate with the anode pads. The cage is made of 100 μm Cu-Be wires. Every wire was tensioned with a weight representing half of its breaking limit. The Frisch grid was done on an aluminium frame, on which 20 μm W wires spaced 0.3 mm, were wound. For the position grid, 10 groups of 20 μm gold plated W wires have been used. Each group consisted of 5 wires spaced 0.9 mm and connected in parallel. The anode pads 7.8 x 60 mm 2 were perpendicular to the beam direction. Each pad and each of the position wire groups were connected to a preamplifier. The energy resolution

LSD modulates music-induced imagery via changes in parahippocampal connectivity.

Science.gov (United States)

Kaelen, Mendel; Roseman, Leor; Kahan, Joshua; Santos-Ribeiro, Andre; Orban, Csaba; Lorenz, Romy; Barrett, Frederick S; Bolstridge, Mark; Williams, Tim; Williams, Luke; Wall, Matthew B; Feilding, Amanda; Muthukumaraswamy, Suresh; Nutt, David J; Carhart-Harris, Robin

2016-07-01

Psychedelic drugs such as lysergic acid diethylamide (LSD) were used extensively in psychiatry in the past and their therapeutic potential is beginning to be re-examined today. Psychedelic psychotherapy typically involves a patient lying with their eyes-closed during peak drug effects, while listening to music and being supervised by trained psychotherapists. In this context, music is considered to be a key element in the therapeutic model; working in synergy with the drug to evoke therapeutically meaningful thoughts, emotions and imagery. The underlying mechanisms involved in this process have, however, never been formally investigated. Here we studied the interaction between LSD and music-listening on eyes-closed imagery by means of a placebo-controlled, functional magnetic resonance imaging (fMRI) study. Twelve healthy volunteers received intravenously administered LSD (75µg) and, on a separate occasion, placebo, before being scanned under eyes-closed resting conditions with and without music-listening. The parahippocampal cortex (PHC) has previously been linked with (1) music-evoked emotion, (2) the action of psychedelics, and (3) mental imagery. Imaging analyses therefore focused on changes in the connectivity profile of this particular structure. Results revealed increased PHC-visual cortex (VC) functional connectivity and PHC to VC information flow in the interaction between music and LSD. This latter result correlated positively with ratings of enhanced eyes-closed visual imagery, including imagery of an autobiographical nature. These findings suggest a plausible mechanism by which LSD works in combination with music listening to enhance certain subjective experiences that may be useful in a therapeutic context. Copyright © 2016 Elsevier B.V. and ECNP. All rights reserved.

Mapping aesthetic musical emotions in the brain.

Science.gov (United States)

Trost, Wiebke; Ethofer, Thomas; Zentner, Marcel; Vuilleumier, Patrik

2012-12-01

Music evokes complex emotions beyond pleasant/unpleasant or happy/sad dichotomies usually investigated in neuroscience. Here, we used functional neuroimaging with parametric analyses based on the intensity of felt emotions to explore a wider spectrum of affective responses reported during music listening. Positive emotions correlated with activation of left striatum and insula when high-arousing (Wonder, Joy) but right striatum and orbitofrontal cortex when low-arousing (Nostalgia, Tenderness). Irrespective of their positive/negative valence, high-arousal emotions (Tension, Power, and Joy) also correlated with activations in sensory and motor areas, whereas low-arousal categories (Peacefulness, Nostalgia, and Sadness) selectively engaged ventromedial prefrontal cortex and hippocampus. The right parahippocampal cortex activated in all but positive high-arousal conditions. Results also suggested some blends between activation patterns associated with different classes of emotions, particularly for feelings of Wonder or Transcendence. These data reveal a differentiated recruitment across emotions of networks involved in reward, memory, self-reflective, and sensorimotor processes, which may account for the unique richness of musical emotions.

The Effect of Background Music and Background Noise on the Task Performance of Introverts and Extraverts

Science.gov (United States)

Cassidy, Gianna; MacDonald, Raymond A. R.

2007-01-01

The study investigated the effects of music with high arousal potential and negative affect (HA), music with low arousal potential and positive affect (LA), and everyday noise, on the cognitive task performance of introverts and extraverts. Forty participants completed five cognitive tasks: immediate recall, free recall, numerical and delayed…

Ways of making-sense: Local gamma synchronization reveals differences between semantic processing induced by music and language.

Science.gov (United States)

Barraza, Paulo; Chavez, Mario; Rodríguez, Eugenio

2016-01-01

Similar to linguistic stimuli, music can also prime the meaning of a subsequent word. However, it is so far unknown what is the brain dynamics underlying the semantic priming effect induced by music, and its relation to language. To elucidate these issues, we compare the brain oscillatory response to visual words that have been semantically primed either by a musical excerpt or by an auditory sentence. We found that semantic violation between music-word pairs triggers a classical ERP N400, and induces a sustained increase of long-distance theta phase synchrony, along with a transient increase of local gamma activity. Similar results were observed after linguistic semantic violation except for gamma activity, which increased after semantic congruence between sentence-word pairs. Our findings indicate that local gamma activity is a neural marker that signals different ways of semantic processing between music and language, revealing the dynamic and self-organized nature of the semantic processing. Copyright © 2015 Elsevier Inc. All rights reserved.

Characterization of music-evoked autobiographical memories.

Science.gov (United States)

Janata, Petr; Tomic, Stefan T; Rakowski, Sonja K

2007-11-01

Despite music's prominence in Western society and its importance to individuals in their daily lives, very little is known about the memories and emotions that are often evoked when hearing a piece of music from one's past. We examined the content of music-evoked autobiographical memories (MEAMs) using a novel approach for selecting stimuli from a large corpus of popular music, in both laboratory and online settings. A set of questionnaires probed the cognitive and affective properties of the evoked memories. On average, 30% of the song presentations evoked autobiographical memories, and the majority of songs also evoked various emotions, primarily positive, that were felt strongly. The third most common emotion was nostalgia. Analyses of written memory reports found both general and specific levels of autobiographical knowledge to be represented, and several social and situational contexts for memory formation were common across many memories. The findings indicate that excerpts of popular music serve as potent stimuli for studying the structure of autobiographical memories.

Investigating the importance of self-theories of intelligence and musicality for students' academic and musical achievement.

Science.gov (United States)

Müllensiefen, Daniel; Harrison, Peter; Caprini, Francesco; Fancourt, Amy

2015-01-01

Musical abilities and active engagement with music have been shown to be positively associated with many cognitive abilities as well as social skills and academic performance in secondary school students. While there is evidence from intervention studies that musical training can be a cause of these positive relationships, recent findings in the literature have suggested that other factors, such as genetics, family background or personality traits, might also be contributing factors. In addition, there is mounting evidence that self-concepts and beliefs can affect academic performance independently of intellectual ability. Students who believe that intelligence is malleable are more likely to attribute poor academic performances to effort rather than ability, and are more likely to take remedial action to improve their performance. However, it is currently not known whether student's beliefs about the nature of musical talent also influence the development of musical abilities in a similar fashion. Therefore, this study introduces a short self-report measure termed "Musical Self-Theories and Goals," closely modeled on validated measures for self-theories in academic scenarios. Using this measure the study investigates whether musical self-theories are related to students' musical development as indexed by their concurrent musical activities and their performance on a battery of listening tests. We use data from a cross-sectional sample of 313 secondary school students to construct a network model describing the relationships between self-theories and academic as well as musical outcome measures, while also assessing potential effects of intelligence and the Big Five personality dimensions. Results from the network model indicate that self-theories of intelligence and musicality are closely related. In addition, both kinds of self-theories are connected to the students' academic achievement through the personality dimension conscientiousness and academic effort

Investigating the importance of self-theories of intelligence and musicality for students’ academic and musical achievement

Directory of Open Access Journals (Sweden)

Daniel eMüllensiefen

2015-11-01

Full Text Available Musical abilities and active engagement with music have been shown to be positively associated with many cognitive abilities as well as social skills and academic performance in secondary school students. While there is evidence from intervention studies that musical training can be a cause of these positive relationships, recent findings in the literature have suggested that other factors, such as genetics, family background or personality traits, might also be contributing factors. In addition, there is mounting evidence that self-concepts and beliefs can affect academic performance independently of intellectual ability. Students who believe that intelligence is malleable are more likely to attribute poor academic performances to effort rather than ability, and are more likely to take remedial action to improve their performance. However, it is currently not known whether student’s beliefs about the nature of musical talent also influence the development of musical abilities in a similar fashion. Therefore, this study introduces a short self-report measure termed ‘Musical Self-Theories and Goals’, closely modeled on validated measures for self-theories in academic scenarios. Using this measure the study investigates whether musical self-theories are related to students’ musical development as indexed by their concurrent musical activities and their performance on a battery of listening tests. We use data from a cross-sectional sample of 313 secondary school students to construct a network model describing the relationships between self-theories and academic as well as musical outcome measures, while also assessing potential effects of intelligence and the Big Five personality dimensions. Results from the network model indicate that self-theories of intelligence and musicality are closely related. In addition, both kinds of self-theories are connected to the students’ academic achievement through the personality dimension

Music playschool enhances children's linguistic skills.

Science.gov (United States)

Linnavalli, Tanja; Putkinen, Vesa; Lipsanen, Jari; Huotilainen, Minna; Tervaniemi, Mari

2018-06-08

Several studies have suggested that intensive musical training enhances children's linguistic skills. Such training, however, is not available to all children. We studied in a community setting whether a low-cost, weekly music playschool provided to 5-6-year-old children in kindergartens could already affect their linguistic abilities. Children (N = 66) were tested four times over two school-years with Phoneme processing and Vocabulary subtests, along with tests for Perceptual reasoning skills and Inhibitory control. We compared the development of music playschool children to their peers either attending to similarly organized dance lessons or not attending to either activity. Music playschool significantly improved the development of children's phoneme processing and vocabulary skills. No such improvements on children's scores for non-verbal reasoning and inhibition were obtained. Our data suggest that even playful group music activities - if attended to for several years - have a positive effect on pre-schoolers' linguistic skills. Therefore we promote the concept of implementing regular music playschool lessons given by professional teachers in early childhood education.

Seizures Induced by Music

Directory of Open Access Journals (Sweden)

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.

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

Science.gov (United States)

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.

Syncopation affects free body-movement in musical groove

DEFF Research Database (Denmark)

Witek, Maria A. G.; Popescu, Tudor; Clarke, Eric F

2016-01-01

One of the most immediate and overt ways in which people respond to music is by moving their bodies to the beat. However, the extent to which the rhythmic complexity of groove-specifically its syncopation-contributes to how people spontaneously move to music is largely unexplored. Here, we measur...... on the body-part. We demonstrate that while people do not move or synchronise much to rhythms with high syncopation when dancing spontaneously to music, the relationship between rhythmic complexity and synchronisation is less linear than in simple finger-tapping studies.......One of the most immediate and overt ways in which people respond to music is by moving their bodies to the beat. However, the extent to which the rhythmic complexity of groove-specifically its syncopation-contributes to how people spontaneously move to music is largely unexplored. Here, we measured...... free movements in hand and torso while participants listened to drum-breaks with various degrees of syncopation. We found that drum-breaks with medium degrees of syncopation were associated with the same amount of acceleration and synchronisation as low degrees of syncopation. Participants who enjoyed...

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

Effects of Musical Aptitude, Academic Ability, Music Experience, and Motivation on Aural Skills.

Science.gov (United States)

Harrison, Carole S.; And Others

1994-01-01

Reports on a study of 142 college music theory students on the influence of musical aptitude, academic ability, music experience, and motivation on the development of aural skills. Finds that musical aptitude had the largest effect on performance and motivation for music did not affect aural skills performance. (CFR)

Effects of background music on concentration of workers.

Science.gov (United States)

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.

Not all sounds sound the same: Parkinson's disease affects differently emotion processing in music and in speech prosody.

Science.gov (United States)

Lima, César F; Garrett, Carolina; Castro, São Luís

2013-01-01

Does emotion processing in music and speech prosody recruit common neurocognitive mechanisms? To examine this question, we implemented a cross-domain comparative design in Parkinson's disease (PD). Twenty-four patients and 25 controls performed emotion recognition tasks for music and spoken sentences. In music, patients had impaired recognition of happiness and peacefulness, and intact recognition of sadness and fear; this pattern was independent of general cognitive and perceptual abilities. In speech, patients had a small global impairment, which was significantly mediated by executive dysfunction. Hence, PD affected differently musical and prosodic emotions. This dissociation indicates that the mechanisms underlying the two domains are partly independent.

Affective Music Generation and its effect on Player Experience

DEFF Research Database (Denmark)

Scirea, Marco

Procedural content generation for games --the automated creation of some type of asset-- has become increasingly popular in the last decade, both with academics and game developers. This interest has been mainly motivated by how complex games have become, requiring a huge amount of assets......, narrative events unfold in response to player input. Therefore, the music composer in an interactive environment needs to create music that is dynamic and non-repetitive. This thesis investigates how to express emotions and moods in music and how to apply this research to improve player experience in games....... This focus on the emotional expression that procedurally generated music should express has also been identified by Collins as one of the missing features that currently prevent procedurally generated music being more widely used in the game industry. The research therefore focuses on investigating...

Syncopated Beats and the History of Sadness: The Affective Fusion of Audience and Film through Music

Directory of Open Access Journals (Sweden)

Kutter Callaway

2016-03-01

Full Text Available Recent developments in the disciplines of cinema studies, theology, and religion and film have generated renewed interest in the experiential dimensions of filmgoing. More specifically, those contributing to theological scholarship have begun to explore these cinematic experiences as theologically significant. With these developments in mind, this essay offers a close reading of the principal musical theme in the 2010 film Beginners, noting in particular the ways in which this music is distributed throughout the narrative. In doing so, it suggests that the music in this film expresses in concrete terms one of the key insights from emerging neuropsychological research, namely, that our affective, pre-cognitive, “wordless knowledge” of the world is the foundation upon which human consciousness is constructed. But the essay goes one step further by making an explicitly theological claim. That is, when located within the framework of a lived theology (i.e., a “poetic theology”, the film and its music shed light on the ways in which aesthetic modes of awareness (i.e., intuitive, embodied forms of knowledge open up spaces in the contemporary world where our affections, the goods of late-modern society, and our spiritual longings are able to meet and interact.

Quality and loudness judgments for music subjected to compression limiting.

Science.gov (United States)

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

2012-08-01

Dynamic-range compression (DRC) is used in the music industry to maximize loudness. The amount of compression applied to commercial recordings has increased over time due to a motivating perspective that louder music is always preferred. In contrast to this viewpoint, artists and consumers have argued that using large amounts of DRC negatively affects the quality of music. However, little research evidence has supported the claims of either position. The present study investigated how DRC affects the perceived loudness and sound quality of recorded music. Rock and classical music samples were peak-normalized and then processed using different amounts of DRC. Normal-hearing listeners rated the processed and unprocessed samples on overall loudness, dynamic range, pleasantness, and preference, using a scaled paired-comparison procedure in two conditions: un-equalized, in which the loudness of the music samples varied, and loudness-equalized, in which loudness differences were minimized. Results indicated that a small amount of compression was preferred in the un-equalized condition, but the highest levels of compression were generally detrimental to quality, whether loudness was equalized or varied. These findings are contrary to the "louder is better" mentality in the music industry and suggest that more conservative use of DRC may be preferred for commercial music.

The sound of cooperation: Musical influences on cooperative behavior.

Science.gov (United States)

Kniffin, Kevin M; Yan, Jubo; Wansink, Brian; Schulze, William D

2017-03-01

Music as an environmental aspect of professional workplaces has been closely studied with respect to consumer behavior while sparse attention has been given to its relevance for employee behavior. In this article, we focus on the influence of music upon cooperative behavior within decision-making groups. Based on results from two extended 20-round public goods experiments, we find that happy music significantly and positively influences cooperative behavior. We also find a significant positive association between mood and cooperative behavior. Consequently, while our studies provide partial support for the relevance of affect in relation to cooperation within groups, we also show an independently important function of happy music that fits with a theory of synchronous and rhythmic activity as a social lubricant. More generally, our findings indicate that music and perhaps other atmospheric variables that are designed to prime consumer behavior might have comparably important effects for employees and consequently warrant closer investigation. Copyright © 2016 The Authors Journal of Organizational Behavior Published by John Wiley & Sons Ltd.

The role of emotion in musical improvisation: an analysis of structural features.

Science.gov (United States)

McPherson, Malinda J; Lopez-Gonzalez, Monica; Rankin, Summer K; Limb, Charles J

2014-01-01

One of the primary functions of music is to convey emotion, yet how music accomplishes this task remains unclear. For example, simple correlations between mode (major vs. minor) and emotion (happy vs. sad) do not adequately explain the enormous range, subtlety or complexity of musically induced emotions. In this study, we examined the structural features of unconstrained musical improvisations generated by jazz pianists in response to emotional cues. We hypothesized that musicians would not utilize any universal rules to convey emotions, but would instead combine heterogeneous musical elements together in order to depict positive and negative emotions. Our findings demonstrate a lack of simple correspondence between emotions and musical features of spontaneous musical improvisation. While improvisations in response to positive emotional cues were more likely to be in major keys, have faster tempos, faster key press velocities and more staccato notes when compared to negative improvisations, there was a wide distribution for each emotion with components that directly violated these primary associations. The finding that musicians often combine disparate features together in order to convey emotion during improvisation suggests that structural diversity may be an essential feature of the ability of music to express a wide range of emotion.

Effects of group music therapy on quality of life, affect, and participation in people with varying levels of dementia.

Science.gov (United States)

Solé, Carme; Mercadal-Brotons, Melissa; Galati, Adrián; De Castro, Mónica

2014-01-01

There is substantive literature reporting the importance and benefits of music and music therapy programs for older adults, and more specifically for those with dementia. However, few studies have focused on how these programs may contribute to quality of life. Objectives for this exploratory study were: (a) to evaluate the potential effect of group music therapy program participation on the quality of life of older people with mild, moderate, and severe dementia living in a nursing home; (b) to identify and analyze changes in affect and participation that take place during music therapy sessions; and (c) to suggest recommendations and strategies for the design of future music therapy studies with people in various stages of dementias. Sixteen participants (15 women; 1 man), with varying level of dementia participated in 12 weekly music therapy sessions. Based on Global Deterioration Scale (GDS) scores, phases of cognitive function were as follows: mild (n = 9; GDS 3-4), moderate (n = 5; GDS 5), and severe (n = 2; GDS 6-7). Data were collected using the GENCAT scale on Quality of Life. Sessions 1, 6, and 12 were also video recorded for post-hoc analysis of facial affect and participation behaviors. There was no significant difference in quality of life scores from pre to posttest (z = -0.824; p =0.410). However, there was a significant improvement in median subscale scores for Emotional Well-being (z = -2.176, p = 0.030), and significant worsening in median subscale scores for Interpersonal Relations (z =-2.074; p = 0.038) from pre to posttest. With regard to affect and participation, a sustained high level of participation was observed throughout the intervention program. Expressions of emotion remained low. Authors discuss implications of study findings to inform and improve future research in the areas of music therapy, quality of life, and individuals with dementia. © the American Music Therapy Association 2014. All rights reserved. For permissions, please e

Emotional reactions to music: psychophysiological correlates and applications to affective disorders

OpenAIRE

Kalda, Tiina

2013-01-01

Music has been used to evoke emotions for centuries. The mechanisms underlying this effect have remained largely unclear. This thesis contributes to research on how music\\ud evokes emotions by investigating two mechanisms from the model of Juslin and Västfjäll (2008) - musical expectancy and emotional contagion. In the perception studies the focus is on how musical expectancy violations are detected by either musically trained or untrained individuals. In the music-making studies, we concentr...

Mapping Aesthetic Musical Emotions in the Brain

Science.gov (United States)

Ethofer, Thomas; Zentner, Marcel; Vuilleumier, Patrik

2012-01-01

Music evokes complex emotions beyond pleasant/unpleasant or happy/sad dichotomies usually investigated in neuroscience. Here, we used functional neuroimaging with parametric analyses based on the intensity of felt emotions to explore a wider spectrum of affective responses reported during music listening. Positive emotions correlated with activation of left striatum and insula when high-arousing (Wonder, Joy) but right striatum and orbitofrontal cortex when low-arousing (Nostalgia, Tenderness). Irrespective of their positive/negative valence, high-arousal emotions (Tension, Power, and Joy) also correlated with activations in sensory and motor areas, whereas low-arousal categories (Peacefulness, Nostalgia, and Sadness) selectively engaged ventromedial prefrontal cortex and hippocampus. The right parahippocampal cortex activated in all but positive high-arousal conditions. Results also suggested some blends between activation patterns associated with different classes of emotions, particularly for feelings of Wonder or Transcendence. These data reveal a differentiated recruitment across emotions of networks involved in reward, memory, self-reflective, and sensorimotor processes, which may account for the unique richness of musical emotions. PMID:22178712

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).

Animal signals and emotion in music: Coordinating affect across groups

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Gregory A. Bryant

2013-12-01

Full Text Available Researchers studying the emotional impact of music have not traditionally been concerned with the principled relationship between form and function in evolved animal signals. The acoustic structure of musical forms is related in important ways to emotion perception, and thus research on nonhuman animal vocalizations is relevant for understanding emotion in music. Musical behavior occurs in cultural contexts that include many other coordinated activities which mark group identity, and can allow people to communicate within and between social alliances. The emotional impact of music might be best understood as a proximate mechanism serving an ultimately social function. Here I describe recent work that reveals intimate connections between properties of certain animal signals and evocative aspects of human music, including 1 examinations of the role of nonlinearities (e.g., broadband noise in nonhuman animal vocalizations, and the analogous production and perception of these features in human music, and 2 an analysis of group musical performances and possible relationships to nonhuman animal chorusing and emotional contagion effects. Communicative features in music are likely due primarily to evolutionary byproducts of phylogenetically older, but still intact communication systems. But in some cases, such as the coordinated rhythmic sounds produced by groups of musicians, our appreciation and emotional engagement might be due to the operation of an adaptive social signaling system. Future empirical work should examine human musical behavior through the comparative lens of behavioral ecology and an adaptationist cognitive science. By this view, particular coordinated sound combinations generated by musicians exploit evolved perceptual response biases—many shared across species—and proliferate through cultural evolutionary processes.

Unforgettable film music: the role of emotion in episodic long-term memory for music.

Science.gov (United States)

Eschrich, Susann; Münte, Thomas F; Altenmüller, Eckart O

2008-05-28

Specific pieces of music can elicit strong emotions in listeners and, possibly in connection with these emotions, can be remembered even years later. However, episodic memory for emotional music compared with less emotional music has not yet been examined. We investigated whether emotional music is remembered better than less emotional music. Also, we examined the influence of musical structure on memory performance. Recognition of 40 musical excerpts was investigated as a function of arousal, valence, and emotional intensity ratings of the music. In the first session the participants judged valence and arousal of the musical pieces. One week later, participants listened to the 40 old and 40 new musical excerpts randomly interspersed and were asked to make an old/new decision as well as to indicate arousal and valence of the pieces. Musical pieces that were rated as very positive were recognized significantly better. Musical excerpts rated as very positive are remembered better. Valence seems to be an important modulator of episodic long-term memory for music. Evidently, strong emotions related to the musical experience facilitate memory formation and retrieval.

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

Science.gov (United States)

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.

Processing of emotional faces in congenital amusia: An emotional music priming event-related potential study.

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Zhishuai, Jin; Hong, Liu; Daxing, Wu; Pin, Zhang; Xuejing, Lu

2017-01-01

Congenital amusia is characterized by lifelong impairments in music perception and processing. It is unclear whether pitch detection deficits impact amusic individuals' perception of musical emotion. In the current work, 19 amusics and 21 healthy controls were subjected to electroencephalography (EEG) while being exposed to music excerpts and emotional faces. We assessed each individual's ability to discriminate positive- and negative-valenced emotional faces and analyzed electrophysiological indices, in the form of event-related potentials (ERPs) recorded at 32 sites, following exposure to emotionally positive or negative music excerpts. We observed smaller N2 amplitudes in response to facial expressions in the amusia group than in the control group, suggesting that amusics were less affected by the musical stimuli. The late-positive component (LPC) in amusics was similar to that in controls. Our results suggest that the neurocognitive deficit characteristic of congenital amusia is fundamentally an impairment in musical information processing rather than an impairment in emotional processing.

Processing of emotional faces in congenital amusia: An emotional music priming event-related potential study

Directory of Open Access Journals (Sweden)

Jin Zhishuai

2017-01-01

Full Text Available Congenital amusia is characterized by lifelong impairments in music perception and processing. It is unclear whether pitch detection deficits impact amusic individuals' perception of musical emotion. In the current work, 19 amusics and 21 healthy controls were subjected to electroencephalography (EEG while being exposed to music excerpts and emotional faces. We assessed each individual's ability to discriminate positive- and negative-valenced emotional faces and analyzed electrophysiological indices, in the form of event-related potentials (ERPs recorded at 32 sites, following exposure to emotionally positive or negative music excerpts. We observed smaller N2 amplitudes in response to facial expressions in the amusia group than in the control group, suggesting that amusics were less affected by the musical stimuli. The late-positive component (LPC in amusics was similar to that in controls. Our results suggest that the neurocognitive deficit characteristic of congenital amusia is fundamentally an impairment in musical information processing rather than an impairment in emotional processing.

Musical feedback during exercise machine workout enhances mood

Directory of Open Access Journals (Sweden)

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.

Misattribution of musical arousal increases sexual attraction towards opposite-sex faces in females.

Directory of Open Access Journals (Sweden)

Manuela M Marin

Full Text Available Several theories about the origins of music have emphasized its biological and social functions, including in courtship. Music may act as a courtship display due to its capacity to vary in complexity and emotional content. Support for music's reproductive function comes from the recent finding that only women in the fertile phase of the reproductive cycle prefer composers of complex melodies to composers of simple ones as short-term sexual partners, which is also in line with the ovulatory shift hypothesis. However, the precise mechanisms by which music may influence sexual attraction are unknown, specifically how music may interact with visual attractiveness cues and affect perception and behaviour in both genders. Using a crossmodal priming paradigm, we examined whether listening to music influences ratings of facial attractiveness and dating desirability of opposite-sex faces. We also tested whether misattribution of arousal or pleasantness underlies these effects, and explored whether sex differences and menstrual cycle phase may be moderators. Our sample comprised 64 women in the fertile or infertile phase (no hormonal contraception use and 32 men, carefully matched for mood, relationship status, and musical preferences. Musical primes (25 s varied in arousal and pleasantness, and targets were photos of faces with neutral expressions (2 s. Group-wise analyses indicated that women, but not men, gave significantly higher ratings of facial attractiveness and dating desirability after having listened to music than in the silent control condition. High-arousing, complex music yielded the largest effects, suggesting that music may affect human courtship behaviour through induced arousal, which calls for further studies on the mechanisms by which music affects sexual attraction in real-life social contexts.

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.

Effect of music on mealtime disruptions.

Science.gov (United States)

Hooper, Jeff; Carson, Derek; Lindsay, Bill

People with learning disabilities can disrupt mealtimes with non-cooperative, aggressive and self-injurious behaviours that challenge other people to tolerate and manage them. These behaviours appear to arise because the proximity of other people, and the heightened activity and noise of a dining room, causes anxiety and agitation. To examine how delivering calming background music via headphones affected anxiety-driven behaviours that disrupted mealtimes. A sample of 30 adults with mild, moderate or severe learning disabilities were videotaped during mealtimes on two consecutive days. On the first day, half the group ate without any calming music while the other half sat opposite them wearing earphones and listening to calming music. On the second day, the non-music and music groups swapped around. Of the participants who tolerated the earphones, only three showed disruptive behaviour; all three had been sitting at the table waiting for their food. With so few examples, meaningful inferential analysis was not possible. However, there were signs that calming music had a positive effect on disruptive mealtime behaviours. It eliminated physical harm, complaining and verbal repetition in one person, and stopped another from shouting/swearing. It also reduced the incidence of shouting/swearing, restlessness and vocalising. Calming music and reduced waiting at tables for food may reduce disruptive behaviours.

Emotional responses to music: towards scientific perspectives on music therapy.

Science.gov (United States)

Suda, Miyuki; Morimoto, Kanehisa; Obata, Akiko; Koizumi, Hideaki; Maki, Atsushi

2008-01-08

Neurocognitive research has the potential to identify the relevant effects of music therapy. In this study, we examined the effect of music mode (major vs. minor) on stress reduction using optical topography and an endocrinological stress marker. In salivary cortisol levels, we observed that stressful conditions such as mental fatigue (thinking and creating a response) was reduced more by major mode music than by minor mode music. We suggest that music specifically induces an emotional response similar to a pleasant experience or happiness. Moreover, we demonstrated the typical asymmetrical pattern of stress responses in upper temporal cortex areas, and suggested that happiness/sadness emotional processing might be related to stress reduction by music.

Effects of psychological priming, video, and music on anaerobic exercise performance.

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Loizou, G; Karageorghis, C I

2015-12-01

Peak performance videos accompanied by music can help athletes to optimize their pre-competition mindset and are often used. Priming techniques can be incorporated into such videos to influence athletes' motivational state. There has been limited empirical work investigating the combined effects of such stimuli on anaerobic performance. The present study examined the psychological and psychophysiological effects of video, music, and priming when used as a pre-performance intervention for an anaerobic endurance task. Psychological measures included the main axes of the circumplex model of affect and liking scores taken pre-task, and the Exercise-induced Feeling Inventory, which was administered post-task. Physiological measures comprised heart rate variability and heart rate recorded pre-task. Fifteen males (age = 26.3 ± 2.8 years) were exposed to four conditions prior to performing the Wingate Anaerobic Test: music-only, video and music, video with music and motivational primes, and a no-video/no-music control. Results indicate that the combined video, music, and primes condition was the most effective in terms of influencing participants' pre-task affect and subsequent anaerobic performance; this was followed by the music-only condition. The findings indicate the utility of such stimuli as a pre-performance technique to enhance athletes' or exercisers' psychological states. © 2015 John Wiley & Sons A/S. Published by John Wiley & Sons Ltd.

It's not what you play, it's how you play it: timbre affects perception of emotion in music.

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Hailstone, Julia C; Omar, Rohani; Henley, Susie M D; Frost, Chris; Kenward, Michael G; Warren, Jason D

2009-11-01

Salient sensory experiences often have a strong emotional tone, but the neuropsychological relations between perceptual characteristics of sensory objects and the affective information they convey remain poorly defined. Here we addressed the relationship between sound identity and emotional information using music. In two experiments, we investigated whether perception of emotions is influenced by altering the musical instrument on which the music is played, independently of other musical features. In the first experiment, 40 novel melodies each representing one of four emotions (happiness, sadness, fear, or anger) were each recorded on four different instruments (an electronic synthesizer, a piano, a violin, and a trumpet), controlling for melody, tempo, and loudness between instruments. Healthy participants (23 young adults aged 18-30 years, 24 older adults aged 58-75 years) were asked to select which emotion they thought each musical stimulus represented in a four-alternative forced-choice task. Using a generalized linear mixed model we found a significant interaction between instrument and emotion judgement with a similar pattern in young and older adults (p effect was not attributable to musical expertise. In the second experiment using the same melodies and experimental design, the interaction between timbre and perceived emotion was replicated (p music after controlling for other acoustic, cognitive, and performance factors.

Digital music exposure reliably induces temporary threshold shift in normal-hearing human subjects.

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Le Prell, Colleen G; Dell, Shawna; Hensley, Brittany; Hall, James W; Campbell, Kathleen C M; Antonelli, Patrick J; Green, Glenn E; Miller, James M; Guire, Kenneth

2012-01-01

One of the challenges for evaluating new otoprotective agents for potential benefit in human populations is the availability of an established clinical paradigm with real-world relevance. These studies were explicitly designed to develop a real-world digital music exposure that reliably induces temporary threshold shift (TTS) in normal-hearing human subjects. Thirty-three subjects participated in studies that measured effects of digital music player use on hearing. Subjects selected either rock or pop music, which was then presented at 93 to 95 (n = 10), 98 to 100 (n = 11), or 100 to 102 (n = 12) dBA in-ear exposure level for a period of 4 hr. Audiograms and distortion product otoacoustic emissions (DPOAEs) were measured before and after music exposure. Postmusic tests were initiated 15 min, 1 hr 15 min, 2 hr 15 min, and 3 hr 15 min after the exposure ended. Additional tests were conducted the following day and 1 week later. Changes in thresholds after the lowest-level exposure were difficult to distinguish from test-retest variability; however, TTS was reliably detected after higher levels of sound exposure. Changes in audiometric thresholds had a "notch" configuration, with the largest changes observed at 4 kHz (mean = 6.3 ± 3.9 dB; range = 0-14 dB). Recovery was largely complete within the first 4 hr postexposure, and all subjects showed complete recovery of both thresholds and DPOAE measures when tested 1 week postexposure. These data provide insight into the variability of TTS induced by music-player use in a healthy, normal-hearing, young adult population, with music playlist, level, and duration carefully controlled. These data confirm the likelihood of temporary changes in auditory function after digital music-player use. Such data are essential for the development of a human clinical trial protocol that provides a highly powered design for evaluating novel therapeutics in human clinical trials. Care must be taken to fully inform potential subjects in

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 Radio as a Format Remediated for the Stream-Based Music Use

DEFF Research Database (Denmark)

Ægidius, Andreas Lenander

What do music radio and music streaming have in common? The curated flow of music. Radio is featured in the main section of the Spotify user interface. Apple employs radio host for their streaming service, Apple Music. Music streaming and music radio seem closely related. Even in their use...... this theoretical contribution with reference to several empirical studies of everyday music streaming use and the fact that radio holds a significant position as both a stand-alone medium and as a contributing format within streaming music use. Why else does Spotify provide radio(s) and Apple Music likewise employ...

The Use of Music Playlists for People with Dementia: A Critical Synthesis.

Science.gov (United States)

Garrido, Sandra; Dunne, Laura; Chang, Esther; Perz, Janette; Stevens, Catherine J; Haertsch, Maggie

2017-01-01

The use of pre-recorded music to ease behavioral and psychological symptoms associated with dementia is popular in health-care contexts in both formal music therapy settings and in non-therapist led interventions. However, further understanding of how non-therapist led interventions compare to therapist led interventions is needed. This paper reviews 28 studies that used pre-recorded music with people with dementia using a critical interpretive synthesis model. Results revealed that pre-recorded music can be effective in reducing a variety of affective and behavioral symptoms, in particular agitation, even where a trained music therapist is not present. However, the results are not universally positive, suggesting the need for further clarification of protocols for music use and closer investigation of variables that influence individual responseto music.

489 Music Education: A Vehicle for Fostering Positive Youth ...

African Journals Online (AJOL)

the outcome of youth's participation in music programs. The paper argues that .... decoding which is necessary for child's development. Involvement with music is ... in whichever way it involves some sort of movement. Youth. Youth is the time ...

Digital music exposure reliably induces temporary threshold shift (TTS) in normal hearing human subjects

Science.gov (United States)

Le Prell, C. G.; Dell, S.; Hensley, B.; Hall, J. W.; Campbell, K. C. M.; Antonelli, P. J.; Green, G. E.; Miller, J. M.; Guire, K.

2012-01-01

Objectives One of the challenges for evaluating new otoprotective agents for potential benefit in human populations is availability of an established clinical paradigm with real world relevance. These studies were explicitly designed to develop a real-world digital music exposure that reliably induces temporary threshold shift (TTS) in normal hearing human subjects. Design Thirty-three subjects participated in studies that measured effects of digital music player use on hearing. Subjects selected either rock or pop music, which was then presented at 93–95 (n=10), 98–100 (n=11), or 100–102 (n=12) dBA in-ear exposure level for a period of four hours. Audiograms and distortion product otoacoustic emissions (DPOAEs) were measured prior to and after music exposure. Post-music tests were initiated 15 min, 1 hr 15 min, 2 hr 15 min, and 3 hr 15 min after the exposure ended. Additional tests were conducted the following day and one week later. Results Changes in thresholds after the lowest level exposure were difficult to distinguish from test-retest variability; however, TTS was reliably detected after higher levels of sound exposure. Changes in audiometric thresholds had a “notch” configuration, with the largest changes observed at 4 kHz (mean=6.3±3.9dB; range=0–13 dB). Recovery was largely complete within the first 4 hours post-exposure, and all subjects showed complete recovery of both thresholds and DPOAE measures when tested 1-week post-exposure. Conclusions These data provide insight into the variability of TTS induced by music player use in a healthy, normal-hearing, young adult population, with music playlist, level, and duration carefully controlled. These data confirm the likelihood of temporary changes in auditory function following digital music player use. Such data are essential for the development of a human clinical trial protocol that provides a highly powered design for evaluating novel therapeutics in human clinical trials. Care must be

Unforgettable film music: The role of emotion in episodic long-term memory for music

Science.gov (United States)

Eschrich, Susann; Münte, Thomas F; Altenmüller, Eckart O

2008-01-01

Background Specific pieces of music can elicit strong emotions in listeners and, possibly in connection with these emotions, can be remembered even years later. However, episodic memory for emotional music compared with less emotional music has not yet been examined. We investigated whether emotional music is remembered better than less emotional music. Also, we examined the influence of musical structure on memory performance. Results Recognition of 40 musical excerpts was investigated as a function of arousal, valence, and emotional intensity ratings of the music. In the first session the participants judged valence and arousal of the musical pieces. One week later, participants listened to the 40 old and 40 new musical excerpts randomly interspersed and were asked to make an old/new decision as well as to indicate arousal and valence of the pieces. Musical pieces that were rated as very positive were recognized significantly better. Conclusion Musical excerpts rated as very positive are remembered better. Valence seems to be an important modulator of episodic long-term memory for music. Evidently, strong emotions related to the musical experience facilitate memory formation and retrieval. PMID:18505596

Unforgettable film music: The role of emotion in episodic long-term memory for music

Directory of Open Access Journals (Sweden)

Altenmüller Eckart O

2008-05-01

Full Text Available Abstract Background Specific pieces of music can elicit strong emotions in listeners and, possibly in connection with these emotions, can be remembered even years later. However, episodic memory for emotional music compared with less emotional music has not yet been examined. We investigated whether emotional music is remembered better than less emotional music. Also, we examined the influence of musical structure on memory performance. Results Recognition of 40 musical excerpts was investigated as a function of arousal, valence, and emotional intensity ratings of the music. In the first session the participants judged valence and arousal of the musical pieces. One week later, participants listened to the 40 old and 40 new musical excerpts randomly interspersed and were asked to make an old/new decision as well as to indicate arousal and valence of the pieces. Musical pieces that were rated as very positive were recognized significantly better. Conclusion Musical excerpts rated as very positive are remembered better. Valence seems to be an important modulator of episodic long-term memory for music. Evidently, strong emotions related to the musical experience facilitate memory formation and retrieval.

Social and Emotional Function of Music Listening: Reasons for Listening to Music

Science.gov (United States)

Gurgen, Elif Tekin

2016-01-01

Problem Statement: The reasons that people listen to music have been investigated for many years. Research results over the past 50 years have showed that individual musical preference is influenced by multiple factors. Many studies have shown throughout that music has been used to induce emotional states, express, activate, control emotions,…

Music therapy, emotions and the heart: a pilot study.

Science.gov (United States)

Raglio, Alfredo; Oasi, Osmano; Gianotti, Marta; Bellandi, Daniele; Manzoni, Veronica; Goulene, Karine; Imbriani, Chiara; Badiale, Marco Stramba

2012-01-01

The autonomic nervous system plays an important role in the control of cardiac function. It has been suggested that sound and music may have effects on the autonomic control of the heart inducing emotions, concomitantly with the activation of specific brain areas, i.e. the limbic area, and they may exert potential beneficial effects. This study is a prerequisite and defines a methodology to assess the relation between changes in cardiac physiological parameters such as heart rate, QT interval and their variability and the psychological responses to music therapy sessions. We assessed the cardiac physiological parameters and psychological responses to a music therapy session. ECG Holter recordings were performed before, during and after a music therapy session in 8 healthy individuals. The different behaviors of the music therapist and of the subjects have been analyzed with a specific music therapy assessment (Music Therapy Checklist). After the session mean heart rate decreased (p = 0.05), high frequency of heart rate variability tended to be higher and QTc variability tended to be lower. During music therapy session "affect attunements" have been found in all subjects but one. A significant emotional activation was associated to a higher dynamicity and variations of sound-music interactions. Our results may represent the rational basis for larger studies in diferent clinical conditions.

The effect of preferred music genre selection versus preferred song selection on experimentally induced anxiety levels.

Science.gov (United States)

Walworth, Darcy DeLoach

2003-01-01

The purpose of this study was to investigate the differences of experimentally induced anxiety levels reached by subjects listening to no music (n = 30), subjects listening to music selected by the experimenter from the subject's preferred genre or artist listed as relaxing (n = 30), and subjects listening to a specific song they listed as relaxing (n = 30). Subjects consisted of 90 individuals, male and female, randomly assigned to one of the three groups mentioned above. Subjects in either music group filled out a questionnaire prior to participating in the study indicating their preference of music used for relaxation purposes. Subjects in Experimental Group 1 marked their preferred genres and/or artists, and Experimental Group 2 marked specific songs used for relaxation purposes. While the experimenter hypothesized subjects in Experimental Group 2 would show less anxiety than both the control group and Experimental Group 1, there were no significant differences found between the 2 music groups in anxiety levels reached. However, there was a statistically significant difference between the no music control group and both music groups in the anxiety level reached by subjects. Subjects listening to music, both songs chosen by the experimenter and subject selected songs, showed significantly less anxiety than subjects not listening to music.

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

Science.gov (United States)

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.

The role of emotion in musical improvisation: an analysis of structural features.

Directory of Open Access Journals (Sweden)

Malinda J McPherson

Full Text Available One of the primary functions of music is to convey emotion, yet how music accomplishes this task remains unclear. For example, simple correlations between mode (major vs. minor and emotion (happy vs. sad do not adequately explain the enormous range, subtlety or complexity of musically induced emotions. In this study, we examined the structural features of unconstrained musical improvisations generated by jazz pianists in response to emotional cues. We hypothesized that musicians would not utilize any universal rules to convey emotions, but would instead combine heterogeneous musical elements together in order to depict positive and negative emotions. Our findings demonstrate a lack of simple correspondence between emotions and musical features of spontaneous musical improvisation. While improvisations in response to positive emotional cues were more likely to be in major keys, have faster tempos, faster key press velocities and more staccato notes when compared to negative improvisations, there was a wide distribution for each emotion with components that directly violated these primary associations. The finding that musicians often combine disparate features together in order to convey emotion during improvisation suggests that structural diversity may be an essential feature of the ability of music to express a wide range of emotion.

The Effect of Music on the Spirituality of Patients: A Systematic Review.

Science.gov (United States)

Alvarenga, Willyane de Andrade; Leite, Ana Carolina Andrade Biaggi; Oliveira, Marina Sanches; Nascimento, Lucila Castanheira; Silva-Rodrigues, Fernanda Machado; Nunes, Michelle Darezzo Rodrigues; Carvalho, Emilia Campos de

2018-06-01

Although some studies have suggested that music can positively affect physical and psychological variables, few have evaluated its effects on spirituality. This study aimed to evaluate the effects of musical interventions on the spirituality of patients, regardless of diagnoses. This was a systematic literature review that followed the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) recommendations conducted through a relevant search of terms in six databases (PubMed, Web of Science, CINAHL, PsycINFO, ScienceDirect, and LILACS) without temporal delimitation. Experimental or quasi-experimental studies were included, involving participants regardless of diagnoses, to assess the effect of music on spirituality, either through musical intervention as music medicine or through music therapy. The methodological quality of included studies was evaluated using the Physiotherapy Evidence Database scale. A total of 147 studies were identified; 7 met the inclusion criteria. Five studies were randomized controlled trials involving six music therapists leading the musical intervention with the active participation of patients. The interventions used were heterogeneous. Three studies were associated with improved spirituality after the intervention. Four studies used measurements to evaluate spiritual well-being. This review did not allow ascertaining the positive impact of music intervention on spirituality in patients, which motivates further research.

Emotional memory for musical excerpts in young and older adults

Science.gov (United States)

Alonso, Irene; Dellacherie, Delphine; Samson, Séverine

2015-01-01

The emotions evoked by music can enhance recognition of excerpts. It has been suggested that memory is better for high than for low arousing music (Eschrich et al., 2005; Samson et al., 2009), but it remains unclear whether positively (Eschrich et al., 2008) or negatively valenced music (Aubé et al., 2013; Vieillard and Gilet, 2013) may be better recognized. Moreover, we still know very little about the influence of age on emotional memory for music. To address these issues, we tested emotional memory for music in young and older adults using musical excerpts varying in terms of arousal and valence. Participants completed immediate and 24 h delayed recognition tests. We predicted highly arousing excerpts to be better recognized by both groups in immediate recognition. We hypothesized that arousal may compensate consolidation deficits in aging, thus showing more prominent benefit of high over low arousing stimuli in older than younger adults on delayed recognition. We also hypothesized worst retention of negative excerpts for the older group, resulting in a recognition benefit for positive over negative excerpts specific to older adults. Our results suggest that although older adults had worse recognition than young adults overall, effects of emotion on memory do not seem to be modified by aging. Results on immediate recognition suggest that recognition of low arousing excerpts can be affected by valence, with better memory for positive relative to negative low arousing music. However, 24 h delayed recognition results demonstrate effects of emotion on memory consolidation regardless of age, with a recognition benefit for high arousal and for negatively valenced music. The present study highlights the role of emotion on memory consolidation. Findings are examined in light of the literature on emotional memory for music and for other stimuli. We finally discuss the implication of the present results for potential music interventions in aging and dementia. PMID

Emotional memory for musical excerpts in young and older adults.

Science.gov (United States)

Alonso, Irene; Dellacherie, Delphine; Samson, Séverine

2015-01-01

The emotions evoked by music can enhance recognition of excerpts. It has been suggested that memory is better for high than for low arousing music (Eschrich et al., 2005; Samson et al., 2009), but it remains unclear whether positively (Eschrich et al., 2008) or negatively valenced music (Aubé et al., 2013; Vieillard and Gilet, 2013) may be better recognized. Moreover, we still know very little about the influence of age on emotional memory for music. To address these issues, we tested emotional memory for music in young and older adults using musical excerpts varying in terms of arousal and valence. Participants completed immediate and 24 h delayed recognition tests. We predicted highly arousing excerpts to be better recognized by both groups in immediate recognition. We hypothesized that arousal may compensate consolidation deficits in aging, thus showing more prominent benefit of high over low arousing stimuli in older than younger adults on delayed recognition. We also hypothesized worst retention of negative excerpts for the older group, resulting in a recognition benefit for positive over negative excerpts specific to older adults. Our results suggest that although older adults had worse recognition than young adults overall, effects of emotion on memory do not seem to be modified by aging. Results on immediate recognition suggest that recognition of low arousing excerpts can be affected by valence, with better memory for positive relative to negative low arousing music. However, 24 h delayed recognition results demonstrate effects of emotion on memory consolidation regardless of age, with a recognition benefit for high arousal and for negatively valenced music. The present study highlights the role of emotion on memory consolidation. Findings are examined in light of the literature on emotional memory for music and for other stimuli. We finally discuss the implication of the present results for potential music interventions in aging and dementia.

Emotional memory for musical excerpts in young and older adults.

Directory of Open Access Journals (Sweden)

Irene eAlonso

2015-03-01

Full Text Available The emotions evoked by music can enhance recognition of excerpts. It has been suggested that memory is better for high than for low arousing music (Eschrich et al., 2005; Samson et al., 2009, but it remains unclear whether positively (Eschrich et al., 2008 or negatively valenced music (Aubé et al., 2013; Vieillard and Gilet, 2013 may be better recognized. Moreover, we still know very little about the influence of age on emotional memory for music. To address these issues, we tested emotional memory for music in young and older adults using musical excerpts varying in terms of arousal and valence. Participants completed immediate and 24h delayed recognition tests. We predicted highly arousing excerpts to be better recognized by both groups in immediate recognition. We hypothesized that arousal may compensate consolidation deficits in aging, thus showing more prominent benefit of high over low arousing stimuli in older than younger adults on delayed recognition. We also hypothesized worst retention of negative excerpts for the older group, resulting in a recognition benefit for positive over negative excerpts specific to older adults. Our results suggest that although older adults had worse recognition than young adults overall, effects of emotion on memory do not seem to be modified by aging. Results on immediate recognition suggest that recognition of low arousing excerpts can be affected by valence, with better memory for positive relative to negative low arousing music. However, 24h delayed recognition results demonstrate effects of emotion on memory consolidation regardless of age, with a recognition benefit for high arousal and for negatively valenced music. The present study highlights the role of emotion on memory consolidation. Findings are examined in light of to the literature on emotional memory for music and for other stimuli. We finally discuss the implication of the present results for potential music interventions in aging and

Investigation of synchronization between musical beat and heartbeat with cardio-music synchrogram

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Fukumoto, Makoto; Nomura, Shusaku; Sawai, Masahiro; Imai, Jun-Ichi; Nagashima, Tomomasa

To illuminate the synchronization phenomena between heartbeat and music, the effects of a sedative music of variable tempo on heart rates were investigated. In the experiment, nine subjects were exposed to the sedative music with having changes in its tempo. The tempo gradually increases, decreases, or stands stable in the music (hereafter these experimental condition are named as Up, Down, and Flat condition). With regard to the analysis of synchronization, we introduced our formerly developed Cardio-Music Synchrogram, which was used to extract statistically significant synchronization period between heartbeat and music. As a result, it was suggested that the sedative music in Down condition induced synchronization more frequently than Flat and Up conditions.

Psychophysiological effects of synchronous versus asynchronous music during cycling.

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Lim, Harry B T; Karageorghis, Costas I; Romer, Lee M; Bishop, Daniel T

2014-02-01

Synchronizing movement to a musical beat may reduce the metabolic cost of exercise, but findings to date have been equivocal. Our aim was to examine the degree to which the synchronous application of music moderates the metabolic demands of a cycle ergometer task. Twenty-three recreationally active men made two laboratory visits. During the first visit, participants completed a maximal incremental ramp test on a cycle ergometer. At the second visit, they completed four randomized 6-min cycling bouts at 90% of ventilatory threshold (control, metronome, synchronous music, and asynchronous music). Main outcome variables were oxygen uptake, HR, ratings of dyspnea and limb discomfort, affective valence, and arousal. No significant differences were evident for oxygen uptake. HR was lower under the metronome condition (122 ± 15 bpm) compared to asynchronous music (124 ± 17 bpm) and control (125 ± 16 bpm). Limb discomfort was lower while listening to the metronome (2.5 ± 1.2) and synchronous music (2.3 ± 1.1) compared to control (3.0 ± 1.5). Both music conditions, synchronous (1.9 ± 1.2) and asynchronous (2.1 ± 1.3), elicited more positive affective valence compared to metronome (1.2 ± 1.4) and control (1.2 ± 1.2), while arousal was higher with synchronous music (3.4 ± 0.9) compared to metronome (2.8 ± 1.0) and control (2.8 ± 0.9). Synchronizing movement to a rhythmic stimulus does not reduce metabolic cost but may lower limb discomfort. Moreover, synchronous music has a stronger effect on limb discomfort and arousal when compared to asynchronous music.

Expression of emotion in Eastern and Western music mirrors vocalization.

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Bowling, Daniel Liu; Sundararajan, Janani; Han, Shui'er; Purves, Dale

2012-01-01

In Western music, the major mode is typically used to convey excited, happy, bright or martial emotions, whereas the minor mode typically conveys subdued, sad or dark emotions. Recent studies indicate that the differences between these modes parallel differences between the prosodic and spectral characteristics of voiced speech sounds uttered in corresponding emotional states. Here we ask whether tonality and emotion are similarly linked in an Eastern musical tradition. The results show that the tonal relationships used to express positive/excited and negative/subdued emotions in classical South Indian music are much the same as those used in Western music. Moreover, tonal variations in the prosody of English and Tamil speech uttered in different emotional states are parallel to the tonal trends in music. These results are consistent with the hypothesis that the association between musical tonality and emotion is based on universal vocal characteristics of different affective states.

Exposure to Mozart music reduces cognitive impairment in pilocarpine-induced status epilepticus rats.

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Xing, Yingshou; Qin, Yi; Jing, Wei; Zhang, Yunxiang; Wang, Yanran; Guo, Daqing; Xia, Yang; Yao, Dezhong

2016-02-01

Patients with temporal lobe epilepsy (TLE) often display cognitive deficits. However, current epilepsy therapeutic interventions mainly aim at how to reduce the frequency and degree of epileptic seizures. Recovery of cognitive impairment is not attended enough, resulting in the lack of effective approaches in this respect. In the pilocarpine-induced temporal lobe epilepsy rat model, memory impairment has been classically reported. Here we evaluated spatial cognition changes at different epileptogenesis stages in rats of this model and explored the effects of long-term Mozart music exposure on the recovery of cognitive ability. Our results showed that pilocarpine rats suffered persisting cognitive impairment during epileptogenesis. Interestingly, we found that Mozart music exposure can significantly enhance cognitive ability in epileptic rats, and music intervention may be more effective for improving cognitive function during the early stages after Status epilepticus. These findings strongly suggest that Mozart music may help to promote the recovery of cognitive damage due to seizure activities, which provides a novel intervention strategy to diminish cognitive deficits in TLE patients.

Class Position and Musical Tastes: A Sing-Off between the Cultural Omnivorism and Bourdieusian Homology Frameworks.

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Veenstra, Gerry

2015-05-01

The longstanding debate between the homology and omnivorism approaches to the class bases of cultural tastes and practices rages on in cultural sociology. The homology thesis claims that class positions throughout the class hierarchy are accompanied by specified cultural tastes and specialized modes of appreciating them while the cultural omnivorism thesis contends that elites are (increasingly) characterized by a breadth of cultural tastes of any and all kinds. This study tests the applicability of these theses to musical tastes in Canada through the application of multiple correspondence analysis, latent class analysis, and logistic regression modeling to original telephone survey data (n = 1,595) from Toronto and Vancouver. I find that musical omnivorism, an appreciation for diverse musical styles, is not dispersed along class lines. Instead I find a homology between class position and musical tastes that designates blues, choral, classical, jazz, musical theater, opera, pop, reggae, rock, and world/international as relatively highbrow and country, disco, easy listening, golden oldies, heavy metal, and rap as relatively lowbrow. Of the highbrow tastes, all but jazz are disliked by lower class people, and of the lowbrow tastes, country, easy listening, and golden oldies are concurrently disliked by higher class people. Consistent with the homology thesis, it appears that class position is aligned with specific musical likes and dislikes. Le vieux débat entre les approches de l'homologie et de l'omnivorisme aux bases des classes des goûts et des pratiques culturels fait rage dans la sociologie culturelle. La thèse de l'homologie prétend que les positions des classes à travers la hiérarchie des classes sont accompagnées par des goûts culturels spécifiés et des modes spécialisés permettant leur appréciation. La thèse de l'omnivorisme culturel, en revanche, soutient que les élites sont (de plus en plus) caractérisées par un éventail de go

Tuvan music and World Music

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Maxim V. Chaposhnikov

2017-06-01

Full Text Available The essay presents the author’s observations about the ingression of Tuvan music into the World Music – a niche of world musical culture covering ethnical music traditions. The author has witnessed the rise of interest to traditional musical culture of Tuva and Russia as well as globalization of Tuvan music. He is endeavoring to interpret these changes and reveal their affect on traditional music and xöömei. In the late Soviet period, traditional music in Tuva, like in many republics of the Union, has been as if put on hold. During the Perestroika and national revival processes, traditionalism became of high demand. Symposia and festivals started off in Tuva where amateur participants took the same stage with professionals. Special honor was paid to old masters of xöömei. Scholars started engaging in  discussions about the origins and a role of xöömei and its genres. Хöömei attracted a good deal of market interest from outside Russia. In the late 1980s American scientist and producer T. Levin made first field records of xöömei to be released on a disk. Ethnographic ensemble “Tuva” was established. Later, members of “Tuva” started their own musical bands. Musical programs were compiled as an ethnographic variety show – a principle that the public has been seeking for both in Tuva and abroad. Disks were realeased and artists started active touring in foreign countries. Boosting interest in World Music was marked with hallmark attention to the phenomenon of throat-singing and overtone music, and further evolution of Tuvan music has since been tightly linked to Western musical market. The author traces the peculiarities of such bands as “Huun Huur Tu”, “Yat-Kha”, etc. and remarks that the value of Tuvan music is not only in star performers shining on the Western skies, but in the rise of a stable community of people inspired by Tuvan music and culture, and seeking new ways of aesthetic and spiritual perception of

Music Education and Medicine: Music and the Neurology of Time.

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Wilson, Frank R.

1991-01-01

Explores how the body's biological clock affects the way musicians practice and perform. Delineates questions concerning this phenomenon. Discusses the implications for music teaching and focuses on areas for collaborative research between neurology researchers and music educators. (NL)

On music Therapy : Music and Healing

OpenAIRE

栗林, 文雄

1996-01-01

The theory of sound as energy is based on the relationship between music and positive humanfeelings. It was discussed the music therapy is effective in the care and cure of elderly with behavioral disorderssuch as senile dementia, and in patients in palliative medicine wards with cancer and in patientswith various kinds of mental disorders such as schizophrenia. alcohol. drug addiction and so on.

Does Listening to Music during Tonsillectomy Affect Sevoflurane Consumption?

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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.

The positive group affect spiral : a dynamic model of the emergence of positive affective similarity in work groups

NARCIS (Netherlands)

Walter, F.; Bruch, H.

This conceptual paper seeks to clarify the process of the emergence of positive collective affect. Specifically, it develops a dynamic model of the emergence of positive affective similarity in work groups. It is suggested that positive group affective similarity and within-group relationship

The impact of thin models in music videos on adolescent girls' body dissatisfaction.

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Bell, Beth T; Lawton, Rebecca; Dittmar, Helga

2007-06-01

Music videos are a particularly influential, new form of mass media for adolescents, which include the depiction of scantily clad female models whose bodies epitomise the ultra-thin sociocultural ideal for young women. The present study is the first exposure experiment that examines the impact of thin models in music videos on the body dissatisfaction of 16-19-year-old adolescent girls (n=87). First, participants completed measures of positive and negative affect, body image, and self-esteem. Under the guise of a memory experiment, they then either watched three music videos, listened to three songs (from the videos), or learned a list of words. Affect and body image were assessed afterwards. In contrast to the music listening and word-learning conditions, girls who watched the music videos reported significantly elevated scores on an adaptation of the Body Image States Scale after exposure, indicating increased body dissatisfaction. Self-esteem was not found to be a significant moderator of this relationship. Implications and future research are discussed.

Partial Sleep Deprivation Attenuates the Positive Affective System: Effects Across Multiple Measurement Modalities.

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Finan, Patrick H; Quartana, Phillip J; Remeniuk, Bethany; Garland, Eric L; Rhudy, Jamie L; Hand, Matthew; Irwin, Michael R; Smith, Michael T

2017-01-01

Ample behavioral and neurobiological evidence links sleep and affective functioning. Recent self-report evidence suggests that the affective problems associated with sleep loss may be stronger for positive versus negative affective state and that those effects may be mediated by changes in electroencepholographically measured slow wave sleep (SWS). In the present study, we extend those preliminary findings using multiple measures of affective functioning. In a within-subject randomized crossover experiment, we tested the effects of one night of sleep continuity disruption via forced awakenings (FA) compared to one night of uninterrupted sleep (US) on three measures of positive and negative affective functioning: self-reported affective state, affective pain modulation, and affect-biased attention. The study was set in an inpatient clinical research suite. Healthy, good sleeping adults (N = 45) were included. Results indicated that a single night of sleep continuity disruption attenuated positive affective state via FA-induced reductions in SWS. Additionally, sleep continuity disruption attenuated the inhibition of pain by positive affect as well as attention bias to positive affective stimuli. Negative affective state, negative affective pain facilitation, nor negative attention bias were altered by sleep continuity disruption. The present findings, observed across multiple measures of affective function, suggest that sleep continuity disruption has a stronger influence on the positive affective system relative to the negative affective affective system. © Sleep Research Society 2016. Published by Oxford University Press on behalf of the Sleep Research Society. All rights reserved. For permissions, please e-mail journals.permissions@oup.com.

Influence of musical expertise and musical training on pitch processing in music and language.

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Besson, Mireille; Schön, Daniele; Moreno, Sylvain; Santos, Andréia; Magne, Cyrille

2007-01-01

We review a series of experiments aimed at studying pitch processing in music and speech. These studies were conducted with musician and non musician adults and children. We found that musical expertise improved pitch processing not only in music but also in speech. Demonstrating transfer of training between music and language has interesting applications for second language learning. We also addressed the issue of whether the positive effects of musical expertise are linked with specific predispositions for music or with extensive musical practice. Results of longitudinal studies argue for the later. Finally, we also examined pitch processing in dyslexic children and found that they had difficulties discriminating strong pitch changes that are easily discriminate by normal readers. These results argue for a strong link between basic auditory perception abilities and reading abilities. We used conjointly the behavioral method (Reaction Times and error rates) and the electrophysiological method (recording of the changes in brain electrical activity time-locked to stimulus presentation, Event-Related brain Potentials or ERPs). A set of common processes may be responsible for pitch processing in music and in speech and these processes are shaped by musical practice. These data add evidence in favor of brain plasticity and open interesting perspectives for the remediation of dyslexia using musical training.

The Dynamics of Multiculturalism in "Music Matters: A Philosophy of Music Education"

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Bradley, Deborah

2015-01-01

This review of "Music Matters," Second Edition, focuses on the portion of Chapter 13: "Music Education and Curriculum," dedicated to the discussion of multicultural music education. Discussions are presented through the discursive lens of antiracism and critical multiculturalism, positioned against the backdrop of the racial…

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

Expression of emotion in Eastern and Western music mirrors vocalization.

Directory of Open Access Journals (Sweden)

Daniel Liu Bowling

Full Text Available In Western music, the major mode is typically used to convey excited, happy, bright or martial emotions, whereas the minor mode typically conveys subdued, sad or dark emotions. Recent studies indicate that the differences between these modes parallel differences between the prosodic and spectral characteristics of voiced speech sounds uttered in corresponding emotional states. Here we ask whether tonality and emotion are similarly linked in an Eastern musical tradition. The results show that the tonal relationships used to express positive/excited and negative/subdued emotions in classical South Indian music are much the same as those used in Western music. Moreover, tonal variations in the prosody of English and Tamil speech uttered in different emotional states are parallel to the tonal trends in music. These results are consistent with the hypothesis that the association between musical tonality and emotion is based on universal vocal characteristics of different affective states.

Studying emotion induced by music through a crowdsourcing game

NARCIS (Netherlands)

Aljanaki, A.; Wiering, F.; Veltkamp, R.C.

One of the major reasons why people find music so enjoyable is its emotional impact. Creating emotion-based playlists is a natural way of organizing music. The usability of online music streaming services could be greatly improved by developing emotion-based access methods, and automatic music

The influence of music and music therapy on pain-induced neuronal oscillations measured by magnetencephalography.

Science.gov (United States)

Hauck, Michael; Metzner, Susanne; Rohlffs, Fiona; Lorenz, Jürgen; Engel, Andreas K

2013-04-01

Modern forms of music therapy are clinically established for various therapeutic or rehabilitative goals, especially in the treatment of chronic pain. However, little is known about the neuronal mechanisms that underlie pain modulation by music. Therefore, we attempted to characterize the effects of music therapy on pain perception by comparing the effects of 2 different therapeutic concepts, referred to as receptive and entrainment methods, on cortical activity recorded by magnetencephalography in combination with laser heat pain. Listening to preferred music within the receptive method yielded a significant reduction of pain ratings associated with a significant power reduction of delta-band activity in the cingulate gyrus, which suggests that participants displaced their focus of attention away from the pain stimulus. On the other hand, listening to self-composed "pain music" and "healing music" within the entrainment method exerted major effects on gamma-band activity in primary and secondary somatosensory cortices. Pain music, in contrast to healing music, increased pain ratings in parallel with an increase in gamma-band activity in somatosensory brain structures. In conclusion, our data suggest that the 2 music therapy approaches operationalized in this study seem to modulate pain perception through at least 2 different mechanisms, involving changes of activity in the delta and gamma bands at different stages of the pain processing system. Copyright © 2012 International Association for the Study of Pain. Published by Elsevier B.V. All rights reserved.

Reading Emotion From Mouse Cursor Motions: Affective Computing Approach.

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Yamauchi, Takashi; Xiao, Kunchen

2018-04-01

Affective computing research has advanced emotion recognition systems using facial expressions, voices, gaits, and physiological signals, yet these methods are often impractical. This study integrates mouse cursor motion analysis into affective computing and investigates the idea that movements of the computer cursor can provide information about emotion of the computer user. We extracted 16-26 trajectory features during a choice-reaching task and examined the link between emotion and cursor motions. Participants were induced for positive or negative emotions by music, film clips, or emotional pictures, and they indicated their emotions with questionnaires. Our 10-fold cross-validation analysis shows that statistical models formed from "known" participants (training data) could predict nearly 10%-20% of the variance of positive affect and attentiveness ratings of "unknown" participants, suggesting that cursor movement patterns such as the area under curve and direction change help infer emotions of computer users. Copyright © 2017 Cognitive Science Society, Inc.

"Postponed Endings": Youth Music and Affective Politics in Post-Uprisings Egypt

OpenAIRE

Sprengel, Darci

2017-01-01

This dissertation examines how Egyptian youth use “do-it-yourself” (DIY) music to produce social change under conditions of authoritarianism. DIY music is made by youth, who use low-budget home studios and Internet software to produce innovative new styles that mix Arab musical aesthetics with globally-circulating genres such as hip-hop, rock, jazz, metal, and electronic music. Building from approximately 30 months of ethnographic fieldwork in Cairo and Alexandria, Egypt since 2010, it demons...

Effects of mood induction via music on cardiovascular measures of negative emotion during simulated driving.

Science.gov (United States)

Fairclough, Stephen H; van der Zwaag, Marjolein; Spiridon, Elena; Westerink, Joyce

2014-04-22

A study was conducted to investigate the potential of mood induction via music to influence cardiovascular correlates of negative emotions experience during driving behaviour. One hundred participants were randomly assigned to one of five groups, four of whom experienced different categories of music: High activation/positive valence (HA/PV), high activation/negative valence (HA/NV), low activation/positive valence (LA/PV) and low activation/negative valence (LA/NV). Following exposure to their respective categories of music, participants were required to complete a simulated driving journey with a fixed time schedule. Negative emotion was induced via exposure to stationary traffic during the simulated route. Cardiovascular reactivity was measured via blood pressure, heart rate and cardiovascular impedance. Subjective self-assessment of anger and mood was also recorded. Results indicated that low activation music, regardless of valence, reduced systolic reactivity during the simulated journey relative to HA/NV music and the control (no music) condition. Self-reported data indicated that participants were not consciously aware of any influence of music on their subjective mood. It is concluded that cardiovascular reactivity to negative mood may be mediated by the emotional properties of music. Copyright © 2014 Elsevier Inc. All rights reserved.

Perception and Modeling of Affective Qualities of Musical Instrument Sounds across Pitch Registers.

Science.gov (United States)

McAdams, Stephen; Douglas, Chelsea; Vempala, Naresh N

2017-01-01

Composers often pick specific instruments to convey a given emotional tone in their music, partly due to their expressive possibilities, but also due to their timbres in specific registers and at given dynamic markings. Of interest to both music psychology and music informatics from a computational point of view is the relation between the acoustic properties that give rise to the timbre at a given pitch and the perceived emotional quality of the tone. Musician and nonmusician listeners were presented with 137 tones produced at a fixed dynamic marking (forte) playing tones at pitch class D# across each instrument's entire pitch range and with different playing techniques for standard orchestral instruments drawn from the brass, woodwind, string, and pitched percussion families. They rated each tone on six analogical-categorical scales in terms of emotional valence (positive/negative and pleasant/unpleasant), energy arousal (awake/tired), tension arousal (excited/calm), preference (like/dislike), and familiarity. Linear mixed models revealed interactive effects of musical training, instrument family, and pitch register, with non-linear relations between pitch register and several dependent variables. Twenty-three audio descriptors from the Timbre Toolbox were computed for each sound and analyzed in two ways: linear partial least squares regression (PLSR) and nonlinear artificial neural net modeling. These two analyses converged in terms of the importance of various spectral, temporal, and spectrotemporal audio descriptors in explaining the emotion ratings, but some differences also emerged. Different combinations of audio descriptors make major contributions to the three emotion dimensions, suggesting that they are carried by distinct acoustic properties. Valence is more positive with lower spectral slopes, a greater emergence of strong partials, and an amplitude envelope with a sharper attack and earlier decay. Higher tension arousal is carried by brighter sounds

Emotions evoked by the sound of music: characterization, classification, and measurement.

Science.gov (United States)

Zentner, Marcel; Grandjean, Didier; Scherer, Klaus R

2008-08-01

One reason for the universal appeal of music lies in the emotional rewards that music offers to its listeners. But what makes these rewards so special? The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies. Studies 1 and 2 (n=354) were conducted to compile a list of music-relevant emotion terms and to study the frequency of both felt and perceived emotions across 5 groups of listeners with distinct music preferences. Emotional responses varied greatly according to musical genre and type of response (felt vs. perceived). Study 3 (n=801)--a field study carried out during a music festival--examined the structure of music-induced emotions via confirmatory factor analysis of emotion ratings, resulting in a 9-factorial model of music-induced emotions. Study 4 (n=238) replicated this model and found that it accounted for music-elicited emotions better than the basic emotion and dimensional emotion models. A domain-specific device to measure musically induced emotions is introduced--the Geneva Emotional Music Scale.

General Music and Children Living in Poverty

Science.gov (United States)

McAnally, Elizabeth Ann

2013-01-01

A review of recent writing makes the case that children living in poverty (urban, rural, or other) are more in jeopardy now than ever. As teachers attest and research asserts, poverty affects children in profound, complicated, and lasting ways. However, the general music program is uniquely positioned to meet children’s needs, especially those…

Musical intervention enhances infants' neural processing of temporal structure in music and speech.

Science.gov (United States)

Zhao, T Christina; Kuhl, Patricia K

2016-05-10

Individuals with music training in early childhood show enhanced processing of musical sounds, an effect that generalizes to speech processing. However, the conclusions drawn from previous studies are limited due to the possible confounds of predisposition and other factors affecting musicians and nonmusicians. We used a randomized design to test the effects of a laboratory-controlled music intervention on young infants' neural processing of music and speech. Nine-month-old infants were randomly assigned to music (intervention) or play (control) activities for 12 sessions. The intervention targeted temporal structure learning using triple meter in music (e.g., waltz), which is difficult for infants, and it incorporated key characteristics of typical infant music classes to maximize learning (e.g., multimodal, social, and repetitive experiences). Controls had similar multimodal, social, repetitive play, but without music. Upon completion, infants' neural processing of temporal structure was tested in both music (tones in triple meter) and speech (foreign syllable structure). Infants' neural processing was quantified by the mismatch response (MMR) measured with a traditional oddball paradigm using magnetoencephalography (MEG). The intervention group exhibited significantly larger MMRs in response to music temporal structure violations in both auditory and prefrontal cortical regions. Identical results were obtained for temporal structure changes in speech. The intervention thus enhanced temporal structure processing not only in music, but also in speech, at 9 mo of age. We argue that the intervention enhanced infants' ability to extract temporal structure information and to predict future events in time, a skill affecting both music and speech processing.

Impact of Substance Messages in Music Videos on Youth: Beware the Influence of Connectedness and Its Potential Prevention-Shielding Effect.

Science.gov (United States)

Russell, Cristel Antonia; Régnier-Denois, Véronique; Chapoton, Boris; Buhrau, Denise

2017-09-01

Two studies were conducted to investigate the role of connectedness with music videos in affecting youths' beliefs about substances (alcohol and tobacco) embedded therein and the potential for a prevention message to limit the impact of these images. The first study used cross-sectional data from a national sample of 1,023 adolescents (54.3% male) to evaluate the relationship between youths' consumption of music videos and their beliefs about the consequences of consuming alcohol and tobacco. A controlled experiment with 151 participants (57% male) then tested whether exposure to smoking in a video affects youths' smoking beliefs and the preventive potential of a pre-video warning. Connectedness to music videos, not overall amount of viewing, is the main correlate of beliefs about the positive outcomes of consuming alcohol/tobacco. A single exposure to a music video with smoking images can increase beliefs that smoking leads to positive consequences, and connected viewers are especially receptive to these images. Alerting youths to the presence of substance messages in a video leads to differential results as a function of connectedness. Many youths spend hours every day watching music videos in which positive visuals about drinking and smoking abound. Rather than the quantity of viewing, it is the degree to which youths immerse themselves in these music videos that enhances their beliefs that smoking and drinking have positive consequences. Interventions that warn youths about the presence of substances in music videos can minimize their influence, but youths highly connected with the music video content are especially resistant to warnings.

[Music and Glaucoma].

Science.gov (United States)

Plange, N

2017-02-01

Music may have multiple influences on the human organism. A possible therapeutic effect for patients with glaucoma has been postulated, aside from the known impact of music on the cardiovascular system, psychogenic effects and a short-term improvement in mental performance (Mozart effect). The higher level of mental stress in patients with glaucoma and type-A personality behaviour may be related to higher intraocular pressure in patients with glaucoma. Relaxing music may have a positive impact in these patients, related to a reduction in intraocular pressure or its fluctuations. However, only limited data exist on the effects of music on intraocular pressure. No clinical studies have yet been performed to investigate the effect of music or music therapy on glaucoma progression. The music of Mozart may influence visual field examinations, possibly due to a positive short term effect on mental performance. This factor needs to be addressed in studies dealing with the effect of music in glaucoma. The relevance of intraocular pressure increases in professional wind instrument players is controversial. An increased level of care might be advisable in patients with advanced glaucoma. The influences of music on humans, altered personality profiles in patients with glaucoma and the studies showing some effect of stress on intraocular pressure stress the relevance of psychological support for glaucoma patients, who are confronted with a disease with a high longterm risk of blindness. Georg Thieme Verlag KG Stuttgart · New York.

See Hear: psychological effects of music and music-video during treadmill running

OpenAIRE

Hutchinson, Jasmin C.; Karageorghis, Costas I.; Jones, Leighton

2015-01-01

Background:\\ud There is a paucity of work addressing the distractive, affect-enhancing, and motivational influences of music and video in combination during exercise.\\ud \\ud Purpose:\\ud We examined the effects of music and music-and-video on a range of psychological and psychophysical variables during treadmill running at intensities above and below ventilatory threshold (VT)\\ud \\ud Methods:\\ud Participants (N = 24) exercised at 10 % of maximal capacity below VT and 10 % above under music-onl...

Freeing the performer’s mind: A structural exploration of how mindfulness influences music performance anxiety, negative affect and self-consciousness among musicians

OpenAIRE

Rodríguez-Carvajal, Raquel; Vilte, Luz-Sofía; Lecuona, Oscar; Moreno-Jiménez, Jennifer; De Rivas, Sara

2017-01-01

Music performing usually binds intense psychological experiences, from which music performance anxiety (MPA) is amongst the most damaging and pervasive ones. Alongside, some constructs seem to be associated with MPA, like negative affect and self-consciousness. In the interaction between these three elements, mindfulness seems to be an effective tool to cope with MPA by altering the relationships between it and self-consciousness or negative affect. In this study, a structural model is propos...

Music, emotion, and time perception: the influence of subjective emotional valence and arousal?

Science.gov (United States)

Droit-Volet, Sylvie; Ramos, Danilo; Bueno, José L. O.; Bigand, Emmanuel

2013-01-01

The present study used a temporal bisection task with short (2 s) stimulus durations to investigate the effect on time estimation of several musical parameters associated with emotional changes in affective valence and arousal. In order to manipulate the positive and negative valence of music, Experiments 1 and 2 contrasted the effect of musical structure with pieces played normally and backwards, which were judged to be pleasant and unpleasant, respectively. This effect of valence was combined with a subjective arousal effect by changing the tempo of the musical pieces (fast vs. slow) (Experiment 1) or their instrumentation (orchestral vs. piano pieces). The musical pieces were indeed judged more arousing with a fast than with a slow tempo and with an orchestral than with a piano timbre. In Experiment 3, affective valence was also tested by contrasting the effect of tonal (pleasant) vs. atonal (unpleasant) versions of the same musical pieces. The results showed that the effect of tempo in music, associated with a subjective arousal effect, was the major factor that produced time distortions with time being judged longer for fast than for slow tempi. When the tempo was held constant, no significant effect of timbre on the time judgment was found although the orchestral music was judged to be more arousing than the piano music. Nevertheless, emotional valence did modulate the tempo effect on time perception, the pleasant music being judged shorter than the unpleasant music. PMID:23882233

Music, Emotion and Time Perception: The influence of subjective emotional valence and arousal?

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SYLVIE eDROIT-VOLET

2013-07-01

Full Text Available The present study used a temporal bisection task with short (< 2 s and long (> 2 s stimulus durations to investigate the effect on time estimation of several musical parameters associated with emotional changes in affective valence and arousal. In order to manipulate the positive and negative valence of music, Experiments 1 and 2 contrasted the effect of musical structure with pieces played normally and backwards, which were judged to be pleasant and unpleasant, respectively. This effect of valence was combined with a subjective arousal effect by changing the tempo of the musical pieces (fast vs. slow (Experiment 1 or their instrumentation (orchestral vs. piano pieces. The musical pieces were indeed judged more arousing with a fast than with a slow tempo and with an orchestral than with a piano timbre. In Experiment 3, affective valence was also tested by contrasting the effect of tonal (pleasant versus atonal (unpleasant versions of the same musical pieces. The results showed that the effect of tempo in music, associated with a subjective arousal effect, was the major factor that produced time distortions with time being judged longer for fast than for slow tempi. When the tempo was held constant, no significant effect of timbre on the time judgment was found although the orchestral music was judged to be more arousing than the piano music. Nevertheless, emotional valence did modulate the tempo effect on time perception, the pleasant music being judged shorter than the unpleasant music.

Music, emotion, and time perception: the influence of subjective emotional valence and arousal?

Science.gov (United States)

Droit-Volet, Sylvie; Ramos, Danilo; Bueno, José L O; Bigand, Emmanuel

2013-01-01

The present study used a temporal bisection task with short (2 s) stimulus durations to investigate the effect on time estimation of several musical parameters associated with emotional changes in affective valence and arousal. In order to manipulate the positive and negative valence of music, Experiments 1 and 2 contrasted the effect of musical structure with pieces played normally and backwards, which were judged to be pleasant and unpleasant, respectively. This effect of valence was combined with a subjective arousal effect by changing the tempo of the musical pieces (fast vs. slow) (Experiment 1) or their instrumentation (orchestral vs. piano pieces). The musical pieces were indeed judged more arousing with a fast than with a slow tempo and with an orchestral than with a piano timbre. In Experiment 3, affective valence was also tested by contrasting the effect of tonal (pleasant) vs. atonal (unpleasant) versions of the same musical pieces. The results showed that the effect of tempo in music, associated with a subjective arousal effect, was the major factor that produced time distortions with time being judged longer for fast than for slow tempi. When the tempo was held constant, no significant effect of timbre on the time judgment was found although the orchestral music was judged to be more arousing than the piano music. Nevertheless, emotional valence did modulate the tempo effect on time perception, the pleasant music being judged shorter than the unpleasant music.

Musical Empathy, Emotional Co-Constitution, and the “Musical Other”

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Deniz Peters

2015-09-01

Full Text Available Musical experience can confront us with emotions that are not currently ours. We might remain unaffected by them, or be affected: retreat from them in avoidance, or embrace them and experience them as ours. This suggests that they are another's. Whose are they? Do we arrive at them through empathy, turning our interest to the music as we do to others in an interpersonal encounter? In addressing these questions, I differentiate between musical and social empathy, rejecting the idea that the emotions arise as a direct consequence of empathizing with composers or performers. I argue that musical perception is doubly active: bodily knowledge can extend auditory perception cross-modally, which, in turn, can orient a bodily hermeneutic. Musical passages thus acquire adverbial expressivity, an expressivity which, as I discuss, is co-constituted, and engenders a "musical other." This leads me to a reinterpretation of the musical persona and to consider a dialectic between social and musical empathy that I think plays a central role in the individuation of shared emotion in musical experience. Musical empathy, then, occurs via a combination of self-involvement and self-effacement—leading us first into, and then perhaps beyond, ourselves.

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).

Influence of modern music on young generation

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Babtrakinova O.V.

2017-06-01

Full Text Available in this article, the researchers have considered psychological impact of different musical genres and music clips on teenagers. Nowadays it is a very essential problem. Teenagers listen to music every day and of course, it is interesting for them to watch music videos on these songs. Listening to music and watching music videos can influence the mentality of a teenager. This influence can be both positive, and negative. In this article, the authors will try to examine the possible reasons of teenagers’ choice and study how musical genres, as well as «positive and negative clips» influence them.

Healthy Behaviours in Music and Non-Music Performance Students

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Ginsborg, Jane; Kreutz, Gunter; Thomas, Mike; Williamon, Aaron

2009-01-01

Purpose: The purpose of this paper is to compare the self-reported health-promoting behaviours of music and non-music performance students in higher education. It also seeks to determine the extent to which perceived health and self-reported symptoms are associated with lifestyle, emotional affect state, self-regulation and self-efficacy.…

Affective Wellbeing and the Teaching of Music in Ghanaian Basic ...

African Journals Online (AJOL)

2016-12-16

Dec 16, 2016 ... Abstract: Any healthy education aims to develop the individual ... We observed that music teaching in Ghanaian basic schools ..... b) perform basic kpanlogo movement in ..... Playground music pedagogy of Ghanaian children.

Musical preferences and learning outcome of medical students in cadaver dissection laboratory: A Nigerian survey.

Science.gov (United States)

Anyanwu, G E; Nto, J N; Agu, A U; Ekezie, J; Esom, E A

2016-11-01

Background music has been reported to enhance learning in the cadaver dissection laboratory. This study was designed to determine the impact of various forms of musical genre and some of their characteristics on students' learning outcome in the dissection laboratory. Some selected musical genre in vocal and non-vocal forms and at different tempi and volume were played as background music (BM) to 253 Medical and Dental students during various sessions of cadaver dissection. Psychological Stress assessment was done using Psychological stress measure-9. Participants love for music, preferred musical genre and other musical characteristics were assessed. The impact of the various musical genre and their characteristics on learning was done via written examination on the region dissected during each musical session. A positive relationship was noted between students' preference for musical genre during leisure with their preference for BM during private study time (Pmusical genre on some selected learning factors. Country and Classical music gave the highest positive impact on the various learning factors in CDL followed by R&B. No significant difference was noted between the cognitive values of vocal and non-vocal music. Classical music most effectively reduced the stress induced by dissection in the CDL while Reggae and High life musical genre created a more stressful environment than regular background noise (Pmusical genre and their various characteristics. The inability to isolate the particular musical genre with these desired properties could account for the controversies in the reports of the role of music in academic environment. Copyright © 2016 Elsevier GmbH. All rights reserved.

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

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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.

Enhanced musical rhythmic perception in Turkish early and late learners of German

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Maria Paula eRoncaglia-Denissen

2013-09-01

Full Text Available As language rhythm relies partly on general acoustic properties, such as intensity and duration, mastering two languages with distinct rhythmic properties (i.e., stress position may enhance musical rhythm perception. We investigated whether second language (L2 competence affects musical rhythm aptitude in Turkish early (TELG and late learners (TLLG of German in comparison to German monolingual speakers (GMC. To account for inter-individual differences, we measured participants’ short-term and working memory capacity, melodic aptitude, and time they spent listening to music. Both L2 speaker groups perceived rhythmic variations significantly better than monolinguals. No differences were found between early and late learners’ performances. Our findings suggest that mastering two languages with different rhythmic properties enhances musical rhythm perception, providing further evidence of cognitive share between language and music.

Music and health. Phenomenological investigation of a medical humanity.

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McLellan, Lucy; McLachlan, Emma; Perkins, Laurence; Dornan, Tim

2013-05-01

In response to the tendency for music to be under-represented in the discourse of medical humanities, we framed the question 'how can music heal?' We answered it by exploring the lived experiences of musicians with lay or professional interests in health. Two medical students and a medically qualified educationalist, all musicians, conducted a co-operative inquiry with a professional musician interested in health. All researchers and six respondents kept audio or written diaries. Three respondents were interviewed in depth. A medical school head (and experienced musician) critiqued the phenomenological analysis of respondents' accounts of music, health, and its relationship with undergraduate medical education. Respondents experienced music as promoting health, even in seriously diseased people. Music affected people's identity and emotions. Through the medium of structure and harmony, it provided a means of self-expression that adapted to whatever condition people were in. Music was a communication medium, which could make people feel less isolated. Immersion in music could change negative states of mind to more positive ones. A transport metaphor was commonly used; music 'taking people to better places'. Exercising control by becoming physically involved in music enhanced diseased people's self-esteem. Music was able to bring the spiritual, mental, and physical elements of their lives into balance, to the benefit of their wellbeing. Music could help medical students appreciate holistically that the state of health of people who are either well or diseased can be enhanced by a 'non-technical' intervention.

Recognition of the Emotional Content of Music Depending on the Characteristics of the Musical Material and Experience of Students

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Knyazeva T.S.,

2015-02-01

Full Text Available We studied the effect of the factors affecting the recognition of the emotional content of the music. We tested hypotheses about the influence of the valence of the music, ethnic style and the listening experience on the success of music recognition. The empirical study involved 26 Russian musicians (average age of 25,7 years. For the study of musical perception we used bipolar semantic differential. We revealed that the valence of music material affects the recognition of the emotional content of music, and the ethno style does not. It was found that senior students recognize the emotional context of the music more effectively. The results show the universal nature of emotional and musical ear, equally successfully recognizing music of different ethnic style, as well as support the notion of higher significance of negative valence of emotional content in the process of musical perception. A study of factors influencing the emotional understanding of music is important for the development of models of emotion recognition, theoretical constructs of emotional intelligence, and for the theory and practice of music education.

Epilepsy and music: practical notes.

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Maguire, M

2017-04-01

Music processing occurs via a complex network of activity far beyond the auditory cortices. This network may become sensitised to music or may be recruited as part of a temporal lobe seizure, manifesting as either musicogenic epilepsy or ictal musical phenomena. The idea that sound waves may directly affect brain waves has led researchers to explore music as therapy for epilepsy. There is limited and low quality evidence of an antiepileptic effect with the Mozart Sonata K.448. We do not have a pathophysiological explanation for the apparent dichotomous effect of music on seizures. However, clinicians should consider musicality when treating patients with antiepileptic medication or preparing patients for epilepsy surgery. Carbamazepine and oxcarbazepine each may cause a reversible altered appreciation of pitch. Surgical cohort studies suggest that musical memory and perception may be affected, particularly following right temporal lobe surgery, and discussion of this risk should form part of presurgical counselling. Published by the BMJ Publishing Group Limited. For permission to use (where not already granted under a licence) please go to http://www.bmj.com/company/products-services/rights-and-licensing/.

Background music: effects on attention performance.

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Shih, Yi-Nuo; Huang, Rong-Hwa; Chiang, Hsin-Yu

2012-01-01

Previous studies indicate that noise may affect worker attention. However, some background music in the work environment can increase worker satisfaction and productivity. This study compared how music with, and without, lyrics affects human attention. One hundred and two participants, aged 20-24 years, were recruited into this study. Fifty-six males and 46 females participated in this study. Background music with, and without lyrics, was tested for effects on listener concentration in attention testing using a randomized controlled trial (RCT) study. The comparison results revealed that background music with lyrics had significant negative effects on concentration and attention. The findings suggest that, if background music is played in the work environment, music without lyrics is preferable because songs with lyrics are likely to reduce worker attention and performance.

A method for continuously assessing the autonomic response to music-induced emotions through HRV analysis.

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Orini, Michele; Bailón, Raquel; Enk, Ronny; Koelsch, Stefan; Mainardi, Luca; Laguna, Pablo

2010-05-01

Interest in therapeutic applications of music has recently increased, as well as the effort to understand the relationship between music features and physiological patterns. In this study, we present a methodology for characterizing music-induced effects on the dynamics of the heart rate modulation. It consists of three steps: (i) the smoothed pseudo Wigner-Ville distribution is performed to obtain a time-frequency representation of HRV; (ii) a parametric decomposition is used to robustly estimate the time-course of spectral parameters; and (iii) statistical population analysis is used to continuously assess whether different acoustic stimuli provoke different dynamic responses. Seventy-five healthy subjects were repetitively exposed to pleasant music, sequences of Shepard tones with the same tempo as the pleasant music and unpleasant sounds overlaid with the same sequences of Shepard tones. Results show that the modification of HRV parameters are characterized by an early fast transient phase (15-20 s), followed by an almost stationary period. All kinds of stimuli provoked significant changes compared to the resting condition, while during listening to pleasant music the heart and respiratory rates were higher (for more than 80% of the duration of the stimuli, p < 10(-5)) and the power of the HF modulation was lower (for more than 70% of the duration of the stimuli, p < 0.05) than during listening to unpleasant stimuli.

A yoga intervention for music performance anxiety in conservatory students.

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Stern, Judith R S; Khalsa, Sat Bir S; Hofmann, Stefan G

2012-09-01

Music performance anxiety can adversely affect musicians. There is a need for additional treatment strategies, especially those that might be more acceptable to musicians than existing therapies. This pilot study examined the effectiveness of a 9-week yoga practice on reducing music performance anxiety in undergraduate and graduate music conservatory students, including both vocalists and instrumentalists. The intervention consisted of fourteen 60-minute yoga classes approximately twice a week and a brief daily home practice. Of the 24 students enrolled in the study, 17 attended the post-intervention assessment. Participants who completed the measures at both pre- and post-intervention assessments showed large decreases in music performance anxiety as well as in trait anxiety. Improvements were sustained at 7- to 14-month follow-up. Participants generally provided positive comments about the program and its benefits. This study suggests that yoga is a promising intervention for music performance anxiety in conservatory students and therefore warrants further research.

The Development of Preschool Children's Musical Abilities through Specific Types of Musical Activities

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Stolic, Jasmina

2015-01-01

The goal of the conducted research was to explore how much preschool teachers value certain types of musical activities, which positively influence the development of preschool children's musical abilities. The assumption in the research was that preschool teachers would choose musical games as the most prominent activity type in their educational…

Rhythm histograms and musical meter: A corpus study of Malian percussion music.

Science.gov (United States)

London, Justin; Polak, Rainer; Jacoby, Nori

2017-04-01

Studies of musical corpora have given empirical grounding to the various features that characterize particular musical styles and genres. Palmer & Krumhansl (1990) found that in Western classical music the likeliest places for a note to occur are the most strongly accented beats in a measure, and this was also found in subsequent studies using both Western classical and folk music corpora (Huron & Ommen, 2006; Temperley, 2010). We present a rhythmic analysis of a corpus of 15 performances of percussion music from Bamako, Mali. In our corpus, the relative frequency of note onsets in a given metrical position does not correspond to patterns of metrical accent, though there is a stable relationship between onset frequency and metrical position. The implications of this non-congruence between simple statistical likelihood and metrical structure for the ways in which meter and metrical accent may be learned and understood are discussed, along with importance of cross-cultural studies for psychological research.

Music and emotions: from enchantment to entrainment.

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Vuilleumier, Patrik; Trost, Wiebke

2015-03-01

Producing and perceiving music engage a wide range of sensorimotor, cognitive, and emotional processes. Emotions are a central feature of the enjoyment of music, with a large variety of affective states consistently reported by people while listening to music. However, besides joy or sadness, music often elicits feelings of wonder, nostalgia, or tenderness, which do not correspond to emotion categories typically studied in neuroscience and whose neural substrates remain largely unknown. Here we review the similarities and differences in the neural substrates underlying these "complex" music-evoked emotions relative to other more "basic" emotional experiences. We suggest that these emotions emerge through a combination of activation in emotional and motivational brain systems (e.g., including reward pathways) that confer its valence to music, with activation in several other areas outside emotional systems, including motor, attention, or memory-related regions. We then discuss the neural substrates underlying the entrainment of cognitive and motor processes by music and their relation to affective experience. These effects have important implications for the potential therapeutic use of music in neurological or psychiatric diseases, particularly those associated with motor, attention, or affective disturbances. © 2015 New York Academy of Sciences.

RHYTHMIC MUSIC PEDAGOGY: A SCANDINAVIAN APPROACH TO MUSIC EDUCATION

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Hauge Torunn Bakken

2012-06-01

Full Text Available Rhythmic music pedagogy is a relatively new Scandinavian approach to classroom music education that offers a variety of methods and strategies for teaching and learning music, especially within the performance of improvised and rhythmic music. This article is based on two earlier projects published in Norwegian, in which the concept of rytmisk musikkpedagogikk (or “rhythmic music pedagogy” as well as its applications and implications were thoroughly described. This research confirms that rhythmic music pedagogy may be an effective strategy for learning music in general, but most especially for learning skills associated with ensemble musicianship and playing by ear. In a multicultural and fluid society in which there are tendencies toward passivity and fragmentation, it may be more important than ever to maintain the idea of music as a collaborative creative process that extends across borders; in this context, rhythmic music pedagogy can play a central role in children’s social development. As a social medium, ensemble playing requires the participant to decentralize socially, since the perspectives of the other participants are necessary for a successful performance. The activity’s general potential for re-structuring social settings and moving boundaries in a positive way should not be underestimated.

Music-based interventions in neurological rehabilitation.

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Sihvonen, Aleksi J; Särkämö, Teppo; Leo, Vera; Tervaniemi, Mari; Altenmüller, Eckart; Soinila, Seppo

2017-08-01

During the past ten years, an increasing number of controlled studies have assessed the potential rehabilitative effects of music-based interventions, such as music listening, singing, or playing an instrument, in several neurological diseases. Although the number of studies and extent of available evidence is greatest in stroke and dementia, there is also evidence for the effects of music-based interventions on supporting cognition, motor function, or emotional wellbeing in people with Parkinson's disease, epilepsy, or multiple sclerosis. Music-based interventions can affect divergent functions such as motor performance, speech, or cognition in these patient groups. However, the psychological effects and neurobiological mechanisms underlying the effects of music interventions are likely to share common neural systems for reward, arousal, affect regulation, learning, and activity-driven plasticity. Although further controlled studies are needed to establish the efficacy of music in neurological recovery, music-based interventions are emerging as promising rehabilitation strategies. Copyright © 2017 Elsevier Ltd. All rights reserved.

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.

The Effect of Preparatory Set on Musical Response in College Students.

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Bartel, Lee R.

1992-01-01

Presents study results on the cognitive-affective response to music as affected by three dimensions of preparatory set. Explores self-perception of musicality, attitude toward style concepts and valuing of music experiences, and beliefs and expectations of music listening. Concludes that perception of musicality, general attitude, style…

Children's Subject Positions in Discourses of Music in Everyday Life: Rethinking Conceptions of the Child in and for Music Education

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Vestad, Ingeborg Lunde

2014-01-01

In this article I discuss children's everyday uses of recorded music (such as CDs, Mp3-files) in the light of sociological notions of "children" and "childhood". The discussion provides perspectives on musical engagement and musicality that supplement perspectives within developmental psychology. The study is based on…

Face Recognition, Musical Appraisal, and Emotional Crossmodal Bias.

Science.gov (United States)

Invitto, Sara; Calcagnì, Antonio; Mignozzi, Arianna; Scardino, Rosanna; Piraino, Giulia; Turchi, Daniele; De Feudis, Irio; Brunetti, Antonio; Bevilacqua, Vitoantonio; de Tommaso, Marina

2017-01-01

Recent research on the crossmodal integration of visual and auditory perception suggests that evaluations of emotional information in one sensory modality may tend toward the emotional value generated in another sensory modality. This implies that the emotions elicited by musical stimuli can influence the perception of emotional stimuli presented in other sensory modalities, through a top-down process. The aim of this work was to investigate how crossmodal perceptual processing influences emotional face recognition and how potential modulation of this processing induced by music could be influenced by the subject's musical competence. We investigated how emotional face recognition processing could be modulated by listening to music and how this modulation varies according to the subjective emotional salience of the music and the listener's musical competence. The sample consisted of 24 participants: 12 professional musicians and 12 university students (non-musicians). Participants performed an emotional go/no-go task whilst listening to music by Albeniz, Chopin, or Mozart. The target stimuli were emotionally neutral facial expressions. We examined the N170 Event-Related Potential (ERP) and behavioral responses (i.e., motor reaction time to target recognition and musical emotional judgment). A linear mixed-effects model and a decision-tree learning technique were applied to N170 amplitudes and latencies. The main findings of the study were that musicians' behavioral responses and N170 is more affected by the emotional value of music administered in the emotional go/no-go task and this bias is also apparent in responses to the non-target emotional face. This suggests that emotional information, coming from multiple sensory channels, activates a crossmodal integration process that depends upon the stimuli emotional salience and the listener's appraisal.

Being together – Exploring the modulation of affect in improvisational music therapy with a man in a persistent vegetative state – a qualitative single case study

Directory of Open Access Journals (Sweden)

Wolfgang Schmid

2016-12-01

Full Text Available This article explores the role of affective expression and modulation as a means of communication in improvisational music therapy with a 44-year-old man living in a persistent vegetative state. Within a practice-based approach two vignettes from music therapy illustrate the regulation of the intensity of affect in an interpersonal relationship. Perspectives from modern attachment theory, developmental psychology, and embodiment research will be introduced and discussed, to theoretically frame and embed the practical work. It is suggested that the bodily-emotional situatedness of the man and the music therapist form the area of exchange for a non-verbal, affect-driven communication. In this way, playing with the affect is the main topic for the encounter, promoting self-organizational processes in both individuals involved.

Music therapy inhibits morphine-seeking behavior via GABA receptor and attenuates anxiety-like behavior induced by extinction from chronic morphine use.

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Kim, Ki Jin; Lee, Sang Nam; Lee, Bong Hyo

2018-05-01

Morphine is a representative pain killer. However, repeated use tends to induce addiction. Music therapy has been gaining interest as a useful type of therapy for neuropsychiatric diseases. The present study examined whether Korean traditional music (KT) could suppress morphine-seeking behavior and anxiety-like behavior induced by extinction from chronic morphine use and additionally investigated a possible neuronal mechanism. Male Sprague-Dawley rats were trained to intravenously self-administer morphine hydrochloride (1.0 mg/kg) using a fixed ratio 1 schedule in daily 2 h session during 3 weeks. After training, rats who established baseline (variation less than 20% of the mean of infusion for 3 consecutive days) underwent extinction. Music was played twice a day during extinction. In the second experiment, the selective antagonists of GABA A and GABA B receptors were treated before the last playing to investigate the neuronal mechanism focusing on the GABA receptor pathway. Another experiment of elevated plus maze was performed to investigate whether music therapy has an anxiolytic effect at the extinction phase. KT but not other music (Indian road or rock music) reduced morphine-seeking behavior induced by a priming challenge with morphine. And, this effect was blocked by the GABA receptor antagonists. In addition, KT showed anxiolytic effects against withdrawal from morphine. Results of this study suggest that KT suppresses morphine-seeking behavior via GABA receptor pathway. In addition, KT showed to have anxiolytic effects, suggesting it has bi-directional effects on morphine. Copyright © 2018 Elsevier B.V. All rights reserved.

When Music and Long-Term Memory Interact: Effects of Musical Expertise on Functional and Structural Plasticity in the Hippocampus

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Groussard, Mathilde; La Joie, Renaud; Rauchs, Géraldine; Landeau, Brigitte; Chételat, Gaël; Viader, Fausto; Desgranges, Béatrice; Eustache, Francis; Platel, Hervé

2010-01-01

The development of musical skills by musicians results in specific structural and functional modifications in the brain. Surprisingly, no functional magnetic resonance imaging (fMRI) study has investigated the impact of musical training on brain function during long-term memory retrieval, a faculty particularly important in music. Thus, using fMRI, we examined for the first time this process during a musical familiarity task (i.e., semantic memory for music). Musical expertise induced supplementary activations in the hippocampus, medial frontal gyrus, and superior temporal areas on both sides, suggesting a constant interaction between episodic and semantic memory during this task in musicians. In addition, a voxel-based morphometry (VBM) investigation was performed within these areas and revealed that gray matter density of the hippocampus was higher in musicians than in nonmusicians. Our data indicate that musical expertise critically modifies long-term memory processes and induces structural and functional plasticity in the hippocampus. PMID:20957158

When music and long-term memory interact: effects of musical expertise on functional and structural plasticity in the hippocampus.

Directory of Open Access Journals (Sweden)

Mathilde Groussard

Full Text Available The development of musical skills by musicians results in specific structural and functional modifications in the brain. Surprisingly, no functional magnetic resonance imaging (fMRI study has investigated the impact of musical training on brain function during long-term memory retrieval, a faculty particularly important in music. Thus, using fMRI, we examined for the first time this process during a musical familiarity task (i.e., semantic memory for music. Musical expertise induced supplementary activations in the hippocampus, medial frontal gyrus, and superior temporal areas on both sides, suggesting a constant interaction between episodic and semantic memory during this task in musicians. In addition, a voxel-based morphometry (VBM investigation was performed within these areas and revealed that gray matter density of the hippocampus was higher in musicians than in nonmusicians. Our data indicate that musical expertise critically modifies long-term memory processes and induces structural and functional plasticity in the hippocampus.

When music and long-term memory interact: effects of musical expertise on functional and structural plasticity in the hippocampus.

Science.gov (United States)

Groussard, Mathilde; La Joie, Renaud; Rauchs, Géraldine; Landeau, Brigitte; Chételat, Gaël; Viader, Fausto; Desgranges, Béatrice; Eustache, Francis; Platel, Hervé

2010-10-05

The development of musical skills by musicians results in specific structural and functional modifications in the brain. Surprisingly, no functional magnetic resonance imaging (fMRI) study has investigated the impact of musical training on brain function during long-term memory retrieval, a faculty particularly important in music. Thus, using fMRI, we examined for the first time this process during a musical familiarity task (i.e., semantic memory for music). Musical expertise induced supplementary activations in the hippocampus, medial frontal gyrus, and superior temporal areas on both sides, suggesting a constant interaction between episodic and semantic memory during this task in musicians. In addition, a voxel-based morphometry (VBM) investigation was performed within these areas and revealed that gray matter density of the hippocampus was higher in musicians than in nonmusicians. Our data indicate that musical expertise critically modifies long-term memory processes and induces structural and functional plasticity in the hippocampus.

Music and Sound in Time Processing of Children with ADHD.

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Carrer, Luiz Rogério Jorgensen

2015-01-01

ADHD involves cognitive and behavioral aspects with impairments in many environments of children and their families' lives. Music, with its playful, spontaneous, affective, motivational, temporal, and rhythmic dimensions can be of great help for studying the aspects of time processing in ADHD. In this article, we studied time processing with simple sounds and music in children with ADHD with the hypothesis that children with ADHD have a different performance when compared with children with normal development in tasks of time estimation and production. The main objective was to develop sound and musical tasks to evaluate and correlate the performance of children with ADHD, with and without methylphenidate, compared to a control group with typical development. The study involved 36 participants of age 6-14 years, recruited at NANI-UNIFESP/SP, subdivided into three groups with 12 children in each. Data was collected through a musical keyboard using Logic Audio Software 9.0 on the computer that recorded the participant's performance in the tasks. Tasks were divided into sections: spontaneous time production, time estimation with simple sounds, and time estimation with music. (1) performance of ADHD groups in temporal estimation of simple sounds in short time intervals (30 ms) were statistically lower than that of control group (p < 0.05); (2) in the task comparing musical excerpts of the same duration (7 s), ADHD groups considered the tracks longer when the musical notes had longer durations, while in the control group, the duration was related to the density of musical notes in the track. The positive average performance observed in the three groups in most tasks perhaps indicates the possibility that music can, in some way, positively modulate the symptoms of inattention in ADHD.

Music education and musical activities in Lagos: then and now ...

African Journals Online (AJOL)

This article is a historical excursion into the musical activities in Lagos from around 600 to 1800, which it classifies as the first phase, from around 1800 to 1914, the second period, and third period, from around 1914 up to date and how they have affected music education in the area. The study also highlights the roles played ...

Musical Aptitude Is Associated with AVPR1A-Haplotypes

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Ukkola, Liisa T.; Onkamo, Päivi; Raijas, Pirre; Karma, Kai; Järvelä, Irma

2009-01-01

Artistic creativity forms the basis of music culture and music industry. Composing, improvising and arranging music are complex creative functions of the human brain, which biological value remains unknown. We hypothesized that practicing music is social communication that needs musical aptitude and even creativity in music. In order to understand the neurobiological basis of music in human evolution and communication we analyzed polymorphisms of the arginine vasopressin receptor 1A (AVPR1A), serotonin transporter (SLC6A4), catecol-O-methyltranferase (COMT), dopamin receptor D2 (DRD2) and tyrosine hydroxylase 1 (TPH1), genes associated with social bonding and cognitive functions in 19 Finnish families (n = 343 members) with professional musicians and/or active amateurs. All family members were tested for musical aptitude using the auditory structuring ability test (Karma Music test; KMT) and Carl Seashores tests for pitch (SP) and for time (ST). Data on creativity in music (composing, improvising and/or arranging music) was surveyed using a web-based questionnaire. Here we show for the first time that creative functions in music have a strong genetic component (h2 = .84; composing h2 = .40; arranging h2 = .46; improvising h2 = .62) in Finnish multigenerational families. We also show that high music test scores are significantly associated with creative functions in music (pmusic test scores (COMB) (p = 0.0056; corrected p = 0.0006). AVPR1A haplotype AVR+RS1 further suggested a positive association with ST (p = 0.0038; corrected p = 0.00184) and COMB (p = 0.0083; corrected p = 0.0040) using haplotype-based association test HBAT. The results suggest that the neurobiology of music perception and production is likely to be related to the pathways affecting intrinsic attachment behavior. PMID:19461995

Musical aptitude is associated with AVPR1A-haplotypes.

Science.gov (United States)

Ukkola, Liisa T; Onkamo, Päivi; Raijas, Pirre; Karma, Kai; Järvelä, Irma

2009-05-20

Artistic creativity forms the basis of music culture and music industry. Composing, improvising and arranging music are complex creative functions of the human brain, which biological value remains unknown. We hypothesized that practicing music is social communication that needs musical aptitude and even creativity in music. In order to understand the neurobiological basis of music in human evolution and communication we analyzed polymorphisms of the arginine vasopressin receptor 1A (AVPR1A), serotonin transporter (SLC6A4), catecol-O-methyltranferase (COMT), dopamin receptor D2 (DRD2) and tyrosine hydroxylase 1 (TPH1), genes associated with social bonding and cognitive functions in 19 Finnish families (n = 343 members) with professional musicians and/or active amateurs. All family members were tested for musical aptitude using the auditory structuring ability test (Karma Music test; KMT) and Carl Seashores tests for pitch (SP) and for time (ST). Data on creativity in music (composing, improvising and/or arranging music) was surveyed using a web-based questionnaire. Here we show for the first time that creative functions in music have a strong genetic component (h(2) = .84; composing h(2) = .40; arranging h(2) = .46; improvising h(2) = .62) in Finnish multigenerational families. We also show that high music test scores are significantly associated with creative functions in music (pmusic test scores (COMB) (p = 0.0056; corrected p = 0.0006). AVPR1A haplotype AVR+RS1 further suggested a positive association with ST (p = 0.0038; corrected p = 0.00184) and COMB (p = 0.0083; corrected p = 0.0040) using haplotype-based association test HBAT. The results suggest that the neurobiology of music perception and production is likely to be related to the pathways affecting intrinsic attachment behavior.

Music exposure and hearing disorders: an overview.

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Zhao, Fei; Manchaiah, Vinaya K C; French, David; Price, Sharon M

2010-01-01

It has been generally accepted that excessive exposure to loud music causes various hearing symptoms (e.g. tinnitus) and consequently leads to a risk of permanent hearing damage, known as noise-induced hearing loss (NIHL). Such potential risk of NIHL due to loud music exposure has been widely investigated in musicians and people working in music venues. With advancements in sound technology and rapid developments in the music industry, increasing numbers of people, particularly adolescents and young adults, are exposing themselves to music on a voluntary basis at potentially harmful levels, and over a substantial period of time, which can also cause NIHL. However, because of insufficient audiometric evidence of hearing loss caused purely by music exposure, there is still disagreement and speculation about the risk of hearing loss from music exposure alone. Many studies have suggested using advanced audiological measurements as more sensitive and efficient tools to monitor hearing status as early indicators of cochlear dysfunction. The purpose of this review is to provide further insight into the potential risk of hearing loss caused by exposure to loud music, and thus contribute to further raising awareness of music induced hearing loss.

Aesthetic responses to music

DEFF Research Database (Denmark)

Istok, Eva; Brattico, Elvira; Jacobsen, Thomas

2009-01-01

We explored the content and structure of the cognitive, knowledge-based concept underlying aesthetic responses to music. To this aim, we asked 290 Finnish students to verbally associate the aesthetic value of music and to write down a list of appropriate adjectives within a given time limit....... No music was presented during the task. In addition, information about participants' musical background was collected. A variety of analysis techniques was used to determine the key results of our study. The adjective "beautiful" proved to be the core item of the concept under question. Interestingly......, the adjective "touching" was often listed together with "beautiful". In addition, we found music-specific vocabulary as well as adjectives related to emotions and mood states indicating that affective processes are an essential part of aesthetic responses to music. Differences between music experts and laymen...

Music and Vibroacoustic Stimulation in People with Rett Syndrome

DEFF Research Database (Denmark)

Bergström-Isacsson, Märith

2011-01-01

Background: Rett syndrome (RTT) is a neurodevelopmental disorder which affects basic body functions including the central control of the autonomic nervous system in the brainstem. Music is used by parents and carers in different situations, e.g. to calm down, to activate, to motivate and in commu......Background: Rett syndrome (RTT) is a neurodevelopmental disorder which affects basic body functions including the central control of the autonomic nervous system in the brainstem. Music is used by parents and carers in different situations, e.g. to calm down, to activate, to motivate...... and in communication. The aim of the study was to examine what effect musical stimuli had on the control functions of the autonomic nervous system, and on cortical emotional reactions, in participants with RTT. Methods: The study included 35 participants with RTT who were referred to the Swedish Rett Center...... (calming) response, sympathetic (activating) response, arousal (alerting) response and unclear response. The analyses were supplemented by case vignettes, where additional physiological parameters were also taken into account. Facial expressions were coded and categorised into positive emotions, negative...

Reliability Generalization: An Examination of the Positive Affect and Negative Affect Schedule

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Leue, Anja; Lange, Sebastian

2011-01-01

The assessment of positive affect (PA) and negative affect (NA) by means of the Positive Affect and Negative Affect Schedule has received a remarkable popularity in the social sciences. Using a meta-analytic tool--namely, reliability generalization (RG)--population reliability scores of both scales have been investigated on the basis of a random…

The effects of sedative music, arousal music, and silence on electrocardiography signals.

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Dousty, Mehdy; Daneshvar, Sabalan; Haghjoo, Majid

2011-01-01

Research indicates that music can affect heart rate, blood pressure, and skin conductance. Music can stimulate central emotions in the brain and release biochemical materials that change the physiologic state. We sought to compare changes in the electrical function of the heart in response to music. Subjects were asked to listen to 2 types of music, namely, sedative and arousal music, in conjunction with two 30-second periods of complete silence. The experiment was conducted in 4 segments: the first and third parts were silence, and the second and fourth parts were music. First, the response to each type of music was compared with that to the preceding period of silence. Next, the responses to both types of music were compared. Finally, the response to music regardless of the type was compared with that to silence. The amplitude of polarization and depolarization changed in response to different kinds of music. The electrical function of the heart in response to music, irrespective of the music type, differed from that in response to silence. The 2 types of music impacted the electrical function of the heart in different ways: the arousal music influenced T-wave maximum amplitude, whereas no such change was recorded in response to the sedative music. The bandwidth of the polarization and depolarization of the heart rate and R-wave amplitude increased in response to music by comparison with silence. In addition, the heart did not seem to try to synchronize with music. The mean R-wave amplitude in sedative music is higher than the arousal music, so our heart works differently when different types of music are heard. Copyright © 2011 Elsevier Inc. All rights reserved.

EXPLORING THE FACTORS AFFECTING PURCHASE INTENTION IN MUSIC INDUSTRY

OpenAIRE

AĞAOĞLU, Mustafa; YURTKORU, Emine Serra; ŞAHİN, Yusuf

2016-01-01

The purpose of this study is to analyze the factors, ethical behavior, product involvement, attitude, perceived sacrifice, and perceived benefit, impact on purchase intention in music industry. A model is constructed and tested empirically. A sample of 255 individuals are collected and a multi-item questionnaire is used. It is found that purchase intention is relatively low for both CD/DVD and digital music whereas illegal downloading is perceived as an acceptable behavior in the society. The...

Family Caregivers' Patterns of Positive and Negative Affect

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Robertson, Suzanne M.; Zarit, Steven H.; Duncan, Larissa G.; Rovine, Michael J.; Femia, Elia E.

2007-01-01

Stressful and positive family caregiving experiences were examined as predictors of caregivers' patterns of positive and negative affect in a sample of families providing care for a relative with dementia (N = 234). Four affect pattern groups were identified: (a) Well Adjusted (i.e., high positive affect, low negative affect); (b) Ambiguous (i.e.,…

Investigating the importance of self-theories of intelligence and musicality for students' academic and musical achievement

OpenAIRE

M?llensiefen, Daniel; Harrison, Peter; Caprini, Francesco; Fancourt, Amy

2015-01-01

Musical abilities and active engagement with music have been shown to be positively associated with many cognitive abilities as well as social skills and academic performance in secondary school students. While there is evidence from intervention studies that musical training can be a cause of these positive relationships, recent findings in the literature have suggested that other factors, such as genetics, family background or personality traits, might also be contributing factors. In addit...

Changes induced by music therapy to physiologic parameters in patients with dental anxiety.

Science.gov (United States)

Mejía-Rubalcava, Cynthia; Alanís-Tavira, Jorge; Mendieta-Zerón, Hugo; Sánchez-Pérez, Leonor

2015-11-01

The aim of this study was to determine the effect of music therapy on patients suffering dental anxiety. In addition, a second objective was to determine the correlation between salivary cortisol and other physiologic parameters. 34 patients were randomly assigned to the control group and the experimental group. For each patient was measured for salivary cortisol, stimulate salivary flow, blood pressure, heart rate, oxygen saturation and body temperature. Student t-test and Chi2 were applied to analyze significant differences between the studied variables before and after the unpleasant stimulation causes anxiety for dental treatment. Initially, both groups registered the same level of anxiety. In the second measurement, significant differences were registered in the salivary cortisol concentration, systolic and diastolic pressure, heart rate, body temperature and stimulated salivary flow for treated group with music therapy. Music therapy has a positive effect in control of dental anxiety. Copyright © 2015. Published by Elsevier Ltd.

Effect of background music on auditory-verbal memory performance

Directory of Open Access Journals (Sweden)

Sona Matloubi

2014-12-01

Full Text Available Background and Aim: Music exists in all cultures; many scientists are seeking to understand how music effects cognitive development such as comprehension, memory, and reading skills. More recently, a considerable number of neuroscience studies on music have been developed. This study aimed to investigate the effects of null and positive background music in comparison with silence on auditory-verbal memory performance.Methods: Forty young adults (male and female with normal hearing, aged between 18 and 26, participated in this comparative-analysis study. An auditory and speech evaluation was conducted in order to investigate the effects of background music on working memory. Subsequently, the Rey auditory-verbal learning test was performed for three conditions: silence, positive, and null music.Results: The mean score of the Rey auditory-verbal learning test in silence condition was higher than the positive music condition (p=0.003 and the null music condition (p=0.01. The tests results did not reveal any gender differences.Conclusion: It seems that the presence of competitive music (positive and null music and the orientation of auditory attention have negative effects on the performance of verbal working memory. It is possibly owing to the intervention of music with verbal information processing in the brain.

The structure of musical preferences: a five-factor model.

Science.gov (United States)

Rentfrow, Peter J; Goldberg, Lewis R; Levitin, Daniel J

2011-06-01

Music is a cross-cultural universal, a ubiquitous activity found in every known human culture. Individuals demonstrate manifestly different preferences in music, and yet relatively little is known about the underlying structure of those preferences. Here, we introduce a model of musical preferences based on listeners' affective reactions to excerpts of music from a wide variety of musical genres. The findings from 3 independent studies converged to suggest that there exists a latent 5-factor structure underlying music preferences that is genre free and reflects primarily emotional/affective responses to music. We have interpreted and labeled these factors as (a) a Mellow factor comprising smooth and relaxing styles; (b) an Unpretentious factor comprising a variety of different styles of sincere and rootsy music such as is often found in country and singer-songwriter genres; (c) a Sophisticated factor that includes classical, operatic, world, and jazz; (d) an Intense factor defined by loud, forceful, and energetic music; and (e) a Contemporary factor defined largely by rhythmic and percussive music, such as is found in rap, funk, and acid jazz. The findings from a fourth study suggest that preferences for the MUSIC factors are affected by both the social and the auditory characteristics of the music. 2011 APA, all rights reserved

Music and Its Inductive Power: A Psychobiological and Evolutionary Approach to Musical Emotions

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Reybrouck, Mark; Eerola, Tuomas

2017-01-01

The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background is provided in order to bring together the findings of music and emotion studies and the evolutionary approach to musical meaning. The theoretical grounding elaborates on the transition from referential to affective semantics, the distinction between expression and induction of emotions, and the tension between discrete-digital and analog-continuous processing of the sounds. The empirical background provides evidence from several findings such as infant-directed speech, referential emotive vocalizations and separation calls in lower mammals, the distinction between the acoustic and vehicle mode of sound perception, and the bodily and physiological reactions to the sounds. It is argued, finally, that early affective processing reflects the way emotions make our bodies feel, which in turn reflects on the emotions expressed and decoded. As such there is a dynamic tension between nature and nurture, which is reflected in the nature-nurture-nature cycle of musical sense-making. PMID:28421015

Musical rhythm and affect. Comment on "The quartet theory of human emotions: An integrative and neurofunctional model" by S. Koelsch et al.

Science.gov (United States)

Witek, Maria A. G.; Kringelbach, Morten L.; Vuust, Peter

2015-06-01

The Quartet Theory of Human Emotion (QT) proposed by Koelsch et al. [1] adds to existing affective models, e.g. by directing more attention to emotional contagion, attachment-related and non-goal-directed emotions. Such an approach seems particularly appropriate to modelling musical emotions, and music is indeed a recurring example in the text, used to illustrate the distinct characteristics of the affect systems that are at the centre of the theory. Yet, it would seem important for any theory of emotion to account for basic functions such as prediction and anticipation, which are only briefly mentioned. Here we propose that QT, specifically its focus on emotional contagion, attachment-related and non-goal directed emotions, might help generate new ideas about a largely neglected source of emotion - rhythm - a musical property that relies fundamentally on the mechanism of prediction.

Music for a Brighter World: Brightness Judgment Bias by Musical Emotion.

Science.gov (United States)

Bhattacharya, Joydeep; Lindsen, Job P

2016-01-01

A prevalent conceptual metaphor is the association of the concepts of good and evil with brightness and darkness, respectively. Music cognition, like metaphor, is possibly embodied, yet no study has addressed the question whether musical emotion can modulate brightness judgment in a metaphor consistent fashion. In three separate experiments, participants judged the brightness of a grey square that was presented after a short excerpt of emotional music. The results of Experiment 1 showed that short musical excerpts are effective emotional primes that cross-modally influence brightness judgment of visual stimuli. Grey squares were consistently judged as brighter after listening to music with a positive valence, as compared to music with a negative valence. The results of Experiment 2 revealed that the bias in brightness judgment does not require an active evaluation of the emotional content of the music. By applying a different experimental procedure in Experiment 3, we showed that this brightness judgment bias is indeed a robust effect. Altogether, our findings demonstrate a powerful role of musical emotion in biasing brightness judgment and that this bias is aligned with the metaphor viewpoint.

Childhood Music Training Induces Change in Micro and Macroscopic Brain Structure: Results from a Longitudinal Study.

Science.gov (United States)

Habibi, Assal; Damasio, Antonio; Ilari, Beatriz; Veiga, Ryan; Joshi, Anand A; Leahy, Richard M; Haldar, Justin P; Varadarajan, Divya; Bhushan, Chitresh; Damasio, Hanna

2017-11-08

Several studies comparing adult musicians and nonmusicians have shown that music training is associated with structural brain differences. It is not been established, however, whether such differences result from pre-existing biological traits, lengthy musical training, or an interaction of the two factors, or if comparable changes can be found in children undergoing music training. As part of an ongoing longitudinal study, we investigated the effects of music training on the developmental trajectory of children's brain structure, over two years, beginning at age 6. We compared these children with children of the same socio-economic background but either involved in sports training or not involved in any systematic after school training. We established at the onset that there were no pre-existing structural differences among the groups. Two years later we observed that children in the music group showed (1) a different rate of cortical thickness maturation between the right and left posterior superior temporal gyrus, and (2) higher fractional anisotropy in the corpus callosum, specifically in the crossing pathways connecting superior frontal, sensory, and motor segments. We conclude that music training induces macro and microstructural brain changes in school-age children, and that those changes are not attributable to pre-existing biological traits. © The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions, please e-mail: journals.permissions@oup.com.

Case Studies of Factors Affecting the Motivation of Musical High Achievers to Learn Music in Hong Kong

Science.gov (United States)

Leung, Bo Wah; McPherson, Gary E.

2011-01-01

This article reports on the personal beliefs and attitudes of highly motivated Hong Kong school-age subjects who studied music. A total of 24 participants who demonstrated high achievement and interest in learning music were interviewed. Content analysis of the interview data was performed to elucidate four topics: background information about the…

Generative electronic background music system

Energy Technology Data Exchange (ETDEWEB)

Mazurowski, Lukasz [Faculty of Computer Science, West Pomeranian University of Technology in Szczecin, Zolnierska Street 49, Szczecin, PL (Poland)

2015-03-10

In this short paper-extended abstract the new approach to generation of electronic background music has been presented. The Generative Electronic Background Music System (GEBMS) has been located between other related approaches within the musical algorithm positioning framework proposed by Woller et al. The music composition process is performed by a number of mini-models parameterized by further described properties. The mini-models generate fragments of musical patterns used in output composition. Musical pattern and output generation are controlled by container for the mini-models - a host-model. General mechanism has been presented including the example of the synthesized output compositions.

Generative electronic background music system

International Nuclear Information System (INIS)

Mazurowski, Lukasz

2015-01-01

In this short paper-extended abstract the new approach to generation of electronic background music has been presented. The Generative Electronic Background Music System (GEBMS) has been located between other related approaches within the musical algorithm positioning framework proposed by Woller et al. The music composition process is performed by a number of mini-models parameterized by further described properties. The mini-models generate fragments of musical patterns used in output composition. Musical pattern and output generation are controlled by container for the mini-models - a host-model. General mechanism has been presented including the example of the synthesized output compositions

Entries for "International Dictionary of Music Therapy"

DEFF Research Database (Denmark)

Bonde, Lars Ole

2013-01-01

Lars Ole Bondehar skrevet eller bidraget til følgende opslag: analogy, graphic notation, health musicking, intensity profile, metaphor, musical pragmatics, musical semantics, musical syntax, narrative, Even Ruud, self-inquiry, vitality affects (dynamics), Tony Wigram...

Electrocortical (EEG correlates of music and states of consciousness

Directory of Open Access Journals (Sweden)