tag:blogger.com,1999:blog-71817443090808612332024-03-12T18:44:02.549-07:00Music and Brain Blog at University of TorontoUniversity of Toronto students discuss the Brain and Music. This Blog is related to the course, Music and the Brain and posting permission is granted to present and past students in the course. The blog is moderated by Dr. Lee Bartel.Lee Bartelhttp://www.blogger.com/profile/06727468225852676801noreply@blogger.comBlogger504125tag:blogger.com,1999:blog-7181744309080861233.post-54256535359905250812014-12-05T16:33:00.001-08:002014-12-05T16:33:26.146-08:00<div class="MsoNormal">
<span lang="EN-CA">Combined Flow in Music Performance<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA">Summary:<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-CA">Hart and di Blasi’s (2013) study explores
the experience of combined flow in musical performances. Their research was
motivated by questions about whether flow can occur in group settings, to discover
if group flow might have qualities that are separate from individual flow, and
to determine how best to further study instances of group flow. The researchers
interviewed six university students from a variety of disciplines who had a minimum
of eight years experience playing music in group settings. Jam sessions were organized
for the participants, and interviews were conducted afterwards. In addition,
one of the researchers participated in one of the jams and produced a written
narrative of events.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span style="mso-tab-count: 1;"> </span>Individual
flow has been described as a subjective state through which individuals become deeply
consumed by an activity that is both challenging and intrinsically rewarding. Many
work and leisure activities are associated with flow, including music listening
and music practice and performance. The experience of combined, or group flow
has been studied in sports settings, but surprisingly so far very little work
has been done that examines group flow in musical ensembles.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span style="mso-tab-count: 1;"> </span>In
group flow situations, the characteristics of individual flow emerge (but in
slightly different ways) while members are all focused on a group-based goal.
The study discovered five overall themes related to and necessary for the occurrence
of group flow. First, members must “find a niche” within the group and feel
they are each bringing an individual skill or talent to the group experience.
Second, the group must overcome individual differences and “break on through.” Individual
differences such as personal tastes and skill levels must be overcome and the
group must assume a collective identity. Third, the members must “find a group
groove” and let go of individual thoughts and feelings in order to maintain the
forward momentum of the jam and the enjoyment of the present moment. Fourth, the
group must obtain a collective awareness that the jam is a fleeting experience
that must come to an end. This was described by participants as a feeing of
having your feet pulled from under you and being plunged back into reality.
Finally, group members share highs and lows and realize that the experience was
made available through group collaboration.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-CA"><span style="mso-tab-count: 1;"> </span>The
study found that some, but not all, characteristics of individual flow occur in
group flow settings. Of these, three seem to be salient differences as compared
to individual flow. First, group members get a sense that they are in control
of their own playing but do not try and direct or control the playing of
others. Second, people lose their sense of self-consciousness or anxiety about
how they are playing related to other members of the group. Third, the whole
goal of the performance becomes the jam itself, or achieving the sensation of
group flow, rather than some other goal like performing a piece of music
perfectly. The authors conclude with a very brief discussion of the importance
of the group flow experience in therapeutic, educational, and workplace settings.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA">Reflection:<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-CA">Although it is not explicitly discussed in
the article, it can be assumed that the ensemble in this study was performing
some sort of improvised rock- or blues-based jam style of music. I wonder if
group flow is unique to this kind of improvisation, or if collective flow could
be experienced during performances of more structured kinds of art music, or if
larger ensembles like symphonies could experience episodes of combined flow. In
other words, what part of group performance enhances collective flow? Is it the
improvisational aspects of a particular style of music, or is it simply the
shared experience of individual flow?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span lang="EN-CA">Csikszentmihalyi claims
that flow is a complex, subjective experience and therefore is difficult to
measure using quantitative methods. Therefore, Hart and di Blasi’s study used “funnelled”
interview data and a grounded theory approach to analyze transcribed interviews.
Even though the flow state is subjective, that does not mean that it cannot be
associated with certain neural states, and could therefore be operationalized
for an experimental setting. For instance, certain physiological responses such
as chills, or goosebumps, have been associated with flow-like states.
Additionally, more research could be done that examines the relationship
between flow and brain wave entrainment. Some video game research has used EEG data
to determine which brain wave states are most associated with flow states during
gaming.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-CA"><span style="mso-tab-count: 1;"> </span>In
a similar ways, EEG tools could be used to monitor the brain states of ensemble
members during a jam or performance. An experiment could be designed that
monitored a small choral ensemble with EEG and video recordings. Researchers
could review the experiment data and then use video elicitation to interview
the participants to see if flow experiences were achieved and if so, what types
of brain activity might be associated with these experiences. New
consumer-grade, low-cost EEG monitors might offer new opportunities for this
kind of research in the near future.<o:p></o:p></span></div>
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<span lang="EN-CA"><br /></span></div>
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<div class="MsoBibliography">
References: </div>
<div class="MsoBibliography">
Hart, Emma, and Zelda Di
Blasi. 2013. “Combined Flow in Musical Jam Sessions: A Pilot Qualitative Study.”
<i>Psychology of Music</i>, October, 0305735613502374.
doi:10.1177/0305735613502374.</div>
Brianhttp://www.blogger.com/profile/05557825047077396237noreply@blogger.com7tag:blogger.com,1999:blog-7181744309080861233.post-30120449197222071002014-12-03T07:37:00.001-08:002014-12-03T07:41:34.658-08:00Creativity and Psychopathy: Higher Rates of Psychosis Proneness and Nonright-Handedness Among Creative Artists <div class="p1">
<span class="s1">Creativity and Psychopathy: Higher Rates of Psychosis Proneness and Nonright-Handedness Among Creative Artists </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p3">
<span class="s2">Source: <a href="http://dx.doi.org/10.1097/NMD.0b013e3181568180"><span class="s3">http://dx.doi.org/10.1097/NMD.0b013e3181568180</span></a></span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Summary: <br />
<span class="Apple-tab-span"> </span>Preti and Vellante claim that creative individuals often describe having “odd sensory and perceptual experiences”. These cognitive similarities, for example, loose associations, broad attentional focus, and the ability to connect novel information, has also been seen in schizophrenic individuals. This suggests that there is a link between creative individuals and schizophrenic individuals. In fact, previous studies have found that creative individuals typically score higher on tests that measure psychoticism. However, these results have been inconsistent and they have failed to consider substance abuse, which might be a contributing factor, among creative artists. </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>Previous studies have also found that those with schizophrenia who had higher reports of unusual subject experiences had a higher frequency of abnormal hemispheric lateralization. It was also observed in several studies that individuals with schizophrenia tend to be left handed with decreased language lateralization and decreased or reversed anatomic asymmetry. Nonright handedness is commonly seen among creative individuals as well, and researchers think that this might be a marker of disrupted brain lateralization in cognitive functions which may lead creative individuals to have unusual subjective experiences. However, these experiences themselves are not a marker of psychosis. Those in the general population who score high on psychosis proneness and schizotypy were found to be mixed handedness. </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>In this study, Preti and Vellante investigated whether unusual subjective experiences were related to nonright handedness in creative artists. The researchers used the Peters et al. Delusions Inventory (PDI) to assess psychosis proneness of a general population. The PDI includes 21 questions, for instance, “do you ever feel that you are especially close to God?” and “Do you ever feel as if someone is deliberately trying to harm you?” Researchers also used the General Health Questions (GHQ) to measure psychological distress on a 4 point scale (“not at all”, “less than usual”, “more than usual”, and “rather more than usual”). Some examples of questions that were on the GHQ are, “Have you recently been feeling unhappy and depressed?” and “Have you felt you couldn’t overcome your difficulties?” </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>160 participants completed the PDI and GHQ. Of these, 80 were professional artists (30 musicians, 25 painters, 25 writers), while the other 80 participants were in noncreative professions. To investigate handedness, researchers used The Annett Hand Preference Questionnaire (HPQ). Participants were asked if they use their right, left, or both hands in the following primary actions: writing, throwing, hammering, brushing teeth, etc. They were also asked about handedness in nonprimary actions: dealing cards, opening a jar, threading a needle, etc. Subjects were then grouped into one of three groups depending on which hand was more dominant in the primary actions: fully dextral, fully sinistral, and ambidextral or mixed. Those in the fully dextral group preferred their right hand, those in the fully sinistral group had a preference for their left hand, and the ambidextral/mixed group were those who were inconsistent in reporting a preference. Furthermore, subjects were asked about their experience with any psychoactive substances such as alcohol, nicotine, cannabis, ecstasy, LSD, etc. </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>In handedness, 81% of the artists were fully dextral, 6% were fully sinistral and 12% were ambidextral/mixed. In the control group, 97% were fully dextral and 3% were ambidextral/mixed. It was found that artists, specifically musicians and painters, were more likely to use their left hand compared to nonartists. This may mean that these artists use more of their right hemisphere in their artistic profession, and that this is not the result of greater development of both hands due to their profession. However, this may be true for musicians. The artists scored higher on the PDI and the authors think this has to do with their use of psychoactive substances. It was found that creative artists were statistically more likely to report unusual subject experiences of a delusion-like nature when compared to the control group, supporting the idea that higher schizotypy scores are seen in artistic and creative people. Furthermore, creative artists were more likely to report a left hand preference. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Reflection:</span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>As I am interested in psychosis and it’s link to creative artists, I found this study to be fascinating. It is interesting to me that artists seem to report that they have more unusual subjective experiences. Are these experiences coincidental? Are artists simply more open to them? Do the artists maybe have different definitions amongst themselves for what determines an experience to be “unusual”? </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>It was interesting that the researchers speculated that the participants’ history of legal and illegal drug use, rather than more scientific reasons such as genes, were the reason for their high PDI scores. With respect to this, the researchers did not describe whether small or large amounts or psychoactive substances were used. They also did not state which drug was used most and how regularly. If researchers claim that artists scored higher on the PDI and that psychoactive substances may be the reason, it would be helpful to know more about this. <br />
<span class="Apple-tab-span"> </span>I thought it was interesting that the researchers connected these unusual experiences to handedness. It was surprising to me that there were no left-handed people in the nonartistic group. However, that that being said, there were only five left-handed artists, two of which were painters, and the other three were musicians. It could be that this particular sample yielded these particular results. </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>The most fascinating point in this article is that the results seem to confirm a connection between creativity and reports of unusual subjective beliefs and experiences. In researching this topic and reading other articles, I have found that generally, it is agreed that there is a link between creativity and psychosis, however, that researchers have had different reasons as to why this may be. I have also found that researchers have different definitions of what creativity really is. How do we also address how to measure creativity in different forms? For example, a dancer and an artist. Shalley (1991) defines creativity as having three factors: ability, intrinsic motivation, and cognitive activities. However, others might define creativity as creating a work of some type or remaining flexible in order to problem solve. More research and a clearer consensus of what creativity is, is needed. </span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">References: </span></div>
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<span class="s1">Preti, A., & Vellante, M. (2007). Creativity and psychopathology: Higher rates of psychosis proneness and nonright-handedness among creative artists compared to same age and gender peers. <i>The Journal of Nervous and Mental Disease, 195</i>(10), 837-845. <span class="s4"><a href="http://dx.doi.org/10.1097/NMD.0b013e3181568180">http://dx.doi.org/10.1097/NMD.0b013e3181568180</a></span></span><br />
<br />
Shalley, C. E. (1991). Effects of productivity goals, creativity goals, and personal discretion on individual creativity. <i>Journal of Applied Psychology, 76,</i> 179-185. http://dx.doi.org/10.1037/0021-9010.76.2.179</div>
Anonymoushttp://www.blogger.com/profile/05718048162004414836noreply@blogger.com4tag:blogger.com,1999:blog-7181744309080861233.post-91832953176745595762014-12-02T16:16:00.000-08:002014-12-04T11:27:03.079-08:00Music, Language and Autism: Exceptional Strategies for Exceptional MindsReference: Music, Language and Autism: Exceptional Strategies for Exceptional Minds, Dr. Adam Ockelford, 2013, Jessica Kingsley Publishers<br />
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<br />
Autism Spectrum Disorder (ASD) is an umbrella term that does not define one specific neurological condition. It is identified in young children as behaviour that does not progress socio-cognitively through key developmental learning stages. It is defined as a spectrum because of the vast diversity and specificities of behaviour. Some autistic children are high functioning and need little interventional support, while others have profound challenges to overcome. Essentially autism is defined by three characteristics; impairment in social interactivity, impairment in communication, and an abnormal preoccupation or focus on specific interests (Ockelford, 24).<br />
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Maxwell is a 12 year old boy who I teach in my ISP (Intensive Support Program) music class who presents with many observed behaviours on the ASD scale.When I introduced Max to his first wind instrument, a baritone, I thought he showed real potential. His initial buzzing and tone were good. He played a big round B flat tone the very first day. One unique aspect of his behaviour is his fascination with animals. He is totally engrossed and preoccupied with all things animal-related. I used his interest in animals as a motivational tool; the baritone became his bear that he had to hug and make music with. Maxwell responded well to verbal and unified whole class cues on posture, breathing and guided mouthpiece warm-ups. But over time Maxwell became grumpy, frustrated and began to act out. Different experimental medications made Maxwell comatose one day, hyperactive the next. In a class of nine ISP brass students, Maxwell's progress was not developing beyond making beginning tones and some ability to follow the rhythm in the warm-ups. Maxwell was unable to press down the valves without assistance and was not retaining any memory of fingering combinations from class to class. Presently, when I work one on one with Maxwell, I do observe some limited progress and it is certainly possible that more time spent with him would result in further musical development. I chose this reference to gain a better understanding of ASD in the hopes of finding information that might help me work with learning differentiated children, like Maxwell, who fall into a higher need category.<br />
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Dr. Adam Ockelford argues strongly in his book, <i>Music, Language and Autism</i>, about the need for an organised system of music in recognized targeted autistic education programs. Music holds an intense fascination for many children on the autism spectrum. Ockelford believes that music can be used as a mode of communication, a "positive outlet to express inner thoughts and feelings" and a tool to help children find and express emotions without resorting to challenging or destructive behaviour. His research shows that musical processing is often more highly developed than language processing in children with this condition. Additionally, he proposes that music can be used to support language ability, communications and social development.<br />
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Ockleford introduces a new theory of autism and music, where music is used as a critical tool in language processing. He rigorously analyses how children with ASD process music and proposes that autism creates an Exceptional Early Cognitive Environment (EECE) where all sounds are processed in the brain as musical structure, when children are introduced to music at a young age. Furthermore, his theory is supported by the research that 1 in 20 ASD children have been found to have absolute pitch and/or a strong or savant-like propensity for music.<br />
<br />
Ockelford's book is highly complex and difficult to apply to music educators in the learning differentiated classroom. He does insert some small lesson plan ideas throughout the book, for example, using musical phrases instead of speech, singing "let's go to lunch", instead of speaking it. His final chapter focuses on ASD children who are exceptional in music but he does not provide specific pedagogical strategies in working with these children. He discusses things to consider in terms of performance to maintain the integrity of the child, and retells his own specific case studies, which are certainly inspiring but do not provide any one-size-fits-all strategy.<br />
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Ockelford reflects on the nature of autism and how the abstract sound patterns and the highly repetitive nature of music appeal to many children with this neurological condition. Children with autism see things in parts, rather than the whole picture and Ocklelford sees this as an exceptional advantage and an opportunity to celebrate difference. The book is intended for intensive therapeutic educational programs that work with children one on one or in small classroom settings. Generalities are certainly accessible; being positive, open minded, flexible and listening to learning cues from the child. But translating his research to teachable curriculum in the whole classroom setting is difficult because it relies so highly on individual student and spontaneous teacher response.<br />
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<br />Susan Raponihttp://www.blogger.com/profile/18284349082227936687noreply@blogger.com4tag:blogger.com,1999:blog-7181744309080861233.post-277763430499480352014-12-01T22:04:00.001-08:002014-12-02T13:59:44.484-08:00Do digitized Recordings give negative effects to human body and mind?<span style="font-family: 굴림;">
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<span style="font-family: 굴림;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<strong><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">Do digitized sound files cause negative effects on the human
body?</span><span lang="EN-US"><o:p></o:p></span></strong><br />
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";"><strong>Human Stress Provoked By Digitized Recordings.<span style="mso-spacerun: yes;"> </span>John Diamond, MD</strong></span><span lang="EN-US"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">Source:</span></b><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"><a href="http://www.drjohndiamond.com/digital/717-human-stress-provoked-by-digitized-recordings"><span style="color: blue; font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">http://www.drjohndiamond.com/digital/717-human-stress-provoked-by-digitized-recordings</span></a><a href="http://www.drjohndiamond.com/digital/717-human-stress-provoked-by-digitized-recordings"></a><o:p></o:p></span></div>
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<span lang="EN-US"><a href="http://www.drjohndiamond.com/digital/717-human-stress-provoked-by-digitized-recordings"></a><o:p></o:p></span><br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">Summary:</span></b><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">In this article, Dr. John Diamond states that there is a
strong correlation between music and healing. He had used classical music
played by a phonograph for therapeutic purposes and gained successful results.
However, in 1979, he realized that the therapeutic effects did not last – in
fact his patients had negative effects due to listening to the music. After a
long investigation, he came to the conclusion that the phenomena occur through
the use of digital recordings. When he played an analog version of a classical
music work to his patient, he was able to gain the therapeutic effects, but as
soon as a digital version of the same piece was played, the undesired symptoms
appeared (muscle weakness, augmentation of stress). He claims that a human
voice recorded by a digital device can also cause negative effects. Dr. Diamond
emphasizes that he has led research regarding the effect of digital music by
collaborating with other researchers. He also conducted many double blind tests
in order to obtain accurate results. He points out that most of therapeutic
recordings have been produced by the digital process, which weakens not only
the muscles of the human body, but also the human mind and mental states. At the
end of the article, he added an anecdote about the major recording and
electronic companies that had been against his research results in the 80’s. In
2001, they contacted Dr. Diamond, saying that they knew the negative effects of
digital sound, but they were obliged to release CDs. They asked him for help in
finding a solution to the digital fatigue. He wraps up his article by
mentioning the importance of escaping from the digital sound which releases us
from the hatred of life.</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"><o:p><span style="font-family: 맑은 고딕; font-size: x-small;"> </span></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";"><strong>Reflections:</strong></span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">I have been interested in the therapeutic effect of digital
and analog music. There is no question about positive effects of unplugged
acoustic instrumental sound, but the effect of digitized sound files has always
been a question for me. Surprisingly, it was very difficult to find articles or
research papers regarding this subject. Dr. John Diamond claims that digitized
sound files absorb humans’ “life energy” the way white sugar weakens the immune
system. Diamond is a physician and also an applied kinesiologist. I watched his
muscle testing videos, and it was quite surprising that all the volunteers
showed negative reactions while listening to a digitized sound file. (Dr.
Diamond applied a deltoid muscle strength test to the volunteers.) He wrote
this article in the year 2000, and he added postscripts in 2003 and 2006. I
also found his recent AK demonstration video clips on YouTube. Dr. David
Hawkins also calibrated the energy level of music by applying the Applied
Kinesiology methods. However, I was not able to find any other reliable
resources of pro or cons about this subject. I agree with his idea that
listening to digital sound files – especially compressed mp3 files – gives
negative effects, but the impact might be different depending on personal
deviation. In his recent video, he states that he has produced CDs treated by
one of his methods which do not weaken and absorb human life energy.</span><span lang="EN-US"><span style="font-family: 맑은 고딕; font-size: x-small;"> </span></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">(Watch the link below.)</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"><a href="https://www.youtube.com/watch?v=e4oU2qTreA0"><span style="color: blue; font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">https://www.youtube.com/watch?v=e4oU2qTreA0</span></a><a href="https://www.youtube.com/watch?v=e4oU2qTreA0"></a><o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">Many neuro-scientists – including Jourdain – have conducted
research on the effect of sound on the human auditory system, but none of them
have decoded the effects of a sound type itself to the brain, as far as I know.</span><span lang="EN-US"><o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">I would like to share opinions about the effects of digital
sound on the human body.</span><span lang="EN-US"><o:p></o:p></span></div>
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</span><span lang="EN-US"><o:p><span style="font-family: 맑은 고딕; font-size: x-small;"> </span></o:p></span><br />
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</span><br />
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";"><strong>References</strong></span><span lang="EN-US"><o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="h.gjdgxs"></a><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">"Digital Fatigue in Music,
Diamond (2008) & Jungleib (2011)." YouTube. Accessed December 1, 2014.
https://www.youtube.com/watch?v=e4oU2qTreA0.</span><span lang="EN-US"><o:p></o:p></span></div>
<span style="font-family: 굴림;">
</span><br />
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">John, Diamond. "Dr. Diamond MD - Human Stress Provoked
By Digitized Recordings." Accessed November 30, 2014.
http://www.drjohndiamond.com/digital/717-human-stress-provoked-by-digitized-recordings.</span><span lang="EN-US"><o:p></o:p></span></div>
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Francoishttp://www.blogger.com/profile/02431077003816712046noreply@blogger.com7tag:blogger.com,1999:blog-7181744309080861233.post-75644169143088194992014-11-30T19:59:00.001-08:002014-11-30T20:05:28.343-08:00Amygdala damage impairs emotion recognition from music<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif; line-height: 1.15; white-space: pre-wrap;">Study by Nathalie Gosselin, Isabelle Peretz, Erica Johnsen, Ralph Adolphs</span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b id="docs-internal-guid-dd7322e7-03fd-5e84-8509-292f31c8e737" style="font-weight: normal;"><br /></b>
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<span style="background-color: transparent; color: black; font-family: Arial, Helvetica, sans-serif; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Summary:</span></div>
<div style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The role of the amygdala in recognizing danger is well established for visual stimuli such as the face. Gosselin et al. have decided to study a rare subject (by the name of “S.M.”) who has complete bilateral damage to the amygdala that does not encompass other sectors of the temporal lobe. S.M. is severely impaired in recognizing happiness and other emotions in faces (Adolphes et al., 1994, 1995). Her deficit appears to be limited to facial expressions as she constantly fails to recognize fear, surprise, sadness, and anger. And yet, S.M. has no difficulty in recognizing these same emotions in emotional speech. She also exhibits impaired arousal judgments for scary faces. She finds fearful faces less arousing than normal controls whereas she judges them normally as unpleasant. S.M. has been studied by Adolphs and collaborators for the past decade (as mentioned in this 2007-published paper), as she remains to date, the subject with the most selective and complete amygdala atrophy. With that said, the team aims to assess this time, the specific role of the amygdala in her recognition of fear from music. </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b style="font-weight: normal;"><br /></b>
</span></div>
<div style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Gosselin et al. conducts two experiments in this study. The first one, to rate the intensity of fear, peacefulness, happiness, and sadness from computer-generated instrumental music purposely created to express these emotions. Participants (S.M. along with four “normal” female participants) are to listen to fifty-six musical excerpts containing the previously mentioned emotions. The task is to judge the intensity of each emotion for each musical stimulus on 10-point scales. The participants also rated the arousal and valence of each musical stimulus on another 10-point scale of whether the music sounds pleasant or not, for the duration of 45-minutes. In addition, an error detection task that assesses basic auditory perceptual function was tested, through twenty-four of the fifty-six stimuli used in the emotion task. The twenty-four excerpts are modified to contain a timing error, where participants are to indicate if the pianist (playing in the recording) lost track of what s/he is playing at some point of the piece. </span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b style="font-weight: normal;"><br /></b>
</span></div>
<div style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 36pt;">
<span style="background-color: transparent; color: black; font-family: Arial, Helvetica, sans-serif; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The second experiment aims to determine the musical cues that S.M. (and seven normal female controls this time,) are able to use to recognize emotion in music, through the use of mode and tempo. The stimuli consist of thirty-two musical excerpts; half are chosen to evoke happiness and the other half, sadness. In the “mode condition”, all excerpts are transcribed in the opposite mode (major to minor and vice versa). In the “mode-tempo condition”, the mode and tempi are manipulated respectively.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b style="font-weight: normal;"><br /></b>
</span></div>
<div style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">S.M. performs normally in the task of error detection in basic auditory perceptual function. She has difficulty in recognizing scary and sad music, though is able to recognize happy music. S.M. confounds scary with peaceful music, as the confusion never occurs in normals. She also judges scary music to be less arousing and the peaceful music less relaxing than the other controls. S.M. also confounds sadness with peacefulness and occasionally mistakes sad stimuli as happy. And yet, she judges the happy music more intense than normal controls. S.M. judgment of pleasantness are also influenced by tempo. She judges faster musical tempi as more pleasant whereas normal controls’ judgment are unaffected by tempo. Gosselin et. al. states that S.M.’s impairment is similar to that previously reported in patients with unilateral anteromedial temporal lobe damage. </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b style="font-weight: normal;"><br /></b>
</span></div>
<div style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In the mode and tempo experiment, S.M.’s responses are similar to those of normal subjects. Therefore, she shows normal ability to employ tempo and mode as cues for emotional interpretation. </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b style="font-weight: normal;"><br /></b>
</span></div>
<div style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Music is an appropriate medium to assess emotional processing because music is a powerful emotional trigger and is easy to manipulate for research purposes (Gosselin et al., 2007). Gosselin et al. concludes that the amygdala appears to be necessary for emotional processing of music rather than the perceptual processing itself. They hope to pay special attention to the type of musical cues that convey potential threat to the listener and assess their effects on behavioural or brain responses in future studies.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b style="font-weight: normal;"><br /></b>
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<div style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="background-color: transparent; color: black; font-family: Arial, Helvetica, sans-serif; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Response:</span></div>
<div style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This is a very fascinating research! Researchers have studied this patient for about two decades (assuming they are continuing their studies with her today, in 2014), and have been monitoring the function of her amygdala (and presumably the other parts of her brain). The number of participants is extremely small, though with much preparation made in order to conduct the study. For example, they hired a “professional composer” (name unmentioned) to compose fifty-six musical excerpts. I do wonder though, how are the mood of the musical excerpts determined? Is mood determined by intervals, dynamics, or texture? Mood is apparently determined by metronome marking (ie. Happy excerpts are written in major mode at the average tempo of 137 metronome marking with the melodic line lying in the medium-high range). But how was the 137 metronome marking determined as “happy”? The paper said that the listening excerpts for each emotion category can be heard on the website at </span><a href="http://www.brams.umontreal.com/peretz" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">www.brams.umontreal.com/peretz</span></a><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, but the examples don’t exist currently, unfortunately. It would have been interesting to listen to the excerpts.</span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b style="font-weight: normal;"><br /></b>
</span></div>
<div style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The first experiment lasted for 45-minutes while the second experiment lasted for 1-hour. That’s a long time for an experiment (especially to listen to fifty-six excerpts). I wonder if the participants eventually ended up tired and/or confused with the amount of music to be heard. Did they take breaks? How was their focus level? Also, the experiments measured pleasant and unpleasant music. I wonder how that is measured. </span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="vertical-align: baseline; white-space: pre-wrap;">In the two experiments, S.M. is compared by the other participants’ results. What if the normal participants themselves, had drastically different results themselves? Then how would it be graphed? Lastly, knowing that S.M.’s bilateral damage to the amygdala is extremely rare, I wonder if other subjects with the same damage as her, have been tested. I would be interested to also see their results, and compare it with S.M.’s. This research has proved to me all the more that, the brain is absolutely complex -- even the amygdala on its own. Discovery of this organ of ours, is proven to be all the more important in research to discover the nuances of the role of each part of the brain.</span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="vertical-align: baseline; white-space: pre-wrap;"><br /></span>
</span></div>
<span style="font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; white-space: pre-wrap;">Resource:</span><br />
<br />
<div style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<div class="p1">
<span class="s1" style="font-family: Arial, Helvetica, sans-serif;">Adolphs, R., D. Tranel, H. Damasio, and A. Damasio. "Impaired Recognition Of Emotion In Facial Expressions Following Bilateral Damage To The Human Amygdala." Nature 374.6507 (1994): 669-72.<span class="Apple-tab-span"> </span></span></div>
<div class="p2">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="s1"></span><br /></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="p1">
<span class="s1" style="font-family: Arial, Helvetica, sans-serif;">Gosselin, Nathalie, Isabelle Peretz, Erica Johnsen, and Ralph Adolphs. "Amygdala Damage Impairs Emotion Recognition From Music." Neuropsychologia 45 (2007): 236-44. </span></div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7181744309080861233.post-1566340500670550922014-11-29T11:56:00.000-08:002014-11-29T11:56:23.571-08:00Ella Mae sings “An American Trilogy” by Elvis Presley – YOUTUBE video<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0.0001pt; text-align: justify; vertical-align: baseline;">
<span lang="EN-US" style="background-color: white; font-family: 'Times New Roman', serif; font-size: 12pt;">Ella Mae sings “An American Trilogy” by Elvis Presley
– YOUTUBE video<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt;"><span lang="EN-US" style="background-color: white;"><a href="https://www.youtube.com/watch?v=fmWa1gKrp6Q">https://www.youtube.com/watch?v=fmWa1gKrp6Q</a></span></span><span lang="EN-US" style="background-color: black; font-family: 'Times New Roman', serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span style="background-color: white; font-family: Times, 'Times New Roman', serif;">Summary:</span></div>
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<span lang="EN-US" style="background-color: white;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="yiv5782982077msonormal" style="text-align: justify; vertical-align: baseline;">
<span style="background-color: white; font-family: Times, Times New Roman, serif;"><span lang="EN-US">This is a </span><span lang="EN-US">five-and-a-half minute</span><span lang="EN-US"> YouTube video posted on July </span><span lang="EN-US">2013, with more than 7 million views. The clip shows Ella Mae, a 20
month-old girl,<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>singing
Elvis Presley's version of 'An American Trilogy' <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">in the back seat of her dad's car.</span></span></span></div>
<div class="yiv5782982077msonormal" style="text-align: justify; vertical-align: baseline;">
<span style="background-color: white; font-family: Times, Times New Roman, serif;"><span lang="EN-US">To capture the performance, Ella´s father set
up a camera on the back seat and focused it on the toddler's rear-facing car
seat. </span><span lang="EN-US">Throughout the
video Ella </span><span lang="EN-US">tries to keep the interaction with her father, calling</span><span lang="EN-US"> “daddy” before and during her cover song, </span><span lang="EN-US">while
enthusiastically raising her both arms,</span><span lang="EN-US"> as he frequently answers her back.</span></span></div>
<div class="yiv5782982077msonormal" style="text-align: justify; vertical-align: baseline;">
<span style="background-color: white; font-family: Times, Times New Roman, serif;"><span lang="EN-US">During her rendition, Ella tries to sing, mimicking the pitch and
melodic </span><span lang="EN-CA">contour</span><span lang="EN-US"> of the song, even though she is not old enough to pronounce some of
the words. She also bobs her head and hand to the exact beat, demonstrating
great timing. At minute 4:20 to 4:37 Ella<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> surprisingly
reveals herself as an orchestra conductor</span>.</span></span></div>
<div class="yiv5782982077msonormal" style="text-align: justify; vertical-align: baseline;">
<span style="background-color: white; font-family: Times, Times New Roman, serif;">Nevertheless, the most interesting scene is the way she conveys emotions
while singing the song´s chorus, through stirring <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">facial
expressions and movements. In those moments she is totally absorbed by music,
truly enjoying and feeling it, without any need to interact with her daddy. This
is Ella Mae entertaining us and capturing our attention and admiration!</span></span></div>
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<b><u><span lang="EN-US" style="background-color: #cfe2f3;"><span style="font-family: Times, Times New Roman, serif;">Reflections:</span></span></u></b></div>
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<b><u><span lang="EN-US" style="background-color: #cfe2f3;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></u></b></div>
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<span lang="EN-US" style="background-color: #cfe2f3;"><span style="font-family: Times, Times New Roman, serif;">The first fact that I noticed is how happy Ella feels in her father´s car.
It seems to be an intimate father-daughter relationship, favoring a caring and
encouraging context for learning and development. And listening is learning! When
children are exposed to music, even passive listening to music (like in the
car), they incorporate an implicit knowledge of tonality, rhythmic form and
musical structure of their own culture. As
we can see in the video, when the music starts to play, it appears to be that
Ella is already familiar with Elvis´ repertoire, as a result of being exposed
to her father´s musical selection and preferences. It is noteworthy that music
has an impact even before the child is born. Some studies indicate that fetuses
can hear and react to sound by moving (1, 2).<o:p></o:p></span></span></div>
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<span lang="EN-US" style="background-color: #cfe2f3;"><span style="font-family: Times, Times New Roman, serif;">Ella is a 20 month old toddler who is developing in a
variety of domains, including music. While listening to Elvis’ song, she uses
her singing voice, elongating vowels in a musical way, and moves her hand
rhythmically as a conductor. Sometimes, when the music is more arousing and
emotional, Ella shows facial expression of pure enjoyment and pleasure.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="background-color: #cfe2f3;"><span style="font-family: Times, Times New Roman, serif;">According to Robert Jourdain (3), melodic contour is child´s first musical
competence. The author further outlines that “the child will repeat the same
melodic figure again and again, holding its overall contour, but distorting the
intervals between tones by stretching them wide during one repetition, then
flattening them the next”. In the second year of life, infants´ melodies are
unstable as toddlers lack strong understanding of the individual tones that
constitute melodies. Consequently, they have difficulties in reproducing
melodies. First children need to learn how to isolate sounds, make
categorizations and perceive distinct pitches. <o:p></o:p></span></span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin: 3.6pt 0cm 0.0001pt; text-align: justify;">
<span style="background-color: #cfe2f3; font-family: Times, Times New Roman, serif;"><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-weight: normal;">At the perception level, Gestalt principles
determine that </span><span lang="EN-US" style="font-weight: normal;">music´s features are
analyzed and grouped according to their similarity, proximity, good
continuation, and common fate, in order to create a coherent and meaningful
“sound object” (i.e., a mental representation of physical sound). On the other
hand, there is also a Top-down processing in which the perception can be
modulated by listener´s experience, knowledge, intentions and selective
attention in interaction with the listening context (4).<o:p></o:p></span></span></div>
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<span lang="EN-US" style="background-color: #cfe2f3;"><span style="font-family: Times, Times New Roman, serif;">How can we explain Ella´s facial expressions of musical enjoyment while
singing?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0.0001pt; text-align: justify; vertical-align: baseline;">
<span lang="EN-US" style="background-color: #cfe2f3;"><span style="font-family: Times, Times New Roman, serif;">First, we can ponder that those behaviors could have been learned previously
by watching and imitating Elvis. Second, this song
was familiar to Ella; and studies suggest that
familiarity with a particular piece of music increases
subject´s liking for it (5). By actively listening to familiar songs, episodic
memory evokes what has been storage and expectation rises. As mentioned by Robert Jourdain, the listener “awaits the exact
replication of the song, its exact notes and exact beats. Music generates
emotion by setting up anticipations and then fulfilling them. Pleasure is the fulfillment
of anticipation”. Ella Mae knew the song and could predict what followed in the
music, resulting in anticipatory arousal.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><span style="background-color: #cfe2f3;">In conclusion, children are born with innate musical abilities (6, 7), but infant
musicality will be further developed through parental musical involvement and
encouragement. Music activities in infancy are very important to baby´s brain
as it will develop other domains as language, abstract thought and working
memory system.</span><span style="background-color: white;"><o:p></o:p></span></span></span></div>
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<span lang="EN-US" style="background-color: white; font-family: 'Times New Roman', serif; font-size: 12pt;">References:<o:p></o:p></span></div>
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<span lang="EN-US" style="background-color: white; font-family: 'Times New Roman', serif; font-size: 12pt;"><br /></span></div>
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<!--[if !supportLists]--><span style="background-color: white;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT;">(1)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT;">S. N. Graven and J.V. Browne, Sensory
development in the fetus, neonate and infant: introduction and overview. <i>Newborn
and Infant Nursing Reviews</i>, 8 (2008) 169-172<o:p></o:p></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0.0001pt; text-align: justify; text-indent: -18pt; vertical-align: baseline;">
<!--[if !supportLists]--><span style="background-color: white;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT;">(2)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT;">http://www.babycenter.com/0_music-and-your-unborn-child_6547.bc<o:p></o:p></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="background-color: white;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">(3)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><!--[endif]--><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US;">R. Jourdain, “Music, The Brain, And Ecstacy: How Music
Captures Our Imagination”, Harper Perennial, New York, NY, (1997)<o:p></o:p></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="background-color: white;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">(4)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><!--[endif]--><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US;">C. Alain and L. J. Bernstein, From sounds to meaning:
the role of attention during auditory scene analysis, <i>Current Opinion in
Otolaryngology & Head & Neck Surgery</i>, 16 (2008) 485</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT;">-</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US;">489<o:p></o:p></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="background-color: white;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">(5)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><!--[endif]--><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US;">I. Peretz, D. Gaudreau, A.M. Bonnel, Exposure effects
on music preference and recognition, <i>Memory and Cognition</i>, 26 (1998) 884-902<o:p></o:p></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0.0001pt; text-align: justify; text-indent: -18pt; vertical-align: baseline;">
<!--[if !supportLists]--><span style="background-color: white;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT;">(6)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT;">S. E. </span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US;">Trehub, Musical predispositions in infancy. <i>Annals of the New York
Academy of Sciences</i>, 930 (2001) 1</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT;">-</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US;">16.</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0.0001pt; text-align: justify; vertical-align: baseline;">
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<div class="MsoListParagraphCxSpLast" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0.0001pt; text-align: justify; text-indent: -18pt; vertical-align: baseline;">
<!--[if !supportLists]--><span style="background-color: white;"><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 9pt;">(7)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 9pt;">L. Gooding, and J.M. Standley, Musical Development and Learning Characteristics
of Students: A Compilation of Key Points From the Research Literature Organized
by Age, <i>Applications of Research in Music Education</i>, 30 (2011) 32-45</span></span><span lang="EN-US" style="background-color: white; font-family: 'Times New Roman', serif; font-size: 9pt;"><o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/09084499282270565764noreply@blogger.com12tag:blogger.com,1999:blog-7181744309080861233.post-3513255129738005802014-11-29T11:24:00.001-08:002014-11-29T11:41:23.701-08:00Neurologic Music Therapy in Stroke Rehabilitation<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Helvetica; font-size: 11px;">
Thaut, M.H., & McIntosh, G.C. (2014). Neurologic music therapy in stroke rehabilitation. <i>Current Physical Medicine and Rehabilitation Reports Online Journal, 2</i>(2), 106-113.</div>
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Summary:</div>
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Neurologic Music Therapy (NMT), established as a new model for music in medicine based on scientific research findings, is proving to be effective in stroke rehabilitation in speech/language, cognitive, and sensorimotor domains. It consists of standardized clinical interventions derived from structures and patterns in music that engage the brain in ways that can be translated to nonmusical therapeutic contexts. Research suggests that music can stimulate complex sensorimotor, cognitive, and affective processes, and that these processes can be transferred to functional therapeutic applications. Thaut states that “the brain that engages in music is changed by engaging in music,” alluding to the reciprocal relationship of music and brain function, and the role of music training in facilitating the experience-driven plasticity that supports rehabilitative gains. According to Thaut, new insights generated by neuroscience research in music have contributed to a paradigm shift from a social science, interpretative model to a perceptual, neuroscientific model of music therapy.</div>
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Several studies conducted since the mid-1990s, precipitated by early evidence of the complex interactions between auditory and motor systems, have demonstrated that rhythmic entrainment of motor function is instrumental in the recovery of movement in patients following a stroke. Basic gait parameters, including velocity, step cadence, and stride symmetry improve with rhythmic cuing, leading to more efficient motor unit recruitment. By entraining to the rhythmic period, motor movement can be scaled and mapped to fit the duration of the rhythmic cue. While upper limb movement is not intrinsically rhythmic, NMT techniques have been developed that turn functional movement involving the upper body into patterns cued by auditory stimuli. Patterned Sensory Enhancement (PSE) translates temporal, spatial and force-dynamic movement components into sound patterns used to enhance motor control, while Therapeutic Instrumental Music Performance (TIMP) engages clients in practicing functional movement using musical instruments. Studies have demonstrated improvements including increased range of motion, and reduced variability of movement during forward reaching.</div>
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Music has been used in the recovery of speech function since the early 1970s, when “melodic intonation therapy” (MIT) was developed to support patients recovering from Broca’s aphasia. Though a significant amount of research has been conducted supporting its efficacy, much of it has involved small sample sizes due to difficulties in finding homogenous study samples for aphasia research. Neuroimaging has, however, provided evidence of neuroplasticity induced by MIT, rerouting speech production from the damaged left hemisphere to the homologous, language-capable region of the right hemisphere.</div>
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Music stimulation has also been used successfully to overcome visual neglect resulting from lesions in the right hemisphere following a stroke or traumatic brain injury. Musical neglect training (MNT) is a standardized NMT technique that addresses hemispatial neglect using performance on instruments spatially configured to focus attention of the unattended visual field. Chord progressions and melodic patterns (e.g., on a xylophone with tone bars reversed to ascend from right to left) move the patient’s attention and movement progressively into the neglected visual field.</div>
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NMT has been developed as a result of both basic and clinical research into music and the brain, establishing evidence-based techniques to support rehabilitation following impairment of function due to neurologic disorders such as stroke. Research evidence supports the efficacy of NMT interventions in the areas of motor, speech/language, and cognitive rehabilitation.</div>
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Reflection:</div>
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NMT is a significant new model for music therapy, drawing on the rich findings from neuroscientific research and using these findings to develop interventions to support clients undergoing rehabilitation. Other models of music therapy have successfully adopted a psychotherapeutic approach, yet with the understandings gleaned in the past twenty years with respect to music and the brain, it is important that this knowledge be incorporated in clinical settings using music therapy to support clients suffering from neurologic disorders. NMT provides evidence-based techniques which are attractive to medical personnel seeking a scientific basis for interventions, and to medical systems seeking to use research findings to justify clinical expenditures. Patients benefit when music is brought into often sterile hospital environments, not only in terms of the functional therapeutic gains that are made, but also in having access to a creative, expressive medium, which is critical for social-emotional wellbeing following a catastrophic injury.</div>
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Music therapists have a pivotal role to play in recognizing the needs of the whole person, establishing clinical goals, and implementing interventions that promote client recovery. NMT provides training and techniques that enable music therapists to use music to address functional therapeutic aims. It is for this reason that Thaut has claimed a paradigm shift from social science to neuroscience as a model for music therapy. Yet music is an important medium for providing social-emotional support as well, and the music therapist is an important facilitator in this regard. Cultural factors also need to be considered in supporting client well-being. Doidge notes the reciprocal role between culture and the brain in neuroplasticity, stating that “not only does the brain shape culture, culture shapes the brain” (2007, p. 287). The music therapist must be skilled in drawing on a variety of culturally appropriate, clinical resources that address functional and psychotherapeutic aims in accordance with client need. Thaut has made a significant contribution to the field of music therapy, particularly in the area of rehabilitation, work which will no doubt continue to evolve as new insights emerge from both research and practice. As music’s multimodal effects can be used to support the whole person, it will be important for music therapists, in the context of a holistic perspective, to continue to develop their clinical skills in the service of their clients, while at the same time remaining current with respect to new research developments. </div>
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Reference</div>
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<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Helvetica; font-size: 11px;">
Doidge, N. (2007). <i>The brain that changes itself: Stories of personal triumph from the frontiers of brain science. </i>New York, NY: Penguin Books Ltd. </div>
Eventidehttp://www.blogger.com/profile/15769470434594201372noreply@blogger.com5tag:blogger.com,1999:blog-7181744309080861233.post-45328540253442187312014-11-29T09:13:00.001-08:002014-11-29T09:13:34.943-08:00Music Lessons Enhance IQ- Glen Schellenberg<div align="center" style="margin-left: 24.0pt; text-align: center; text-indent: -24.0pt;">
<br /></div>
<div style="margin-left: 24.0pt; text-indent: -24.0pt;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt;"><b>Source:</b><o:p></o:p></span></div>
<div style="margin-left: 24.0pt; text-indent: -24.0pt;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt;">Schellenberg, E. G. (2004). Music lessons
enhance IQ. <i>Psychological Science</i>, <i>15</i>(8), 511–4. <o:p></o:p></span></div>
<div style="margin-left: 24.0pt; text-indent: -24.0pt;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt;"><br /></span></div>
<div style="margin-left: 24.0pt; text-indent: -24.0pt;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt;"><b>Summary:</b><o:p></o:p></span></div>
<div style="text-indent: 24.0pt;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt;">The
link between music and intelligence has been a very popular topic in research
in the past number of years.<span style="mso-spacerun: yes;"> </span>In this
study, Glenn Schellenberg (U of T professor) focuses on whether music lessons
offer skills that extend to non-musical areas of cognition.<span style="mso-spacerun: yes;"> </span>His participants included 132 children (after
12 dropped out), aged 6 years old, who were split into four different
groups.<span style="mso-spacerun: yes;"> </span>Two experimental groups received
keyboard lessons or Kodály voices lessons for a year, while two control groups
received either drama lessons or no lessons. The lessons were taught for 36
weeks over one school year.<span style="mso-spacerun: yes;"> </span>At the
beginning and the end of the study, children were tested on intelligence using
the Wechsler Intelligence Scale for Children- Third Edition (WISC-III), the
most widely used test of intelligence in childhood. They were also tested for
educational achievement and social functioning with various other tests.<o:p></o:p></span></div>
<span style="font-family: "Times New Roman"; font-size: 12.0pt;">Results of the
study indicated that those who received music lessons over the course of the
year had a significant increase in IQ compared to those who received no
training, or training in a non-music program (drama). Although it was
significant statistically, the actual IQ point difference was small.
Schellenberg explains the association between music lessons and IQ, saying “it
is well established that simple attendance in school raises IQ and that
instruction in school is particularly effective when class sizes are small.
Music lessons, taught individually or in small groups, may provide additional
boosts in IQ because they are like school but still enjoyable.” <o:p></o:p></span><br />
<span style="font-family: "Times New Roman"; font-size: 12.0pt;">The music
groups also had a bigger increase in academic achievement over the drama
lessons or no lessons groups. An interesting result that Schellenberg did not
anticipate, is that the children who received drama lessons had a bigger
increase in social skills than the musically trained group. <o:p></o:p></span><br />
<span style="font-family: "Times New Roman"; font-size: 12.0pt;"><br /></span>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Reflection</span></b><span lang="EN-US">:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="mso-tab-count: 1;"> </span>What
I like about this study is that the music training variable is isolated, making
the results more meaningful than if Schellenberg had tested children who
already had music training against those with none.<span style="mso-spacerun: yes;"> </span>Because the children were all randomly assigned,
there is a higher chance that music training was the reason the children had
higher IQ at the end of the year.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="mso-tab-count: 1;"> </span>I
find it interesting that out of the children who received music lessons, those
who specifically had Kodály voice lessons had even higher IQ than the children
who took keyboard lessons. Also the fact that the dropout rate among the
participants was the highest out of the keyboard lessons group. As a private
music teacher who has taught 6-year-olds before, I can say that it takes a
tremendous amount of planning to engage a 6-year-old in a private music lesson.
Even then, the chances of a young child getting bored or agitated in their
lessons is extremely high, so this dropout rate does not surprise me. In
contrast, the Kodály approach is a very embodied approach to music education
that gets the children engaged for the full lesson. It makes sense that these
children had the highest improvement in IQ between the four groups, and also
supports having music education present in the school system.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-US"><span style="mso-tab-count: 1;"> </span>Another
interesting comparison I’d like to comment on is the difference between the
kids in Kodály music lessons and the kids in drama lessons.<span style="mso-spacerun: yes;"> </span>I wonder why the kids in Kodaly averaged 2.9
points higher than the kids in drama on the IQ scale, when the two programs are
very similar. In addition to this, drama lessons had favourable effects on
social behaviour that were not evident in the music group, so one would think
that this would favor the children’s IQ scores against those in music, but
apparently not so. <o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/08449590309809675679noreply@blogger.com2tag:blogger.com,1999:blog-7181744309080861233.post-16748478149553537502014-11-28T17:19:00.001-08:002014-11-28T17:20:18.662-08:00The influence of relaxation music on abstract visual short term memory retrieval task <div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Summary:</span></div>
<b id="docs-internal-guid-2450bb0a-f91f-e3df-6c36-02c9b5eb55ba" style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The study is focused on highlighting the influence of relaxation music on correct and incorrect visual memory retrieval process using abstract figures. The method Chraif used were 68 undergraduate students, aged between 19 and 23 years old. Chraif explains that visual short term memory is distinct from the long-term by quickly creating representations, a variety of images that are stored for a period of 20-50 ms/item. Visual thresholds relate to the period in which visual analyzer can consciously perceive visual stimuli received with specialized receptors factors influencing the visual differential threshold are lighting the eye in the previous time. Musicians can store entire repertoire, complex songs to support the whole concert. Chraif's hypotheses was:</span></div>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">- The relaxation music has a statistically significant influence on differences between incorrect and correct answers for visual memory retrieval process using abstract figures.</span></div>
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">- The relaxation music has a statistically significant influence on incorrect answers for visual memory retrieval process using abstract figures.</span></div>
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">- The relaxation music has a statistically significant influence on correct answers for visual memory retrieval process using abstract figures. </span></div>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The overall results highlight that the sum of incorrect "yes" answers were statistically significant lower for the experimental group expose to relaxation music than the control group. Chraif's conclusion was that listening to relaxation music does not have a significant effect in increasing the number of incorrect abstract form recognition stimuli in visual abstract forms memory retrieval as difference between the correct and incorrect answers/scores. This research proves that relaxation music has an important effect in increasing the correct answers to stimuli in visual recognition and could be important stimuli for increasing performances in in all the activities based on abstract visual memory recognition tasks during abstract forms retrieval process.</span></div>
<b style="font-weight: normal;"><br /></b>
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Reflection:</span></div>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This research is interesting in that listening to relaxation music does not have a significant effect in increasing the number of incorrect abstract form </span><span style="font-family: Arial; font-size: 15px; line-height: 1.15; white-space: pre-wrap;">recognition stimuli in visual abstract forms memory retrieval as difference between the correct and incorrect answers/scores. I have always thought to believe that the best way to remember facts might be to set them to music. People have long used rhymes and songs to help master vast quantities of information and I believe that listening to music creates a rhythm in our brain to assist the memorization of information in a structural manner. </span></div>
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="font-family: Arial; font-size: 15px; line-height: 1.15; white-space: pre-wrap;"><br /></span></div>
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="font-family: Arial; font-size: 15px; line-height: 1.15; white-space: pre-wrap;">This reminds of a quote from the book "Memory in Oral Traditions" by cognitive scientist David Rubin notes, “Oral traditions depend on human memory for their preservation. If a tradition is to survive, it must be stored in one person’s memory and be passed on to another person who is also capable of storing and retelling it. All this must occur over many generations…Oral traditions must, therefore, have developed forms of organization and strategies to decrease the changes that human memory imposes on the more casual transmission of verbal material.” These strategies are tales that last for many generations and tend to describe concrete actions rather than abstract concepts. They use powerful visual images. They are sung or chanted. And they employ patterns of sound: alliteration, assonance, repetition and, most of all, rhyme. Many teachers in elementary schools are using song to help teach certain materials. This research shows that music has a significant effect in increasing the number of correct abstract form recognition. It is very useful for a wide variety of learning development theories!</span></div>
<b style="font-weight: normal;"><br /></b>
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">References:</span></div>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Chrai, Mihaela. "The Influence of Relaxation Music on Abstract Visual Short Term Memory Retrieval Task at Young Students at Psychology." Procedia Social and Behavioral Sciences 127 (2014): 852 – 857. Print.</span></div>
<br />
<span style="font-family: Arial; font-size: 15px; vertical-align: baseline; white-space: pre-wrap;">Rubin, David C. </span><span style="font-family: Arial; font-size: 15px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Memory in Oral Traditions the Cognitive Psychology of Epic, Ballads, and Counting-out Rhymes</span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline; white-space: pre-wrap;">. New York: Oxford UP, 1995. 185. Print.</span>Anonymoushttp://www.blogger.com/profile/13972982993271996852noreply@blogger.com0tag:blogger.com,1999:blog-7181744309080861233.post-5158513324314334412014-11-23T06:02:00.001-08:002014-11-23T06:02:20.833-08:00Voice Therapy Outcome in Puberphonia<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Source:<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Desai, Vrushali and
Prasun Mishra. “Voice Therapy Outcome in Puberphonia”. <i style="mso-bidi-font-style: normal;">Journal of Laryngology and Voice</i> (2012), Vol. 2 (1), pp.26-29.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Summary:<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Puperphonia is defined
as the persistence of high-pitched voice beyond the age at which voice change
is expected to have occurred.<a href="https://www.blogger.com/blogger.g?blogID=7181744309080861233#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[1]</span></span><!--[endif]--></span></span></a>
Those that suffer from this disorder are deemed to have an inappropriately
high-pitched voice for their age and sex, and are in need of a lowering in
fundamental frequency. In this research, the authors, Vrushali Desai and Prasun
Mishra aimed to study the efficacy of Voice Therapy in puberphonia, hoping to
validate the use of a “customized voice therapy program for patients based on
comprehensive voice assessment and behavioral therapy techniques.”<a href="https://www.blogger.com/blogger.g?blogID=7181744309080861233#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[2]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Their study was conducted
over two years in the Department of Laryngology and Speech Therapy, at the
Deenanath Mangeshkar Hospital and Research Centre in Pune, India. 30 male patients
who had been diagnosed with puberphonia, aged between 14 and 18 years were
included. Each patient had a detailed ENT evaluation and a stroboscopic
evaluation, looking at the movement of the vocal folds, testing for symmetry,
amplitude, glottis closure, hyperfunction, arytenoids movement, presence or
absence of mucosal wave etc. Because the most common symptoms in puberphonia
patients include pitch breaks, hoarseness, breathiness, lack of projection, and
visible laryngeal muscle tension, the assessment included a grading according
to the GRBAS (grade, roughness, breathiness, asthenia, and strain) scale.
Apparently, 3 is the worst and 0 is normal.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Upon completion of their
voice evaluation, the 30 patients underwent voice therapy, which included
common techniques applied for lowering the pitch of the voice. Some of these
were:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">1.
Humming while gliding down a scale<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">2.
Phonation of vowel sounds with a glottal attack <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">3.
Use of sounds like a cough or throat clearing in order to initiate voicing <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">4.
Production of vocal fry <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">5.
Manipulation of the thyroid cartilage during vowel production. Patients were taught
to apply a gentle inward push on the anterior aspect of the thyroid cartilage
while sustaining a vowel.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">The number of sessions
would depend on the patient and their implementation of techniques in their own
home, but there was just the one therapy session per week, lasting between 1-4
weeks after the initial session.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">The results revealed
that after therapy, all 30 patients were able to eliminate symptoms; their
voices lowered to a normal pitch range. Their GRBAS scale ratings were normal,
showing “no perceptual evidence of breathiness and asthenia.”<a href="https://www.blogger.com/blogger.g?blogID=7181744309080861233#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[3]</span></span><!--[endif]--></span></span></a>
Initially, the average fundamental frequency of a patient before therapy was
208 Hz, but following it, the frequency had dropped to an average of 105 Hz.
Therefore, the research shows the effectiveness of voice therapy, and it would
seem in return, achieves its goal of encouraging speech professionals to advise
therapy as the primary modality for treating puberphonia.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Comment/Reflections:<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Knowing that this affects
approximately 1 in 900,000 people (Bannerjee et al. 1995), it is great to know
that this is a disorder that can be treated through therapy and not by taking
drugs, or undertaking surgery. However, I had my reservations about therapy as
a 100% certifiable treatment, because as with many disorders, there are extreme
cases where methods such as these might not work. I had to explore it further! What
I discovered was that there are cases where conservative methods don’t work,
and so it IS in fact advisable to resort to surgery. Interestingly enough, the
first case of surgically corrected puberphonia occurred in 2000 at the
department of Otolaryngology, Leicester Royal Infirmary, in Leicester, England.
Further information about the surgery can be found in the Otolaryngology Online
Journal, Volume 4, Issue 1 2014, in the article titled “Mutational Falsetto: A
Panoramic Consideration.” Please be aware that some of the images are
descriptive.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Puberphonia is a real
issue for many boys (and some females), for not only does this disorder affect
the quality of the voice, but also the quality of their life. First of all,
there are several reasons for the development of puberphonia. These include:<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -17.85pt;">
<!--[if !supportLists]--><span style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Increased laryngeal
muscle tension<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -17.85pt;">
<!--[if !supportLists]--><span style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Embarrassment of and a
reluctance to accept the newly developed voice <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -17.85pt;">
<!--[if !supportLists]--><span style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Social immaturity<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -17.85pt;">
<!--[if !supportLists]--><span style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman"; font-size: 11.0pt;">Emotional
stress</span><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -17.85pt;">
<!--[if !supportLists]--><span style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman"; font-size: 11.0pt;">Delayed
development of secondary sexual characteristics</span><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -17.85pt;">
<!--[if !supportLists]--><span style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman"; font-size: 11.0pt;">Psychogenic</span><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -17.85pt;">
<!--[if !supportLists]--><span style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman"; font-size: 11.0pt;">Skipped
fusion of thyroid laminae</span><span style="font-family: "Times New Roman"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Sadly, patients whose
voices haven’t yet descended often feel bullied for their voices, harassed by
their peers. These teenage boys end up being “the butt of many jokes…this
ultimately results in his self-esteem and confidence taking a beating.”<a href="https://www.blogger.com/blogger.g?blogID=7181744309080861233#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[4]</span></span><!--[endif]--></span></span></a>
As a result, it affects their ability to interact in social situations.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">This doesn’t affect only
males though. While it doesn’t reveal itself in such an obvious fashion, it also
affects women. This is known as “little Girl’s Voice.” I have actually heard
this voice on the subway in Toronto, and have since found it to be a developing
‘epidemic’ in todays society. I have observed a couple of current vocal trends.
One is where young men and women speak on ‘glottal fry’. This is because it is
deemed cool. The other is to keep this ‘cute’ sounding voice, so their voice
never descends into normal range. When you hear this voice this voice for the
first time, it really is shocking to hear! For this reason, I would advise
anybody to go to youtube</span> <span style="font-family: "Times New Roman"; font-size: 11.0pt;"><a href="https://www.youtube.com/watch?v=bQnEdgZX9es">https://www.youtube.com/watch?v=bQnEdgZX9es</a>
to see an example of the condition.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">It is fantastic that
literature is being written on the subject, that we are aware of the condition,
and that there are such positive outcomes. It is important that there be
solutions to destabilizing disorders such as puberphonia, and the authors have
done a fantastic job in showing how voice therapy, if begun with a speech
therapist early enough, can change the lives of these young boys.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman"; font-size: 11.0pt;">Works cited:<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Colton RH, Casper JK.
“Understanding Voice Problems: A Physiological Perspective for Diagnosis and
Treatment.” 2<sup>nd</sup> edition Williams & Wilkins, USA; 1990.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; font-size: 11.0pt;">Kothandaraman,
Srikamakshi and Balasubramanian Thiagarajan. “Mutational Falsetto: A Panoramic
Consideration.” Otolaryngology Online Journal 2014, Volume 4, Issue 1.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7181744309080861233#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[1]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "Times New Roman"; font-size: 10.0pt;"> Colton RH, Casper JK.
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Prasun Mishra. “Voice Therapy Outcome in Puberphonia”. <i style="mso-bidi-font-style: normal;">Journal of Laryngology and Voice</i> (2012), Vol. 2 (1), p.26<o:p></o:p></span></div>
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Srikamakshi and Balasubramanian Thiagarajan. “Mutational Falsetto: A Panoramic
Consideration.” Otolaryngology Online Journal 2014, Volume 4, Issue 1.<o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/14478733760505924836noreply@blogger.com1tag:blogger.com,1999:blog-7181744309080861233.post-69670044107355832162014-11-15T12:10:00.000-08:002014-11-15T12:10:04.253-08:00(Musical) Silence<!--[if gte mso 9]><xml>
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<![endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Source</span></b></div>
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<span style="font-family: "Arial","sans-serif";">Galloway,
L. (2012, October 23). The quietest place on Earth. <i style="mso-bidi-font-style: normal;">BBC Travel</i>. Retrieved from </span><a href="http://www.bbc.com/travel/blog/20121022-the-quietest-place-on-earth"><span style="font-family: "Arial","sans-serif";">http://www.bbc.com/travel/blog/20121022-the-quietest-place-on-earth</span></a><span style="font-family: "Arial","sans-serif";"></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Summary & Commentary</span></b></div>
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<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>According to the Guinness Book of
World Records, the “quietest place on earth” is an anechoic (echoless) chamber at
Orfield Laboratories in Minneapolis, USA.<span style="mso-spacerun: yes;">
</span>Its lack of echoes is credited to its construction. <span style="mso-spacerun: yes;"> </span>After walking through <i style="mso-bidi-font-style: normal;">two</i> vault doors, one-metre long foam wedges line the room’s walls,
ceiling, and even bottom; one must walk on a “floor” made of a trampoline-like
mesh.<span style="mso-spacerun: yes;"> </span>Virtually no sound is reflected off of the
walls, which absorb 99.99% of all noise.<span style="mso-spacerun: yes;">
</span>High-frequency sounds are directly absorbed by the fibreglass wedges,
and low-frequency sounds bounce in between the wedges until they fizzle out.<span style="mso-spacerun: yes;"> </span>As a result, its sound level is -9.4 dB (decibels)—humans
can only detect sounds above 0 dB.<span style="mso-spacerun: yes;"> </span>The
decibel level of a room that an average person would consider to be “quiet”,
for example, is 30 dB.</span></div>
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<span style="font-family: "Arial","sans-serif";">In the chamber, not only can you hear
a pin drop, but you also start noticing the frenzy of activity that is going on
inside your own body.<span style="mso-spacerun: yes;"> </span>People have
reported hearing their lungs breathing, their own heartbeat, their stomach
digesting food, and even hearing the blood rush to their head and back through
to their body.<span style="mso-spacerun: yes;"> </span>Even ears themselves make
sounds in the echoless room.<span style="mso-spacerun: yes;"> </span>Steven
Orfield, founder and owner of Orfield Laboratories, explains: “The ear is like
a microphone <i style="mso-bidi-font-style: normal;">and</i> a loudspeaker. And
when it is deprived of sound, it produces its own sounds.” (Weber 2012).<span style="mso-spacerun: yes;"> </span>Orfield is talking about otoacoustic emissions
(OAE) which are sounds generated by various cellular and mechanical processes
in the inner ear, and usually go completely unheard by the unknowing public.</span></div>
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<span style="font-family: "Arial","sans-serif";">Even after about five minutes in the
room, people become disoriented, dizzy, nauseous, and feel like there’s
tremendous “pressure” on their head.<span style="mso-spacerun: yes;">
</span>“What seems to be happening is you are feeling some pressure in your
ears,” explains Orfield, “but what you’re really feeling is pressure being
taken <i style="mso-bidi-font-style: normal;">off</i> of your ears. Sound is
technically called sound pressure level. And in this room we’re actually taking
huge amounts of pressure off of your ear, so it’s highly sensitized by not
being loaded with normal amounts of noise.” (Weber 2012).<span style="mso-spacerun: yes;"> </span>People who visit the anechoic chamber usually
sit in a chair.<span style="mso-spacerun: yes;"> </span>Standing up and moving
around becomes increasingly difficult because we rely so heavily on sound to
keep our balance.<span style="mso-spacerun: yes;"> </span>Walking feels strange
because we have no aural reference (or if one is inside the room in the dark,
no visual cues either) for mobility. <span style="mso-spacerun: yes;"> </span>Without
any feedback from the outside world—like the sound of your own feet moving, for
example—uninterrupted action is almost impossible.<span style="mso-spacerun: yes;"> </span>The chamber also causes many to feel
claustrophobic.<span style="mso-spacerun: yes;"> </span>Usually reverb or echo
tells our auditory system that there is an ample amount of space, thus the
complete absence of echo can instinctively send us into a panic.</span></div>
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<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>Furthermore, once you lose certain
sensations, other perceptions become heightened.<span style="mso-spacerun: yes;"> </span>A complete absence of noise can lead to a
heightened sense of smell or touch, but can also cause your hearing to become
much more sensitive.<span style="mso-spacerun: yes;"> </span>As we already know,
the auditory cortex sorts, organizes, and simplifies sounds.<span style="mso-spacerun: yes;"> </span>And many of the bodily noise people report
hearing in the echoless chamber would normally be victim to habituation.<span style="mso-spacerun: yes;"> </span>We don’t <i style="mso-bidi-font-style: normal;">need</i>
to hear these things when we’re out in the world and have to be aware of cars,
animals, weather, other people, etc.<span style="mso-spacerun: yes;"> </span>But
when all of those stimuli disappear, undetectably quiet sounds seem louder, as
if our brains have recalibrated to the new noise levels.<span style="mso-spacerun: yes;"> </span>People have even reported hearing aural
hallucinations, although none of my sources have described the nature of them
in detail.</span></div>
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<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>How quiet is <i style="mso-bidi-font-style: normal;">too</i> quiet?<span style="mso-spacerun: yes;"> </span>For people with
sensitive hearing, the chamber might indeed be too quiet and they would have to
get out of the room immediately.<span style="mso-spacerun: yes;"> </span>The
longest amount of time anyone has been able to spend in Orfield Lab’s anechoic
chamber without panicking and needing to leave is 45 minutes.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://headsup.boyslife.org/files/2013/04/Orfield-Laboratories-anechoic-chamber.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://headsup.boyslife.org/files/2013/04/Orfield-Laboratories-anechoic-chamber.jpg" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Reflection</span></b></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>This article made me think about the
relationship between silence and music in two different ways: (1) musical auditory
hallucinations as a result of silence, and (2) the idea of “musical” silence,
or, periods of silence in between notes, phrases, or pieces, inserted for
artistic purposes.</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span style="font-family: "Arial","sans-serif";">As previously mentioned, it is a shame
that the alleged “auditory hallucinations” people have had in the Minneapolis
anechoic chamber aren’t better documented. What do people come to “hear” without
any outside stimulation when left in complete silence?<span style="mso-spacerun: yes;"> </span>Do people ever perceive music that isn’t
really there? Is it easier to remember or vividly visualize music in silence?
Maybe because we’re so used to hearing everyday sounds, that when all of it is
taken away we try to make up for what we’re accustomed to by creating the
sounds ourselves?<span style="mso-spacerun: yes;"> </span>After all, the healthy
population is fully capable of recreating sounds—whether it be voices, street
noises, or music—in the mind’s ear with minimal effort, so it’s not a far leap
to say it can sometimes occur involuntarily due to sensory deprivation.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>An echoless room is essentially a
variation on John C. Lilly’s sensory deprivation tank, which he invented in
1954.<span style="mso-spacerun: yes;"> </span>A physician and neuroscientist,
Lilly aimed to isolate the brain from any external stimulation.<span style="mso-spacerun: yes;"> </span>The small tank, which closes shut to stop any
light from getting in, is filled with warm salt water allowing for a subject to
float for extended periods of time.<span style="mso-spacerun: yes;"> </span>The
sensory deprivation tank operates on the principle that in total absence of
external stimuli, the human brain creates its own perceptions.<span style="mso-spacerun: yes;"> </span>The idea of perceptual isolation is known today
as the Restricted Environmental Stimulation Technique (REST) which can occur in
a room or in water.<span style="mso-spacerun: yes;"> </span>Even with the
psychological and neurological research done with REST, there are very few
findings about auditory hallucination—or hallucination as a result of sensory
deprivation—that doesn’t cross over into issues of psychosis (see Nayani &
David 1996; Na & Yang 2009, for example).</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span style="font-family: "Arial","sans-serif";">Now, knowing everything we’ve just
learned about our brain’s reaction to silence, what are the potential
applications of silence in music?<span style="mso-spacerun: yes;"> </span>And
how can silence be used in music for artistic or dramatic purposes?<span style="mso-spacerun: yes;"> </span>In “Moved by Nothing,” Margulis explored five
functions of silence in active, participatory music listening: (1) silence as
boundary, (2) silence as interruption, (3) silence as a revealer of the inner
ear, (4) silence as a promoter of meta-listening, and (5) silence as a
communicator.<span style="mso-spacerun: yes;"> </span>She says that “since
literally nothing happens for the extent of the duration of the silence, all of
our various percepts, reactions, surmises, and senses reveal things we have
brought to the silence.” (Margulis 2007, p.246).</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span style="font-family: "Arial","sans-serif";">In a setting where one has consciously
sat down to listen to music, silence can be extremely powerful.<span style="mso-spacerun: yes;"> </span>Like the commanding silence before the
beginning of a piece, for example, where every attentive ear is hypersensitive
to the slightest sound, getting mentally <i style="mso-bidi-font-style: normal;">ready</i>
to hear what is to unfold before them.<span style="mso-spacerun: yes;"> </span>In
line with the anechoic chamber discussion, sounds emerging from silence are
actually better processed by our brains, as the <i style="mso-bidi-font-style: normal;">search</i> for an auditory stimulus activates the auditory cortex (Voisin
et al. 2006).<span style="mso-spacerun: yes;"> </span>Moreover, EEG (electroencephalography)
and MEG (magnetoelectroencephalography) tests show the brain’s detection of
musical phrase boundaries shortly after the phrase’s offset, suggesting that
listeners spend these silences synthesizing the preceding musical phrase and
refocusing their attention on hearing the subsequent one (Margulis 2007,
p.253).</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span style="font-family: "Arial","sans-serif";">Just like in a sensory deprivation
tank, when auditory stimuli are removed in the context of music-listening our
own personal auditory imagery, visualizations, imaginings, assumptions, and
expectations come to the fore.<span style="mso-spacerun: yes;"> </span>Musical
silence can definitely serve to encourage this process, additionally acting as
a sonic boundary that guides our auditory attention.</span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<u><span style="font-family: "Arial","sans-serif";">References</span></u></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 21.3pt; text-indent: -21.3pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Margulis, E. H. (2007).
Moved by nothing: Listening to musical silence.<i> Journal of Music Theory, 51</i>(2),
245-276. </span></span></div>
<span style="font-size: x-small;">
</span><div class="MsoNormal" style="line-height: normal; margin-left: 21.3pt; text-indent: -21.3pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Na, H.J., & Yang
S. (2009).<b> </b><span>Effects of listening
to music on auditory hallucination and psychiatric symptoms in people with schizophrenia.</span></span>
<i><span style="font-family: "Arial","sans-serif";">Journal
of Korean Academy of Nursing</span></i><span style="font-family: "Arial","sans-serif";">,
<i>39</i>(1), 62-71. http://dx.doi.org/10.4040/jkan.2009.39.1.62</span></span></div>
<span style="font-size: x-small;">
</span><div class="MsoNormal" style="line-height: normal; margin-left: 21.3pt; text-indent: -21.3pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Nayani, T. H., &
David, A. S. (1996). The auditory hallucination: A phenomenological survey.<i>
Psychological Medicine, 26</i>(01), 177-189. doi:10.1017/S003329170003381X </span></span></div>
<span style="font-size: x-small;">
</span><div class="MsoNormal" style="line-height: normal; margin-left: 21.3pt; text-indent: -21.3pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Veritasium. (2014). Can
Silence Actually Drive You Crazy? <i>YouTube</i>.
Retrieved from https://www.youtube.com/watch?v=mXVGIb3bzHI</span></span></div>
<span style="font-size: x-small;">
</span><div class="MsoNormal" style="line-height: normal; margin-left: 21.3pt; text-indent: -21.3pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Voisin, J.,
Bidet-Caulet, A., Bertrand, O., & Fonlupt, P. (2006). Listening in silence
activates auditory areas: A functional magnetic resonance imaging study.<i> The
Journal of Neuroscience, 26</i>(1), 273-278. </span></span></div>
<span style="font-size: x-small;">
</span><div class="MsoNormal" style="line-height: normal; margin-left: 21.3pt; text-indent: -21.3pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Weber, T. (2012, June 21).
In Minneapolis, the world's quietest room. <i>MPR
News</i>. Retrieved from http://www.mprnews.org/story/2012/04/03/daily-circuit-quiet-room.</span></span></div>
Stacey U.http://www.blogger.com/profile/17862137859256836759noreply@blogger.com3tag:blogger.com,1999:blog-7181744309080861233.post-25255837869085439022014-11-11T19:32:00.003-08:002014-12-04T11:25:19.994-08:00Autism and Pitch Processing: A Precursor for Savant Musical Ability?<div style="margin-bottom: .0001pt; margin: 0cm;">
<div style="margin-bottom: .0001pt; margin: 0cm;">
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #20124d; font-size: 11pt;">Source: </span><span style="font-size: 11pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background: white; color: #20124d; font-size: 11.0pt;">Heaton, P., Hermelin, B., & Pring, L.
(1998). Autism and pitch processing: A precursor for savant musical
ability?. <i>Music perception</i>, 291-305.</span><span style="font-size: 11pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background: white; color: #20124d; font-size: 11.0pt;">Autism is a developmental disorder
characterized by impairments in socialization, communication and cognition.
(292) It has been used as an umbrella label to categorize children in the
classroom that do not fit the defined "norm". Early identification
begins with the student that cannot sit still, that speaks out of turn, that
cannot focus or contribute in group settings and whose progress is consistently
slower than other students in the classroom. But sometimes students who are
labeled "autistic" do something quite marvelous that the
"norm" cannot master. Defined as idiot savants at the turn of the
19th century, these were individuals with low cognitive ability who were able
to master a skill in an isolated area (291). The fascination with musical
savants is evidenced in this blog. While many struggle with hours of practice
and performance anxiety savants appear to be musical geniuses
with the innate ability to perform music. Earlier research concludes that
savants are present in 1 in 2000 of the learning disabled population.</span><span style="font-size: 11pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background: white; color: #20124d; font-size: 11.0pt;">Heaton, Hermelin and Pring theorise that
savantism may actually be present in higher numbers and set out to research the
"precursor" to savant like ability in autistic children. According to
the study there is a high frequency of savant ability in the "general
mentally handicapped population". They cite studies that have shown that
autistic adolescents have been found to isolate information, what they describe
as "local processing" as opposed to making sense of information as a
whole, described as "global processing."</span><span style="font-size: 11pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background: white; color: #20124d; font-size: 11.0pt;">Their methodology tests ten identified autistic
boys, between the ages of seven and thirteen with no prior musical training.
The control group consisting of ten boys with average academic ability but younger
in age. The children were matched by chronological age to the cognitive age of
the autistic group. </span><span style="font-size: 11pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background: white; color: #20124d; font-size: 11.0pt;">The children were given four pitches and four
speech sounds linked to a picture of an animal. The note C was represented by a
fish, a pig for the word "da" etc. After the pitch or sound was
tested, the children took part in conversation for two and half minutes and
then were re-tested again with the notes or sounds in random order. Pitch
memory was tested after a period of one week.</span><span style="font-size: 11pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background: white; color: #20124d; font-size: 11.0pt;">The results were extraordinary. The study
showed that the autistic group of children were far superior at retaining pitch
memory and identifying pitch. However in the speech sound test, the control
group tested higher. The results suggest that there may be something unique
about musical ability in autistic children.</span><span style="font-size: 11pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background: white; color: #20124d; font-size: 11.0pt;">And has implications for music education in the
special needs classroom. </span></span><span style="background-color: white; color: #20124d; font-family: Times, 'Times New Roman', serif; font-size: 11pt;">What is the untapped musical potential of autistic
students?</span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background: white; color: #20124d; font-size: 11.0pt;">In my own experience working with identified
autistic children, pitch memory has not been the primary challenge. In fact,
students work towards their first five notes quite rapidly. Music literacy has
been the biggest challenge. The ability to put the note on the page and
identify rhythm and pitch on the staff. In terms of music education, this study
suggests that there may be value in teaching pitch first, through a listening
mode, away from the staff, away from a method book. Have a student hear the
pitch and have them recreate it. I am developing curriculum for differentiated learners
that renames the pitch as 1, 2,3,4,5. This has enabled me to work on a unified
line that everyone can read at the same time. But my work is focused on
eventual score reading. Although the staff is eliminated, it is still music
that must be read. How can pitch be taught organically, further simplified?
Just pitch and instrument? Notes are discovered. Once discovered, then repeated
and then labeled. Internalized, identified and played. </span><span style="background: white; color: #20124d; font-size: 11.0pt;">It also intrigues me that pitches were represented as animals. In what
way can notes on a staff become a familiar image to a child, autistic and
non-autistic? Is that even possible?</span><span style="font-size: 11pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background: white; color: #20124d; font-size: 11.0pt;"><br />
This study suggests that autistic children may process information selectively,
laser-like in the vast world of information. Music, which can be highly
selective and specialized, may spark or activate savant characteristics in the
autistic brain. The opportunity to discover the precursor to musical or
savant like ability in autistic children holds real potential and the findings
are extraordinary. It also has the potential to change perspectives. Autistic
students challenged with a learning disability can be perceived as children
that have a unique untapped musical potential.</span><span style="font-size: 11pt;"><o:p></o:p></span></span></div>
<span style="font-family: Times, Times New Roman, serif;"><u1:p></u1:p>
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Susan Raponihttp://www.blogger.com/profile/18284349082227936687noreply@blogger.com1tag:blogger.com,1999:blog-7181744309080861233.post-1446130492389348162014-11-11T17:39:00.000-08:002014-11-11T18:00:29.989-08:00Musical Nostalgia: The Psychology and Neuroscience Behind It<!--[if gte mso 9]><xml>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Source</span></b></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Arial","sans-serif";">Stern,
M. J. (2014, Aug. 12). Neural Nostalgia: Why do we love the music we heard as
teenagers? Retrieved from </span></div>
<div class="MsoNormal" style="line-height: normal;">
<a href="http://www.slate.com/articles/health_and_science/science/2014/08/musical_nostalgia_the_psychology_and_neuroscience_for_song_preference_and.html"><span style="font-family: "Arial","sans-serif";">http://www.slate.com/articles/health_and_science/science/2014/08/musical_nostalgia_the_psychology_and_neuroscience_for_song_preference_and.html</span></a><span style="font-family: "Arial","sans-serif";"></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Summary</span></b></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>This is an article written recently
for the “Science” section of Slate.com, an online magazine also featuring
stories on current affairs, business, and the arts.<span style="mso-spacerun: yes;"> </span>The author (who does not have a background in
neuroscience) laments a time when all of his favourite music was abundantly
heard on radio and television, and—like almost every other person over
20—expresses his dissatisfaction with the insipid popular songs of today.<span style="mso-spacerun: yes;"> </span>He asks: “Why do the songs I heard when I was
a teenager sound sweeter than anything I listen to as an adult?”<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>Recent studies have shown that music
that catered to our tastes and preferences as adolescents has greater power
over our emotions than music we listen to at any other point in our lives.<span style="mso-spacerun: yes;"> </span>This is because our auditory system “binds”
us to the music we hear as teenagers, a connection that stays with us
throughout the remainder of our life.<span style="mso-spacerun: yes;">
</span>This means that the cultural phenomenon of nostalgia has clear neurological
roots—other music just doesn’t please our ears as much as the sounds heard
during the development stages of adolescence.</span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>It is obvious that listening to music can
elicit powerful emotions, mixed feelings, and memories by engaging our auditory,
premotor, parietal, and prefrontal cortex.<span style="mso-spacerun: yes;">
</span>PET and fMRI brain imaging techniques show that the release of chemicals
that make us feel good after music-listening depends largely on our personal
preference. <span style="mso-spacerun: yes;"> </span>Listening to our favourite
music (versus listening to music we are impartial to) releases a <i style="mso-bidi-font-style: normal;">greater</i> amount of dopamine, serotonin,
and oxytocin. <span style="mso-spacerun: yes;"> </span>But how do we come to
prefer certain kinds of music over others in the first place? <span style="mso-spacerun: yes;"> </span>The most rapid neurological development to our
brains happens between the ages of 12 and 22.<span style="mso-spacerun: yes;">
</span>When listening to songs at that age that we like, our brains make strong
neural connections to it, consequently creating strong memories about the
events associated with those songs. <span style="mso-spacerun: yes;"> </span>Due
to an excessive amount of pubertal growth hormones the memories are also full
of heightened emotion, and those songs/events are perceived to be overly
important.</span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>The author also notes that musical
preference developed in our teenage years is closely tied with our social
lives. <span style="mso-spacerun: yes;"> </span>Adolescence is often a time for
establishing one’s identity, and music is one way of discovering and expressing
it.<span style="mso-spacerun: yes;"> </span>This, in combination with a
phenomenon where autobiographical memories are disproportionately remembered
for events in adolescence and early adulthood called the “reminiscence bump” (Rathbone
et al. 2008; Krumhansl & Zupnick 2013), causes music that we are drawn to as
teenagers to become a part of our self-image for life.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Reflection</span></b></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span style="font-family: "Arial","sans-serif";">It seems like the music that makes us
nostalgic, as well as our lifelong enjoyment of it, is literally <i style="mso-bidi-font-style: normal;">wired</i> into our brains.<span style="mso-spacerun: yes;"> </span>Music can not only provoke feelings of
nostalgia, but <i style="mso-bidi-font-style: normal;">become</i> nostalgia
itself.<span style="mso-spacerun: yes;"> </span>Songs can become memories or
feelings per se, or lead us down a path of other memories to a notable event in
our lives.<span style="mso-spacerun: yes;"> </span>Songs, much like smells, can become
associated with one particular memory.<span style="mso-spacerun: yes;"> </span>In
the same way that suddenly smelling something akin to an ex-lover’s perfume,
your mother’s apple pie, or your cedar cabin at the summer camp you went to
when you were 14, can immediately transport you back to that time in your life,
music can also guide (or force) our escape into the past.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span style="font-family: "Arial","sans-serif";">What’s more fascinating is music’s potential
to <i style="mso-bidi-font-style: normal;">facilitate</i> autobiographical memory.
<span style="mso-spacerun: yes;"> </span>This does not only apply to people with
normal memory recollection (Schulkind et al. 1999), but also for those who have
severe acquired brain injuries, or ABIs (Baird & Samson 2014).<span style="mso-spacerun: yes;"> </span>These are called “music-evoked
autobiographical memories” or MEAMs, and have already been consistently
identified in the healthy population.<span style="mso-spacerun: yes;"> </span>In
Baird & Samson’s recent study (the first study of MEAMs after ABI), MEAMs
were compared with <i style="mso-bidi-font-style: normal;">verbal</i>-evoked
autobiographical memories, and in the majority of cases music was more
efficient at evoking autobiographical memories than the verbal prompts (2014). <span style="mso-spacerun: yes;"> </span>The results suggest that music is a powerful
stimulus for eliciting autobiographical memories, and may be valuable in the
rehabilitation of autobiographical amnesia (ibid).</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span style="font-family: "Arial","sans-serif";">Furthermore, according to the reminiscence
bump research (see Rathbone, Moulin, & Conway 2008, for example), these music-evoked
autobiographical memories might very well be from our teenage and early
adulthood years. <span style="mso-spacerun: yes;"> </span>Adolescence is also the
first time when we discover music for <i style="mso-bidi-font-style: normal;">ourselves</i>,
and find out what really suits us. <span style="mso-spacerun: yes;"> </span>Jourdain
says that music can “suit” us in two different ways: socially and anatomically
(1997). <span style="mso-spacerun: yes;"> </span>People can often be attracted to
certain genres of music because they serve a function in their lives, whether it
be for dancing, relaxation, or meeting new people.<span style="mso-spacerun: yes;"> </span>Many also fall into certain genres in their
youth to conform or belong to a certain group; they listen to what their
friends listen to.<span style="mso-spacerun: yes;"> </span>Identity and social
acceptance, however, have little to do with the actual anatomy of an individual’s
inner ear or the neurology of their auditory cortex.<span style="mso-spacerun: yes;"> </span>I would go as far as to say that individual variability
in these regions is the reason why people <i style="mso-bidi-font-style: normal;">initially</i>
gravitate to a particular style of music in the first place. <span style="mso-spacerun: yes;"> </span>But from there, the preferred musical style is
“imprinted” onto our brains, causing our auditory systems to develop toward
that genre during the final years of normal musical development (Jourdain 1997,
p.263).</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span style="font-family: "Arial","sans-serif";">To Jourdain it seems that all further
branching of musical tastes and preferences are forever in the shadow of the
music of our youth. <span style="mso-spacerun: yes;"> </span>The neural
connections we made with personally-relevant music in adolescence might well
dominate <i style="mso-bidi-font-style: normal;">all</i> of our further
perception of other kinds of music.<span style="mso-spacerun: yes;"> </span>This
doesn’t mean, however, that people who still enjoy music from their teenage
years are musically stunted individuals. <span style="mso-spacerun: yes;"> </span>Yes, that music might still evoke a strong emotional
reaction decade after decade, but that reaction is generally automatic and involuntary.
<span style="mso-spacerun: yes;"> </span>And it doesn’t at all thwart the
evolution or strength of our musical tastes, because the more we listen—and the
more we <i style="mso-bidi-font-style: normal;">learn</i> to listen—the wider the
variety of music we mature to understand and enjoy.</span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<u><span style="font-family: "Arial","sans-serif";">References
</span></u></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1cm; text-indent: -1cm;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Baird, A., & Samson,
S. (2014). Music evoked autobiographical memory after severe acquired brain
injury: Preliminary findings from a case series.<i> Neuropsychological
Rehabilitation, 24</i>(1), 125-143.</span></span></div>
<span style="font-size: x-small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin-left: 1cm; text-indent: -1cm;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Jourdain, R. (1997). <i>Music,
the brain, and ecstasy: How music captures our imagination</i>. New York: W.
Morrow.</span></span></div>
<span style="font-size: x-small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin-left: 1cm; text-indent: -1cm;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Krumhansl, C., &
Zupnick, J. (2013). Cascading reminiscence bumps in popular music.<i>
Psychological Science, 24</i>(10), 2057-2068.</span></span></div>
<span style="font-size: x-small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin-left: 1cm; text-indent: -1cm;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Rathbone, C., Moulin,
C., & Conway, M. (2008). Self-centered memories: The reminiscence bump and
the self.<i> Memory & Cognition, 36</i>(8), 1403-1414. </span></span></div>
<span style="font-size: x-small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin-left: 1cm; text-indent: -1cm;">
<span style="font-size: x-small;"><span lang="DE" style="font-family: "Arial","sans-serif";">Schulkind, M., Hennis, L., & Rubin, D. (1999). </span><span style="font-family: "Arial","sans-serif";">Music, emotion, and autobiographical
memory: They’re playing your song.<i> Memory & Cognition, 27</i>(6),
948-955.</span></span></div>
Stacey U.http://www.blogger.com/profile/17862137859256836759noreply@blogger.com6tag:blogger.com,1999:blog-7181744309080861233.post-91850875271281110022014-11-11T15:36:00.003-08:002014-11-11T16:32:13.966-08:00The Therapeutic Effect of Neurologic Music Therapy and Speech Language Therapy in Post-Stroke Aphasic Patients <div class="p1">
<span class="s1">The Therapeutic Effect of Neurologic Music Therapy and Speech Language Therapy in Post-Stroke Aphasic Patients </span></div>
<div class="p2">
<span class="s1"></span><br />
Source: Lim, K.B., Kim, Y.K., Lee, H.J., Yoo, J., Hwang, J.Y., Kim, J.A., & Kim, S.K. (2013). The<span class="Apple-tab-span"></span>therapeutic effect of neurologic music therapy and speech language therapy in <span class="Apple-tab-span"></span>post-stroke aphasic patients. <i>Annals of Physical Rehabilitation Medicine, 37</i>(4), <span class="Apple-tab-span"></span>556-562. <a href="http://dx.doi.org/10.5535/arm.2013.37.4.556"><span class="s2">http://dx.doi.org/10.5535/arm.2013.37.4.556</span></a><br />
<div class="p2">
</div>
<br /></div>
<div class="p1">
<span class="s1">Review:</span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>Aphasia is common among those who have suffered a stroke. It affects the left middle cerebral artery. There are several types of aphasia, however, only non-fluent aphasia will be examined in this study. Non-fluent aphasia, also known as Broca’s aphasia, is a result of injury to the left frontal lobe. It reduces expressivity of speech output and can limit someone to as little as four words. </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>There are several methods that can be used to treat aphasia such as intensive language-action therapy, language-oriented treatment, and melodic intonation therapy (MIT). Intensive language-action therapy is a form of speech therapy that has shown to improve language performance of chronic aphasia patients. Language-oriented treatment, another form of speech therapy, involves using the auditory sense, expression training through spoken language, pictures and texts. MIT is a method that induces speech by using rhythm and musical tones in the uninjured part of the brain. It can be used to treat severe aphasiac patients. </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>A study was conducted to examine the therapeutic effects of neurologic music therapy (NMT) and speech language therapy (SLT) on post-stroke aphasic patients. 21 patients were recruited from two university hospitals with non-fluent aphasia, according to The Korean version-Western Aphasia Battery (K-WAB). </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>The participants of one hospital received one-on-one speech therapy and NMT which consisted of MIT while rhythmically tapping with their uninjured hand, and singing. Singing involved voice training, respiratory training, automated speech and automated singing using familiar songs.</span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>The patients from the other hospital received one-on-one speech therapy and language-oriented treatment through expression training via spoken language, articulation training of various syllables, consonants and vowels, and pictures and texts. </span></div>
<div class="p1">
<span class="s1">Each group received two hour-long sessions each week, for a month. </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>The researchers further divided the participants into a Subacute group or a Chronic group. Those in the Subacute group had suffered from a stroke within the last three months whereas those in the Chronic group had suffered a stroke more than three months prior to the experiment, making for a total of four groups (Chronic NMT, Chronic SLT, Subacute NMT, Subacute SLT). </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>The study only used the oral language domain of the K-WAB. Four sub-tests are included in this section: spontaneous speaking (20 points), understanding (200 points), repetition (100 points) and naming (100 points). The K-WAB was used before and after every session.</span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>The results revealed that there were significant improvements in repetition and naming in the Chronic NMT group. The Chronic SLT group showed a significant increase in repetition only. The Subacute NMT group showed significant improvements in spontaneous speaking, understanding and naming. The Subacute SLT group showed no improvements. It was therefore concluded that both NMT and SLT were effective in treating those in those with chronic non-fluent aphasia. NMT was also effective in treating language function in subacute patients. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Reflection:<br />
<span class="Apple-tab-span"> </span>This study was interesting to me because I have not yet researched post-stroke aphasic patients, therefore, it is new to me. Although this study has shown positive results as both NMT and SLT were effective in treating chronic non-fluent aphasia patients, there were some limitations that must be considered. For example, the study was short and limited in its number of subjects, the participants were of different ages, and there was a difference in cognitive function. The NMT group consisted of participants with right and left cerebral lesions, however, the SLT group only consisted of patients with left cerebral lesions. Also, the therapies were used in two hospitals, conducted by different therapists. In the future, more controlled studies are needed to confirm the findings of this current study. </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>I also thought it was interesting that NMT could be so powerful as it benefited more people in this study. According to researchers, NMT can “stimulate the speaking pathway in the left cerebral hemisphere or the singing pathway in the right side of both cerebral hemispheres.” Both cerebral hemispheres are important in vocal cord production and sensorimotor functions, involved in speaking and singing. Another reason why NMT may have been successful is that words can be pronounced slower when singing, allowing for more opportunities to distinguish between words and phrases. There is also a rhythmic aspect to singing which also aids in speaking words.</span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>Since taking this course, I have come across many readings that use speech-vocal therapy and/or singing to alleviate some of the symptoms of an illness or disease. Singing is useful because it involves “an auditory-motor feedback loop in the brain more intensely than other music making activities such as instrumental playing” (Wan, Ruber, Hohmann, & Schlaug, 2010, p. 287). It also directly stimulates the musculature associated with respiration, articulation, phonation, and resonance and is therapeutic. This is especially important for those who suffer from neurological diseases such as Parkinson’s Disease or aphasia </span>as it offers another option that is nonpharmacologic and non-invasive. As Oliver Sacks (2007) once said, “music is a remedy, a tonic, orange juice for the ear. But for many neurological patients, music is even more - it can provide access, even when no medication can, to movement, to speech, to life. For them, music is not a luxury, but a necessity.”</div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">References:</span></div>
<div class="p1">
<span class="s1">Lim, K.B., Kim, Y.K., Lee, H.J., Yoo, J., Hwang, J.Y., Kim, J.A., & Kim, S.K. (2013). The <span class="Apple-tab-span"> </span>therapeutic effect of neurologic music therapy and speech language therapy in <span class="Apple-tab-span"> </span>post-stroke aphasic patients. <i>Annals of Physical Rehabilitation Medicine, 37</i>(4), <span class="Apple-tab-span"> </span>556-562. <a href="http://dx.doi.org/10.5535/arm.2013.37.4.556"><span class="s2">http://dx.doi.org/10.5535/arm.2013.37.4.556</span></a></span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<br />
<div class="p1">
<span class="s1">Wan., C. Y., Ruber, T., Hohmann, A., & Schlaug, G. (2010). The therapeutic effects of <span class="Apple-tab-span"> </span>singing in neurological disorders. <i>Music Perception, 27</i>(4)<i>, </i>287-295. http://<span class="Apple-tab-span"> </span>search.proquest.com/docview/89184449?accountid=14771</span></div>
Anonymoushttp://www.blogger.com/profile/05718048162004414836noreply@blogger.com3tag:blogger.com,1999:blog-7181744309080861233.post-9251968424328326902014-11-11T10:01:00.001-08:002014-11-30T18:20:05.103-08:00Music, the Brain and Your Health<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">Music, the Brain
and Your Health<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><strong>Source:</strong></span></span><br />
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"></span></span><br />
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">
Barrington H, Brennen </span></span><br />
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">http://www.soencouragement.org/musicandthebrain.htm<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><strong>Summary:<o:p></o:p></strong></span></span></div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"></span></span> </div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">In this article,
Barrington H, Brennen speaks about the importance of music by giving many
quotations from neuroscientists and psychologists. He states that music could
give both positive and negative effect that can last for a longtime in spite of being exposed for a
short moment. He gives an anecdote of Albert Einstein’s musical education to
support his opinion. Brennen says that Einstein himself stated that playing
violin enabled him to become a successful scientist.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"></span></span> </div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">In the first
paragraph, Brennen explains the relationship between music’s tempo and physical
health. He says slow music helps decrease human’s heart and respiratory rate.
On the other hand, fast music gives the contrary effects. He emphasizes that
the relationship in terms of the tempo is effectively used in the field of
music therapy. Music therapy even can strengthen non-musical field such as
communication skills, academic and motor skills.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"></span></span> </div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">He introduces a
muscle test method of Dr. John Diamond, a physician and applied kinesiologist.
Diamond discovered a relationship between muscle strength and music and claims
that hard rock’s “stopped anapestic beat” weaken the muscles in the entire
human body. The article gives another researcher’s experiment which supports
right music's positive effect. According to Costas Karageogis, appropriate music
enables an athlete to boost his performance result up to 20 per cent higher. <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">Brennen informs
the effect of loud music by presenting a music perception specialist, Dr. Neil
Todd’s research. Dr. Todd announces that loud music stimulates “sacculus”, a
part of the inner ear that controls body’s sexual and appetite desire. Despite
the sacculus' general role is to control the sense of balance of human body, noises above 90
decibels activates its another function.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"></span></span> <span lang="EN-US"> </span></div>
<span lang="EN-US">
<span style="font-family: Times, "Times New Roman", serif;"></span></span><div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, "Times New Roman", serif;">In the last
paragraph, the author emphasizes the importance of listening to classical music
which gives many positive effects to human body and mind. He especially recommends
Baroque music since it relaxes heart beat and blood pressure. He also raises
the importance of early music education. According to<span style="font-family: 굴림;">
</span><span lang="EN-US"><span style="font-family: 맑은 고딕;"><span style="font-family: Times, "Times New Roman", serif;">Rauscher and Shaw, early piano lessons resulted in 35 percent -
increase of the spatial and temporal reasoning ability to children compared to those
who consumed same amount of time to learn computers</span></span><span style="font-family: Times, "Times New Roman", serif;">.(Neurological Research, February 1997) To sum up, Brennen quotes Dr. Ardash Kumar's research about the effect of music therapy to Alzheheimer's patients to emphasize the importance of musicto people of all ages. </span></span></span></span></div>
<span lang="EN-US"><span style="font-family: Times, "Times New Roman", serif;">
<div class="MsoNormal" style="text-indent: 40pt;">
</div>
<span lang="EN-US"><div class="MsoNormal" style="text-indent: 40pt;">
<span style="font-family: 굴림;">
</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, "Times New Roman", serif;"><strong>Reflection:</strong></span></span></div>
<span lang="EN-US">
<span style="font-family: Times, "Times New Roman", serif;">
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-indent: 40pt;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-family: Times, "Times New Roman", serif;">After
reading Stacy’s Heavy Metal and the Brain. I decided to find an article which
speaks about the relationship between hard rock music and the brain. Brennen’s article
mostly consists of quotations of other scientists and music perception experts.
The content is also what we have studied in the class, but it also explains the
effect of loud music and the relationship between hard rock and the brain so I
will narrow down my reflection into this subject. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-indent: 40pt;">
<span style="font-family: Times, "Times New Roman", serif;">
</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-indent: 40pt;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-family: Times, "Times New Roman", serif;">One
of the most interesting things in this article is that hard rock music and
muscle strength. Dr. John diamond says music consists of the “stopped anapestic
beat” weaken all of the muscles in the human body. According to his research,
it includes music of Led Zeppelin, Alice Cooper (it doesn’t surprise me, if you
don’t know him, google his images.)Queen, (One of my favorite groups in my
10~20’s!). If this is true, I believe the effect applies for heavy metal music as
well since heavy metal is more aggressive than hard rock. Dr. David Hawkins
also experimented the effect of various types of music, and claimed that
listening to classical music strengthens people’s muscles and listening to heavy
metal disables drug abusers to escape from the addiction.(Hawkins, 2002, 269).
Hawkins also quoted Diamonds’ experiments to support his idea, but I’ve found a
contradiction between Hawkins and Diamonds’ experiment results.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-indent: 40pt;">
<span style="font-family: Times, "Times New Roman", serif;">
</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-indent: 40pt;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-family: Times, "Times New Roman", serif;">Hawkins
classified “classical” rock and roll into the positive music category with
traditional classical music. It includes music of Beatles, but it seems that
Diamond categorizes soft rock music. (For example, the groups in Diamond’s
negative category, Led Zeppelin and Queen also composed beautiful lyrical
pieces.) Diamond categorizes positive music and negative music in terms of
rhythm, but it might be possible that there are other elements of music which
can give various effects to human body and mind. (For example, lyrics of songs,
harmonic progressions and so on...) On the other hand, it gives me a curiosity
about the effect of “loud” classical music such as Stravinsky’s Petrushka and
the rite of spring. Do they strengthen listener’s body and mind? I think it is
worth to study the effects of powerful and loud classical music.(especially pieces
composed in the 20<span style="font-size: small;"><sup>th</sup> century.)</span></span></span></div>
<span lang="EN-US" style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-family: Times;">
<br />
<div class="MsoNormal" style="text-indent: 40pt;">
<span lang="EN-US"><span style="font-family: Times, "Times New Roman", serif;"><strong>References<o:p></o:p></strong></span></span></div>
<div class="MsoNormal" style="text-indent: 40pt;">
<span style="font-family: Times, "Times New Roman", serif;"></span><br /></div>
<span style="font-family: Times, "Times New Roman", serif;"><span lang="EN-US"><o:p><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; line-height: 115%;">Brennen, Barrington. "Music, The Brain And Your Health - Barrington Brennen August 7, 2013 Bahamas."Accessed November 10, 2014.</span><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; line-height: 115%;">http://www.soencouragement.org/musicandthebrain.htm.</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; line-height: 115%;">Heather, Simon. "Can Listening to Music Be Harmful to Us." <a href="http://www.simonheather.co.uk/">www.simonheather.co.uk</a>. Accessed November 10, 2014. </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; line-height: 115%;">Hawkins, David R. <i>Power vs. Force: The Hidden Determinants of Human Behavior</i>. Rev. ed. Carlsbad, Calif.: Hay House, 2002.</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: 굴림;"></span><span style="font-family: Times, "Times New Roman", serif;">"Music for the Sacculus: A Blast from the past." Music for the Sacculus: A Blast from the past. Accessed November 10, 2014. http://cogweb.ucla.edu/ep/Sacculus.html.</span></div>
</o:p><div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-indent: 40pt;">
</div>
</span></span></span><div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-indent: 40pt;">
</div>
<br />
</span><br />
<span lang="EN-US" style="font-family: "Times New Roman","serif"; line-height: 115%;">
</span>
</span>
</span>
</span>
<span style="font-family: Times, "Times New Roman", serif;">
<span lang="EN-US">
<o:p>
</o:p>
</span>
</span>
</span></span><br />Francoishttp://www.blogger.com/profile/02431077003816712046noreply@blogger.com3tag:blogger.com,1999:blog-7181744309080861233.post-66681689250668814222014-11-11T07:48:00.001-08:002014-11-11T07:48:40.682-08:00Interpersonal synchrony increases prosocial behavior in infants<div class="yiv0209496020msonormal">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">Source: L. K. Cirelli, K.M.
Einarson, L.J. Trainor <o:p></o:p></span></span></div>
<div class="yiv0209496020msonormal">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">Developmental Science 17:6
(2014), pp 1003-1011<o:p></o:p></span></span></div>
<br />
<div class="yiv0209496020msonormal">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">http://onlinelibrary.wiley.com/doi/10.1111/desc.12193/abstract<o:p></o:p></span></span></div>
<div class="yiv0209496020msonormal">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="yiv0209496020msonormal">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">Summary:<o:p></o:p></span></span></div>
<div class="yiv0209496020msonormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">The current article reports a new study on the effect of
interpersonal motor synchrony in prosocial behaviors in infancy, within a
context of musical engagement. The work was conducted by Prof. Laurel Trainor
and her team at </span><span lang="EN-CA">the
Auditory Development Lab at McMaster University. </span><span lang="EN-US">Previous
studies by other researchers suggested that adults who engaged in synchronized
tasks such as walking, singing or finger tapping showed increased cooperative
behaviors. Nevertheless, no studies in infants had been developed to date
revealing whether infants would behave similarly to adults.<o:p></o:p></span></span></div>
<div class="yiv0209496020msonormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US"><br /></span></span></div>
<div class="yiv0209496020msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">In this study, 48 infants of 14 months old were tested through two
different experiments. The first experiment consisted of 2 phases: the
“Interpersonal Movement Phase” followed by the “Prosocial Test Phase”. In the
first phase, infants were divided in four bounce conditions, as the authors
intended to control the confounding effect of predictability of the musical
movement. The conditions included synchronous bouncing/evenly spaced beats,
synchronous bouncing/unevenly spaced beats, asynchronous bouncing/evenly spaced
beats and asynchronous bouncing/unevenly spaced beats. </span></span></div>
<div class="yiv0209496020msonormal" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="yiv0209496020msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">All infants listened to 145s of a Musical Instrument Digital
Interface (MIDI) version of “Twist and Shout” (by the Beatles) played over
loudspeakers, either the original version of the track (beats per minute=129)
or the modified version, in which the inter-beats intervals changed after each
successive beat. During listening to music, infants were being held and bounced
by the help of an assistant, while facing and watching the experimenter. The
experimenter would also bounce either in synchrony or out of synchrony with the
way the infant was being bounced. Both the assistant and experimenter listened
to wood block beats on “bounce instruction tracks” via headphones. In the “Prosocial Test Phase”, the objective
was to measure the prosocial behavior of the infant, by dropping a target
object and expecting its collection by the infant within 30 s.<o:p></o:p></span></span></div>
<div class="yiv0209496020msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="yiv0209496020msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">In the second experiment, the procedure was mostly identical with
the first experiment having the same synchronous/evenly spaced condition of
Experiment 1, but with alternating (anti-phase) bounces between the assistant
and the experimenter.<o:p></o:p></span></span></div>
<div class="yiv0209496020msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="yiv0209496020msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">Results in the first experiment demonstrated that experiencing
interpersonal motor synchrony with an unfamiliar adult promotes spontaneous
prosocial behavior in 14-month-old infants, with more significant results on
spontaneous helping (within 0-10s). The obtained results from the second
experiment also indicated an increased prosocial behavior in anti-phase
synchronous bouncing. The main effect of beat predictability and the
interaction between synchrony and beat predictability were not significant.<o:p></o:p></span></span></div>
<div class="yiv0209496020msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%;">
<span style="font-family: Times, Times New Roman, serif;"><b><u><span lang="EN-US">Reflections:</span></u></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">I initially became interested in this topic when I first heard about
it during the second lecture of Prof. Bartel. I found it quite impressive how
interpersonal synchrony movements during 145 s can develop prosocial behaviors
in early child development. It was of great surprise that these empathic
behaviors were observed in synchrony in both evenly (predictable beats) and
unevenly spaced conditions. The latter finding can be encouraging news for
those parents lacking rhythm skills, as being synchronous with infants while
bouncing is more important than keeping a steady beat.<o:p></o:p></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">To me, this study has been very well designed. Usually carrying out
research using infants and young children is very challenging, as the development
of the effective paradigms to test research questions is not easy. I believe
this model could be further developed to be utilized as a clinical assessment
tool to investigate prosocial behaviors in child development field. <o:p></o:p></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">I would be very curious to see how young children with early signs
of autism spectrum disorders (ASD) would behave in this experiment. Children
with ASD not only manifest social- emotional deficits, but also </span><span lang="EN-US">demonstrate
some degree of motor abnormality</span><span lang="EN-US"> and difficulties in
self-synchrony (1). Studies suggest that ASD is associated with developmental
abnormalities in the brain stem systems and cerebellum in early fetal stage,
which can lead to abnormal timing and sensory perception (2). <o:p></o:p></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US"><br /></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">In addition, in the present study, Trainor et al. did not discuss
how the prosocial effects of synchronized interpersonal activity are being
mediated by the human brain, information that could be given to deepen our
understanding of brain connectivity. As
mentioned by Prof. Bartel in his lecture, Steven Brown (3) found evidence of
cerebellar activity during entrainment (synchronizing timing and movement with
musical rhythm). In one recent study conducted by Kokal et al., they addressed
specifically which neural structures could possibly link synchronized activity
and prosocial behavior. Findings showed a preliminary neural evidence that the
caudate nucleus (a region of the basal ganglia known to play a role in
synchronization or pulse-keeping) relates synchronized activity to basic reward
processing in the brain, and that a history of reward with a particular person
influences future decisions to help that person (4).<o:p></o:p></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">More research is required on these two subcortical structures (basal
ganglia and cerebellum) to reveal their individually role in motor timing
processing and their connections to social-emotional networks.<o:p></o:p></span></span></div>
<div class="yiv3264297597msonormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="yiv3264297597msonormal" style="text-align: justify;">
<span lang="EN-US" style="font-size: 10.0pt;"><span style="font-family: Times, Times New Roman, serif;">References:<o:p></o:p></span></span></div>
<div class="yiv3264297597msonormal" style="text-align: justify;">
<span lang="EN-US" style="font-size: 10.0pt;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white;">
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-CA" style="font-size: 10pt;">1 – M.W Hardy, A.B Lagasse, “Rhythm, movement and
autism: using rhythmic rehabilitation research as a model for autism” <span class="yiv3264297597">, <i>Frontiers in
Integrative Neuroscience</i> (</span></span><span lang="EN-US" style="font-size: 10pt;">2013)
Mar 28; 7 (19).<o:p></o:p></span></span></div>
<div class="yiv3264297597msonormal" style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US" style="font-size: 10.0pt;">2 - C.Trevarthen, J. Delafield-Butt, “Autism as a
developmental disorder in intentional movement and affective engagement<span class="yiv3264297597">”, <i>Frontiers in
Integrative Neuroscience</i> (</span></span><span lang="EN-US" style="font-size: 10pt;">2013) July 17; 7 (49).</span><span lang="EN-US" style="font-size: 10.0pt;"><o:p></o:p></span></span></div>
<div class="yiv3264297597msonormal" style="text-align: justify;">
<span lang="EN-US" style="font-size: 10.0pt;"><span style="font-family: Times, Times New Roman, serif;">3- S. Brown, M.J Martinez, L.M Parsons, “The
neural basis of human dance”, <i>Cerebral
Cortex</i> (2006); 16:1157-1167<o:p></o:p></span></span></div>
<div class="yiv0209496020msonormal">
<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">
</span></span></div>
<div class="yiv3264297597msonormal">
<span lang="EN-US" style="font-size: 10.0pt;"><span style="font-family: Times, Times New Roman, serif;">4- I.
Kokal, A. Engel, S. Kirschner, C. Keysers, “Synchronized Drumming enhances
activity in the caudate and facilitates prosocial commitment- if the rhythm
comes easily”, <i>PLoS ONE</i> (2011) 6: (11)</span><o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/09084499282270565764noreply@blogger.com1tag:blogger.com,1999:blog-7181744309080861233.post-42007119137560694442014-11-11T07:15:00.004-08:002014-11-11T07:22:11.663-08:00Do Humans and Animals Share Musical Tastes?<div class="MsoNormal">
<b>Summary:</b><o:p></o:p></div>
<div class="MsoNormal">
The long-standing question of whether the musical tones and
scales that humans prefer are happy accidents, biologically determined, or
constructed culturally still remains unanswered. Some hypotheses suggest that
music has developed based on human physiology and depends on features of human
voices and hearing. Others believe that music can be explained mathematically. Still
another group of theories argue that music is just a sociocultural
construction.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A recent study by Doolittle and colleagues <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"7osCjXrM","properties":{"formattedCitation":"(2014)","plainCitation":"(2014)"},"citationItems":[{"id":1790,"uris":["http://zotero.org/users/1804456/items/IEX9HQMG"],"uri":["http://zotero.org/users/1804456/items/IEX9HQMG"],"itemData":{"id":1790,"type":"article-journal","title":"Overtone-based
pitch selection in hermit thrush song: Unexpected convergence with scale
construction in human music","container-title":"Proceedings
of the National Academy of Sciences","page":"201406023","source":"www.pnas.org","abstract":"Many
human musical scales, including the diatonic major scale prevalent in Western
music, are built partially or entirely from intervals (ratios between adjacent
frequencies) corresponding to small-integer proportions drawn from the harmonic
series. Scientists have long debated the extent to which principles of scale
generation in human music are biologically or culturally determined. Data from
animal “song” may provide new insights into this discussion. Here, by examining
pitch relationships using both a simple linear regression model and a Bayesian
generative model, we show that most songs of the hermit thrush (Catharus
guttatus) favor simple frequency ratios derived from the harmonic (or overtone)
series. Furthermore, we show that this frequency selection results not from
physical constraints governing peripheral production mechanisms but from active
selection at a central level. These data provide the most rigorous empirical
evidence to date of a bird song that makes use of the same mathematical
principles that underlie Western and many non-Western musical scales,
demonstrating surprising convergence between human and animal “song cultures.”
Although there is no evidence that the songs of most bird species follow the
overtone series, our findings add to a small but growing body of research
showing that a preference for small-integer frequency ratios is not unique to
humans. These findings thus have important implications for current debates
about the origins of human musical systems and may call for a reevaluation of
existing theories of musical consonance based on specific human vocal
characteristics.","DOI":"10.1073/pnas.1406023111","ISSN":"0027-8424,
1091-6490","note":"PMID:
25368163","shortTitle":"Overtone-based pitch selection in
hermit thrush
song","journalAbbreviation":"PNAS","language":"en","author":[{"family":"Doolittle","given":"Emily
L."},{"family":"Gingras","given":"Bruno"},{"family":"Endres","given":"Dominik
M."},{"family":"Fitch","given":"W.
Tecumseh"}],"issued":{"date-parts":[["2014",11,3]]},"accessed":{"date-parts":[["2014",11,6]]},"PMID":"25368163"},"suppress-author":true}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(2014)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--> aims to see what commonalities
exist between the musical tones and scales of humans and the songs of animals. The
study investigated the singing of <i style="mso-bidi-font-style: normal;">Catharus
guttatus</i>, commonly known as the hermit thrush <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"sUyhKp0H","properties":{"formattedCitation":"{\\rtf
(see \\i Hermit Thrush\\i0{} 2009 for an example of thrush
songs)}","plainCitation":"(see Hermit Thrush 2009 for an
example of thrush
songs)"},"citationItems":[{"id":2679,"uris":["http://zotero.org/users/1804456/items/7VTFTIDS"],"uri":["http://zotero.org/users/1804456/items/7VTFTIDS"],"itemData":{"id":2679,"type":"motion_picture","title":"Hermit
Thrush","source":"YouTube","dimensions":"279
seconds","abstract":"The Hermit Thrush arrives at the
nature sanctuary in the spring, hunts on the ground for insects, and finally
sings its haunting song in the upland forest. This video was taken From Spring
Farm CARES Nature Sanctuary's Living Portrait
series.","URL":"https://www.youtube.com/watch?v=o49U8NH_YuY&feature=youtube_gdata_player","issued":{"date-parts":[["2009",1,20]]},"accessed":{"date-parts":[["2014",11,11]]}},"prefix":"see
","suffix":"for an example of thrush
songs"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-ascii-font-family: Cambria;">(see <i>Hermit Thrush</i> 2009 for an
example of thrush songs)</span><!--[if supportFields]><span style='mso-element:
field-end'></span><![endif]-->. This North American species is well known among
birders for its songs, but until now, the hermit thrush’s singing has not been rigorously
analyzed. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The male hermit thrush is particularly canorous and can sing
up to ten different song types that have been observed to overlap with the
major, minor and pentatonic scales. American composer Amy Beach (1867-1944) composed
two works for piano inspired by the songs of the hermit thrush <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"HMzu8b0k","properties":{"formattedCitation":"{\\rtf
(see for example \\i Joy Morin Plays Amy Beach: A Hermit Thrush at Morn, Op. 92
No. 2\\i0{} 2011)}","plainCitation":"(see for example Joy
Morin Plays Amy Beach: A Hermit Thrush at Morn, Op. 92 No. 2
2011)"},"citationItems":[{"id":1899,"uris":["http://zotero.org/users/1804456/items/DSZ5M6ZM"],"uri":["http://zotero.org/users/1804456/items/DSZ5M6ZM"],"itemData":{"id":1899,"type":"motion_picture","title":"Joy
Morin plays Amy Beach: A Hermit Thrush at Morn, Op. 92 No. 2","source":"YouTube","dimensions":"352
seconds","abstract":"Pianist Joy Morin plays Amy Beach's A
Hermit Thrush at Morn, Op. 92 No.
2.","URL":"https://www.youtube.com/watch?v=gYFmsmhduWY&feature=youtube_gdata_player","shortTitle":"Joy
Morin plays Amy Beach","issued":{"date-parts":[["2011",2,28]]},"accessed":{"date-parts":[["2014",11,11]]}},"prefix":"see
for example
"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-ascii-font-family: Cambria;">(see for example <i>Joy Morin Plays Amy
Beach: A Hermit Thrush at Morn, Op. 92 No. 2</i> 2011)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->. An early hypothesis was that
the thrushes might use resonant frequencies of their vocal tracts to generate a
harmonic overtone series similar to the way these are produced in tube-like
instruments, but the spectrograms produced in this study showed that this was
unlikely <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION {"citationID":"Ej6SbxNt","properties":{"formattedCitation":"(Doolittle
et al. 2014, 3)","plainCitation":"(Doolittle et al. 2014,
3)"},"citationItems":[{"id":1790,"uris":["http://zotero.org/users/1804456/items/IEX9HQMG"],"uri":["http://zotero.org/users/1804456/items/IEX9HQMG"],"itemData":{"id":1790,"type":"article-journal","title":"Overtone-based
pitch selection in hermit thrush song: Unexpected convergence with scale
construction in human music","container-title":"Proceedings
of the National Academy of Sciences","page":"201406023","source":"www.pnas.org","abstract":"Many
human musical scales, including the diatonic major scale prevalent in Western
music, are built partially or entirely from intervals (ratios between adjacent
frequencies) corresponding to small-integer proportions drawn from the harmonic
series. Scientists have long debated the extent to which principles of scale
generation in human music are biologically or culturally determined. Data from
animal “song” may provide new insights into this discussion. Here, by examining
pitch relationships using both a simple linear regression model and a Bayesian
generative model, we show that most songs of the hermit thrush (Catharus
guttatus) favor simple frequency ratios derived from the harmonic (or overtone)
series. Furthermore, we show that this frequency selection results not from
physical constraints governing peripheral production mechanisms but from active
selection at a central level. These data provide the most rigorous empirical
evidence to date of a bird song that makes use of the same mathematical
principles that underlie Western and many non-Western musical scales,
demonstrating surprising convergence between human and animal “song cultures.”
Although there is no evidence that the songs of most bird species follow the
overtone series, our findings add to a small but growing body of research
showing that a preference for small-integer frequency ratios is not unique to
humans. These findings thus have important implications for current debates
about the origins of human musical systems and may call for a reevaluation of
existing theories of musical consonance based on specific human vocal
characteristics.","DOI":"10.1073/pnas.1406023111","ISSN":"0027-8424,
1091-6490","note":"PMID:
25368163","shortTitle":"Overtone-based pitch selection in
hermit thrush
song","journalAbbreviation":"PNAS","language":"en","author":[{"family":"Doolittle","given":"Emily
L."},{"family":"Gingras","given":"Bruno"},{"family":"Endres","given":"Dominik
M."},{"family":"Fitch","given":"W.
Tecumseh"}],"issued":{"date-parts":[["2014",11,3]]},"accessed":{"date-parts":[["2014",11,6]]},"PMID":"25368163"},"locator":"3"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(Doolittle et al. 2014, 3)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->. Rather, the authors find
that the pitch selection of <i style="mso-bidi-font-style: normal;">C. guttatus</i>
maps onto the same mathematical formulas that dominate human musical scales.
While the findings are not conclusive, one possibility is that the
predictability of these kinds of musical scales are easily remembered by male
thrushes and can likewise be predicted by females as an “objective yardstick” <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"MxNECsZD","properties":{"formattedCitation":"(Doolittle
et al. 2014, 4)","plainCitation":"(Doolittle et al. 2014,
4)"},"citationItems":[{"id":1790,"uris":["http://zotero.org/users/1804456/items/IEX9HQMG"],"uri":["http://zotero.org/users/1804456/items/IEX9HQMG"],"itemData":{"id":1790,"type":"article-journal","title":"Overtone-based
pitch selection in hermit thrush song: Unexpected convergence with scale
construction in human music","container-title":"Proceedings
of the National Academy of
Sciences","page":"201406023","source":"www.pnas.org","abstract":"Many
human musical scales, including the diatonic major scale prevalent in Western
music, are built partially or entirely from intervals (ratios between adjacent
frequencies) corresponding to small-integer proportions drawn from the harmonic
series. Scientists have long debated the extent to which principles of scale
generation in human music are biologically or culturally determined. Data from
animal “song” may provide new insights into this discussion. Here, by examining
pitch relationships using both a simple linear regression model and a Bayesian
generative model, we show that most songs of the hermit thrush (Catharus
guttatus) favor simple frequency ratios derived from the harmonic (or overtone)
series. Furthermore, we show that this frequency selection results not from
physical constraints governing peripheral production mechanisms but from active
selection at a central level. These data provide the most rigorous empirical
evidence to date of a bird song that makes use of the same mathematical
principles that underlie Western and many non-Western musical scales,
demonstrating surprising convergence between human and animal “song cultures.”
Although there is no evidence that the songs of most bird species follow the
overtone series, our findings add to a small but growing body of research
showing that a preference for small-integer frequency ratios is not unique to
humans. These findings thus have important implications for current debates
about the origins of human musical systems and may call for a reevaluation of
existing theories of musical consonance based on specific human vocal
characteristics.","DOI":"10.1073/pnas.1406023111","ISSN":"0027-8424,
1091-6490","note":"PMID:
25368163","shortTitle":"Overtone-based pitch selection in
hermit thrush
song","journalAbbreviation":"PNAS","language":"en","author":[{"family":"Doolittle","given":"Emily
L."},{"family":"Gingras","given":"Bruno"},{"family":"Endres","given":"Dominik
M."},{"family":"Fitch","given":"W.
Tecumseh"}],"issued":{"date-parts":[["2014",11,3]]},"accessed":{"date-parts":[["2014",11,6]]},"PMID":"25368163"},"locator":"4"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(Doolittle et al. 2014, 4)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--> for evaluating potential
mates.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The findings of this study seem to suggest that human music
aesthetics are not accidental or socially constructed. Our musical tastes might
depend on certain evolutionary motor and neural characteristics that are shared
among other species, including birds. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Response:</b><o:p></o:p></div>
<div class="MsoNormal">
As Doolittle et al. <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"wpnSSl6u","properties":{"formattedCitation":"(2014)","plainCitation":"(2014)"},"citationItems":[{"id":1790,"uris":["http://zotero.org/users/1804456/items/IEX9HQMG"],"uri":["http://zotero.org/users/1804456/items/IEX9HQMG"],"itemData":{"id":1790,"type":"article-journal","title":"Overtone-based
pitch selection in hermit thrush song: Unexpected convergence with scale
construction in human music","container-title":"Proceedings
of the National Academy of Sciences","page":"201406023","source":"www.pnas.org","abstract":"Many
human musical scales, including the diatonic major scale prevalent in Western
music, are built partially or entirely from intervals (ratios between adjacent
frequencies) corresponding to small-integer proportions drawn from the harmonic
series. Scientists have long debated the extent to which principles of scale
generation in human music are biologically or culturally determined. Data from
animal “song” may provide new insights into this discussion. Here, by examining
pitch relationships using both a simple linear regression model and a Bayesian
generative model, we show that most songs of the hermit thrush (Catharus
guttatus) favor simple frequency ratios derived from the harmonic (or overtone)
series. Furthermore, we show that this frequency selection results not from
physical constraints governing peripheral production mechanisms but from active
selection at a central level. These data provide the most rigorous empirical
evidence to date of a bird song that makes use of the same mathematical
principles that underlie Western and many non-Western musical scales,
demonstrating surprising convergence between human and animal “song cultures.”
Although there is no evidence that the songs of most bird species follow the
overtone series, our findings add to a small but growing body of research
showing that a preference for small-integer frequency ratios is not unique to
humans. These findings thus have important implications for current debates
about the origins of human musical systems and may call for a reevaluation of
existing theories of musical consonance based on specific human vocal
characteristics.","DOI":"10.1073/pnas.1406023111","ISSN":"0027-8424,
1091-6490","note":"PMID: 25368163","shortTitle":"Overtone-based
pitch selection in hermit thrush song","journalAbbreviation":"PNAS","language":"en","author":[{"family":"Doolittle","given":"Emily
L."},{"family":"Gingras","given":"Bruno"},{"family":"Endres","given":"Dominik
M."},{"family":"Fitch","given":"W.
Tecumseh"}],"issued":{"date-parts":[["2014",11,3]]},"accessed":{"date-parts":[["2014",11,6]]},"PMID":"25368163"},"suppress-author":true}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(2014)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--> discuss, there are several
hypotheses that explain the origins of musical tones and scales. For instance,
many features of music can be understood with mathematics, like the fact that
doubling a 100Hz pitch produces the same note (200Hz) at a higher octave. This
explains why notes can be consonant or dissonant with each other and why we
find the combination of some tones pleasing and others undesirable. Other
fundamental musical features such as rhythm and meter can also be understood
mathematically and can be expressed numerically. While math may explain these
kinds of fundamental features of music, it falls short when it comes to explaining
other qualities of music, such as why certain modes evoke certain feelings in
people, or why we like “blue” notes.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br /></div>
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The idea that humans share certain musical tastes with
animals opens up many interesting research hypotheses. For example, there has
long been an assumption that animals use musical-sounding tones to communicate.
This suggests to me that perhaps pre-lingual human ancestors might have used
song-like tones to communicate. We know that <i>Homo sapiens</i> have been crafting
musical instruments since at least 42,000 years ago, even though we do not know
exactly what purpose music served for early humans <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
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music instruments
found","container-title":"BBC","section":"Science
&
Environment","source":"bbc.co.uk","abstract":"Researchers
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<span style='mso-element:field-separator'></span><![endif]--><span style="mso-ascii-font-family: Cambria;">(<i>BBC</i> 2012)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->. Some believe that along with
other forms of art, music set <i>Homo sapiens</i> apart from the Neanderthals, and
might have contributed to the success of <i>Homo sapiens</i> as a species. <o:p></o:p></div>
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Even though modern humans have developed complicated language systems, we continue to use
music as way to communicate emotions. A possible explanation might be that
music is a fundamental communication system that uses rhythmic and melodic
entrainment. This type of research has interesting implications, not only for
understanding how certain animal species communicate amongst themselves, but
also how humans might better learn how to communicate with some of our animal
companions.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>References</b><o:p></o:p></div>
<div class="MsoBibliography">
<!--[if supportFields]><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_BIBL {"custom":[]}
CSL_BIBLIOGRAPHY <span style='mso-element:field-separator'></span><![endif]--><i><span style="mso-ascii-font-family: Cambria;">BBC</span></i><span style="mso-ascii-font-family: Cambria;">. 2012. “Earliest Music Instruments Found,” May 25, sec. Science &
Environment. http://www.bbc.co.uk/news/science-environment-18196349.<o:p></o:p></span></div>
<div class="MsoBibliography">
<span style="mso-ascii-font-family: Cambria;"><br /></span></div>
<div class="MsoBibliography">
<span style="mso-ascii-font-family: Cambria;">Doolittle,
Emily L., Bruno Gingras, Dominik M. Endres, and W. Tecumseh Fitch. 2014. “Overtone-Based
Pitch Selection in Hermit Thrush Song: Unexpected Convergence with Scale
Construction in Human Music.” <i>Proceedings of the National Academy of
Sciences</i>, November, 201406023. doi:10.1073/pnas.1406023111.<o:p></o:p></span></div>
<div class="MsoBibliography">
<i><span style="mso-ascii-font-family: Cambria;"><br /></span></i></div>
<div class="MsoBibliography">
<i><span style="mso-ascii-font-family: Cambria;">Hermit
Thrush</span></i><span style="mso-ascii-font-family: Cambria;">. 2009.
https://www.youtube.com/watch?v=o49U8NH_YuY&feature=youtube_gdata_player.<o:p></o:p></span></div>
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<div class="MsoBibliography">
<i><span style="mso-ascii-font-family: Cambria;"><br /></span></i></div>
<div class="MsoBibliography">
<i><span style="mso-ascii-font-family: Cambria;">Joy
Morin Plays Amy Beach: A Hermit Thrush at Morn, Op. 92 No. 2</span></i><span style="mso-ascii-font-family: Cambria;">. 2011.
https://www.youtube.com/watch?v=gYFmsmhduWY&feature=youtube_gdata_player.<o:p></o:p></span></div>
Brianhttp://www.blogger.com/profile/05557825047077396237noreply@blogger.com4tag:blogger.com,1999:blog-7181744309080861233.post-58508634818786874482014-11-10T18:06:00.000-08:002014-11-10T18:06:15.327-08:00Common Movement Disorders Affecting the Larynx: A Report from the Neurolaryngology Committee of the AAO-HNS<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman";">Source:<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">Albert L. Merati, MD, Yolanda D.
Heman-Ackah, MD, Mona Abaza, MD, Kenneth W. Altman, MD, PhD, Lucian Sulica, MD,
and Steven Belamowicz, MD. “Common Movement Disorders Affecting the Larynx: A
Report from the Neurolaryngology Committee of the AAO-HNS.” <i style="mso-bidi-font-style: normal;">Otolaryngology-Head and Neck Surgery (2005)
133, pp.654-665</i>.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman";">Summary:<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">This article was written with the
intention of detailing the necessity of a medical practitioner to become
familiar with some impairments of the voice, brought on by various neurological
disorders. While it is not a comprehensive list, it does highlight four of the
most common disorders, and the idiosyncrasies of each. These include:<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; font-size: 12.0pt;">Stroke<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; font-size: 12.0pt;">Parkinson’s
Disease<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; font-size: 12.0pt;">Voice
Tremor<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; font-size: 12.0pt;">Spasmodic
dysphonia<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">Interestingly enough, vocal fold
paralysis, which is probably the most common impairment, is not discussed. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">Albert L. Merati et al begin by
mentioning the physical examinations a medical practitioner should take to
become familiar with the nuances of each disorder. This starts by requesting a
detailed history, evaluation of the voice, a neurolaryngological evaluation,
and stroboscopic evaluation of the vocal folds. A typical evaluation includes a
patient reading a text like the Rainbow Passage. This is because the Rainbow
Passage </span><span style="font-family: Times;">is a standard exercise used to
test the fundamental frequency of the voice, as well as ones ability to
articulate. It achieves all goals thanks to it comprising all phonemes in the
English language.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Times;">Then, the practitioner performs a neurolaryngeal
examination in order to assess the mobility of the vocal folds, thus,
revealing, or eliminating movement disorders. This is generally performed by
using a flexible laryngoscope. Once the authors completed the discussion of the
examination component, they moved onto the four disorders, starting with the
“Stroke and the Larynx.” Points are made about the effects a stroke has on the
voice and swallowing muscles, with specific attention to the neuroanatomy of
phonation, speech, and language. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times;">When the section “Dysphonia in Parkinson’s Disease” begins,
the authors focus on the degeneration of the brainstem nuclei, and the signs one
can observe in someone with this disorder. Apparently, this is the most common
movement disorder in patients over the age of 55. Then, like the other disorders,
the section on the “Essential Voice Tremor” addresses how to distinguish it
from other underlying tremors such as, asymptomatic tremor, Parkinsonian
tremor, myoclonus and tics, or spasmodic dysphonia. As is generally understood,
by eliminating possible disorders and getting to the root of the issue
determines the kind of treatment (or management) the will patient receive. This
review not only focuses on laryngeal disorders stemming from a neurological
impairment, and the ways in which we can discern them apart, but also, the
methods of either treating, or managing the disorder.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Times;">Merati et al conclude this review by pointing out
that they have only touched on four neuromuscular disorders, </span><span style="font-family: "Times New Roman";">and in order for it to be more complete,
they would have had to cover myasthenia gravis (grave muscle weakness), amyotrophic
lateral sclerosis, multiple sclerosis and more. You see, many disorders</span><span style="font-family: Times;"> impact on the “phonatory, respiratory, and
deglutitive function of the larynx.”<a href="https://www.blogger.com/blogger.g?blogID=7181744309080861233#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Times; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[1]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman";">Comment/Reflections:<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">As a musician, who is placing a possible
career in the reliance of two muscles (as well as others) that are only around
20mm long, it is easy to be scared by the various disorders that could possibly
affect ones larynx. To think that you might be at the height of your career,
only to experience a stroke, or suffer from Parkinson’s Disease. In an instant,
you would have to reevaluate your career and choose something else. Yes, it is
scary for anybody, and not just singers, for no-one wishes to be affected by
such neurological disorders, but there is something about the individual voice
for a singer. I believe singers are more in touch with their vocal apparatus
than non-singers – it is part of our core being. For this reason, as a singer,
I am pleases to see that “neuromuscular impairment continues to be such a
dominant topic in the study of laryngeal disorders.” (Albert L. Merati et al.)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">What was interesting to observe in this review
was that during a neurolaryngeal examination, practitioners are diagnosing
movement disorders (neurologic integrity) of the larynx, and relating them to
the possible site of the brain causing this sign.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";">Here is the table represented in the review:<o:p></o:p></span></div>
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<b style='mso-bidi-font-weight:
normal'><span style='font-size:9.0pt;font-family:"Times New Roman"'>Table 2<o:p></o:p></span></b></p>
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<b style='mso-bidi-font-weight:
normal'><span style='font-size:9.0pt;font-family:"Times New Roman"'>Upper
motor neuron and lower motor neuron signs in the larynx<o:p></o:p></span></b></p>
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<span
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<span
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style="mso-spacerun:yes"> </span>Cerebral<o:p></o:p></span></p>
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<span
style='font-size:9.0pt;font-family:"Times New Roman"'>Spastic paresis of
muscle groups<o:p></o:p></span></p>
<p class=MsoNormal style='text-indent:36.0pt;mso-pagination:none;
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<span
style='font-size:9.0pt;font-family:"Times New Roman"'>Decreased agility<o:p></o:p></span></p>
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<span
style='font-size:9.0pt;font-family:"Times New Roman"'><span
style="mso-spacerun:yes"> </span>Basal ganglia<o:p></o:p></span></p>
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<span
style='font-size:9.0pt;font-family:"Times New Roman"'>Resting tremor<o:p></o:p></span></p>
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<span
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<span
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<span
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style="mso-spacerun:yes"> </span>Cerebellar<o:p></o:p></span></p>
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<span
style='font-size:9.0pt;font-family:"Times New Roman"'>Intention tremor<o:p></o:p></span></p>
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<span
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<span
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<span
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<span
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<span
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<span
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paresis or paralysis<o:p></o:p></span></p>
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<span
style='font-size:9.0pt;font-family:"Times New Roman"'>Decreased agility<o:p></o:p></span></p>
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<span
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<span
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<span
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<span
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<span
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 9.0pt;"><o:p> </o:p></span></b><b><span style="font-family: "Times New Roman"; font-size: 9.0pt;">Table 2</span></b></div>
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<b><span style="font-family: "Times New Roman"; font-size: 9.0pt;">Upper motor
neuron and lower motor neuron signs in the larynx<o:p></o:p></span></b></div>
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Cerebral<o:p></o:p></span></div>
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Basal ganglia<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 9.0pt;">Fluctuating abnormalities</span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: 'Times New Roman'; text-align: justify;">But what was really interesting was to
see how these disorders are treated (or not). The stroke patient is advised to
work with a speech pathologist; the Lee Silverman Voice Treatment is
recommended to patients with Parkinson’s Disease; the initial stage of
treatment for essential tremor is drug administration, primarily of a
ß-adrenergic blocker that reduces tremor amplitude (while it is not highly
successful, it does bring relief in 50% of patients</span><a href="https://www.blogger.com/blogger.g?blogID=7181744309080861233#_ftn2" name="_ftnref2" style="font-family: 'Times New Roman'; text-align: justify;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[2]</span></span></span></a><span style="font-family: 'Times New Roman'; text-align: justify;">);
and BOTOX is pointed out as a treatment in a variety of dystonias. In 2005,
BOTOX was the primary choice for patients.</span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">In my last review, I discussed focal dysphonia
and how BOTOX (botulinum toxin) injections were the norm because “traditional
therapy is often not successful.” However, Merati et al discuss the possibility
of surgical management. Procedures include: a recurrent laryngeal nerve
section, a recurrent laryngeal nerve resection, a thyroarytenoid muscle
myectomy, an expansion laryngoplasty, and most recently, a selective laryngeal
adductor denervation-reinnervation operation. While 41% of patients experience
a mild to severe tightness in the laryngeal function, 83% of postoperative
voice patients felt that their voice improved. While this seems to have made a
significant difference in the lives of many people, I personally would not be
quick to jump on board. Voice therapy with a speech pathologist, and perhaps
BOTOX injections would be as far as I go. But surgery, no thank you! For
someone who depends on their voice, I would choose anything that doesn’t have
the opportunity to do further damage.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">At this moment in the reading however, I
started to remember our class with Dr. Sylvain Moreno (Research Scientist at
the Baycrest Research Institute), where he discussed Brain Plasticity and its
ability to adapt itself. It was mentioned that after a patient suffers from a
stroke, through repetitive training, and creating stronger pathways between
neurons each time, the brain can redevelop its skills. Sadly, not all
treatments of a neurological disorder [affecting the larynx] have such positive
results, but it is pleasing to note that neuroscience is advancing. And this is
an assuring possibility that demonstrates a possible positive treatment
outcome. But can this concept of brain plasticity relate to not just stroke
patients, but to other patients suffering from neurolaryngeal disorders? How
fantastic would it be if we did not need to resort to drugs, BOTOX and surgery?
<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">I would be interested to see if newer
research/reviews have been made on this topic, and if nearly 10 years since
this review was printed, we have better options. I assume there would be, but
I’ll save that for my next bit of research!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman";">Works cited:</span></u></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: 'Times New Roman'; text-align: justify;">Albert L. Merati, MD, Yolanda D.
Heman-Ackah, MD, Mona Abaza, MD, Kenneth W. Altman, MD, PhD, Lucian Sulica, MD,
and Steven Belamowicz, MD. “Common Movement Disorders Affecting the Larynx: A
Report from the Neurolaryngology Committee of the AAO-HNS.” </span><i style="font-family: 'Times New Roman'; text-align: justify;">Otolaryngology-Head and Neck Surgery (2005)
133, pp.654-665</i><span style="font-family: 'Times New Roman'; text-align: justify;">.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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<span style="font-family: 'Times New Roman';">Koller WC, Hristova A, Brin M. </span><i style="font-family: 'Times New Roman';">Pharmacologic treatment of essential tremor</i><span style="font-family: 'Times New Roman';">. Neurology 2000: 54, S30-38</span></div>
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<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7181744309080861233#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[1]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "Times New Roman"; font-size: 10.0pt;"> Common Movement
Disorders Affecting the Larynx: A Report from the Neurolaryngology Committee of
the AAO-HNS p.664<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7181744309080861233#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[2]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "Times New Roman"; font-size: 10.0pt;"> Koller WC, Hristova A,
Brin M. Pharmacologic treatment of essential tremor. Neurology 2000: 54, S30-38<o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/14478733760505924836noreply@blogger.com1tag:blogger.com,1999:blog-7181744309080861233.post-8475121124632170062014-11-10T15:48:00.000-08:002014-11-10T15:48:06.420-08:00Behavioral and Neural Correlates of Executive Functioning in Musicians and Non-Musicians Jennifer Zuk, Christopher Benjamin, Arnold Kenyon, Nadine Gaab<div class="MsoNormal">
Source:</div>
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<br /></div>
<div class="MsoBibliography">
<!--[if supportFields]><span lang=EN-US><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>BIBLIOGRAPHY <span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-US" style="mso-bidi-font-family: "Times New Roman"; mso-no-proof: yes;">Zuk,
J., Benjamin, C., Kenyon, A., & Gaah, N. (2014, June). Behavioral and Neural
Correlates of Executive Functioning in Musicians and Non-Musicians. <i>PLOS
One</i> .<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><a href="http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0099868">http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0099868</a><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><a href="http://www.psychologytoday.com/blog/the-athletes-way/201406/does-playing-musical-instrument-make-you-smarter">http://www.psychologytoday.com/blog/the-athletes-way/201406/does-playing-musical-instrument-make-you-smarter</a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Summary:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US">Researchers from
Boston, Massachusetts have published a new study that finds a correlation
between music training and improved skills in executive functions which are defined
as high-level cognitive processes that enable people to quickly process and
retain information, regulate their behaviors, make good choices, solve
problems, plan and adjust to changing mental demands (Berglund, 2014).<span style="mso-spacerun: yes;"> </span>In their study, they tested musically trained
adults and children against those that were carefully screened to have no music
background outside of the general school curriculum.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US">To measure executive
function, the researchers tested the adults using the Delis-Kaplan Executive
Function System, which included subtests on trail making (visual scanning,
numeric and alphabetic sequencing, motor speed, and cognitive flexibility),
verbal fluency (letter and category fluency), color-word inference (inhibition
control) and design fluency (connecting dots, timed).<span style="mso-spacerun: yes;"> </span>Children completed their own version of all
but the latter in order to maximize their attention span.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US">The most
significant results that the researchers found were that children and adults
who had extensive musical training showed enhanced executive function in
cognitive flexibility, working memory and processing speed.<span style="mso-spacerun: yes;"> </span>Because skills in executive function have
proven to be highly correlated with academic skills, the researchers stated
that this could mean musical training might improve certain areas of
academics.<span style="mso-spacerun: yes;"> </span>This led them to conclude
that replacing music programs in our schools with enhanced instruction in
literacy and math in order to boost standardized test scores may actually be
detrimental to skills in other cognitive areas.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Reflection:<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US">I question
whether or not these findings are indeed significant based on the fact that
they have not actually proven that music training was the factor that led to
enhanced executive function.<span style="mso-spacerun: yes;"> </span>Whether or
not the participants in music had executive functioning abilities before they
were trained in music remains to be seen.<span style="mso-spacerun: yes;">
</span>The researchers did note that children with high executive functioning
abilities could be more likely to stick with music over the long term.<span style="mso-spacerun: yes;"> </span>I believe that this is true, that enhanced
executive function is what keeps kids interested in music and why they are
drawn to it in the first place. Therefore as much as I would like this to be
true, I would like to be a little more convinced that these musicians have higher abilities
in executive function because of their training in music.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US">Despite this potential flaw in the study, it seemed to be very well executed.<span style="mso-spacerun: yes;"> </span>The results that the researchers found were fairly consistent to other studies that have been done when comparing musicians to non-musicians and I really think that this is not something our education system should ignore. I do believe that music can have a significant influence
on our brain activity and I truly feel that it holds a significant spot in our
school systems because of this. </span><span style="text-indent: 36pt;">If anything,
music provides students with a different way of experiencing language and
communication in school and gives them an opportunity to stimulate their brain
in a unique way. Because of this, I believe that cutting music programs would leave a huge hole in our education system. </span><span style="text-indent: 36pt;"> </span></div>
Anonymoushttp://www.blogger.com/profile/08449590309809675679noreply@blogger.com1tag:blogger.com,1999:blog-7181744309080861233.post-20197907265006187612014-11-10T13:57:00.001-08:002014-11-29T11:25:54.983-08:00Entrainment and the Motor System<div class="page" title="Page 1">
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Thaut, M. H. (2013). Entrainment and the motor system. <i>Music Therapy Perspectives 31, </i> 31-34.</div>
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Summary:</div>
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Auditory rhythmic patterns can facilitate entrainment of movement in patients with motor disorders. The auditory system is adept at detecting temporal patterns in auditory signals, operating with greater speed and precision than visual or tactile systems. Extensive fibre connections exist between the auditory system and cortical and subcortical motor centres, as well as the brain stem and spinal cord. When an auditory rhythmic stimulus triggers auditory neurons to fire, motor neurons driving the motor system also fire and entrain in response. This auditory stimulation primes the motor system into a state of readiness, enhancing subsequent response quality. Consistent rhythmic stimuli provide a stable template onto which movement can be mapped. Anticipation is critical in improving quality of movement. When provided with precise timing cues, the brain can plan, knowing how much time has elapsed and how much time is left, allowing it to scale velocity and acceleration according to the constraints of the rhythmic template. This allows for optimization of movement quality, enhancing overall motor control with respect to space, time and force, There is less variability in trajectory, resulting in smoother movement as a result of more efficient muscle recruitment.</div>
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Rhythmic entrainment is an important mechanism in the rehabilitation of motor disorders due to a variety of neurological conditions. Functional control of movement can be improved through practice using the principles of motor entrainment. Substantial gains in gait patterns have been noted with hemiparetic clients, showing improvements in velocity, stride length, cadence, and stride symmetry as a result of the application of entrainment mechanisms. At the same time there have been significant reductions in variability and amplitude of muscle activation. As a result, a protocol has been developed called Rhythmic Auditory Stimulation (RAS) to facilitate improvement in gait due to entrainment effects. Persons with Parkinson’s Disease have demonstrated improvements in bradykinesia, stride length stability and symmetry due to RAS, resulting in long-term improvements in ambulation. Experiments involving upper extremity movement, not inherently rhythmic, have yielded comparable improvements when movement is matched to rhythmic time cues. Oral motor, articulatory control also benefits from the application of rhythmic entrainment principles, as demonstrated through the critical rhythmic component of Melodic Intonation Therapy (MIT). In addition, time structure may provide a temporal scaffold with respect to attention, memory and executive function, offering potential for improvements with respect to cognitive function.</div>
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Response:</div>
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Extensive research has been conducted with respect to gait and RAS, including several randomized controlled trials, which have substantiated the role of RAS in motor rehabilitation therapy for gait disorders. Similar research needs to be undertaken with respect to arm/hand movement, speech/language, and cognitive function. These are all areas which would benefit from randomized controlled trials to determine the extent to which auditory rhythmic stimuli facilitate functional improvements. I haven’t had the opportunity to work with clients on ambulation, but have been able to work with clients on upper extremity movement and speech/language using rhythmic cuing principles, all with promising results. To be accepted by the medical community, however, we need more than case study examples - larger scale, replicable studies need to be undertaken.</div>
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I have found the use of client preferred music and/or improvisation within a stable rhythmic framework is particularly motivating for clients. To optimize functional improvement, drawing on this affective component is critical to maximize engagement and sustain client attention. Though repetition is needed to rehabilitate movement, it can be anything but boring for the client engaged in making music that is personally meaningful. This has the added function of contributing to psychosocial wellbeing, a critical factor in any therapy program. it can be empowering for the client, helping them to regain some sense of control as they help shape the musical experience. It can also bring a sense of joy into their lives, enhancing overall quality of life. Rhythmic applications in rehabilitation hold substantial promise in supporting gains in multiple domains in addition to the quality and functionality of motor movement.</div>
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Eventidehttp://www.blogger.com/profile/15769470434594201372noreply@blogger.com1tag:blogger.com,1999:blog-7181744309080861233.post-344402745703590102014-11-09T18:45:00.000-08:002014-11-09T18:45:05.444-08:00Hearing vs. Listening to Music: Response to Jourdain’s Music, the Brain, and Ecstasy (1997)<!--[if gte mso 9]><xml>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"> What does
it mean to <i>listen</i> to music versus to <i>hear</i> it?<span style="mso-spacerun: yes;"> </span>More specifically, what are the inherent
neurological and psychological differences between the acts which we call
"hearing" versus that which we call "listening"?<span style="mso-spacerun: yes;"> </span>Jourdain briefly addresses this question in a
short section called “Hearing and Listening” (pp. 245-249), but his explanation
of the two auditory tasks leaves much to be desired.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Jourdain
first explains that while the term "hearing" might suggest a <i>passive</i>
absorbance of sonic information (performed by the brain stem),
"listening" seems to implicate an <i>active</i> element, such as
intent or motive (done with the cerebral cortex) (p. 246).<span style="mso-spacerun: yes;"> </span>This is much like <i>looking</i> versus <i>seeing</i>,
and <i>being touched</i> versus <i>touching</i><span style="mso-bidi-font-style: italic;">.<span style="mso-spacerun: yes;"> </span>At the very basic level of
hearing, auditory processing is entirely unconscious and every part of a sound
is presumably given equal weight. <span style="mso-spacerun: yes;"> </span>Sounds
that are more complex and multifaceted require our attention, mental effort,
and a feedback loop involving the cerebral cortex in order to successfully
“listen” to them, according to Jourdain.<span style="mso-spacerun: yes;">
</span>By <i>listening</i>, we come to anticipate, simplify, organize, and
enjoy a variety of music.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">His argument seems to unfold quite adequately until
pp. 246-247, when he writes: </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 35.45pt; margin-right: 49.8pt; margin-top: 0cm; text-indent: .55pt;">
<i><span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">“There
appears to be no clear demarcation between passive, automatic processing of
sound of the kind typified by the brain stem, and the active, predictive
processing of the cortex.<span style="mso-spacerun: yes;"> </span>This is
because many operations of auditory cortex seem to be just as automatic and
unconscious as in lower-brain structures.”</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span></i></div>
<div class="MsoNormal" style="line-height: normal;">
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">So now—after assigning the
acts of hearing and listening to the brain stem and cerebral cortex,
respectively—he problematizes his own argument by distinguishing between
“automatic” and “manual” auditory acts within higher brain function.<span style="mso-spacerun: yes;"> </span>If the auditory cortex can act just as
automatically and unconsciously as the lower-brain structures, then how are
some of its processes not considered as plain “hearing”?</span></div>
<div class="MsoNormal" style="line-height: normal;">
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>Clearly, these ideas need further development. <span style="mso-spacerun: yes;"> </span>Perhaps the answer lies in psychology or
phenomenology.<span style="mso-spacerun: yes;"> </span>Does listening involve
understanding?<span style="mso-spacerun: yes;"> </span>Do we have to make a <i style="mso-bidi-font-style: normal;">conscious</i> effort to really listen?<span style="mso-spacerun: yes;"> </span>What about attention, salience, and
habituation to sound?<span style="mso-spacerun: yes;"> </span>And finally, have
there been any neurological findings between passive/automatic hearing and
active/manual listening since Jourdain’s book was written almost 20 years ago?</span></div>
<div class="MsoNormal" style="line-height: normal;">
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>Many recent studies seem to focus on the role of <i style="mso-bidi-font-style: normal;">attention</i> in listening. <span style="mso-spacerun: yes;"> </span>Even if a higher-level process is automatic,
it would still require initial attentiveness to the sound which caused it. <span style="mso-spacerun: yes;"> </span>In a study published the same year as Jourdain’s
book, Ward investigated the effect of cue tones (which cause involuntary
orienting of attention) on response time and accuracy for an auditory intensity
discrimination task (1997). <span style="mso-spacerun: yes;"> </span>When
participants heard a cue tone their attention was automatically directed
towards the cue’s frequency region, resulting in faster recognition and more
accurate processing of the subsequent target tone when it had occurred at the
same frequency (versus at a different frequency).<span style="mso-spacerun: yes;"> </span>Infants with reduced attention to speech after
cochlear implants suffer greatly during early speech perception development,
causing difficulty in language acquisition and an eventual lag behind their
normal-hearing counterparts.<span style="mso-spacerun: yes;"> </span>This is
because deaf infants who receive cochlear implants have initially developed without
sound, and even though their auditory cortex might function as well as a
normal-hearing child’s, they fail to automatically <i style="mso-bidi-font-style: normal;">attend</i> to sound the way other infants do (Houston & Bergeson 2014).<span style="mso-spacerun: yes;"> </span>However, salience and the physical aptitude
for hearing can also greatly help the process of listening.<span style="mso-spacerun: yes;"> </span>People with unilateral conductive hearing
impairment fixed by reconstructive ear surgery experience improved hearing
thresholds, leading to significantly better speech recognition in situations
with background noise due to their newly found binaural hearing (Persson et al.
2001).</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Furthermore,
in terms of <i style="mso-bidi-font-style: normal;">music</i> listening, focus of
attention is possibly the most important key to actively “participate” in
meaningful music understanding. <span style="mso-spacerun: yes;"> </span>Our
personal experience with a musical style develops our attentional habits
towards it (Dowling 2012).<span style="mso-spacerun: yes;"> </span>And because autonomous
listening is in itself a relatively rare occurrence (Herbert 2011), Madsen &
Geringer report that attentiveness while listening to music is vital for
understanding its distinguishing elements and attributes, increasing “aesthetic”
sensitivity, and aiding overall musical understanding and enjoyment (2000). Without
this focus of auditory attention, and often due to particular sonic qualities
of the music itself, certain sounds can fade into the background of our overwhelmed
milieu of sensory stimuli.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Attention
is also guided by a constant renewal of interest and change.<span style="mso-spacerun: yes;"> </span>With repeated stimulation and when possessing
no known value or meaning, sounds run the risk of being completely ignored by
our brains. <span style="mso-spacerun: yes;"> </span>In a phenomenon called
habituation, the longer the same auditory neurons are stimulated without any
renewal of attention to a particular sound, the less they respond to that sound
(Armony & LeDoux 2012). <span style="mso-spacerun: yes;"> </span>So does that
mean that habituation to sound—meaning to still technically <i style="mso-bidi-font-style: normal;">hear</i> it with our ears, but to not react
to it with our primary auditory neurons—the opposite of attentive listening? <span style="mso-spacerun: yes;"> </span>We must first hear a salient sound before we
can listen to it, and responses are only normal to novel sounds (Weinberger 2012).
<span style="mso-spacerun: yes;"> </span>So perhaps instead of the question being
"If a tree falls in the woods, and there’s no one there to hear it, does
it still make a sound?", it should really be: "If a tree falls in the
woods, after enough previously fallen trees habituated our ears to the sound of
trees falling, does it still make a sound?"</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt; vertical-align: middle;">
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Jourdain
points out that because music is so abundant in our everyday lives—at home or at
work, in movies and television, in public places, at restaurants and stores,
even elevators—it is not usually something we listen to for pleasure, but
instead out of necessity (238).<span style="mso-spacerun: yes;"> </span>Moreover,
he insists that rarely do people ever sit down with the sole purpose of <i>listening</i>
to music, i.e. not just using it as background noise.<span style="mso-spacerun: yes;"> </span>This is a matter of habituation to music, and
although we might still continue <i style="mso-bidi-font-style: normal;">hearing</i>
that Best Of Michael Bublé CD at the chiropractor’s office, we’ve stopped listening
to it after the first track. <span style="mso-spacerun: yes;"> </span>Of course,
certain music is designed to fade into the background, to be simply heard and <i style="mso-bidi-font-style: normal;">not</i> listened to, such as: ambient music
for creating a particular atmosphere; minimalistic music for club dancing; Lee
Bartel's SonicAid albums for aiding sleep, concentration, relaxation, etc.; and
the popular Focus@Will website with pre-selected music designed to help with work
and study focusing. </span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">In the
years since <i style="mso-bidi-font-style: normal;">Music, the Brain, and Ecstasy</i>,
studies in auditory organization have shown that primary stages of auditory analysis
and low-level segregation mechanisms operate independently from attention (Dyson
2012). <span style="mso-spacerun: yes;"> </span>But in selective listening
studies in regards to attention it is still unclear what participants unconsciously
hear and to what extent they can “sneak a listen” to the supposedly ignored
sounds (Carlyon 2004).<span style="mso-spacerun: yes;"> </span>Even a brief
moment of responsiveness to a previously unattended stimulus can launch the
mechanism for listening.<span style="mso-spacerun: yes;"> </span>“Therefore,
while it is possible to manipulate relatively successfully the levels of
attention during active tasks, it may be more difficult to draw clear
distinctions between active and passive conditions.” (Dyson 2012).</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">Perhaps
the dichotomy of hearing and listening is more of a continuum than a toggle
switch; as sounds become salient we listen, and as our ears habituate to the stimuli
the sounds gradually fall into the unconsciously heard but unperceived
background.</span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 16.0pt; mso-bidi-font-size: 12.0pt;">References</span></b></div>
<div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Armony,
J., & LeDoux, J. (2012). Emotional responses to auditory stimuli. <i>Oxford
Handbooks Online.</i> Retrieved 9 Nov. 2014, from
http://www.oxfordhandbooks.com.myaccess.library.utoronto.ca/view/10.1093/oxfordhb/9780199233281.001.0001/oxfordhb-9780199233281-e-19.</span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Carlyon,
R. P. (2004). How the brain separates sound. <i>Trends in Cognitive Sciences</i>
<b>1</b>:465–71.</span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Dowling,
W. (2012). Music perception. <i>Oxford Handbooks Online.</i> Retrieved 9 Nov.
2014, from
http://www.oxfordhandbooks.com.myaccess.library.utoronto.ca/view/10.1093/oxfordhb/9780199233557.001.0001/oxfordhb-9780199233557-e-10.</span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Dyson,
B. (2012). Auditory organization. <i>Oxford Handbooks Online.</i> Retrieved 9
Nov. 2014, from
http://www.oxfordhandbooks.com.myaccess.library.utoronto.ca/view/10.1093/oxfordhb/9780199233557.001.0001/oxfordhb-9780199233557-e-08.</span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Herbert,
R. (2011). Consciousness and everyday music listening: Trancing, dissociation,
and absorption. In D. Clarke, & E. Clarke (Eds.), <i>Music and
consciousness: Philosophical, psychological, and cultural perspectives</i>. New
York: Oxford University Press. </span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Houston,
D. M., & Bergeson, T. R. (2014). Hearing versus listening: Attention to
speech and its role in language acquisition in deaf infants with cochlear
implants.<i> Lingua, 139</i>(Complete), 10-25. doi:10.1016/j.lingua.2013.08.001
</span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Jourdain,
R. (1997). <i>Music, the brain, and ecstasy: How music captures our imagination</i>.
New York: W. Morrow. </span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span lang="DE" style="font-family: "Arial","sans-serif";">Madsen, C. K., & Geringer, J. M.
(2000). </span><span style="font-family: "Arial","sans-serif";">A focus of attention
model for meaningful listening.<i> Bulletin of the Council for Research in
Music Education, </i>(147, The 18th International Society for Music Education
ISME Research Seminar), 103-108. </span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Persson,
P., Harder, H., Arlinger, S., & Magnuson, B. (2001). Speech recognition in
background noise: Monaural versus binaural listening conditions in
normal-hearing patients.<i> Otology & Neurotology: Official Publication of
the American Otological Society, American Neurotology Society [and] European
Academy of Otology and Neurotology, 22</i>(5), 625-630. </span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Spence,
C., & Santangelo, V. (2012). Auditory attention. <i>Oxford Handbooks
Online.</i> Retrieved 9 Nov. 2014, from http://www.oxfordhandbooks.com.myaccess.library.utoronto.ca/view/10.1093/oxfordhb/9780199233557.001.0001/oxfordhb-9780199233557-e-11.</span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Ward,
L. M. (1997). Involuntary listening aids hearing.<i> Psychological Science, 8</i>(2),
112-118. </span></span></div>
<span style="font-size: x-small;">
</span><div style="margin: 0cm 0cm 0.0001pt 22.5pt; text-indent: -22.5pt;">
<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Weinberger,
N. (2012). The cognitive auditory cortex. <i>Oxford Handbooks Online.</i> Retrieved
9 Nov. 2014, from
http://www.oxfordhandbooks.com.myaccess.library.utoronto.ca/view/10.1093/oxfordhb/9780199233281.001.0001/oxfordhb-9780199233281-e-18.</span></span></div>
Stacey U.http://www.blogger.com/profile/17862137859256836759noreply@blogger.com0tag:blogger.com,1999:blog-7181744309080861233.post-25986339686350611442014-11-09T06:03:00.004-08:002014-11-09T06:03:59.911-08:00Can Listening to Sad Music Make Us Happy?<div class="MsoNormal">
<b>Summary:</b><o:p></o:p></div>
<div class="MsoNormal">
Liila Taruffi and Stefan Koelsch’s <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"U9yO23dg","properties":{"formattedCitation":"(2014)","plainCitation":"(2014)"},"citationItems":[{"id":1753,"uris":["http://zotero.org/users/1804456/items/NEQAWGFJ"],"uri":["http://zotero.org/users/1804456/items/NEQAWGFJ"],"itemData":{"id":1753,"type":"article-journal","title":"The
Paradox of Music-Evoked Sadness: An Online
Survey","container-title":"PLoS ONE","page":"e110490","volume":"9","issue":"10","source":"PLoS
Journals","abstract":"This study explores listeners’
experience of music-evoked sadness. Sadness is typically assumed to be
undesirable and is therefore usually avoided in everyday life. Yet the question
remains: Why do people seek and appreciate sadness in music? We present
findings from an online survey with both Western and Eastern participants (N =
772). The survey investigates the rewarding aspects of music-evoked sadness, as
well as the relative contribution of listener characteristics and situational
factors to the appreciation of sad music. The survey also examines the
different principles through which sadness is evoked by music, and their
interaction with personality traits. Results show 4 different rewards of
music-evoked sadness: reward of imagination, emotion regulation, empathy, and
no “real-life” implications. Moreover, appreciation of sad music follows a
mood-congruent fashion and is greater among individuals with high empathy and
low emotional stability. Surprisingly, nostalgia rather than sadness is the
most frequent emotion evoked by sad music. Correspondingly, memory was rated as
the most important principle through which sadness is evoked. Finally, the
trait empathy contributes to the evocation of sadness via contagion, appraisal,
and by engaging social functions. The present findings indicate that emotional
responses to sad music are multifaceted, are modulated by empathy, and are
linked with a multidimensional experience of pleasure. These results were
corroborated by a follow-up survey on happy music, which indicated differences between
the emotional experiences resulting from listening to sad versus happy music.
This is the first comprehensive survey of music-evoked sadness, revealing that
listening to sad music can lead to beneficial emotional effects such as
regulation of negative emotion and mood as well as consolation. Such beneficial
emotional effects constitute the prime motivations for engaging with sad music
in everyday
life.","DOI":"10.1371/journal.pone.0110490","shortTitle":"The
Paradox of Music-Evoked Sadness","journalAbbreviation":"PLoS
ONE","author":[{"family":"Taruffi","given":"Liila"},{"family":"Koelsch","given":"Stefan"}],"issued":{"date-parts":[["2014",10,20]]},"accessed":{"date-parts":[["2014",11,5]]}},"suppress-author":true}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(2014)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--> recent study explores the
relationship between music and sadness. Sadness is generally considered to be
an undesirable emotion, and most people prefer to avoid feelings of sadness.
However, people seem to experience some sort of pleasure and enjoyment in listening
to sad-sounding music. If sadness is a feeling to be avoided, what explains our
attraction to sad music?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The authors introduce two different theoretical approaches to
frame the study. First they describe Levinson’s <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"cm5QpuPe","properties":{"formattedCitation":"(1997)","plainCitation":"(1997)"},"citationItems":[{"id":2088,"uris":["http://zotero.org/users/1804456/items/TWXVHIV6"],"uri":["http://zotero.org/users/1804456/items/TWXVHIV6"],"itemData":{"id":2088,"type":"article-journal","title":"Music
and negative emotion","source":"Google
Scholar","URL":"http://philpapers.org/rec/LEVMAN-2","author":[{"family":"Levinson","given":"Jerrold"}],"issued":{"date-parts":[["1997"]]},"accessed":{"date-parts":[["2014",11,5]]}},"suppress-author":true}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(1997)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--> eight-part philosophical
approach to sadness and music. This framework is based on the notion that
listening to sad music can offer different kinds of emotional rewards, such as
catharsis, savoring feeling, or emotional communion with others. Second, they
discuss Panksepp’s <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"L83tUOIT","properties":{"formattedCitation":"(1995)","plainCitation":"(1995)"},"citationItems":[{"id":2136,"uris":["http://zotero.org/users/1804456/items/XIBA9FA8"],"uri":["http://zotero.org/users/1804456/items/XIBA9FA8"],"itemData":{"id":2136,"type":"article-journal","title":"The
emotional sources of\" chills\" induced by
music","container-title":"Music perception","page":"171–207","source":"Google
Scholar","author":[{"family":"Panksepp","given":"Jaak"}],"issued":{"date-parts":[["1995"]]},"accessed":{"date-parts":[["2014",11,5]]}},"suppress-author":true}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(1995)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--> and Huron’s <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"WB6NWBcR","properties":{"formattedCitation":"(2011)","plainCitation":"(2011)"},"citationItems":[{"id":2166,"uris":["http://zotero.org/users/1804456/items/37IE2FUI"],"uri":["http://zotero.org/users/1804456/items/37IE2FUI"],"itemData":{"id":2166,"type":"article-journal","title":"Why
is sad music pleasurable? A possible role for
prolactin","container-title":"Musicae
Scientiae","page":"146–158","volume":"15","issue":"2","source":"Google
Scholar","shortTitle":"Why is sad music
pleasurable?","author":[{"family":"Huron","given":"David"}],"issued":{"date-parts":[["2011"]]},"accessed":{"date-parts":[["2014",11,5]]}},"suppress-author":true}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(2011)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--> findings, which both explain
that people may experience more pleasurable experiences listening to sad music
because it causes the brain to release more neurochemicals and hormones than
happy music.<o:p></o:p></div>
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<br /></div>
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Through an online survey, the study engaged with 722
respondents from various ethnic backgrounds and age groups in order to
understand why and how people engage with sad music, what kinds of emotions are
evoked by sad music, and how an affinity for sad music might be linked to
personality traits <!--[if supportFields]><span style='mso-element:field-begin'></span><span
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772). The survey investigates the rewarding aspects of music-evoked sadness, as
well as the relative contribution of listener characteristics and situational
factors to the appreciation of sad music. The survey also examines the
different principles through which sadness is evoked by music, and their
interaction with personality traits. Results show 4 different rewards of
music-evoked sadness: reward of imagination, emotion regulation, empathy, and
no “real-life” implications. Moreover, appreciation of sad music follows a
mood-congruent fashion and is greater among individuals with high empathy and
low emotional stability. Surprisingly, nostalgia rather than sadness is the most
frequent emotion evoked by sad music. Correspondingly, memory was rated as the
most important principle through which sadness is evoked. Finally, the trait
empathy contributes to the evocation of sadness via contagion, appraisal, and
by engaging social functions. The present findings indicate that emotional
responses to sad music are multifaceted, are modulated by empathy, and are
linked with a multidimensional experience of pleasure. These results were
corroborated by a follow-up survey on happy music, which indicated differences
between the emotional experiences resulting from listening to sad versus happy
music. This is the first comprehensive survey of music-evoked sadness,
revealing that listening to sad music can lead to beneficial emotional effects
such as regulation of negative emotion and mood as well as consolation. Such
beneficial emotional effects constitute the prime motivations for engaging with
sad music in everyday
life.","DOI":"10.1371/journal.pone.0110490","shortTitle":"The
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Sadness","journalAbbreviation":"PLoS
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<span style='mso-element:field-separator'></span><![endif]--><span style="mso-ascii-font-family: Cambria;">(Taruffi and Koelsch 2014, 2–3)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->. As a control, a similar
survey about happy music was also administered. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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The results showed several common dimensions of the rewarding
aspects of music-evoked sadness among participants. These included the <i style="mso-bidi-font-style: normal;">reward of imagination </i>(imagining similar
expressive abilities as the music), the <i style="mso-bidi-font-style: normal;">reward
of emotion regulation </i>(feeling better after listening to sad music), the <i style="mso-bidi-font-style: normal;">reward of empathy</i> (empathizing with the
music as if it were a person), and the <i style="mso-bidi-font-style: normal;">reward
of no real-life implications</i> (enjoyment of feeling sadness without
real-life reasons) <!--[if supportFields]><span style='mso-element:field-begin'></span><span
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remains: Why do people seek and appreciate sadness in music? We present
findings from an online survey with both Western and Eastern participants (N =
772). The survey investigates the rewarding aspects of music-evoked sadness, as
well as the relative contribution of listener characteristics and situational
factors to the appreciation of sad music. The survey also examines the
different principles through which sadness is evoked by music, and their
interaction with personality traits. Results show 4 different rewards of
music-evoked sadness: reward of imagination, emotion regulation, empathy, and
no “real-life” implications. Moreover, appreciation of sad music follows a mood-congruent
fashion and is greater among individuals with high empathy and low emotional
stability. Surprisingly, nostalgia rather than sadness is the most frequent
emotion evoked by sad music. Correspondingly, memory was rated as the most
important principle through which sadness is evoked. Finally, the trait empathy
contributes to the evocation of sadness via contagion, appraisal, and by
engaging social functions. The present findings indicate that emotional
responses to sad music are multifaceted, are modulated by empathy, and are
linked with a multidimensional experience of pleasure. These results were
corroborated by a follow-up survey on happy music, which indicated differences
between the emotional experiences resulting from listening to sad versus happy
music. This is the first comprehensive survey of music-evoked sadness,
revealing that listening to sad music can lead to beneficial emotional effects
such as regulation of negative emotion and mood as well as consolation. Such
beneficial emotional effects constitute the prime motivations for engaging with
sad music in everyday
life.","DOI":"10.1371/journal.pone.0110490","shortTitle":"The
Paradox of Music-Evoked Sadness","journalAbbreviation":"PLoS
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<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(Taruffi and Koelsch 2014, 4)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->. Participants reported that
the desire to listen to sad music occurs across a wide range of situations and
emotional states <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
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Paradox of Music-Evoked Sadness: An Online
Survey","container-title":"PLoS
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Journals","abstract":"This study explores listeners’
experience of music-evoked sadness. Sadness is typically assumed to be
undesirable and is therefore usually avoided in everyday life. Yet the question
remains: Why do people seek and appreciate sadness in music? We present
findings from an online survey with both Western and Eastern participants (N =
772). The survey investigates the rewarding aspects of music-evoked sadness, as
well as the relative contribution of listener characteristics and situational
factors to the appreciation of sad music. The survey also examines the
different principles through which sadness is evoked by music, and their
interaction with personality traits. Results show 4 different rewards of
music-evoked sadness: reward of imagination, emotion regulation, empathy, and
no “real-life” implications. Moreover, appreciation of sad music follows a
mood-congruent fashion and is greater among individuals with high empathy and
low emotional stability. Surprisingly, nostalgia rather than sadness is the
most frequent emotion evoked by sad music. Correspondingly, memory was rated as
the most important principle through which sadness is evoked. Finally, the
trait empathy contributes to the evocation of sadness via contagion, appraisal,
and by engaging social functions. The present findings indicate that emotional
responses to sad music are multifaceted, are modulated by empathy, and are
linked with a multidimensional experience of pleasure. These results were
corroborated by a follow-up survey on happy music, which indicated differences
between the emotional experiences resulting from listening to sad versus happy
music. This is the first comprehensive survey of music-evoked sadness,
revealing that listening to sad music can lead to beneficial emotional effects
such as regulation of negative emotion and mood as well as consolation. Such
beneficial emotional effects constitute the prime motivations for engaging with
sad music in everyday life.","DOI":"10.1371/journal.pone.0110490","shortTitle":"The
Paradox of Music-Evoked
Sadness","journalAbbreviation":"PLoS
ONE","author":[{"family":"Taruffi","given":"Liila"},{"family":"Koelsch","given":"Stefan"}],"issued":{"date-parts":[["2014",10,20]]},"accessed":{"date-parts":[["2014",11,5]]}},"locator":"5-6"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-ascii-font-family: Cambria;">(Taruffi and Koelsch 2014, 5–6)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Response:</b><o:p></o:p></div>
<div class="MsoNormal">
The findings of this study might seem paradoxical because
happiness is considered a key factor in people’s well being implying that sad
feelings are something to be avoided. Nevertheless, the results of the survey
suggest that sad music is used for numerous reasons under a variety of
circumstances. The authors briefly discuss the limitations of the methods used
in the study, admitting that one flaw of surveys like theirs is that
retrospective self-reporting can be inaccurate because of memory bias <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"RI2lpd0k","properties":{"formattedCitation":"(Taruffi
and Koelsch 2014, 15)","plainCitation":"(Taruffi and
Koelsch 2014,
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Paradox of Music-Evoked Sadness: An Online Survey","container-title":"PLoS
ONE","page":"e110490","volume":"9","issue":"10","source":"PLoS
Journals","abstract":"This study explores listeners’
experience of music-evoked sadness. Sadness is typically assumed to be
undesirable and is therefore usually avoided in everyday life. Yet the question
remains: Why do people seek and appreciate sadness in music? We present
findings from an online survey with both Western and Eastern participants (N =
772). The survey investigates the rewarding aspects of music-evoked sadness, as
well as the relative contribution of listener characteristics and situational
factors to the appreciation of sad music. The survey also examines the
different principles through which sadness is evoked by music, and their
interaction with personality traits. Results show 4 different rewards of
music-evoked sadness: reward of imagination, emotion regulation, empathy, and
no “real-life” implications. Moreover, appreciation of sad music follows a
mood-congruent fashion and is greater among individuals with high empathy and
low emotional stability. Surprisingly, nostalgia rather than sadness is the
most frequent emotion evoked by sad music. Correspondingly, memory was rated as
the most important principle through which sadness is evoked. Finally, the
trait empathy contributes to the evocation of sadness via contagion, appraisal,
and by engaging social functions. The present findings indicate that emotional
responses to sad music are multifaceted, are modulated by empathy, and are
linked with a multidimensional experience of pleasure. These results were
corroborated by a follow-up survey on happy music, which indicated differences
between the emotional experiences resulting from listening to sad versus happy
music. This is the first comprehensive survey of music-evoked sadness,
revealing that listening to sad music can lead to beneficial emotional effects
such as regulation of negative emotion and mood as well as consolation. Such
beneficial emotional effects constitute the prime motivations for engaging with
sad music in everyday life.","DOI":"10.1371/journal.pone.0110490","shortTitle":"The
Paradox of Music-Evoked
Sadness","journalAbbreviation":"PLoS
ONE","author":[{"family":"Taruffi","given":"Liila"},{"family":"Koelsch","given":"Stefan"}],"issued":{"date-parts":[["2014",10,20]]},"accessed":{"date-parts":[["2014",11,5]]}},"locator":"15"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(Taruffi and Koelsch 2014, 15)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->. In contrast, they explain a
new method called the Experience Sampling Method that takes advantage of mobile
device applications through which participants can monitor their emotional
states throughout the day in real-time <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"lDPJVGN1","properties":{"formattedCitation":"(Taruffi
and Koelsch 2014, 15)","plainCitation":"(Taruffi and
Koelsch 2014,
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Paradox of Music-Evoked Sadness: An Online
Survey","container-title":"PLoS
ONE","page":"e110490","volume":"9","issue":"10","source":"PLoS
Journals","abstract":"This study explores listeners’
experience of music-evoked sadness. Sadness is typically assumed to be
undesirable and is therefore usually avoided in everyday life. Yet the question
remains: Why do people seek and appreciate sadness in music? We present
findings from an online survey with both Western and Eastern participants (N =
772). The survey investigates the rewarding aspects of music-evoked sadness, as
well as the relative contribution of listener characteristics and situational
factors to the appreciation of sad music. The survey also examines the
different principles through which sadness is evoked by music, and their
interaction with personality traits. Results show 4 different rewards of
music-evoked sadness: reward of imagination, emotion regulation, empathy, and
no “real-life” implications. Moreover, appreciation of sad music follows a
mood-congruent fashion and is greater among individuals with high empathy and
low emotional stability. Surprisingly, nostalgia rather than sadness is the
most frequent emotion evoked by sad music. Correspondingly, memory was rated as
the most important principle through which sadness is evoked. Finally, the
trait empathy contributes to the evocation of sadness via contagion, appraisal,
and by engaging social functions. The present findings indicate that emotional
responses to sad music are multifaceted, are modulated by empathy, and are
linked with a multidimensional experience of pleasure. These results were
corroborated by a follow-up survey on happy music, which indicated differences
between the emotional experiences resulting from listening to sad versus happy
music. This is the first comprehensive survey of music-evoked sadness,
revealing that listening to sad music can lead to beneficial emotional effects
such as regulation of negative emotion and mood as well as consolation. Such
beneficial emotional effects constitute the prime motivations for engaging with
sad music in everyday
life.","DOI":"10.1371/journal.pone.0110490","shortTitle":"The
Paradox of Music-Evoked
Sadness","journalAbbreviation":"PLoS
ONE","author":[{"family":"Taruffi","given":"Liila"},{"family":"Koelsch","given":"Stefan"}],"issued":{"date-parts":[["2014",10,20]]},"accessed":{"date-parts":[["2014",11,5]]}},"locator":"15"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]--><span style="mso-no-proof: yes;">(Taruffi and Koelsch 2014, 15)</span><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->. However, this method is not
explained in much detail, so it is unclear whether it might improve further
studies on music and emotion, or perhaps introduce new biases. For example, depending
on real-time reporting might raise the costs of participation compared with a
one-time survey, and providing compensation to users to encourage participation
may also change self-reported happiness, if respondents are happy to be earning
a reward for participation.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In addition, I am not convinced about the effectiveness of a
questionnaire when it comes to capturing the complexities of emotional states. The
boundaries of emotions are not rigid and frequently overlap, making them hard
to quantify. Furthermore, everyone experiences feelings and emotions
differently, so results of surveys do not generalize well. For example,
different personalities or cultural factors may lead some respondents to over
or understate their relative sadness or happiness. For these reasons, I think a
mixed research method that includes both more qualitative data gathering
techniques or some real-time experimental methods might lead to more conclusive
results. It is possible to measure biological responses related to emotion
through brain scans and other types of biofeedback. Facial
expressions and body postures are also common indicators of affect that can be
measured by a skilled observer. Of course, these kinds of studies have their own
limitations. For example, they must be planned in advance and so there can be
no way to control for the base emotional states of the incoming participants.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Despite the difficulties of studying the emotional effects
of music, it is an important research area. The positive psychological and social
effects of participating in music practice are already well understood. But more
can be learned about how interacting with music on a more personal level can
contribute to regulating moods and emotions.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBibliography">
<!--[if supportFields]><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_BIBL {"custom":[]}
CSL_BIBLIOGRAPHY <span style='mso-element:field-separator'></span><![endif]--><span style="mso-ascii-font-family: Cambria;">Huron, David. 2011. “Why Is Sad Music
Pleasurable? A Possible Role for Prolactin.” <i>Musicae Scientiae</i> 15 (2):
146–58.<o:p></o:p></span></div>
<div class="MsoBibliography">
<span style="mso-ascii-font-family: Cambria;"><br /></span></div>
<div class="MsoBibliography">
<span style="mso-ascii-font-family: Cambria;">Levinson,
Jerrold. 1997. “Music and Negative Emotion.”
http://philpapers.org/rec/LEVMAN-2.<o:p></o:p></span></div>
<div class="MsoBibliography">
<span style="mso-ascii-font-family: Cambria;"><br /></span></div>
<div class="MsoBibliography">
<span style="mso-ascii-font-family: Cambria;">Panksepp,
Jaak. 1995. “The Emotional Sources of‘ Chills’ Induced by Music.” <i>Music
Perception</i>, 171–207.<o:p></o:p></span></div>
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<div class="MsoBibliography">
<span style="mso-ascii-font-family: Cambria;"><br /></span></div>
<div class="MsoBibliography">
<span style="mso-ascii-font-family: Cambria;">Taruffi,
Liila, and Stefan Koelsch. 2014. “The Paradox of Music-Evoked Sadness: An
Online Survey.” <i>PLoS ONE</i> 9 (10): e110490.
doi:10.1371/journal.pone.0110490.<o:p></o:p></span></div>
Brianhttp://www.blogger.com/profile/05557825047077396237noreply@blogger.com6tag:blogger.com,1999:blog-7181744309080861233.post-86080634203892475392014-11-09T05:43:00.000-08:002014-11-09T05:43:44.343-08:00Sound Localization: New Research and Potential Applications<div class="MsoNormal">
<span style="mso-no-proof: no;">In <i style="mso-bidi-font-style: normal;">Music, the Brain and Ecstasy</i>, Jourdain </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"FcBRnqnW","properties":{"formattedCitation":"(1997)","plainCitation":"(1997)"},"citationItems":[{"id":1609,"uris":["http://zotero.org/users/1804456/items/BUI4F9NI"],"uri":["http://zotero.org/users/1804456/items/BUI4F9NI"],"itemData":{"id":1609,"type":"book","title":"Music,
the Brain, and
Ecstasy","publisher":"HarperCollins","publisher-place":"New
York","event-place":"New
York","author":[{"family":"Jourdain","given":"Robert"}],"issued":{"date-parts":[["1997"]]}},"suppress-author":true}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span style="mso-no-proof: no;">(1997)</span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;"> spends several pages discussing sound localization </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"2jMyeCGR","properties":{"formattedCitation":"{\\rtf
(1997, 20\\uc0\\u8211{}24)}","plainCitation":"(1997,
20–24)"},"citationItems":[{"id":1609,"uris":["http://zotero.org/users/1804456/items/BUI4F9NI"],"uri":["http://zotero.org/users/1804456/items/BUI4F9NI"],"itemData":{"id":1609,"type":"book","title":"Music,
the Brain, and
Ecstasy","publisher":"HarperCollins","publisher-place":"New
York","event-place":"New
York","author":[{"family":"Jourdain","given":"Robert"}],"issued":{"date-parts":[["1997"]]}},"locator":"20-24","suppress-author":true}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]-->(1997,
20–24)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">, or the ability to distinguish where in space a particular sound is coming
from. Jourdain claims that for modern humans “<i style="mso-bidi-font-style: normal;">what</i> sounds are” is far more important than “<i style="mso-bidi-font-style: normal;">where </i>they are” </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"baoO8Knt","properties":{"formattedCitation":"(1997,
20)","plainCitation":"(1997, 20)"},"citationItems":[{"id":1609,"uris":["http://zotero.org/users/1804456/items/BUI4F9NI"],"uri":["http://zotero.org/users/1804456/items/BUI4F9NI"],"itemData":{"id":1609,"type":"book","title":"Music,
the Brain, and Ecstasy","publisher":"HarperCollins","publisher-place":"New
York","event-place":"New
York","author":[{"family":"Jourdain","given":"Robert"}],"issued":{"date-parts":[["1997"]]}},"locator":"20","suppress-author":true}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span style="mso-no-proof: no;">(1997, 20)</span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. Nevertheless, along with most animals, our inner
ears, outer ears and brains have evolved in such a way that provides the ability
to precisely locate a sound in space. Localization is one of the most important
functions of human hearing, and “is the primary concern of the most primitive
parts of the auditory brain” </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"a7qf2OIW","properties":{"formattedCitation":"(Jourdain
1997, 20)","plainCitation":"(Jourdain 1997, 20)"},"citationItems":[{"id":1609,"uris":["http://zotero.org/users/1804456/items/BUI4F9NI"],"uri":["http://zotero.org/users/1804456/items/BUI4F9NI"],"itemData":{"id":1609,"type":"book","title":"Music,
the Brain, and
Ecstasy","publisher":"HarperCollins","publisher-place":"New
York","event-place":"New
York","author":[{"family":"Jourdain","given":"Robert"}],"issued":{"date-parts":[["1997"]]}},"locator":"20"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span style="mso-no-proof: no;">(Jourdain 1997, 20)</span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. In particular, sound localization draws upon multiple
sources of information, engages key parts of the musical brain, and has the
potential to be further enjoyed and enhanced using new technologies, including
binaural and three-dimensional audio recordings and audio games. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-no-proof: no;"><span style="mso-tab-count: 1;"> </span>Sound localization depends on several kinds of environmental
sound information. Interaural arrival time, or the difference in time by which
a sound arrives at each ear, and the volume, or difference in intensity or
loudness of sound, as it arrives at each ear together help determine the
location of the sound on the horizontal plane, or in azimuth </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"Nx6wX5jc","properties":{"formattedCitation":"(Jourdain
1997, 21; Otte et al. 2013, 261)","plainCitation":"(Jourdain
1997, 21; Otte et al. 2013,
261)"},"citationItems":[{"id":1609,"uris":["http://zotero.org/users/1804456/items/BUI4F9NI"],"uri":["http://zotero.org/users/1804456/items/BUI4F9NI"],"itemData":{"id":1609,"type":"book","title":"Music,
the Brain, and Ecstasy","publisher":"HarperCollins","publisher-place":"New
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Hearing Loss and Ear Morphology Affect Vertical but not Horizontal
Sound-Localization Performance","container-title":"Journal
of the Association for Research in Otolaryngology","page":"261-273","volume":"14","issue":"2","source":"link.springer.com.myaccess.library.utoronto.ca","abstract":"Several
studies have attributed deterioration of sound localization in the horizontal
(azimuth) and vertical (elevation) planes to an age-related decline in binaural
processing and high-frequency hearing loss (HFHL). The latter might underlie
decreased elevation performance of older adults. However, as the pinnae keep
growing throughout life, we hypothesized that larger ears might enable older
adults to localize sounds in elevation on the basis of lower frequencies, thus
(partially) compensating their HFHL. In addition, it is not clear whether sound
localization has already matured at a very young age, when the body is still
growing, and the binaural and monaural sound-localization cues change
accordingly. The present study investigated sound-localization performance of
children (7–11 years), young adults (20–34 years), and older adults (63–80
years) under open-loop conditions in the two-dimensional frontal hemifield. We
studied the effect of age-related hearing loss and ear size on localization
responses to brief broadband sound bursts with different bandwidths. We found
similar localization abilities in azimuth for all listeners, including the
older adults with HFHL. Sound localization in elevation for the children and
young adult listeners with smaller ears improved when stimuli contained
frequencies above 7 kHz. Subjects with larger ears could also judge the
elevation of sound sources restricted to lower frequency content. Despite increasing
ear size, sound localization in elevation deteriorated in older adults with
HFHL. We conclude that the binaural localization cues are successfully used
well into later stages of life, but that pinna growth cannot compensate the
more profound HFHL with
age.","DOI":"10.1007/s10162-012-0367-7","ISSN":"1525-3961,
1438-7573","journalAbbreviation":"JARO","language":"en","author":[{"family":"Otte","given":"Rik
J."},{"family":"Agterberg","given":"Martijn
J.
H."},{"family":"Wanrooij","given":"Marc
M. Van"},{"family":"Snik","given":"Ad
F. M."},{"family":"Opstal","given":"A.
John
Van"}],"issued":{"date-parts":[["2013",4,1]]},"accessed":{"date-parts":[["2014",11,4]]}},"locator":"261"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]-->(Jourdain
1997, 21; Otte et al. 2013, 261)<!--[if supportFields]><span style='mso-no-proof:
no'><span style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. In addition, through experience with environmental
sound, we are also able to use our knowledge of past sound experiences to determine
the distance of the source of a sound </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"qRfu0O2V","properties":{"formattedCitation":"(Jourdain
1997, 22)","plainCitation":"(Jourdain 1997, 22)"},"citationItems":[{"id":1609,"uris":["http://zotero.org/users/1804456/items/BUI4F9NI"],"uri":["http://zotero.org/users/1804456/items/BUI4F9NI"],"itemData":{"id":1609,"type":"book","title":"Music,
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<span style='mso-element:field-separator'></span></span><![endif]-->(Jourdain
1997, 22)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. The mind uses these different kinds of information to calculate the
location of the sound in both the horizontal and vertical planes. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-no-proof: no;"><span style="mso-tab-count: 1;"> </span>We also use these different kinds of sonic information
for a closely related task—distinguishing one particular sound from among many,
such as picking out the sound of just one person’s voice in a crowd of people
talking, or a “cocktail party situation” </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"jCs1FvC4","properties":{"formattedCitation":"{\\rtf
(Z\\uc0\\u252{}ndorf, Lewald, and Karnath 2013)}","plainCitation":"(Zündorf,
Lewald, and Karnath 2013)"},"citationItems":[{"id":2160,"uris":["http://zotero.org/users/1804456/items/UZFV5WXX"],"uri":["http://zotero.org/users/1804456/items/UZFV5WXX"],"itemData":{"id":2160,"type":"article-journal","title":"Neural
Correlates of Sound Localization in Complex Acoustic Environments","container-title":"PLoS
ONE","page":"e64259","volume":"8","issue":"5","source":"PLoS
Journals","abstract":"Listening to and understanding people
in a “cocktail-party situation” is a remarkable feature of the human auditory
system. Here we investigated the neural correlates of the ability to localize a
particular sound among others in an acoustically cluttered environment with
healthy subjects. In a sound localization task, five different natural sounds
were presented from five virtual spatial locations during functional magnetic
resonance imaging (fMRI). Activity related to auditory stream segregation was
revealed in posterior superior temporal gyrus bilaterally, anterior insula,
supplementary motor area, and frontoparietal network. Moreover, the results indicated
critical roles of left planum temporale in extracting the sound of interest
among acoustical distracters and the precuneus in orienting spatial attention
to the target sound. We hypothesized that the left-sided lateralization of the
planum temporale activation is related to the higher specialization of the left
hemisphere for analysis of spectrotemporal sound features. Furthermore, the
precuneus − a brain area known to be involved in the computation of spatial
coordinates across diverse frames of reference for reaching to objects − seems
to be also a crucial area for accurately determining locations of auditory
targets in an acoustically complex scene of multiple sound sources. The
precuneus thus may not only be involved in visuo-motor processes, but may also
subserve related functions in the auditory
modality.","DOI":"10.1371/journal.pone.0064259","journalAbbreviation":"PLoS
ONE","author":[{"family":"Zündorf","given":"Ida
C."},{"family":"Lewald","given":"Jörg"},{"family":"Karnath","given":"Hans-Otto"}],"issued":{"date-parts":[["2013",5,14]]},"accessed":{"date-parts":[["2014",10,25]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]-->(Zündorf,
Lewald, and Karnath 2013)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. Recent research has identified the left auditory cortex, and in
particular the left planum temporale (PT), as the primary regions of the brain
invoked in spatial localization </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"AQwSAsXO","properties":{"formattedCitation":"{\\rtf
(Z\\uc0\\u252{}ndorf, Lewald, and Karnath
2013)}","plainCitation":"(Zündorf, Lewald, and Karnath
2013)"},"citationItems":[{"id":2160,"uris":["http://zotero.org/users/1804456/items/UZFV5WXX"],"uri":["http://zotero.org/users/1804456/items/UZFV5WXX"],"itemData":{"id":2160,"type":"article-journal","title":"Neural
Correlates of Sound Localization in Complex Acoustic
Environments","container-title":"PLoS
ONE","page":"e64259","volume":"8","issue":"5","source":"PLoS
Journals","abstract":"Listening to and understanding people
in a “cocktail-party situation” is a remarkable feature of the human auditory
system. Here we investigated the neural correlates of the ability to localize a
particular sound among others in an acoustically cluttered environment with
healthy subjects. In a sound localization task, five different natural sounds
were presented from five virtual spatial locations during functional magnetic
resonance imaging (fMRI). Activity related to auditory stream segregation was
revealed in posterior superior temporal gyrus bilaterally, anterior insula,
supplementary motor area, and frontoparietal network. Moreover, the results
indicated critical roles of left planum temporale in extracting the sound of
interest among acoustical distracters and the precuneus in orienting spatial attention
to the target sound. We hypothesized that the left-sided lateralization of the
planum temporale activation is related to the higher specialization of the left
hemisphere for analysis of spectrotemporal sound features. Furthermore, the
precuneus − a brain area known to be involved in the computation of spatial
coordinates across diverse frames of reference for reaching to objects − seems
to be also a crucial area for accurately determining locations of auditory
targets in an acoustically complex scene of multiple sound sources. The
precuneus thus may not only be involved in visuo-motor processes, but may also
subserve related functions in the auditory
modality.","DOI":"10.1371/journal.pone.0064259","journalAbbreviation":"PLoS
ONE","author":[{"family":"Zündorf","given":"Ida
C."},{"family":"Lewald","given":"Jörg"},{"family":"Karnath","given":"Hans-Otto"}],"issued":{"date-parts":[["2013",5,14]]},"accessed":{"date-parts":[["2014",10,25]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]-->(Zündorf,
Lewald, and Karnath 2013)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. This is interesting, in part, because the left PT is known to be
associated with language, musical ability, and in particular perfect pitch </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"c0lXzBoQ","properties":{"formattedCitation":"(Schlaug
et al. 1995)","plainCitation":"(Schlaug et al.
1995)"},"citationItems":[{"id":2208,"uris":["http://zotero.org/users/1804456/items/8XHS3G6X"],"uri":["http://zotero.org/users/1804456/items/8XHS3G6X"],"itemData":{"id":2208,"type":"article-journal","title":"In
vivo evidence of structural brain asymmetry in
musicians","container-title":"Science","page":"699-701","volume":"267","issue":"5198","source":"www.sciencemag.org.myaccess.library.utoronto.ca","abstract":"Certain
human talents, such as musical ability, have been associated with left-right
differences in brain structure and function. In vivo magnetic resonance
morphometry of the brain in musicians was used to measure the anatomical
asymmetry of the planum temporale, a brain area containing auditory association
cortex and previously shown to be a marker of structural and functional
asymmetry. Musicians with perfect pitch revealed stronger leftward planum
temporale asymmetry than nonmusicians or musicians without perfect pitch. The
results indicate that outstanding musical ability is associated with increased
leftward asymmetry of cortex subserving music-related
functions.","DOI":"10.1126/science.7839149","ISSN":"0036-8075,
1095-9203","note":"PMID: 7839149","journalAbbreviation":"Science","language":"en","author":[{"family":"Schlaug","given":"G."},{"family":"Jancke","given":"L."},{"family":"Huang","given":"Y."},{"family":"Steinmetz","given":"H."}],"issued":{"date-parts":[["1995",2,3]]},"accessed":{"date-parts":[["2014",11,4]]},"PMID":"7839149"}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]-->(Schlaug et
al. 1995)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. Though we know that the left PT is already somewhat more developed in
utero than the right PT in general and is acutely more developed among
professional musicians, particularly those with perfect pitch, it is still
unclear to what extent musicians develop stronger left PTs or those with
stronger left PTs are more likely to become musicians </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"TkeJwET0","properties":{"formattedCitation":"(Schlaug
et al. 1995, 700)","plainCitation":"(Schlaug et al. 1995,
700)"},"citationItems":[{"id":2208,"uris":["http://zotero.org/users/1804456/items/8XHS3G6X"],"uri":["http://zotero.org/users/1804456/items/8XHS3G6X"],"itemData":{"id":2208,"type":"article-journal","title":"In
vivo evidence of structural brain asymmetry in
musicians","container-title":"Science","page":"699-701","volume":"267","issue":"5198","source":"www.sciencemag.org.myaccess.library.utoronto.ca","abstract":"Certain
human talents, such as musical ability, have been associated with left-right
differences in brain structure and function. In vivo magnetic resonance
morphometry of the brain in musicians was used to measure the anatomical
asymmetry of the planum temporale, a brain area containing auditory association
cortex and previously shown to be a marker of structural and functional
asymmetry. Musicians with perfect pitch revealed stronger leftward planum
temporale asymmetry than nonmusicians or musicians without perfect pitch. The
results indicate that outstanding musical ability is associated with increased
leftward asymmetry of cortex subserving music-related
functions.","DOI":"10.1126/science.7839149","ISSN":"0036-8075,
1095-9203","note":"PMID:
7839149","journalAbbreviation":"Science","language":"en","author":[{"family":"Schlaug","given":"G."},{"family":"Jancke","given":"L."},{"family":"Huang","given":"Y."},{"family":"Steinmetz","given":"H."}],"issued":{"date-parts":[["1995",2,3]]},"accessed":{"date-parts":[["2014",11,4]]},"PMID":"7839149"},"locator":"700"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]-->(Schlaug et
al. 1995, 700)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-no-proof: no;"><span style="mso-tab-count: 1;"> </span>Implicitly, Jourdain’s discussion of localization assumes
that most people have similar capacities for sound localization, and he fails
to explore why some people are better at localization than others. For example,
he explains that lower frequencies are easier to localize than others </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"kAK467zX","properties":{"formattedCitation":"(Jourdain
1997, 21)","plainCitation":"(Jourdain 1997,
21)"},"citationItems":[{"id":1609,"uris":["http://zotero.org/users/1804456/items/BUI4F9NI"],"uri":["http://zotero.org/users/1804456/items/BUI4F9NI"],"itemData":{"id":1609,"type":"book","title":"Music,
the Brain, and
Ecstasy","publisher":"HarperCollins","publisher-place":"New
York","event-place":"New
York","author":[{"family":"Jourdain","given":"Robert"}],"issued":{"date-parts":[["1997"]]}},"locator":"21"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]-->(Jourdain
1997, 21)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. Meanwhile, he also explains that as we age, our abilities to hear high
frequency sounds progressively diminishes, which is also known as sensory
presbycusis, </span><!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"glV5J2zH","properties":{"formattedCitation":"{\\rtf
(Jourdain 1997, 17; see also Dobreva, O\\uc0\\u8217{}Neill, and Paige 2011,
2484)}","plainCitation":"(Jourdain 1997, 17; see also
Dobreva, O’Neill, and Paige 2011,
2484)"},"citationItems":[{"id":1609,"uris":["http://zotero.org/users/1804456/items/BUI4F9NI"],"uri":["http://zotero.org/users/1804456/items/BUI4F9NI"],"itemData":{"id":1609,"type":"book","title":"Music,
the Brain, and
Ecstasy","publisher":"HarperCollins","publisher-place":"New
York","event-place":"New
York","author":[{"family":"Jourdain","given":"Robert"}],"issued":{"date-parts":[["1997"]]}},"locator":"17"},{"id":2104,"uris":["http://zotero.org/users/1804456/items/84IHFJUA"],"uri":["http://zotero.org/users/1804456/items/84IHFJUA"],"itemData":{"id":2104,"type":"article-journal","title":"Influence
of aging on human sound
localization","container-title":"Journal of
Neurophysiology","page":"2471-2486","volume":"105","issue":"5","source":"jn.physiology.org","abstract":"Errors
in sound localization, associated with age-related changes in peripheral and
central auditory function, can pose threats to self and others in a commonly
encountered environment such as a busy traffic intersection. This study aimed
to quantify the accuracy and precision (repeatability) of free-field human
sound localization as a function of advancing age. Head-fixed young,
middle-aged, and elderly listeners localized band-passed targets using visually
guided manual laser pointing in a darkened room. Targets were presented in the
frontal field by a robotically controlled loudspeaker assembly hidden behind a
screen. Broadband targets (0.1–20 kHz) activated all auditory spatial channels,
whereas low-pass and high-pass targets selectively isolated interaural time and
intensity difference cues (ITDs and IIDs) for azimuth and high-frequency
spectral cues for elevation. In addition, to assess the upper frequency limit
of ITD utilization across age groups more thoroughly, narrowband targets were
presented at 250-Hz intervals from 250 Hz up to </span><span style='font-family:
Monaco;mso-bidi-font-family:Monaco;mso-no-proof:no'>∼</span><span
style='mso-no-proof:no'>2 kHz. Young subjects generally showed horizontal
overestimation (overshoot) and vertical underestimation (undershoot) of
auditory target location, and this effect varied with frequency band. Accuracy
and/or precision worsened in older individuals for broadband, high-pass, and
low-pass targets, reflective of peripheral but also central auditory aging. In
addition, compared with young adults, middle-aged, and elderly listeners showed
pronounced horizontal localization deficiencies (imprecision) for narrowband
targets within 1,250–1,575 Hz, congruent with age-related central decline in
auditory temporal processing. Findings underscore the distinct neural processing
of the auditory spatial cues in sound localization and their selective
deterioration with advancing
age.","DOI":"10.1152/jn.00951.2010","ISSN":"0022-3077,
1522-1598","note":"Errors in sound localization, associated
with age-related changes in peripheral and central auditory function, can pose
threats to self and others in a commonly encountered environment such as a busy
traffic intersection. This study aimed to quantify the accuracy and precision
(repeatability) of free-field human sound localization as a function of
advancing age. Head-fixed young, middle-aged, and elderly listeners localized
band-passed targets using visually guided manual laser pointing in a darkened
room. Targets were presented in the frontal field by a robotically controlled loudspeaker
assembly hidden behind a screen. Broadband targets (0.1–20 kHz) activated all
auditory spatial channels, whereas low-pass and high-pass targets selectively
isolated interaural time and intensity difference cues (ITDs and IIDs) for
azimuth and high-frequency spectral cues for elevation. In addition, to assess
the upper frequency limit of ITD utilization across age groups more thoroughly,
narrowband targets were presented at 250-Hz intervals from 250 Hz up to </span><span
style='font-family:Monaco;mso-bidi-font-family:Monaco;mso-no-proof:no'>∼</span><span
style='mso-no-proof:no'>2 kHz. Young subjects generally showed horizontal
overestimation (overshoot) and vertical underestimation (undershoot) of
auditory target location, and this effect varied with frequency band. Accuracy
and/or precision worsened in older individuals for broadband, high-pass, and
low-pass targets, reflective of peripheral but also central auditory aging. In
addition, compared with young adults, middle-aged, and elderly listeners showed
pronounced horizontal localization deficiencies (imprecision) for narrowband
targets within 1,250–1,575 Hz, congruent with age-related central decline in
auditory temporal processing. Findings underscore the distinct neural
processing of the auditory spatial cues in sound localization and their
selective deterioration with advancing age.\nPMID: 21368004","language":"en","author":[{"family":"Dobreva","given":"Marina
S."},{"family":"O'Neill","given":"William
E."},{"family":"Paige","given":"Gary
D."}],"issued":{"date-parts":[["2011",5,1]]},"accessed":{"date-parts":[["2014",11,1]]},"PMID":"21368004"},"locator":"2484","prefix":"see
also
"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]-->(Jourdain
1997, 17; see also Dobreva, O’Neill, and Paige 2011, 2484)<!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. However, Jourdain never directly addresses whether
localization ability changes with age. In contrast, recent work has documented
that sound localization tends to become less accurate with age, even when
experiments adjust for metabolic or flat presbycusis, which is diminished
hearing at all frequencies </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"O9SW55gC","properties":{"formattedCitation":"{\\rtf
(Dobreva, O\\uc0\\u8217{}Neill, and Paige
2011)}","plainCitation":"(Dobreva, O’Neill, and Paige
2011)"},"citationItems":[{"id":2104,"uris":["http://zotero.org/users/1804456/items/84IHFJUA"],"uri":["http://zotero.org/users/1804456/items/84IHFJUA"],"itemData":{"id":2104,"type":"article-journal","title":"Influence
of aging on human sound localization","container-title":"Journal
of
Neurophysiology","page":"2471-2486","volume":"105","issue":"5","source":"jn.physiology.org","abstract":"Errors
in sound localization, associated with age-related changes in peripheral and
central auditory function, can pose threats to self and others in a commonly
encountered environment such as a busy traffic intersection. This study aimed
to quantify the accuracy and precision (repeatability) of free-field human
sound localization as a function of advancing age. Head-fixed young,
middle-aged, and elderly listeners localized band-passed targets using visually
guided manual laser pointing in a darkened room. Targets were presented in the
frontal field by a robotically controlled loudspeaker assembly hidden behind a
screen. Broadband targets (0.1–20 kHz) activated all auditory spatial channels,
whereas low-pass and high-pass targets selectively isolated interaural time and
intensity difference cues (ITDs and IIDs) for azimuth and high-frequency
spectral cues for elevation. In addition, to assess the upper frequency limit
of ITD utilization across age groups more thoroughly, narrowband targets were
presented at 250-Hz intervals from 250 Hz up to </span><span style='font-family:
Monaco;mso-bidi-font-family:Monaco;mso-no-proof:no'>∼</span><span
style='mso-no-proof:no'>2 kHz. Young subjects generally showed horizontal
overestimation (overshoot) and vertical underestimation (undershoot) of
auditory target location, and this effect varied with frequency band. Accuracy
and/or precision worsened in older individuals for broadband, high-pass, and
low-pass targets, reflective of peripheral but also central auditory aging. In
addition, compared with young adults, middle-aged, and elderly listeners showed
pronounced horizontal localization deficiencies (imprecision) for narrowband
targets within 1,250–1,575 Hz, congruent with age-related central decline in
auditory temporal processing. Findings underscore the distinct neural
processing of the auditory spatial cues in sound localization and their
selective deterioration with advancing
age.","DOI":"10.1152/jn.00951.2010","ISSN":"0022-3077,
1522-1598","note":"Errors in sound localization, associated
with age-related changes in peripheral and central auditory function, can pose
threats to self and others in a commonly encountered environment such as a busy
traffic intersection. This study aimed to quantify the accuracy and precision
(repeatability) of free-field human sound localization as a function of advancing
age. Head-fixed young, middle-aged, and elderly listeners localized band-passed
targets using visually guided manual laser pointing in a darkened room. Targets
were presented in the frontal field by a robotically controlled loudspeaker
assembly hidden behind a screen. Broadband targets (0.1–20 kHz) activated all
auditory spatial channels, whereas low-pass and high-pass targets selectively
isolated interaural time and intensity difference cues (ITDs and IIDs) for
azimuth and high-frequency spectral cues for elevation. In addition, to assess
the upper frequency limit of ITD utilization across age groups more thoroughly,
narrowband targets were presented at 250-Hz intervals from 250 Hz up to </span><span
style='font-family:Monaco;mso-bidi-font-family:Monaco;mso-no-proof:no'>∼</span><span
style='mso-no-proof:no'>2 kHz. Young subjects generally showed horizontal
overestimation (overshoot) and vertical underestimation (undershoot) of
auditory target location, and this effect varied with frequency band. Accuracy
and/or precision worsened in older individuals for broadband, high-pass, and
low-pass targets, reflective of peripheral but also central auditory aging. In
addition, compared with young adults, middle-aged, and elderly listeners showed
pronounced horizontal localization deficiencies (imprecision) for narrowband
targets within 1,250–1,575 Hz, congruent with age-related central decline in
auditory temporal processing. Findings underscore the distinct neural
processing of the auditory spatial cues in sound localization and their
selective deterioration with advancing age.\nPMID:
21368004","language":"en","author":[{"family":"Dobreva","given":"Marina
S."},{"family":"O'Neill","given":"William
E."},{"family":"Paige","given":"Gary
D."}],"issued":{"date-parts":[["2011",5,1]]},"accessed":{"date-parts":[["2014",11,1]]},"PMID":"21368004"}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]-->(Dobreva,
O’Neill, and Paige 2011)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. Interestingly, older adults also perform less well than younger adults,
even for low-frequency sounds that have been adjusted to higher volumes </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"tyQMGNid","properties":{"formattedCitation":"{\\rtf
(Dobreva, O\\uc0\\u8217{}Neill, and Paige 2011,
2484)}","plainCitation":"(Dobreva, O’Neill, and Paige 2011,
2484)"},"citationItems":[{"id":2104,"uris":["http://zotero.org/users/1804456/items/84IHFJUA"],"uri":["http://zotero.org/users/1804456/items/84IHFJUA"],"itemData":{"id":2104,"type":"article-journal","title":"Influence
of aging on human sound localization","container-title":"Journal
of Neurophysiology","page":"2471-2486","volume":"105","issue":"5","source":"jn.physiology.org","abstract":"Errors
in sound localization, associated with age-related changes in peripheral and
central auditory function, can pose threats to self and others in a commonly
encountered environment such as a busy traffic intersection. This study aimed
to quantify the accuracy and precision (repeatability) of free-field human
sound localization as a function of advancing age. Head-fixed young,
middle-aged, and elderly listeners localized band-passed targets using visually
guided manual laser pointing in a darkened room. Targets were presented in the
frontal field by a robotically controlled loudspeaker assembly hidden behind a
screen. Broadband targets (0.1–20 kHz) activated all auditory spatial channels,
whereas low-pass and high-pass targets selectively isolated interaural time and
intensity difference cues (ITDs and IIDs) for azimuth and high-frequency
spectral cues for elevation. In addition, to assess the upper frequency limit
of ITD utilization across age groups more thoroughly, narrowband targets were
presented at 250-Hz intervals from 250 Hz up to </span><span style='font-family:
Monaco;mso-bidi-font-family:Monaco;mso-no-proof:no'>∼</span><span
style='mso-no-proof:no'>2 kHz. Young subjects generally showed horizontal
overestimation (overshoot) and vertical underestimation (undershoot) of
auditory target location, and this effect varied with frequency band. Accuracy
and/or precision worsened in older individuals for broadband, high-pass, and
low-pass targets, reflective of peripheral but also central auditory aging. In
addition, compared with young adults, middle-aged, and elderly listeners showed
pronounced horizontal localization deficiencies (imprecision) for narrowband
targets within 1,250–1,575 Hz, congruent with age-related central decline in
auditory temporal processing. Findings underscore the distinct neural processing
of the auditory spatial cues in sound localization and their selective
deterioration with advancing
age.","DOI":"10.1152/jn.00951.2010","ISSN":"0022-3077,
1522-1598","note":"Errors in sound localization, associated
with age-related changes in peripheral and central auditory function, can pose
threats to self and others in a commonly encountered environment such as a busy
traffic intersection. This study aimed to quantify the accuracy and precision
(repeatability) of free-field human sound localization as a function of
advancing age. Head-fixed young, middle-aged, and elderly listeners localized
band-passed targets using visually guided manual laser pointing in a darkened
room. Targets were presented in the frontal field by a robotically controlled
loudspeaker assembly hidden behind a screen. Broadband targets (0.1–20 kHz)
activated all auditory spatial channels, whereas low-pass and high-pass targets
selectively isolated interaural time and intensity difference cues (ITDs and
IIDs) for azimuth and high-frequency spectral cues for elevation. In addition,
to assess the upper frequency limit of ITD utilization across age groups more
thoroughly, narrowband targets were presented at 250-Hz intervals from 250 Hz
up to </span><span style='font-family:Monaco;mso-bidi-font-family:Monaco;
mso-no-proof:no'>∼</span><span style='mso-no-proof:no'>2 kHz. Young subjects
generally showed horizontal overestimation (overshoot) and vertical
underestimation (undershoot) of auditory target location, and this effect
varied with frequency band. Accuracy and/or precision worsened in older
individuals for broadband, high-pass, and low-pass targets, reflective of
peripheral but also central auditory aging. In addition, compared with young
adults, middle-aged, and elderly listeners showed pronounced horizontal
localization deficiencies (imprecision) for narrowband targets within
1,250–1,575 Hz, congruent with age-related central decline in auditory temporal
processing. Findings underscore the distinct neural processing of the auditory
spatial cues in sound localization and their selective deterioration with
advancing age.\nPMID: 21368004","language":"en","author":[{"family":"Dobreva","given":"Marina
S."},{"family":"O'Neill","given":"William
E."},{"family":"Paige","given":"Gary
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<span style='mso-element:field-separator'></span></span><![endif]-->(Dobreva,
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no'><span style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. Similarly, recent research explores other correlates
of the capacity for sound localization. For example, Zundorf et al. </span><!--[if supportFields]><span
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related to cognitive abilities. Females usually outperform men in verbal
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skills, whereas males are superior in visuospatial abilities, throwing
accuracy, and mathematical reasoning. Here we demonstrated a male advantage in
spatial abilities for the auditory modality. We employed a sound localization
task based on the so-called “cocktail party situation”, requiring extraction of
auditory information of a specific sound source when multiple competing sound
sources were present. The results indicated better performance of males than
females for localizing target sounds in a multi-source sound environment. This
finding suggests a sex difference in the attentional mechanisms extracting
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<span style='mso-element:field-separator'></span></span><![endif]-->(2011)<!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;"> find that women overall are less accurate than men at
identifying the location of a single sound alone or as one of many sounds.
However, this gender difference is only significant when it comes to
identifying the location of one sound in the presence of many sounds at once. The
implications of these findings for music performance and appreciation are
unclear but worthy of further investigation. <o:p></o:p></span></div>
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<span style="mso-no-proof: no;"><span style="mso-tab-count: 1;"> </span>When it comes to audio recordings, Jourdain laments that
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are lost as compared to the vividness when one is present at a live musical
performance for at least two reasons. First, most recordings combine and
condense the direct sounds of instruments with the sounds that are reverberating
throughout the concert hall. Second, most people listen to recordings through
inferior speakers in small rooms that reverberate in ways that do not match the
original room or the initial sound design of the recordings </span><!--[if supportFields]><span
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<span style='mso-element:field-separator'></span></span><![endif]-->(Jourdain
1997, 24)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. In contrast, Jourdain explains the “magical” effect of binaural
recordings, which are made by placing a microphone in each of the ear canals of
a life-sized <i style="mso-bidi-font-style: normal;">dummy-head </i>with typical
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<span style='mso-element:field-separator'></span></span><![endif]-->(Jourdain
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style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. These kinds of recordings have been largely overlooked because their
effects can only be appreciated by listening with headphones and are completely
lost when heard on loudspeakers. But even though the “iPod Revolution” </span><!--[if supportFields]><span
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<span style='mso-element:field-separator'></span></span><![endif]-->(<i>The
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remain underutilized and underappreciated. <o:p></o:p></span></div>
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<span style="mso-no-proof: no;"><span style="mso-tab-count: 1;"> </span>Binaural and three-dimensional sound are also used in to
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<span style='mso-element:field-separator'></span></span><![endif]-->(see
Targett and Fernström 2003; Friberg and Gärdenfors 2004; Röber and Masuch 2005)<!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. Originally developed for people with visual
impairments, audio games offer two distinct advantages over video games. First,
three-dimensional sound is easier to produce than three-dimensional video. And second,
unlike video games, where increasingly smaller screens diminish the experience
of gameplay, audio games can be enjoyed without the need for any screen at all,
requiring only inexpensive headphones or ear buds to explore a rich,
three-dimensional sonic landscape. This makes audio games ideal for mobile
devices like tablets and smartphones. For example, the game Open Field Echo
Sounder </span><!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION {"citationID":"0HGpakoN","properties":{"formattedCitation":"(Smolenski
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<span style='mso-element:field-separator'></span></span><![endif]-->(Smolenski
2014)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;"> uses the Global Positioning System (GPS) capabilities of iPhones and
Android devices to place virtual targets around a player standing in an open
field. Sonic cues are given that direct the player toward the targets </span><!--[if supportFields]><span
style='mso-no-proof:no'><span style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"qtM5IqVa","properties":{"formattedCitation":"(Smolenski
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Field Echo
Sounder","container-title":"Medium","abstract":"I
designed and developed a game app for the blind and visually disabled.","URL":"https://medium.com/@bobsmo/open-field-echo-sounder-game-app-377610ef64f0","author":[{"family":"Smolenski","given":"Bob"}],"issued":{"date-parts":[["2014",9,3]]},"accessed":{"date-parts":[["2014",11,3]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]-->(Smolenski
2014)<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-end'></span></span><![endif]--><span style="mso-no-proof: no;">. As we learn more about how we localize sound and as audio technology
continues to improve, new opportunities may be realized for developing not only
audio tools for play and enjoyment, but also for helping people with hearing
loss re-train their localization abilities. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-no-proof: no;"><b>References</b><o:p></o:p></span></div>
<div class="MsoBibliography">
<!--[if supportFields]><span style='mso-no-proof:no'><span
style='mso-element:field-begin'></span><span
style="mso-spacerun:yes"> </span>ADDIN ZOTERO_BIBL {"custom":[]}
CSL_BIBLIOGRAPHY <span style='mso-element:field-separator'></span></span><![endif]-->Dobreva,
Marina S., William E. O’Neill, and Gary D. Paige. 2011. “Influence of Aging on
Human Sound Localization.” <i>Journal of Neurophysiology</i> 105 (5): 2471–86.
doi:10.1152/jn.00951.2010.<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Friberg, Johnny, and Dan Gärdenfors. 2004. “Audio
Games: New Perspectives on Game Audio.” In <i>Proceedings of the 2004 ACM
SIGCHI International Conference on Advances in Computer Entertainment
Technology</i>, 148–54. ACE ’04. New York, NY, USA: ACM. doi:10.1145/1067343.1067361.<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Jourdain, Robert. 1997. <i>Music, the Brain, and
Ecstasy</i>. New York: HarperCollins.<o:p></o:p></div>
<div class="MsoBibliography">
Otte, Rik J., Martijn J. H. Agterberg, Marc M. Van
Wanrooij, Ad F. M. Snik, and A. John Van Opstal. 2013. “Age-Related Hearing
Loss and Ear Morphology Affect Vertical but Not Horizontal Sound-Localization
Performance.” <i>Journal of the Association for Research in Otolaryngology</i>
14 (2): 261–73. doi:10.1007/s10162-012-0367-7.<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Röber, Niklas, and Maic Masuch. 2005. “Playing
Audio-Only Games: A Compendium of Interacting with Virtual, Auditory Worlds.”
In <i>DiGRA 2005: Changing Views: Worlds in Play, 2005 International Conference</i>.
Vancouver, Canada. http://summit.sfu.ca/item/243.<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Schlaug, G., L. Jancke, Y. Huang, and H. Steinmetz.
1995. “In Vivo Evidence of Structural Brain Asymmetry in Musicians.” <i>Science</i>
267 (5198): 699–701. doi:10.1126/science.7839149.<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Smolenski, Bob. 2014. “Open Field Echo Sounder.” <i>Medium</i>.
September 3.
https://medium.com/@bobsmo/open-field-echo-sounder-game-app-377610ef64f0.<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Targett, Sue, and Mikael Fernström. 2003. “Audio
Games: Fun for All? All for Fun.” In <i>International Conference on Auditory Display</i>.
Boston, MA, USA.
http://dev.icad.org/websiteV2.0/Conferences/ICAD2003/paper/53%20Targett.pdf.<o:p></o:p></div>
<div class="MsoBibliography">
<i><br /></i></div>
<div class="MsoBibliography">
<i>The iPod Revolution</i>. 2007. Documentary.
Discovery Channel.<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Zündorf, Ida C., Hans-Otto Karnath, and Jörg Lewald.
2011. “Male Advantage in Sound Localization at Cocktail Parties.” <i>Cortex</i>
47 (6): 741–49. doi:10.1016/j.cortex.2010.08.002.<o:p></o:p></div>
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<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Zündorf, Ida C., Jörg Lewald, and Hans-Otto Karnath.
2013. “Neural Correlates of Sound Localization in Complex Acoustic
Environments.” <i>PLoS ONE</i> 8 (5): e64259. doi:10.1371/journal.pone.0064259.<o:p></o:p></div>
Brianhttp://www.blogger.com/profile/05557825047077396237noreply@blogger.com0tag:blogger.com,1999:blog-7181744309080861233.post-28828371106395823192014-11-08T21:32:00.005-08:002014-11-08T21:36:36.143-08:00The Effect Of Music Therapy On Mood And Anxiety–depression: An Observational Study In Institutionalised Patients With Traumatic Brain Injury<div dir="ltr" style="text-align: left;" trbidi="on">
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Summary:</div>
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<span class="s1"><span class="Apple-tab-span"> </span>This article written by Guétin et. al., is a continuation of a previous study conducted in 2003-2004, where thirty-four patients with traumatic brain injury were examined in order to study the feasibility and usefulness of music therapy. The researchers begins the article by stating that traumatic brain injury is characterized by cognitive and behavioural disorders. And although neuropsychological and behavioural disorders affect two thirds of patients with traumatic brain injury, lack of knowledge of these conditions may affect the rehabilitation and social/professional reintegration of these individuals negatively. </span></div>
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<span class="s1"></span><br /></div>
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<span class="s1"><span class="Apple-tab-span"> </span>Previous clinical studies have demonstrated the positive impact of music therapy on the rehabilitation of patients with traumatic brain injury. The 2003-2004 study conducted sessions based on playing instruments (active therapy) that were able to stimulate both cognitive functions and psychomotor functions. That research also concluded that receptive therapy (based on listening to music) enabled an improvement in anxiety and/or depression and encouraged the verbal expression of the patients’ suffering. </span></div>
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<span class="s1">For this observational study, the researcher’s objective is to evaluate the effects of music therapy on mood, anxiety and depression in thirteen patients with traumatic brain injury. These patients at “Les-Fontaines-d’O” rehabilitation centre (Adages) in Montpellier, France, from September 2005 to June 2006, took part in individual, weekly, 1-hour music therapy sessions over a period of 20 weeks. Each session was divided into two 30-minute periods – one devoted to listening to music (receptive music therapy, playing music of the patient’s musical taste) and the other to playing an instrument (active music therapy). The assessment criteria (measured at weeks 1, 5, 10, 15 and 20) were mood (on the face scale) and anxiety–depression (on the Hospital Anxiety and Depression (HAD) Scale). Mood was assessed immediately before and after the first music therapy session and every fifth session.</span></div>
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<span class="s1">This music therapy research displays a significant improvement in mood after the first session. It also leads to a significant reduction in anxiety–depression from week 10 onwards and up until the end of the study. It is useful in the treatment of anxiety–depression and mood in patients with traumatic brain injury. According to the study, music can modify the course of disorders through its sensory, cognitive, affective and behavioural effects. </span></div>
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<span class="s1">The study discusses on how the effects of receptive music therapy are related to the fact that individualized musical listening markedly relieves painful experiences. The effects of music therapy are based on the impact of music on different components in the painful experience and changes in the perception of pathological disorders.</span></div>
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<span class="s1">Ultimately, the goal after this study is to add a new “therapeutic weapon” (p. 35) -- devoid of side effects) -- to the resources available for rehabilitating patients with traumatic brain injury. Music therapy will then, enable a comparison with other similar therapeutic interventions, such as speaking or singing.</span></div>
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<span class="s1">Reflection:</span></div>
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<span class="s1">Research on the effects of music therapy is comforting for me, to know that continuous scientific and theoretical research is made to record and publish the results of improvements through music therapy. These findings are a tangible way to recognize the importance and use for music therapy. It makes me wonder all the more, when research in music therapy began, and if significant findings were established before music therapy was officially used in medical centres. It also encourages me to continuously recognize that much more research on the brain with the use of music therapy is needed. </span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">What I find interesting is the fact that certain aspects of this paper that isn’t very specific. Some descriptions are quite confusing. For example, the paper explains the 2003-2004 study (of what was researched and its results), but does not state who researched it. A number of their references were published by 2005, making it all the more, challenging to determine which journal article they are referring to. The assumption is then, a possible study that the team conducted. Also, the researchers states “new, validated, “U-based” music therapy technique.” (p. 32) What is this “U-based” music therapy technique? How is it validated? What makes it new? The researchers has the assumption that the reader understands what a “U-based” music therapy technique is. Also, I am quite confused by the fact that “music (chosen according to the patient's personal taste) was played into headphones” (p. 32) was mentioned. Firstly, why did the researchers decide to have the patients choose music according to the patient’s taste”? And given that there’s great amounts of research on how styles of music affects people’s mood, heart rate, and emotions; won’t that alter the study? Secondly, the research then mentions the variants of taking select instrumentalists out of the orchestra in the music. Does that mean all the music actually have an orchestra playing in it? In that case, the patient’s personal taste in choice of music is then, limited in style? The study near the end, does state that the music is chosen by patient's personal taste and listening needs. They talked to the patients following a session, giving an opportunity for some of them to free themselves of their problems and encourage a supportive, listening relationship.</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">Regardless of the confusion in certain aspects of this paper, the research is focusing mainly on mood, and the study found results in positive mood changes (even if temporary). This research is made out of good intention, to prove the positive results music therapy has on patients with traumatic brain injury. I appreciate the fact that solid, scientific findings are continuously proven of the use of music therapy, and that as an observational study, relationships between the medical professional and subjects are being made. A trust factor is developed between the patient and the therapist. </span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">Source:</span></div>
<div class="p3">
<span class="s1">Guétin, S., B. Soua, G. Voiriot, M.-C. Picot, and C. Hérisson. "The Effect Of Music Therapy On Mood And Anxiety–depression: An Observational Study In Institutionalised Patients With Traumatic Brain Injury." Annals of Physical and Rehabilitation Medicine 52.1 (2009): 30-40. </span></div>
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Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-7181744309080861233.post-44963897786145933112014-11-07T13:46:00.000-08:002014-11-07T13:46:09.292-08:00Heavy Metal Music and the Brain<!--[if gte mso 9]><xml>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Reference</span></b></div>
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<i><span style="font-family: "Arial","sans-serif";">Metal
Evolution</span></i><span style="font-family: "Arial","sans-serif"; mso-bidi-font-style: italic;">. “Pre Metal”. </span><span style="font-family: "Arial","sans-serif";">Dunn,
S. and McFadyen, S. (Directors). (2011). [Video/DVD] Banger Films, Inc. </span></div>
<div class="MsoNormal" style="line-height: normal;">
<a href="https://www.youtube.com/watch?v=_xXtVX56rz0"><span style="font-family: "Arial","sans-serif";">https://www.youtube.com/watch?v=_xXtVX56rz0</span></a><span style="font-family: "Arial","sans-serif";"> (brain scan at 5:20)</span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Summary</span></b></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>In this episode of <i style="mso-bidi-font-style: normal;">Metal Evolution</i>, anthropologist and
filmmaker Sam Dunn visits the McMaster University Department of Psychology,
Neuroscience & Behaviour in Hamilton, Canada.<span style="mso-spacerun: yes;"> </span>This series is about the evolution of heavy
metal music throughout its 40-year history, and Dunn is trying to figure out
metal listeners’ attraction to this music.<span style="mso-spacerun: yes;">
</span>It is already known that heavy metal music greatly affects listeners on
a social level; community and feelings of togetherness are salient in metal
scenes across the world.<span style="mso-spacerun: yes;"> </span>This is partly
due to learned cognitive responses, but another part of it is the emotions of
aggression and feelings of power that arise from listening.<span style="mso-spacerun: yes;"> </span>Dunn is interested in “what actually happens
to our brains” when we listen to heavy metal.</span></div>
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<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>To a neuroscientist, this seemingly
broad question can have a variety of answers.<span style="mso-spacerun: yes;">
</span>Dunn meets with Laurel Trainor, the director of the Music and Mind Lab
at McMaster, and poses these questions.<span style="mso-spacerun: yes;">
</span>Trainor is interested in the auditory system and how it develops, how
music affects the brain, and how people hear, interpret, and react to
music.<span style="mso-spacerun: yes;"> </span>She proceeds to perform an EEG
scan (Electroencephalography) on Dunn by putting the sensor net on his head,
and as he listens to different pieces of music, his brain responses are
measured.<span style="mso-spacerun: yes;"> </span>Dunn is shown—with his long
hair and Enslaved t-shirt—first listening to a piece of classical music (Mozart’s
Piano Concerto No.21 in C major), then to a piece of heavy metal (Slayer’s “Raining
Blood”).<span style="mso-spacerun: yes;"> </span>As cliché as this musical
comparison is, the difference in brain activity between classical and metal
music is not actually explained.<span style="mso-spacerun: yes;"> </span>Perhaps,
because there is none that can be identified on an EEG scan?</span></div>
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<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>Trainor goes on to point out that
heavy metal is often (hastily and perhaps wrongfully) associated with violence.<span style="mso-spacerun: yes;"> </span>But in truth, metal’s sonic
qualities—loudness, speed, distortions—tends to “turn off conscious thought”, consequently
turning off inhibition.<span style="mso-spacerun: yes;"> </span>Finally, an
insightful point is made that the potential for violence and aggression is in
all of us, and that it feels good to sometimes let go of control, but only can
it be a positive and therapeutic practice if it is done in a safe environment
where one feels comfortable.<span style="mso-spacerun: yes;"> </span>For me,
this brings up ideas of vicarious emotions and a sense of catharsis.<span style="mso-spacerun: yes;"> </span>Music’s encoded meanings (learned through
listening and forming cognitive associations throughout the span of one’s life)
can act as a sort of emotional prophylactic.<span style="mso-spacerun: yes;">
</span>Prominent metal musicians tend to agree:</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 35.45pt; margin-right: 35.65pt; margin-top: 0cm;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif";">“There’s
something in metal music that speaks to the reptilian brain*; it doesn’t speak
to the intellect, it doesn’t speak to a thought process that’s on the surface.<span style="mso-spacerun: yes;"> </span>There’s something that connects very
viscerally with heavy metal music, that it just </span></i><span style="font-family: "Arial","sans-serif";">feels<i style="mso-bidi-font-style: normal;"> awesome.” </i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 35.45pt; margin-right: 35.65pt; margin-top: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif";">Tom
Morello</span></b><span style="font-family: "Arial","sans-serif";">, Guitarist of
alternative metal band Rage Against the Machine</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 35.45pt; margin-right: 35.65pt; margin-top: 0cm;">
<span style="font-family: "Arial","sans-serif";">*Yes, the term “reptilian brain” is
outdated, and his comment regarding music “speaking” to it is uninformed…but
he’s a musician and not a neuroscientist, so we’ll forgive him.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 35.45pt; margin-right: 35.65pt; margin-top: 0cm;">
<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Arial","sans-serif";">“[Heavy
metal] is certainly an outlet that you couldn’t get anywhere else.<span style="mso-spacerun: yes;"> </span>You come to the show and lose your f*cking
mind, and get in the pit and go crazy and stage dive and have fun.<span style="mso-spacerun: yes;"> </span>It’s not about violence, it’s about fun.<span style="mso-spacerun: yes;"> </span>You might be bruised and really tired the
next day, but you know what, it’s like a great massage, you’re gonna feel
really good afterwards.”</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 35.45pt; margin-right: 35.65pt; margin-top: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif";">Scott
Ian</span></b><span style="font-family: "Arial","sans-serif";">, Guitarist of
thrash metal band Anthrax</span></div>
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<br /></div>
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<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>The segment concludes by Trainor
explaining that listening to metal merely <i style="mso-bidi-font-style: normal;">exercises</i>
the part of you that is aggressive or combative, but without any external physical
stimuli or danger.<span style="mso-spacerun: yes;"> </span>Dunn finishes by
suggesting that this craving for affect is a possible reason why people are so drawn
to heavy metal music.</span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Reflection</span></b></div>
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<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>On a cognitive level, listening to
“angry”- or “violent”-sounding heavy metal music is akin to something
ethnomusicologist call sonic tourism.<span style="mso-spacerun: yes;">
</span>But instead of listening to music that reminds us of romanticized exotic
places, we are attracted to the possible <i style="mso-bidi-font-style: normal;">affect</i>
(as in the affect, cognition, conation model) that music might bring us.<span style="mso-spacerun: yes;"> </span>We can experience music we understand to be
sorrowful, distressing, forceful, or aggressive, all in the comfort of our own
home without feeling a shred of any real threat or danger.<span style="mso-spacerun: yes;"> </span>As if looking at paintings at a museum, we
can <i style="mso-bidi-font-style: normal;">perceive</i> music and its encoded
emotions without really <i style="mso-bidi-font-style: normal;">feeling</i> them
ourselves.<span style="mso-spacerun: yes;"> </span>Alternatively, music
perceived as cheerful or joyful can elicit similar effects.</span></div>
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<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>One fear, of course, is that in the
same way that listening to “happy” music can lift one’s spirits, listening to
“angry” music can in turn <i style="mso-bidi-font-style: normal;">make</i> the
listener angry.<span style="mso-spacerun: yes;"> </span>Paradoxically, people
often tailor music to their <i style="mso-bidi-font-style: normal;">current</i>
mood, rather than use music to try and <i style="mso-bidi-font-style: normal;">change</i>
their mood (DeNora 2011). <span style="mso-spacerun: yes;"> </span>But the
reverse is also true.<span style="mso-spacerun: yes;"> </span>North and
Hargreaves (2012) go as far as to say that listening to music expressing
negative emotion (like certain rock and rap) promotes violent behaviour,
suicidal tendencies, depression, and sexual promiscuity. <span style="mso-spacerun: yes;"> </span>However, while there is an undoubted <i style="mso-bidi-font-style: normal;">correlation</i> between self-identified “angry”
people and the “angry” music they listen to, the <i style="mso-bidi-font-style: normal;">causality</i> of this relationship is not so simple; those who already
have violent or aggressive tendencies will be more likely to listen to music
that promotes those tendencies (Shafron & Karno 2013).</span></div>
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<span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span>Unfortunately, Dunn’s question of “what
actually happens to our brains” when listening to heavy metal music is never
answered in the segment.<span style="mso-spacerun: yes;"> </span>The opposing
sounds of Mozart and Slayer are presented but their difference not explained.<span style="mso-spacerun: yes;"> </span>One possibility is that at the sensory-cellular
level there <i style="mso-bidi-font-style: normal;">is</i> no difference.<span style="mso-spacerun: yes;"> </span>And it is at higher cognitive levels of
processing that music encoded with various emotions elicits corresponding
responses. <span style="mso-spacerun: yes;"> </span>The feelings and emotions perceived
in music are made audible to us due to our own enculturation, not because there
is a notable difference in how the inner ear and auditory cortex experience and
process it.<span style="mso-spacerun: yes;"> </span>And due to individual tastes
and preferences, certain people would already be drawn to heavy metal music for
its perceived sonic qualities—meaning this music isn’t making anyone more
violent or aggressive than they already are (Istók et al. 2013).</span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<u><span style="font-family: "Arial","sans-serif";">References
</span></u></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0cm; text-indent: -1.0cm;">
<span style="font-family: "Arial","sans-serif";">DeNora, T. (2011).
Health and music in everyday life – a theory of practice. <i>Music-in-action:
Selected essays in sonic ecology</i> (pp. 271-285). Burlington, VT: Ashgate. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0cm; text-indent: -1.0cm;">
<span style="font-family: "Arial","sans-serif";">Istók, E., Brattico, E.,
Jacobsen, T., Ritter, A., & Tervaniemi, M. (2013). ‘I love rock ‘n’
Roll’—Music genre preference modulates brain responses to music.<i> Biological
Psychology, 92</i>(2), 142-151.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0cm; text-indent: -1.0cm;">
<span style="font-family: "Arial","sans-serif";">North, A. C., &
Hargreaves, D. J. (2012). Pop music subcultures and wellbeing. In R. MacDonald,
G. Kreutz & L. Mitchell (Eds.), <i>Music, health and wellbeing</i> (pp.
1-19). Oxford: Oxford University Press. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0cm; text-indent: -1.0cm;">
<span style="font-family: "Arial","sans-serif";">Shafron, G., &
Karno, M. (2013). Heavy metal music and emotional dysphoria among listeners.<i>
Psychology of Popular Media Culture, 2</i>(2), 74-85. </span></div>
Stacey U.http://www.blogger.com/profile/17862137859256836759noreply@blogger.com7