Chapter 4-
Music on the Brain: Imagery and Imagination
Sacks, Oliver. 2007. “Music on the Brain: Imagery and Imagination.” In Musicophilia, Tales of Music and The Brain. Vintage Canada, Toronto: ON.
Summary:
In this chapter of Sacks’ book Musicophilia, he discusses the concept of musical imagery, as it exists for individuals. Recalling the vivid internal musical symphonies that could be evoked in his father’s own mind, yet not for his mother, Sacks concluded that not everyone possesses an equal capacity for such mental imagery. Professional musicians, however, are remarkably skilled at this trait.
Sacks contemplates composers of past and present and the creative musical stimulus that occupies their minds. While some composers rely on an instrument during their creative process, many are able to conceptualize and hear the music entirely in their head. In addition, he examines Beethoven’s deafness and its effect on him as a composer; contrary to a musical demise that some may have predicted, following his sudden loss of hearing, it would seem as though the music grew more intellectually complex. Could it be, perhaps, that through the loss of an input source of hearing that his internal musical imagery was intensified as his auditory cortex became increasingly sensitive. Since Beethoven could no longer perceive external music, he was forced to rely upon more abstract, imaginative powers of thought as he composed. Through these measures, his music was an undeniable success.
His own personal history with music has also influenced Sacks mental musical imagery. Although not heightened to the acuteness of his father’s, Sacks noted his ability to glance at a piece of music which he had learned several years prior, and instantly begin to feel as though he was playing that music: he could “see” his hands on the keyboard, and “hear” the music in his head. This mental rehearsal to which he refers is an extremely important tool for performers before and while they are learning new repertoire, and before performances. Research has provided proof to the effectiveness of imagined practice.
Through their study of music’s effect on the mind, Robert Zatorre and colleagues have discovered that imagining the sound of music stimulates the auditory cortex to almost the same degree as actually hearing the music. Imagining the act of playing has an equally stimulating effect on the motor cortex, which in turn, continues to stimulate the auditory cortex. This evidence is encouragement for performers to visualize and imagine playing new music before attempting it; this process initiates neural circuitry that will be formed during the actual learning, thus, making the physical attempt much more fluent, as if the musician had already learned the music. The pathways have already been created; half the work has been done.
He continues to describe the mind’s tendency to predict music that is familiar to us. Studies of individuals’ brain activity during familiar listening experiences, wherein audible music is removed, demonstrate how the mind will attempt to fill in the missing segments of music; according to MRI brain scans, although music may have been removed, the auditory control centers displayed greater activation these times than with non-familiar musical examples.
Research has also allowed investigators to learn of frontal cortex stimulation that occurs during deliberate, conscious and voluntary mental imagery, such as frequently relied upon by professional musicians. Those who do not depend on such musical imagery for their vocation, may find most of their imagery is the result of unconscious thought. Even when one is not aware of why a musical association is occurring, it is a continual occurrence. Some experiences of musical imagery can be predicated by repeated listening; a favourite song, for example, can become embedded into one’s subconscious and revisited unconsciously, for unexplained reasoning. Verbal associations may also initiate musical imagery: lyrics from a song, similarities of a situation, a key word may all cause an involuntary lapse of music in one’s mind. Finally, repressed emotions may be another factor in musical imagery that seems to be cultivated out of the blue. Sacks draws upon personal experiences through which he can relate to each unexplained onset of musical imagery. Clearly music is always on his mind.
Reflection:
Having spent a great volume of my time as of late researching biofeedback and EEG neurofeedback training as it applies to attention-deficit hyperactivity disorder (ADHD), Sacks’ chapter speaks volumes to me. I am flooded with inquiry questions and ideas for future research into the discipline of brain therapy, and reading his insights with regards to musical imagery, I am curious as to the overlap that I see.
Studies and therapeutic applications involving neurofeedback are based upon the notion that one is able to consciously retrain the brain. Through monitoring EEG patterns in an individual and applying biofeedback therapy which functions through operant conditioning principles, the subject can change the produced brainwaves. Thus, successful biofeedback or retraining of brain activity.
Sacks describes the cognitive processes of visual imagery used by musicians before learning new music, and even when they are away from their instrument. According to brainwave MRI scans, activity occurs in the auditory and motor cortex during these sessions of imagining hearing and playing music. As well, if an individual deliberately, voluntarily imagines music, the frontal cortex is also involved. This knowledge could prove to be effective in the treatment of ADHD, which is shown to affect the frontal and motor cortex within individuals. Whether through consciously invoked musical imagery of playing or simply hearing a melody that is familiar, benefits may be sought in the for patients. As well, evidence of auditory stimulation during familiar listening exercises could also prove to be beneficial to ADHD sufferers if implemented into therapeutic practices; if could offer individuals‘ increased spans of attention and focus, and help to engage concentration.
This chapter has left me with further areas of interest to explore and contemplate, in the field of music and brain research, and has given me new insight into the power of both music and the human mind.
1 comment:
Concerning the issue of musical associations, I find this to be a very perplexing topic. It is always amazing to me how two similarly trained musicians can conjure up such opposite mental imagery about the same musical passage. But I think the same thing can happen with language. In rehearsals with my group I often try to explain what I want to convey with the music using words. I used to find that this didn't work often enough to be helpful, and I wanted to understand why. Probing deeper, I found that even words that seem to be the most simple and straightforward can have very different connotations for people based on personal experience, or education, or any number of reasons. For example, take the word 'interesting'. I've worked with those who consider 'interesting' to be complimentary when referring to someone's playing. It means that you have created interest, that your playing is not boring, it has ideas. But there are others that consider the word 'interesting' to be a very negative comment in regards to playing, often because certain teachers have used this word when they don't think a student has played well but they don't want to openly insult the student. One of the hardest things about playing in an ensemble is developing a musical and verbal language that you all share and understand. Experiences like these make me think that mental associations, whether musical or otherwise, are always extremely personal, and one must always investigate to find out what someone really thinks or feels or hears.
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