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PubMed2006

The effects of synchronous music on 400-m sprint performance.

The aim of the present study was to assess the effects of motivating and oudeterous (neither motivating nor demotivating) synchronous music on 400-m sprint performance while controlling for the potential confound of pre-performance mood. A panel of volunteer Caucasian males (n = 20; mean age = 20.5 years, s = 1.2) rated the motivational qualities of 32 musical selections using the Brunel Music Rating Inventory-2. An experimental group of volunteer Caucasian males (n = 36; mean age = 20.4 years, s = 1.4) completed three 400-m time trials under conditions of motivational music, oudeterous music, and a no-music control. Pre-performance mood was assessed using the Brunel University Mood Scale (BRUMS). A series of repeated-measures analyses of variance with Bonferroni adjustment revealed no differences in the BRUMS subscales. A repeated-measures analysis of variance on the 400-m times showed a significant effect (F1.24, 42.19 = 10.54, P < 0.001, eta 2 = 0.24) and follow-up pair wise comparisons revealed differences between the synchronous music conditions and the control condition. This finding supported the first research hypothesis, that synchronous music would result in better performance than a no-music control, but not the second hypothesis, that performance in the motivational synchronous music condition would be better than that in the oudeterous condition. It appears that synchronous music can be applied to anaerobic endurance performance among non-elite sports persons with a considerable positive effect.

Adult↗
PubMed2006

Relationship between exercise heart rate and music tempo preference.

The present study examined the predicted positive and linear relationship (Iwanaga, 1995a, 1995b) between exercise heart rate and music tempo preference. Initially, 128 undergraduate students (M age = 20.0 years, SD = 0.9) were surveyed to establish their three favorite music artists. A separate experimental group of 29 undergraduates (M age = 20.3 years, SD = 1.2) selected the music of a single artist from the three highest-rated artists from the earlier survey. They reported their preference for slow, medium, and fast tempo selections from each artist for three treadmill walking conditions at 40%, 60%, and 75% maximal heart rate reserve. A mixed-model 3 x 3 x 2 (Exercise Intensity x Music Tempo x Gender) analysis of variance was used to analyze the data. Results indicated there was no three-way interaction for music preference. There was, however, a significant (p < .05) two-way interaction for Exercise Intensity x Music Tempo (partial eta2 = .09) and a significant (p < .05) main effect for music tempo, with large differences evident between preference for medium versus slow tempo and fast versus slow tempo music at all exercise intensities (partial eta2 = .78). Participants reported a preference for both medium and fast tempo music at low and moderate exercise intensities and for fast tempo music at high intensity. Only partial support was found for the expected linear relationship between exercise intensity and music tempo preference.

Adult↗
PubMed2005

Impaired recognition of scary music following unilateral temporal lobe excision.

Music constitutes an ideal means to create a sense of suspense in films. However, there has been minimal investigation into the underlying cerebral organization for perceiving danger created by music. In comparison, the amygdala's role in recognition of fear in non-musical contexts has been well established. The present study sought to fill this gap in exploring how patients with amygdala resection recognize emotional expression in music. To this aim, we tested 16 patients with left (LTR; n = 8) or right (RTR; n = 8) medial temporal resection (including amygdala) for the relief of medically intractable seizures and 16 matched controls in an emotion recognition task involving instrumental music. The musical selections were purposely created to induce fear, peacefulness, happiness and sadness. Participants were asked to rate to what extent each musical passage expressed these four emotions on 10-point scales. In order to check for the presence of a perceptual problem, the same musical selections were presented to the participants in an error detection task. None of the patients was found to perform below controls in the perceptual task. In contrast, both LTR and RTR patients were found to be impaired in the recognition of scary music. Recognition of happy and sad music was normal. These findings suggest that the anteromedial temporal lobe (including the amygdala) plays a role in the recognition of danger in a musical context.

Acoustic Stimulation↗
PubMed2006

Emotional responses to unpleasant music correlates with damage to the parahippocampal cortex.

Music is typically a pleasurable experience. But under certain circumstances, music can also be unpleasant, for example, when a young child randomly hits piano keys. Such unpleasant musical experiences have been shown to activate a network of brain structures involved in emotion, mostly located in the medial temporal lobe: the parahippocampal gyrus, amygdala, hippocampus and temporal pole. However, the differential roles of these regions remain largely unknown. In this study, pleasant and unpleasant music was presented to 17 patients with variable excisions of the medial temporal lobe, as well as to 19 matched controls. The pleasant music corresponded to happy and sad selections taken from the classical instrumental repertoire; the unpleasant music was the dissonant arrangement of the same selections. Only patients with substantial resections of the left or right parahippocampal cortex (PHC) gave highly abnormal judgements to dissonant music; they rated dissonant music as slightly pleasant while controls found it unpleasant. This indifference to dissonance was correlated with the remaining volume in the PHC, but was unrelated to the volume of the surrounding structures. The impairment was specific: the same patients judged consonant music to be pleasant, and were able to judge music as happy or sad. Furthermore, this lack of responsiveness to unpleasantness was not due to a perceptual disorder, because all patients were able to detect intentional errors in the musical excerpts. Moreover, the impairment differed from that induced by amygdala damage alone. These findings are consistent with a two-dimensional model of defensive responses to aversive stimuli, in which the PHC and the amygdala subserve different roles.

Adult↗
PubMed2002

Music listening for maintaining attention of older adults with cognitive impairments.

Twelve older adults with cognitive impairments who were participants in weekly community-based group music therapy sessions, 6 older adults in an Alzheimer's caregivers' group, and 6 college student volunteers listened to a 3.5 minute prepared audiotape of instrumental excerpts of patriotic selections. The tape consisted of 7 excerpts ranging from 18 s to 34 s in duration. Each music excerpt was followed by a 7-9 s period of silence, a "wait" excerpt. Listeners were instructed to move a Continuous Response Digital Interface (CRDI) to the name of the music excerpt depicted on the CRDI overlay when they heard a music excerpt. Likewise, they were instructed to move the dial to the word "WAIT" when there was no music. They were also instructed to maintain the dial position for the duration of each music or silence excerpt. Statistical analysis indicated no significant differences between the caregivers' and the college students' group means for total dial changes, correct and incorrect recognitions, correct and incorrect responses to silence excerpts, and reaction times. The mean scores of these 2 groups were combined and compared with the mean scores of the group of elderly adults with cognitive impairments. The mean total dial changes were significantly lower for the listeners with cognitive impairments, resulting in significant differences in all of the other response categories except incorrect recognitions. In addition, their mean absence of response to silence excerpts was significantly higher than their mean absence of responding to music excerpts. Their mean reaction time was significantly slower than the comparison group's reaction time. To evaluate training effects, 10 of the original 12 music therapy participants repeated the listening task with assistance from the therapist (treatment) immediately following the first listening (baseline). A week later the order was reversed for the 2 listening trials. Statistical and graphic analysis of responses between first and second baseline responses indicate significant improvement in responses to silence and music excerpts over the 2 sessions. Applications of the findings to music listening interventions for maintaining attention, eliciting social interaction between clients or caregivers and their patients, and evaluating this population's affective responses to music are discussed.

Acoustic Stimulation↗
PubMed2004

Assessment of use of music by patients participating in cardiac rehabilitation.

The primary cause of morbidity and mortality in the United States is heart disease. It is a costly and pervasive group of disorders that effect all ages, races, and genders. Behavioral medicine and health psychology have focused on prevention and psychosocial influences of cardiovascular diseases for the past 30 years. Music therapy is a viable collaborative method in the psychosocial arena for alleviating risks and motivating rehabilitation from cardiac events. There is research to support the use of music to modulate heart health measurements such as heart rate and blood pressure, to enhance exercise programs, and to relieve stress symptoms. However, inconsistencies in the results of this research warrant continued collaboration of social scientists to find scientific means of establishing interventions with measurable outcomes. This project involved administering a music therapy survey in order to determine current use and preference for music in a cardiac rehabilitation program. Patients who were attending rehabilitation sessions in a large city hospital completed a survey on which they rated their level of use of music for exercise, relaxation, and enjoyment. The researcher also gathered information about musical preferences, musical experiences, and pertinent demographics. Patients, mostly white males over the age of 60, showed positive responses to the aesthetically pleasurable aspects of music. The use of music as a stimulus cue for exercise was decidedly absent. Nursing staff members were receptive to the project, and both staff and patients showed some interest for learning about music for therapeutic purposes. The results suggest that education about and development of music therapy in a cardiac rehabilitation program is warranted.

Aged↗
PubMed1998

The sedative and analgesic sparing effect of music.

BACKGROUND: To determine whether music influences intraoperative sedative and analgesic requirements, two randomized controlled trials were performed. METHODS: In phase 1, 35 adults undergoing urologic procedures with spinal anesthesia and patient-controlled intravenous propofol sedation were randomly assigned to hear favorable intraoperative music via headset or to have no music. In phase 2, 43 adults undergoing lithotripsy treatment of renal or ureteral calculi and receiving patient-controlled intravenous opioid analgesia were randomly assigned to either a music or no-music group. The effect of music on sedatives and analgesics requirements, recovery room duration, and adverse outcomes was assessed. RESULTS: In phase 1, patients in the music group required significantly less propofol for sedation than patients in the control group (0 [0-150] mg vs. 90 [0-240] mg, median[range]; P < 0.001). These findings persisted after adjusting for duration of surgery (0.3+/-0.1 mg/min vs. 1.6+/-0.4 mg/min; P < 0.001). Similarly, in phase 2, patients who listened to music had a significant reduction in alfentanil requirements (1,600 [0-4,250] microg vs. 3,900 [0-7,200] microg; P = 0.005). This persisted after adjusting for duration of surgery (52+/-9 microg/min vs. 119 +/-16 microg/min, mean +/- SD, P < 0.001). Duration of stay in the postanesthesia care unit and the rate of adverse events was similar in both groups (P = NS). CONCLUSIONS: Use of intraoperative music in awake patients decreases patient-controlled sedative and analgesic requirements. It should be noted, however, that patients in the no-music group did not use a headset during operation. Thus, the decrease in sedative and analgesic requirements could be caused by elimination of ambient operating room noise and not by the effects of music.

Analgesia, Patient-Controlled↗
PubMed2005

Recognition of "real-world" musical excerpts by cochlear implant recipients and normal-hearing adults.

OBJECTIVE: The purposes of this study were (a) to compare recognition of "real-world" music excerpts by postlingually deafened adults using cochlear implants and normal-hearing adults; (b) to compare the performance of cochlear implant recipients using different devices and processing strategies; and (c) to examine the variability among implant recipients in recognition of musical selections in relation to performance on speech perception tests, performance on cognitive tests, and demographic variables. DESIGN: Seventy-nine cochlear implant users and 30 normal-hearing adults were tested on open-set recognition of systematically selected excerpts from musical recordings heard in real life. The recognition accuracy of the two groups was compared for three musical genre: classical, country, and pop. Recognition accuracy was correlated with speech recognition scores, cognitive measures, and demographic measures, including musical background. RESULTS: Cochlear implant recipients were significantly less accurate in recognition of previously familiar (known before hearing loss) musical excerpts than normal-hearing adults (p < 0.001) for all three genre. Implant recipients were most accurate in the recognition of country items and least accurate in the recognition of classical items. There were no significant differences among implant recipients due to implant type (Nucleus, Clarion, or Ineraid), or programming strategy (SPEAK, CIS, or ACE). For cochlear implant recipients, correlations between melody recognition and other measures were moderate to weak in strength; those with statistically significant correlations included age at time of testing (negatively correlated), performance on selected speech perception tests, and the amount of focused music listening following implantation. CONCLUSIONS: Current-day cochlear implants are not effective in transmitting several key structural features (i.e., pitch, harmony, timbral blends) of music essential to open-set recognition of well-known musical selections. Consequently, implant recipients must rely on extracting those musical features most accessible through the implant, such as song lyrics or a characteristic rhythm pattern, to identify the sorts of musical selections heard in everyday life.

Acoustic Stimulation↗
PubMed2006

Music therapy in the assessment and treatment of autistic spectrum disorder: clinical application and research evidence.

BACKGROUND: Children and adolescents with autistic spectrum disorder (ASD) presenting with significant limitations in conventional forms of verbal and non-verbal communication are found to respond positively to music therapy intervention involving both active, improvizational methods and receptive music therapy approaches. Improvizational musical activity with therapeutic objectives and outcomes has been found to facilitate motivation, communication skills and social interaction, as well as sustaining and developing attention. The structure and predictability found in music assist in reciprocal interaction, from which tolerance, flexibility and social engagement to build relationships emerge, relying on a systematic approach to promote appropriate and meaningful interpersonal responses. RESULTS: Published reports of the value and effectiveness of music therapy as an intervention for children with ASD range from controlled studies to clinical case reports. Further documentation has emphasized the role music therapy plays in diagnostic and clinical assessment. Music therapy assessment can identify limitations and weaknesses in children, as well as strengths and potentials. Research evidence from a systematic review found two randomized controlled trials that examined short-term effects of structured music therapy intervention. Significant effects were found in these studies even with extremely small samples, and the findings are important because they demonstrate the potential of the medium of music for autistic children. Case series studies were identified that examined the effects of improvizational music therapy where communicative behaviour, language development, emotional responsiveness, attention span and behavioural control improved over the course of an intervention of improvizational music therapy.

Adolescent↗
PubMed2006

Music as nursing intervention for pain in five Asian countries.

BACKGROUND: The use of music as intervention for relieving pain has increased in recent years, prompting its growing use among the people of the western world. However, among Asians, music has long been used for this purpose and continues to be so today. Despite this common knowledge, Asians have not generally written about the therapeutic effects of music. Consequently, most of the published research studies supporting this claim were conducted in western settings using western music. PURPOSE: To describe the use of music as intervention in painful conditions as experienced by people in five Asian countries: China, Thailand, Philippines, South Korea and Taiwan. METHOD: Descriptive survey of studies using music as intervention for painful conditions conducted in selected five Asian countries. FINDINGS: Twelve studies including theses and dissertations, published and unpublished, were found; however, only nine met the inclusion criteria. Data were categorized according to research design, sample size, gender, age, duration of music, frequency of music intervention, types of pain and instruments used to measure pain, conceptual or theoretical frameworks and statistical significance of the study. Five of the nine studies declared significant decrease in pain, while three reported mixed results. Fundamentally, the findings of the studies suggested that with music, relief of pain was possible. IMPLICATIONS: The mixed results imply the need for further investigation of the effects of music in painful conditions. Thus, the authors suggest continuing studies on the effects of music as intervention in painful conditions, and encourage increasing global dissemination of these studies, particularly in international journals.

Adult↗
PubMed1996

Influence of dinner music on food intake and symptoms common in dementia.

The influence of dinner music on food intake and symptoms common in dementia such as depressed mood, irritability and restlessness was studied. The study was carried out in a nursing-home ward in Sweden. Soothing music was played as dinner music for weeks, Swedish tunes form the 1920s and 1930s for two weeks and pop music for two weeks. Prior to these periods, there was one week without music, and at the end of the intervention there was a two-week control period. The effects of the intervention were assessed by psychological ratings and by weighing the food helpings. It was found that during all three music periods the patients ate more in total. The difference was particularly significant for the dessert. The staff were thought to be influenced by the music, as they served the patients more food, both main course and dessert, whenever music was played. The patients were less irritable, anxious and depressed during the music periods. The results of the study suggest that dinner music, particularly soothing music, can reduce irritability, fear-panic and depressed mood and can stimulate demented patients in a nursing-home ward into eating more.

Affect↗
PubMed2000

Cultural differences in music chosen for pain relief.

Nurses use music therapeutically but often assume that all patients will equally appreciate the same type of music. Cultural differences in music preferences are compared across five pain studies. Music preferences for pain relief are described as the most frequently chosen type of music for each culture. Findings indicate that in four studies, musical choices were related to cultural background (p = .002 to .049). Although the majority in each group chose among the other types of music, Caucasians most frequently chose orchestra music, African Americans chose jazz, and Taiwanese chose harp music. For culturally congruent care, nurses should become aware of cultural differences in music preference and provide culturally specific selections among other music expected to have a therapeutic effect.

Black or African American↗
PubMedDate not supplied

The effects of single-session music therapy interventions on the observed and self-reported levels of pain control, physical comfort, and relaxation of hospice patients.

This article describes the process and results of a three-month music therapy clinical effectiveness study conducted with terminally ill patients. The purpose of this study was to quantify and evaluate the effectiveness of single-session music therapy interventions with hospice patients in three patient problem areas: pain control; physical comfort; and relaxation. Data from a total of 90 sessions conducted with a total of 80 subjects served by Hospice of Palm Beach County, Florida, were included in the study. Music therapy services were provided by five board-certified music therapists and one music therapist eligible for board certification. The subjects in this study were receiving regularly scheduled music therapy services from the hospice organization. The study used both behavioral observation and subject's self-reporting as methods of data reporting and recording. Subjects were observed for, or self-reported, their levels of pain control, physical comfort, and relaxation, both before and after each music therapy session. The subjects were served in the environments where music therapy services would normally be delivered (i.e., home, hospital, nursing home, or inpatient acute-care unit of the hospice organization). Music therapy services included live active and passive music-based experiences. These were designed to build and to establish rapport with patient or family, to facilitate family interaction and patient control, to provide support and comfort, to facilitate relaxation, to enable reminiscence and life review, to provide a frame-work for spiritual exploration and validation, and to encourage the identification and expression of feelings of anticipatory mourning and grief. A total of six hypotheses stated that there would be significant pre- to postsession differences in each of the three variables: pain control, physical comfort, and relaxation, as measured during two different session and data collection scenarios. These scenarios included the independent observation and recording of the three subject variables and the subject's self-report of each variable. Reliability correlation coefficients were calculated for each of the different session and data-collection scenarios to help assess the correlation between primary and reliability observers. Pearson product moment correlations indicated reliability agreement coefficients of r = .85 and r = .90. One-tailed t-tests were performed on the collected data for subject pain control, physical comfort, and relaxation. Results of the t-tests were significant at the p < or = .001 (for observed pain control, physical comfort, and relaxation) and p < or = 005 (for self-reported pain control, physical comfort, and relaxation) levels. These results suggest that single-session music therapy interventions appear to be effective in increasing subject pain control, physical comfort, and relaxation during both data collection scenarios. Based on the results of these tests of the analyzed data, the hypotheses were all accepted. Tables illustrate pre- to post-session changes in levels of all three variables from both session and data-collection scenarios. Copies of the data-collection forms are also included in the Appendix. The discussion section addresses limitations of this study and suggestions for future studies.

Adult↗
PubMed2002

Brain specialization for music.

Music, like language, is a universal and specific trait to humans. Similarly, music appreciation, like language comprehension, appears to be the product of a dedicated brain organization. Support for the existence of music-specific neural networks is found in various pathological conditions that isolate musical abilities from the rest of the cognitive system. Cerebrovascular accidents, traumatic brain damage, and congenital brain anomalies can lead to selective disorders of music processing. Conversely, autism and epilepsy can reveal the autonomous functioning and the selectivity, respectively, of the neural networks that subserve music. However, brain specialization for music should not be equated with the presence of a singular "musical center" in the brain. Rather, multiple interconnected neural networks are engaged, of which some may capture the essence of brain specialization for music. The encoding of pitch along musical scales is likely such an essential component. The implications of the existence of such special-purpose cortical processes are that the human brain might be hardwired for music.

Autistic Disorder↗
PubMed1998

Aggressors or victims: gender and race in music video violence.

OBJECTIVE: To examine portrayals of violence in popular music videos for patterns of aggression and victimization by gender and race. DESIGN AND SETTING: Content analysis of 518 music videos broadcast over national music television networks, Black Entertainment Television (BET), Country Music Television (CMT), Music Television (MTV), and Video Hits-1 (VH-1) during a 4-week period at randomly selected times of high adolescent viewership. MAIN OUTCOME MEASURES: Differences in the genders and races portrayed as aggressors and victims in acts of violence. RESULTS: Seventy-six (14.7%) of the analyzed music videos contained portrayals of individuals engaging in overt interpersonal violence, with a mean of 6.1 violent acts per violence-containing video. Among the 462 acts of violence, the music video's main character was clearly the aggressor in 80.1% and the victim in 17.7%. In 391 (84.6%) of the violence portrayals, the gender of the aggressor or victim could be determined. Male gender was significantly associated with aggression; aggressors were 78.1% male, whereas victims were 46.3% female. This relationship was influenced by race. Among whites, 72.0% of the aggressors were male and 78.3% of the victims were female. Although blacks represent 12% of the United States population, they were aggressors in 25.0% and victims in 41.0% of music video violence. Controlling for gender, racial differences were significant among males; 29.0% of aggressors and 75.0% of victims were black. A logistic regression model did not find direct effects for gender and race, but revealed a significant interaction effect, indicating that the differences between blacks and whites were not the same for both genders. Black males were more likely than all others to be portrayed as victims of violence (adjusted odds ratio = 28.16, 95% confidence interval = 8.19, 84.94). CONCLUSIONS: Attractive role models were aggressors in more than 80% of music video violence. Males and females were victims with equivalent frequency, but males were more than three times as likely to be aggressors. Compared with United States demographics, blacks were overrepresented as aggressors and victims, whereas whites were underrepresented. White females were most frequently victims. Music videos may be reinforcing false stereotypes of aggressive black males and victimized white females. These observations raise concern for the effect of music videos on adolescents' normative expectations about conflict resolution, race, and male-female relationships.

Black or African American↗
PubMedDate not supplied

The effects of music and visual stress on testosterone and cortisol in men and women.

OBJECTIVES: The aims of the present study were to examine sex-related differences in testosterone (T) and cortisol (C) changes with music listening and visual stress. SETTING AND DESIGN: Saliva T and C concentrations were measured in 88 healthy college students (44 males and 44 females). These subjects were placed in one of 4 different conditions: (1) 30 min of listening to music, (2) 30 min of listening to music with visual stress (documentary film without sound including violent scenes), (3) 30 min of visual stress without music, and (4) 30 min of silence. METHODS: All subjects provided two saliva samples, one collected before intervention and the other after intervention. T and C levels were assessed by radio immuno assay (RIA). RESULTS: There was a significant difference between the sexes in the way music affected T. Music decreased T in males, whereas it increased T in females. As for C, no sex-related differences were found under any of the conditions studied. C decreased with music and increased under other conditions. THE MAIN FINDINGS: Our data suggests that the effects of music and stress on T differ between males and females. CONCLUSION: Further investigation is necessary to evaluate the relationships between music and other substances, the effect of degree of preference and hormonal changes not only during music listening but also during music plays and creation.

Adult↗
PubMed2004

The characteristics and effects of motivational music in exercise settings: the possible influence of gender, age, frequency of attendance, and time of attendance.

AIM: The purpose of the present study was to investigate the characteristics and effects of motivational music in British gymnasia. The secondary purpose was to determine whether the characteristics and effects of motivational music were invariant in relation to gender, age, frequency of gymnasium attendance, and the time of day at which exercise participants attended gymnasia. METHODS: Participants (n=532) from 29 David Lloyd Leisure exercise facilities across Britain responded to a questionnaire that was designed to assess music preferences during exercise via 2 open-ended questions and 1 scaled-response item. RESULTS: A content analysis of the questionnaire data yielded 45 analytic properties that were grouped into the following categories: specific music factors, general music factors, music programme factors, delivery factors, televisual factors, personal factors, contextual factors, and psychophysical response factors. The relative incidence of these analytic properties across gender groups (male/female), age groups (16-26 y, 27-34 y, 35-45 y, 46+ y), frequency of attendance groups (low, medium, high), and time of attendance groups (morning, afternoon, evening) was tested by use of chi(2) analyses. Of the personal variables tested, age exerted the greatest influence on musical preference during exercise; older participants expressed a preference for quieter, slower, and generally less overtly stimulative music. CONCLUSION: Music programmes that are prescribed to accompany exercise should be varied in terms of musical idiom and date of release. Such programmes will account for the preferences of different groups of exercise participants that attend gymnasia at different times of the day. Further, the music chosen should be characterised by a strong rhythmical component.

Adolescent↗
PubMed2007

Effects of two types and two genre of music on social behavior in captive chimpanzees (Pan troglodytes).

Is music just noise, and thus potentially harmful to laboratory animals, or can it have a beneficial effect? Research addressing this question has generated mixed results, perhaps because of the different types and styles of music used across various studies. The purpose of this study was to test the effects of 2 different types (vocal versus instrumental) and 2 genres (classical vocal versus 'easy-listening' vocal) of music on social behavior in 31 female and 26 male chimpanzees (Pan troglodytes). Results indicated that instrumental music was more effective at increasing affiliative behavior in both male and female chimpanzees, whereas vocal music was more effective at decreasing agonistic behavior. A comparison of 2 genre of vocal music indicated that easy-listening (slower tempo) vocal music was more effective at decreasing agonistic behavior in male chimpanzees than classical (faster tempo) vocal music. Agonistic behavior in females remained low (<0.5%) throughout the study and was unaffected by music. These results indicate that, like humans, captive chimpanzees react differently to various types and genres of music. The reactions varied depending on both the sex of the subject and the type of social behavior examined. Management programs should consider both type and genre when implementing a musical enrichment program for nonhuman primates.

Animals↗