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PubMed2003

The use of music to reduce anxiety for patients undergoing colposcopy: a randomized trial.

OBJECTIVE: The goal of this work was to investigate the impact of music on women's anxiety and perceived pain during colposcopy examination. METHODS: This was a prospective randomized study. Two hundred and twenty women referred for colposcopy for the first time were recruited. They were randomized to either the music or no-music group. Before colposcopy examination, each subject completed a Chinese version of the state anxiety questionnaire (STAI) and assessed the anticipated pain for colposcopy with a visual analog scale (VAS). Slow-rhythm music was played during colposcopy examination in the music group. Subjects in the no-music group were examined in the same setting without music. After colposcopy, each subject completed the STAI form again and assessed their pain during examination by the VAS. RESULTS: Women in the music group experienced significantly less pain (mean VAS 3.32 [95% CI 2.86-3.78] vs 5.03 [4.54-5.52], P<0.001) and lower anxiety (mean STAI 39.36 [95% CI 37.33-41.39] vs 44.16 [41.82-46.49], P = 0.002) during colposcopy examination than women in the no-music group. On linear regression analysis, the factors significantly affecting anxiety during colposcopy were anxiety score at enrollment, pain score during colposcopy, and whether or not the women had listened to music during the colposcopy examination. The factors significantly affecting the pain scores were whether the women had listened to music during the procedure and the final anxiety scores. CONCLUSIONS: Music is a simple, inexpensive, and easily used strategy to minimize anxiety and pain during colposcopy examination.

Adult↗
PubMed2003

FMRI investigation of cross-cultural music comprehension.

The popular view of music as a "universal" language ignores the privileged position of the cultural insider in comprehending musical information unique to their own tradition. The purpose of this study was to test the hypothesis that listeners would demonstrate different neural activity in response to culturally familiar and unfamiliar music and that those differences may be affected by the extent of subjects' formal musical training. Just as familiar languages have been shown to use distinct brain processes, we hypothesized that an analogous difference might be found in music and that it may depend in part on subjects' formal musical knowledge. Using fMRI we compared the activation patterns of professional musicians and untrained controls reared in the United States as they listened to music from their culture (Western) and from an unfamiliar culture (Chinese). No overall differences in activation were observed for either subject group in response to the two musical styles, although there were differences in recall performance based on style and there were activation differences based on training. Trained listeners demonstrated additional activation in the right STG for both musics and in the right and left midfrontal regions for Western music and Chinese music, respectively. Our findings indicate that listening to culturally different musics may activate similar neural resources but with dissimilar results in recall performance.

Acoustic Stimulation↗
PubMed2006

The influence of rhythm and personality in the endurance response to motivational asynchronous music.

In this study, we examined participants' responses to motivational asynchronous music by isolating rhythmical properties and exploring personality correlates. Fifty-eight physically active participants (41 men and 17 women) aged 22.3 +/- 6.4 years performed an isometric weight-holding task on three occasions while being randomly exposed to no music, rhythm and motivational music. The rhythm and music conditions were edited portions of the same musical selection and had identical fast tempi, although the rhythm condition contained no melody, harmonies or lyrics. Participants each completed a copy of Cattell's 16PF following the third and final trial. A repeated-measures analysis of variance found the participants held the weight suspended for significantly longer when listening to motivational music in comparison to rhythm or no music. When listening to rhythm, participants endured the task for significantly longer than when listening to no music. The response to music was found to be significantly related to liveliness, while sensitivity correlated with responses to music factors (harmony, melody, lyrics, etc.) not present in the rhythm condition. These results suggest that responses to motivational music are subtle in nature and are determined by both musical factors and individual characteristics, and potentially an interaction between the two.

Adolescent↗
PubMed2000

The effect of music amplitude on the relaxation response.

The purposes of this study were (a) to ascertain how 3 different volume levels of music affect the relaxation response both psychologically (preference scores and self-report) and physiologically (heart rate), (b) to determine the amplitude preference for relaxation among young adults, and (c) to compare differences in preference response between music and nonmusic majors and between the genders. One hundred forty-four college-age music and nonmusic majors were participants in this study. Subjects listened to 27 minutes of music while relaxing. The amplitude of the music was changed every 3 minutes in a randomized order so that each subject received loud (80-90 dB) medium (70-80 dB) or soft (60-70 dB) music 3 times each during the experimental period for a total of 9 amplitude changes. A sample of subjects wore a small heart rate monitor on their wrist and chest during the procedure. Simultaneously with the selected listening, they were encouraged to turn a dial on a Continuous Response Digital Interface (CRDI) indicating their amplitude preference for relaxation. Self-report information was gathered at the beginning and end of the experiment. Results of the CRDI analyses indicate that overall, subjects showed overwhelming preference for the soft music in comparison to medium or loud. Males, however, preferred the loud music more than females, and music majors preferred softer music over non-majors who preferred louder music. There were no differences attributed to amplitude level in the analysis of heart rate data. Analysis of the self report data yielded a wide variety of responses concerning their individual preferences, not always consistent with the empirical measures. Overall, there was an increase in relaxation reported over the duration of the experiment. Response differentiation to loudness levels indicates a long line of useful research not only on relaxation and stress reduction in health related fields, but also on the effects of background amplitude of music while studying, driving, and engaging in other cognitive and motor tasks.

Adult↗
PubMed2005

The evolution of music in comparative perspective.

In this paper, I briefly review some comparative data that provide an empirical basis for research on the evolution of music making in humans. First, a brief comparison of music and language leads to discussion of design features of music, suggesting a deep connection between the biology of music and language. I then selectively review data on animal "music." Examining sound production in animals, we find examples of repeated convergent evolution or analogy (the evolution of vocal learning of complex songs in birds, whales, and seals). A fascinating but overlooked potential homology to instrumental music is provided by manual percussion in African apes. Such comparative behavioral data, combined with neuroscientific and developmental data, provide an important starting point for any hypothesis about how or why human music evolved. Regarding these functional and phylogenetic questions, I discuss some previously proposed functions of music, including Pinker's "cheesecake" hypothesis; Darwin's and others' sexual selection model; Dunbar's group "grooming" hypothesis; and Trehub's caregiving model. I conclude that only the last hypothesis receives strong support from currently available data. I end with a brief synopsis of Darwin's model of a songlike musical "protolanguage," concluding that Darwin's model is consistent with much of the available evidence concerning the evolution of both music and language. There is a rich future for empirical investigations of the evolution of music, both in investigations of individual differences among humans, and in interspecific investigations of musical abilities in other animals, especially those of our ape cousins, about which we know little.

Animals↗
PubMed2000

The importance of music to adolescents.

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

Adolescent↗
PubMed2006

Exposure to degrading versus nondegrading music lyrics and sexual behavior among youth.

BACKGROUND: Early sexual activity is a significant problem in the United States. A recent survey suggested that most sexually experienced teens wish they had waited longer to have intercourse; other data indicate that unplanned pregnancy and sexually transmitted diseases are more common among those who begin sexual activity earlier. Popular music may contribute to early sex. Music is an integral part of teens' lives. The average youth listens to music 1.5 to 2.5 hours per day. Sexual themes are common in much of this music and range from romantic and playful to degrading and hostile. Although a previous longitudinal study has linked music video consumption and sexual risk behavior, no previous study has tested longitudinal associations between the content of music lyrics and subsequent changes in sexual experience, such as intercourse initiation, nor has any study explored whether exposure to different kinds of portrayals of sex has different effects. DESIGN AND PARTICIPANTS: We conducted a national longitudinal telephone survey of 1461 adolescents. Participants were interviewed at baseline (T1), when they were 12 to 17 years old, and again 1 and 3 years later (T2 and T3). At all of the interviews, participants reported their sexual experience and responded to measures of more than a dozen factors known to be associated with adolescent sexual initiation. A total of 1242 participants reported on their sexual behavior at all 3 time points; a subsample of 938 were identified as virgins before music exposure for certain analyses. Participants also indicated how frequently they listened to each of more than a dozen musical artists representing a variety of musical genres. Data on listening habits were combined with results of an analysis of the sexual content of each artist's songs to create measures of exposure to 2 kinds of sexual content: degrading and nondegrading. OUTCOME MEASURES: We measured initiation of intercourse and advancement in noncoital sexual activity level over a 2-year period. RESULTS: Multivariate regression analyses indicated that youth who listened to more degrading sexual content at T2 were more likely to subsequently initiate intercourse and to progress to more advanced levels of noncoital sexual activity, even after controlling for 18 respondent characteristics that might otherwise explain these relationships. In contrast, exposure to nondegrading sexual content was unrelated to changes in participants' sexual behavior. CONCLUSION: Listening to music with degrading sexual lyrics is related to advances in a range of sexual activities among adolescents, whereas this does not seem to be true of other sexual lyrics. This result is consistent with sexual-script theory and suggests that cultural messages about expected sexual behavior among males and females may underlie the effect. Reducing the amount of degrading sexual content in popular music or reducing young people's exposure to music with this type of content could help delay the onset of sexual behavior.

Adolescent↗
PubMed2000

Musical preferences during and after relaxation and exercise.

Effects of the listening context on responses to music largely have been neglected despite the prevalence of music listening in our everyday lives. This article reports 2 studies in which participants chose music of high or low arousal potential during (Experiment 1) or immediately after (Experiment 2) exercise or relaxation. In Experiment 1, participants preferred appropriate arousal-polarizing music over arousal-moderating music. In Experiment 2, participants preferred arousal-moderating music over arousal-polarizing music, such that their listening times contrasted clearly with those in the first study even though the same music and methods were used. Thus musical preferences interact with the listening situation, and participants' music selections represent an attempt to optimize their responses to that situation. When motivated to maintain a state of polarized arousal, listeners use music to achieve this; when they have no such goal, they use music to moderate arousal.

Adaptation, Psychological↗
PubMedDate not supplied

Attitudes and expectations about music therapy for premature infants among staff in a neonatal intensive care unit.

BACKGROUND: Music appears to reduce stress in premature infants, but little is known about the attitudes and expectations about music among clinicians caring for these infants. The study questions were: a) would staff like to have music played in the Neonatal Intensive Care Unit (NICU), b) would they prefer live to recorded music, and c) how would their attitudes be affected by their profession and experience? DESIGN: Cross sectional survey of NICU staff in the winter of 2003. METHODS: Eligible subjects were 37 physicians and 150 nurses and other clinical staff in the NICU. After pilot testing and revision, the self-administered questionnaires contained 57 Likert type or multiple choice items. They were distributed by e-mail and in staff mailboxes with two reminders. Data were analyzed using simple descriptive statistics, Chi-square, and logistic regression. RESULTS: The response rate was 75%. Most were nurses and 27 were MD's. Most (84%) were female and most (70%) reported some previous musical training. The majority (68%) agreed that they would like to have music played in the NICU. Most agreed that music could reduce stress (86%) and crying (79%) and improve sleep (79%) in premature infants. Recorded was preferred to live music by more than 2:1. Attitudes were significantly associated with prior musical training, experience, and profession. CONCLUSIONS: NICU staff holds favorable attitudes toward music for premature infants. Music's effects on caregiver attitudes, mood and behavior may contribute to its impact on infants. Evaluation of the effects of music on infants needs to account for caregiver's expectations and behavior as well as direct effects on infants' physiology.

Adult↗
PubMed1980

[Contributions to the psychodynamic approach to understanding the phenomenon of music].

Based on different writings from different periods, this article gives us some of the psychodinamic view of musical phenomenon. It is divided in three parts. 1. The initial one is about general aspects of musical phenomenon. Music has a hihg power of symbolization, due to its ambiguity and simultaneity of elements. It can make a change on the common state of consciousness. Music also can influence on the Ego's cognitive style. Music has relationship with both the Ego's dissociative function and Ego's integrative function. 2. The secon part refers to the affective nature of music. Music release libidinal energy mainly through rhythm; for exemple we see the link between and dance in primitive societies. It also gives expression for emotional life, and arouses emotions too. 3. The third part refers to structural and functional aspects of music. This last part talks about the role of music to the listener and to the creative musician; it presents an analogy between the structure of the music and structure of the dreams. The joy of music involves the whole personality and music may be used to expand the Self.

Affect↗
PubMed1999

Music and Deaf Culture: Images from the Media and Their Interpretation by Deaf and Hearing Students.

The purpose of the study was threefold: (a) to examine how the visual media have portrayed the subject of music and the deaf, (b) to verify the validity of these portrayals with members of the deaf community, and (c) to compare and contrast deaf and hearing audiences' impressions of these portrayals. An additional purpose of the research was to examine the results in light of possible misconceptions that may be construed by music therapists and music educators based upon the media's representation of the relationship between music and deaf culture. Since music therapists and music educators are the primary persons responsible for the music instruction of students in school programs for deaf and hard-of-hearing students, it is particularly important that they receive accurate messages about the relationship of music to deaf culture. Fifty deaf (n = 25) and hearing (n = 25) undergraduate college students individually viewed motion picture and television excerpts related to music and the deaf. Subjects were instructed to take notes as needed regarding the content of each excerpt and their impressions. Students were then interviewed in their native language, English or American Sign Language, as to their interpretations and perceptions regarding these excerpts and their accuracy. Interviews of the deaf students were translated into English from American Sign Language by trained interpreters. Written transcriptions were then made of the interpreters' English translations of the interviews with deaf students and of the verbal interviews with hearing students. Interview transcripts from both groups were coded and analyzed for recurring themes and patterns using content analysis. Data analysis revealed cultural patterns for the two groups, impressions specific to individual subjects, and trends in communication style and content for the two groups. Implications for music therapists and music educators are given regarding the influence of the media, characteristics of deaf culture, and teaching music to deaf students.

Journal Article↗
PubMed1990

Judgement of mood in music following right hemisphere damage.

Evidence on hemispheric specialization has implicated the right hemisphere as having a special role in the mediation of emotion. Since music is an area in which both cognitive and affective aspects of perception can be assessed, the aim of this study was to investigate the effect of right hemisphere damage on perception of emotional meaning or mood in music. An initial pilot study was conducted to select music on which normal subjects were consistent in their judgement of musical mood. The musical stimuli consisted of extracts of classical piano music. The technique used as a measure of musical mood was the Semantic Differential. Tracks of music and adjectival scales were selected for the experimental study in which 15 right hemisphere lesioned patients and normal controls were compared in their response to music. The right hemisphere group demonstrated a characteristic response in their judgement of mood in music. The results are discussed in terms of the role of pitch in judgement of mood in music and in terms of the relationship between music and language.

Journal Article↗
PubMed2005

Scientific perspectives on music therapy.

What needs to be done on the long road to evidence-based music therapy? First of all, an adequate research strategy is required. For this purpose the general methodology for therapy research should be adopted. Additionally, music therapy needs a variety of methods of allied fields to contribute scientific findings, including mathematics, natural sciences, behavioral and social sciences, as well as the arts. Pluralism seems necessary as well as inevitable. At least two major research problems can be identified, however, that make the path stony: the problem of specificity and the problem of eclecticism. Neuroscientific research in music is giving rise to new ideas, perspectives, and methods; they seem to be promising prospects for a possible contribution to a theoretical and empirical scientific foundation for music therapy. Despite the huge heterogeneity of theoretical approaches in music therapy, an integrative model of working ingredients in music therapy is useful as a starting point for empirical studies in order to question what specifically works in music therapy. For this purpose, a heuristic model, consisting of five music therapy working factors (attention modulation, emotion modulation, cognition modulation, behavior modulation, and communication modulation) has been developed by the Center for Music Therapy Research (Viktor Dulger Institute) in Heidelberg. Evidence shows the effectiveness of music therapy for treating certain diseases, but the question of what it is in music therapy that works remains largely unanswered. The authors conclude with some questions to neuroscientists, which we hope may help elucidate relevant aspects of a possible link between the two disciplines.

Acoustic Stimulation↗
PubMed2006

[Role of the music in the operating theatre].

PURPOSE: To investigate the effect of music on patients, surgeons and staff in the operating theatre at our Ophthalmology department in Mária street Clinic. PATIENTS AND METHODS: I. 150 patients, 7 staff and 19 surgeons have been asked to fill out a questionnaire. II. 29 patients who were listening music during surgery and as control group 27 patients having surgery without music therapy filled out a different questionnaire dealing with their preference on different kinds of music. In order to obtain more complete results, psychophysiology tests (STAI H test, Face-scale), blood pressure and pulse rate were measured, as well. RESULTS: Almost all the patients, and every surgeon and staff member like music. Music does not disturb the staff during their work, but does not help in their concentration. The majority of them considered music useful in the recovery of their patients. According to the answers most of the patients think that music has beneficial effect on their treatment compared to those patients who did not hear music. Subjective answers show a mild anxiety during surgery, that is supported with the data of the psychophysiological test results. CONCLUSION: Results so far demonstrate that the use of music therapy at our department during ophthalmic surgery is beneficial. Further examinations are necessary to measure the objective effect of music during surgery.

Adult↗
PubMed2006

Music therapy for autistic spectrum disorder.

BACKGROUND: The central impairments of people with autistic spectrum disorder (ASD) include social interaction and communication. Music therapy uses music and its elements to enable communication and expression, thus attempting to address some of the core problems of people with ASD. OBJECTIVES: To review the effects of music therapy for individuals with autistic spectrum disorders. SEARCH STRATEGY: The following databases were searched: CENTRAL, 2005, (Issue 3); Medline, (1966 to July 2004); Embase, (1980 to July 2004); LILACS, (1982 to July 2004); PsycINFO, (1872 to July 2004); CINAHL, (1982 to July 2004); ERIC, (1966 to July 2004); ASSIA, (1987 to July 2004); Sociofile, (1963 to July 2004); Dissertation Abstracts International, (late 1960's to July 2004). These searches were supplemented by searching specific sources for music therapy literature and manual searches of reference lists. Personal contacts to some investigators were made. SELECTION CRITERIA: All randomised controlled trials or controlled clinical trials comparing music therapy or music therapy added to standard care to "placebo" therapy, no treatment or standard care. DATA COLLECTION AND ANALYSIS: Studies were independently selected, quality assessed and data extracted by two authors. Continuous outcomes were synthesised using a standardised mean difference (SMD) in order to enable a meta-analysis combining different scales, and to facilitate the interpretation of effect sizes. Heterogeneity was assessed using the I(2) statistic. MAIN RESULTS: Three small studies were included (total n = 24). These examined the short-term effect of brief music therapy interventions (daily sessions over one week) for autistic children. Music therapy was superior to "placebo" therapy with respect to verbal and gestural communicative skills (verbal: 2 RCTs, n = 20, SMD 0.36 CI 0.15 to 0.57; gestural: 2 RCTs, n = 20, SMD 0.50 CI 0.22 to 0.79). Effects on behavioural problems were not significant. AUTHORS' CONCLUSIONS: The included studies were of limited applicability to clinical practice. However, the findings indicate that music therapy may help children with autistic spectrum disorder to improve their communicative skills. More research is needed to examine whether the effects of music therapy are enduring, and to investigate the effects of music therapy in typical clinical practice.

Autistic Disorder↗
PubMed1998

Quantification of emotion by nonlinear analysis of the chaotic dynamics of electroencephalograms during perception of 1/f music.

The goal of this study is to quantify and determine the way in which the emotional response to music is reflected in the electrical activities of the brain. When the power spectrum of sequences of musical notes is inversely proportional to the frequency on a log-log plot, we call it 1/f music. According to previous research, most listeners agree that 1/f music is much more pleasing than white (1/f0) or brown (1/f2) music. Based on these studies, we used nonlinear methods to investigate the chaotic dynamics of electroencephalograms (EEGs) elicited by computer-generated 1/f music, white music, and brown music. In this analysis, we used the correlation dimension and the largest Lyapunov exponent as measures of complexity and chaos. We developed a new method that is strikingly faster and more accurate than other algorithms for calculating the nonlinear invariant measures from limited noisy data. At the right temporal lobe, 1/f music elicited lower values of both the correlation dimension and the largest Lyapunov exponent than white or brown music. We observed that brains which feel more pleased show decreased chaotic electrophysiological behavior. By observing that the nonlinear invariant measures for the 1/f distribution of the rhythm with the melody kept constant are lower than those for the 1/f distribution of melody with the rhythm kept constant, we could conclude that the rhythm variations contribute much more to a pleasing response to music than the melody variations do. These results support the assumption that chaos plays an important role in brain function, especially emotion.

Auditory Perception↗
PubMed2005

Music in dreams.

Music in dreams is rarely reported in scientific literature, while the presence of musical themes in dreams of famous musicians is anecdotally reported. We did a systematic investigation to evaluate whether the occurrence of musical dreams could be related to musical competence and practice, and to explore specific features of dreamt pieces. Thirty-five professional musicians and thirty non-musicians filled out a questionnaire about the characteristics of their musical activity and a structured dream log on the awakening for 30 consecutive days. Musicians dream of music more than twice with respect to non-musicians; musical dreams frequency is related to the age of commencement of musical instruction, but not to the daily load of musical activity. Nearly half of the recalled music was non-standard, suggesting that original music can be created in dreams.

Adult↗
PubMed2000

Music training and mental imagery ability.

Neuroimaging studies have suggested that the auditory cortex is involved in music processing as well as in auditory imagery. We hypothesized that music training may be associated with improved auditory imagery ability. In this study, performance of musically trained and musically naive subjects was compared on: (1) a musical mental imagery task (in which subjects had to mentally compare pitches of notes corresponding to lyrics taken from familiar songs); (2) a non-musical auditory imagery task (in which subjects had to mentally compare the acoustic characteristics of everyday sounds); and (3) a comparable measure of visual imagery (in which subjects had to mentally compare visual forms of objects). The musically trained group did not only perform better on the musical imagery task, but also outperformed musically naive subjects on the non-musical auditory imagery task. In contrast, the two groups did not differ on the visual imagery task. This finding is discussed in relation to theoretical proposals about music processing and brain activity.

Adult↗