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PubMedDate not supplied

[Aspects of psychotherapies. Music therapy and its specificity].

Musicotherapy, associating art and science, concerns a sensorial approach, in a therapeutic aim, through sound and music, to psychological difficulties, of numerous somatic and psychosomatic troubles, as well as neurotic and psychotic disease. Music therapy is one of the art-therapy methods, all of them dealing with mediation in reference to Winnicott, leading the patients to active and creative participation and being most of the time shorter than classical verbal therapies. It may be considered as being related to the main theories of modern psychotherapies, and refers either to Psychoanalysis or to behaviour therapies, or to cognitive therapies, or to humanistic therapies ... but, whatever its main basic theory, musicotherapy shows its specificity. Its specific features are: the variety and complexity of its techniques; the specificity of the therapeutic relation; patient, music, and therapist are united through a triangular relationship; transference is of a special quality; the way the therapist answers the patient and helps him may be either verbal or musical. Practising music and listening to music must not be considered as a therapy. Music is not therapeutic in itself. It becomes so when music is used in techniques organised in a therapeutic aim. Musicotherapy may be necessary for a patient who suffers, who asks to be helped and who finds through music a way of expression and communication. The therapeutic aim has nothing to do with musical training. Musicotherapy concerns children as well as adults and elderly people, but requires different techniques adapted to the category of patients.(ABSTRACT TRUNCATED AT 250 WORDS)

Combined Modality Therapy↗

PubMed1987

[Aphasia without amusia in a blind organist. Verbal alexia-agraphia without musical alexia-agraphia in braille].

A 77 year old right handed male was blind since the age of 2. He presented with an infarction involving the territory of the left middle cerebral artery involving the temporal and the inferior parietal lobes. He had learned to read and write language as well as read and write music in braille, ultimately becoming a famous organist and composer. There were no motor or sensory deficits. Wernicke's aphasia with jargonaphasia, major difficulty in repetition, anomia and a significant comprehension deficit without word deafness was present; verbal alexia and agraphia in braille were also present. There was no evidence of amusia. He could execute in an exemplary fashion pieces of music for the organ in his repertory as well as improvise. All his musical capabilities: transposition, modulation, harmony, rythm, were preserved. The musical notation in braille remained intact: he could read by touch and play unfamiliar scores, he could also read and sing the musical notes, he could copy and write a score. Nine months after the stroke his aphasia remained unchanged. Nevertheless he composed pieces for the organ which were published. Such data highly suggest the independence of linguistic and musical competences, defined as the analysis and organization of sounds according to the rules of music. This independence in an extremely talented musician leads to a discussion of the role of the right hemisphere in the anatomical-functional processes at the origin of musical competence. The use of braille in which the same constellations of dots correspond either to letters of the alphabet or musical notes supports the independence between language and music.

Aged↗

PubMed1993

Musical ability.

Musical ability is the ability to 'make sense' of music, and develops in most people over the first decade of life through normal enculturation. Whether this ability is developed to a high level usually depends on the decision to start learning a musical instrument, which forces high levels of focused cognitive engagement (practice) with musical materials. Performance ability has both technical and expressive aspects. These aspects are not always developed equally well. Factors contributing to the development of a well-balanced musical performer include (a) lengthy periods of engagement with music through practice and exploration, (b) high levels of material and emotional support from parents and other adults, (c) relationships with early teachers characterized by warmth and mutual liking, and (d) early experiences with music that promote, rather than inhibit, intense sensuous/affective experiences. It is argued that much formal education inhibits the development of musical ability through over-emphasis on assessment, creating performance anxiety, coupled with class and sex stereotyping of approved musical activities. Early free exploration of a medium is a necessity for the development of high levels of musicality.

Aptitude↗

PubMed1999

Effects of Active Versus Passive Group Music Therapy on Preadolescents with Emotional, Learning, and Behavioral Disorders.

This study attempted to compare the behavioral effects of active, rhythm-based group music therapy vs. those of passive, listening-based group music therapy on preadolescents with emotional, learning, and behavioral disorders. It was hypothesized that preadolescents who participated in active music therapy would more significantly improve target behaviors than those involved in passive music therapy. Achenbach's Teacher Report Form (TRF) was used to confirm changes among subjects in attention, motivation, and hostility as rated by homeroom teachers. Twelve music therapy sessions were conducted over a 4-month period with three different groups of subjects (n = 16), with two groups participating in active music therapy and the other receiving passive music therapy. Results indicate that subjects improved significantly after receiving both music therapy interventions. The most significant change in subjects was found on the aggression/hostility scale. These results suggest that group music therapy can facilitate the process of serf-expression in emotionally disturbed/learning disabled adolescents and provide a channel for transforming frustration, anger, and aggression into the experience of creativity and self-mastery. Discussion of results also includes recommendations for chousing one music therapy approach over another based on personality types and/or clinical diagnoses of subjects.

Journal Article↗

PubMed2026

The Soundtrack of Everyday Life: Real-world Music Listening Habits of Adult Cochlear Implant Users.

OBJECTIVE: Characterize real-world patterns of music listening and reward sensitivity among adult cochlear implant (CI) users compared with normal-hearing (NH) listeners. STUDY DESIGN: Cross-sectional observational study. SETTING: Online. PATIENTS: Adults (≥18 y) with a CI or NH who used a music-streaming platform as their primary listening method. INTERVENTIONS: None. MAIN OUTCOME MEASURES: Objective measures included platform-derived audio features (acousticness, danceability, energy, tempo, and valence), listening volume, unique-song ratio, and decade preferences. Self-reported measures included listening habits and the Barcelona Music Reward Questionnaire (BMRQ). Group comparisons used ANCOVAs and mixed-effect models adjusting for age and gender; within-CI analyses compared prelingual versus postlingual deafness. RESULTS: Among 16 CI users (69% male, 39.0±15.6 y) and 29 NH listeners (38% male, 32.2±11.3 y), CI users demonstrated a higher unique-song ratio (β=-0.157, CI as reference; 95%CI [-0.281, -0.034]; P =0.014) and stronger preference for older music (Pillai trace=0.537; F8,35 =5.07; P <0.001), adjusting for age. No significant group differences were observed in weekly listening time, listening volume, audio features, or BMRQ scores (total and subscores). Equivalence was confirmed for Emotion Evocation and Sensory-Motor subscales. There were no statistically significant differences in listening environments after Holm correction. No statistically detectable differences were observed between pre- and postlingually deafened CI users. CONCLUSIONS: Musically active CI users showed no significant differences in listening volume or overall music-reward sensitivity compared with NH peers, but demonstrated higher unique-song ratios and a bias toward older music. Findings highlight the value of ecologically valid data in understanding real-world music experiences among CI users.

Adult↗

PubMed2004

The early beginnings of Nordoff-Robbins music therapy.

Nordoff-Robbins Music Therapy is an improvisational and compositional approach to individual and group therapy that resulted from the pioneering teamwork of Paul Nordoff and Clive Robbins over a period of 17 years. Nordoff and Robbins developed this approach for practical clinical purposes while working with the children at Sunfield Children's Home in 1959. This paper explores the critical academic year of 1959-1960 as a watershed in the early development of Nordoff-Robbins Music Therapy. By way of context, it also examines (a) how Paul Nordoff, as a distinguished American pianist and composer, became a music therapist; (b) how Nordoff's former musical career as a composer and pianist affected his clinical musicianship as a music therapist; (c) how Clive Robbins, as a British special educator, became a music therapist; (d) how their team work emerged; and (e) how they developed their own approach. In conclusion, the early development of Nordoff-Robbins Music Therapy resulted from Nordoff and Robbins' similar philosophical background, the supportive environment of Sunfield Children's Home, the guidance of Herbert Geuter, M.D., and their courage. Since the 1959-1960 academic years, the application and practice of Nordoff-Robbins Music Therapy has undergone many changes. However, the pioneering spirit of Nordoff and Robbins manifested in that watershed year remains strong among contemporary Nordoff-Robbins music therapy practitioners.

History, 20th Century↗

PubMed1993

Music and language in degenerative disease of the brain.

Music and language functions were studied in two musicians with degenerative disease. Both patients were tested on a standardized language battery and a series of music tasks. In the first case with left cortical atrophy and primary progressive aphasia, expressive music functions were spared with impaired reception of rhythm. The second case with posterior cortical atrophy, greater on the right, was nonaphasic, had spatial agraphia, a visuopractic deficit, and severe expressive music deficits, but intact rhythm repetition. The aphasic patient showed dissociations between music and language in fluency and content; continuous, organized, although reiterative music production was contrasted with nonfluent language. The nonaphasic patient showed the opposite pattern of deficits; unmusical production with impaired melody and rhythm organization that was contrasted with fluent, intelligible language. The double dissociation between language and music functions supports the existence of independent cognitive systems, one consistent with conventional left lateralization models of language, temporal sequence, and analytic music processing and another with a right lateralization model of implicit music cognition.

Agraphia↗

PubMed1993

The role of music and song in human communication.

It is only on the higher level of abstraction and generalization that the two human branches of acoustic communication, speech and music are separated from each other. Speech is primarily adjusted to the conceptual-verbal symbols and representation of an objectified, static world. In the linguistic communication the main role is played by the elements of noise, the consonants. It has never been doubted that music is a kind of communication, the mediator of human relationships, but it has been a question what music wants to express. Since the Pythagoreans, some believe to find the key to interpreting its message in the commun quantifiable nature of the musical medium and the cosmos. Another historical tradition considered music as the direct expression of human emotions. Representants of the doctrine of imitation derived music from the intonation of speech and the text seems for many to be a support to "understand" music. Music separated from the primary source of sound phenomena and their direct sensual effect constructed a specific communication system. It possesses an inestimable potential richness of discrete pitches and times, colours and sound intensity. The infinite potentials of successive and simultaneous combinations are suitable for erecting the audible, dynamic models of human relations and types of behaviour, internal events and interactions, different situations. European polyphony established a strictly regulated, closed syntax of musical communication which comes close to conceptual precision. Its logic is based upon the natural potentials of the kinship of pitches and the human organ of hearing. The live, mobile network of the relations thus created is regulated by a further developed quasi-binary logic.(ABSTRACT TRUNCATED AT 250 WORDS)

Communication↗

PubMed1986

[Brain electrical correlates of cerebral music processing in the human].

Slow brain potentials were recorded during musical tasks in 60 healthy subjects (42 right-handers and 18 left-handers). In period I the tasks (pitch comparison or distinguishing of chords) were solved and in period II the results were written down. Eye movements and vocalizations were avoided. Unilateral lateralizations of negative potentials, recorded in transversal leads between corresponding brain regions, were determined from a baseline measured in a 3s pretest period. Left-sided or right-sided lateralizations in frontal, precentral, parietal and temporal regions were taken as evidence for a stronger activation of the underlying cortical areas. During period I, music tasks caused a right-sided lateralization in 53%, a left-sided one in 39% and no lateralization in 8% of the subjects. Language and calculation tasks, however, showed greater than 80% left-sided lateralizations in the same subjects. In period II lateralizations appeared contralateral to the writing hand, mainly in pre-central leads. The subjects (N = 60) were divided into 3 groups on the basis of their musical training: 20 non-musicians, 20 amateurs and 20 professional musicians were compared. A right-sided lateralization occurred more often in non-musicians and amateurs than in professionals. Right-handers and left-handers had about equal right-sided lateralizations in musical tests. But in left-handers bilateral negativity without lateralization occurred more often and left-sided lateralization less often than in right-handers. In 20 right-handers the passive experience or enjoyment of music was investigated. While only listening to music without tasks performance 8 subjects had a right-sided lateralization, 6 a left-sided one and 6 had bilateral negativity without lateralization. We conclude that music processing, unlike language processing, is not dominant in one hemisphere. It is suggested that electrophysiological correlates of hemispheric lateralization during musical tests may depend on musical training and handedness, but statistical significance needs further investigations on more subjects.

Adult↗

PubMedDate not supplied

Clinical application of Medical Resonance Therapy Music in high-risk pregnancies.

Music is an ancient method for healing. In the year 550 B.C., Pythagoras from Greece developed a concept for the use of music in medicine, esteeming music higher than many other medical treatments. The Medical Resonance Therapy Music (MRT-Music) of the German classical composer and musicologist Peter Huebner is built on this concept of Pythagorean music medicine. Its therapeutic effect may be best explained by the natural phenomenon of resonance between the harmony laws of the microcosm of music and the biological laws of the body. Results received after application of MRT-Music indicate multiple positive effects on the organism of pregnant women both with a healthy pregnancy as with a pathologic one, reducing the rate of premature births very effectively. Furthermore, MRT-Music came out to be an effective method in the complex therapy of late gestoses and a nearly irreplaceable method for preoperative preparation of pregnant woman for caesarean section. It demonstrated a powerful anti-stress effect and allowed to reduce the amount of administered pain-killers to pregnant women by the factor 1.5 to 2.0, thus reducing the negative pharmacological load to the foetus. It furthermore reduced labour time and shortened hospital stay. It helped to create optimal conditions for the course of pregnancy and heightened pain sensitivity threshold by means of improving the functional, hormonal, and psycho-emotional conditions of pregnant and lying-in women. Thus, the labour process became more natural, the delivery non-traumatic, and motherhood more happy and safe.

Adult↗

PubMed2005

Heart rate variability with repetitive exposure to music.

Previous studies of physiological responses to music showed inconsistent results, which might be attributable to methodological differences. Heart rate variability has been used to assess activation of the sympathetic and the parasympathetic nervous systems. The present study aimed to examine heart rate variability with repetitive exposure to sedative or excitative music. The participants were 13 undergraduate or graduate students who were each exposed to three conditions sedative music (SM), excitative music (EM), and no music (NM) on different days. Each participant underwent four sessions of one condition in a day. Sedative music and no music each induced both high relaxation and low tension subjectively. However, excitative music decreased perceived tension and increased perceived relaxation as the number of sessions increased. The low-frequency (LF) component of heart rate variability (HRV) and the LF/HF (high-frequency) ratio increased during SM and EM sessions but decreased during NM sessions. The HF component of HRV during SM was higher than that during EM but the same as that during NM. These findings suggest that excitative music decreased the activation of the parasympathetic nervous system.

Adult↗

PubMed2006

The perception of musical phrase structure: a cross-cultural ERP study.

Electroencephalography (EEG) was used in a cross-cultural music study investigating phrase boundary perception. Chinese and German musicians performed a cultural categorization task under Chinese and Western music listening conditions. Western music was the major subject for both groups of musicians, while Chinese music was familiar to Chinese subjects only. By manipulating the presence of pauses between two phrases in the biphrasal melodies, EEG correlates for the perception of phrase boundaries were found in both groups under both music listening conditions. Between 450 and 600 ms, the music CPS (closure positive shift), which had been found in earlier studies with a false tone detection task, was replicated for the more global categorization task and for all combinations of subject group and musical style. At short latencies (100 and 450 ms post phrase boundary offset), EEG correlates varied as a function of musical styles and subject group. Both bottom-up (style properties of the music) and top-down (acculturation of the subjects) information interacted during this early processing stage.

Acoustic Stimulation↗

PubMed2006

Sex differences in emotional and psychophysiological responses to musical stimuli.

Although it is known that men and women differ in their music preferences and emotional reactions to music, little is known about sex differences in physiological reactions to music. In our study, we therefore set out to examine the differential reactivity to two musical stimuli that elicit distinct psychological and physiological reaction patterns. Fifty-three healthy subjects (mean age: 26.13, SD: 3.97; 26 males, 27 females) were examined. Heart rate, electrodermal activity, skin temperature, salivary cortisol, salivary alpha-amylase, and psychological variables were assessed during the course of the whole study. Following baseline assessment, two musical stimuli, which were carefully selected and rated in a pre-study as relaxing and pleasant (renaissance music) and arousing and unpleasant (heavy metal), respectively, were introduced. They were presented on two different days in a randomized order. Whereas psychological variables did not differ between men and women, results of electrophysiological measures indicate significantly different reactivity patterns between men and women. Women displayed elevated response curves to the arousing and unpleasant stimulus, whereas men did not. However, no differences were found with regards to endocrine measures in saliva. Our results demonstrate sex differences in reactivity patterns to musical stimuli in psychophysiological measures. In our study, we were able to show that women tend to show hypersensitivity to aversive musical stimuli. This finding is in accordance with previous literature on sex differences in emotion research. Furthermore, our study indicates that the confounding effects of sex differences have to be considered when using musical stimuli for emotion induction.

Acoustic Stimulation↗

PubMed2006

A music intervention to reduce anxiety before vascular angiography procedures.

Patients scheduled for vascular angiography are often anxious and frightened. High levels of anxiety may result in more difficult and painful procedures. Past research has reported mixed results for anxiety reduction techniques in other procedures settings, such as education, cognitive-behavioral skills, coping and relaxation skills, combinations of techniques, and music. Music as an intervention for pre-procedural anxiety prior to vascular angiography has not been studied. A randomized controlled trial of 170 patients was undertaken to determine whether 15 minutes of self-selected music reduced pre-procedure anxiety. The State Trait Anxiety Inventory was used to measure patients' anxiety. One-hundred sixty-six men and 4 women comprised the sample with an average age of 66.8 years (SD 9.95, range 37 to 85 years). Patients who listened to music (n=89) reduced their anxiety score from 38.57 (SD 10.46) to 35.2 (SD 9.7), while those who did not listen to music (n=81) reduced their anxiety score from 36.23 (SD 10.54) to 35.1 (SD 10.59); the difference between the groups was statistically significant (t=1.95, df 161, p=0.05). Pulse achieved a statistically significant reduction in the music group (t=2.45, df 167, p=0.02). Music is a noninvasive nursing intervention that patients enjoy and reduces their anxiety and their pulse rate. Further research should address using music to reduce anxiety in other interventional vascular angiography settings with equal numbers of men and women and comparing self-selected versus investigator-selected music.

Adult↗

PubMed2004

Dynamics of brain activity in motor and frontal cortical areas during music listening: a magnetoencephalographic study.

There are formidable problems in studying how 'real' music engages the brain over wide ranges of temporal scales extending from milliseconds to a lifetime. In this work, we recorded the magnetoencephalographic signal while subjects listened to music as it unfolded over long periods of time (seconds), and we developed and applied methods to correlate the time course of the regional brain activations with the dynamic aspects of the musical sound. We showed that frontal areas generally respond with slow time constants to the music, reflecting their more integrative mode; motor-related areas showed transient-mode responses to fine temporal scale structures of the sound. The study combined novel analysis techniques designed to capture and quantify fine temporal sequencing from the authentic musical piece (characterized by a clearly defined rhythm and melodic structure) with the extraction of relevant features from the dynamics of the regional brain activations. The results demonstrated that activity in motor-related structures, specifically in lateral premotor areas, supplementary motor areas, and somatomotor areas, correlated with measures of rhythmicity derived from the music. These correlations showed distinct laterality depending on how the musical performance deviated from the strict tempo of the music score, that is, depending on the musical expression.

Adult↗

PubMed2000

The impact of music upon sleep tendency as measured by the multiple sleep latency test and maintenance of wakefulness test.

Previous work has shown that background noise or music has a small positive impact on performance during sleep deprivation. The current study examined the effect of background music on the ability to fall asleep or remain awake. Twelve normal-sleeping young adults took multiple sleep latency tests (MSLT) and maintenance of wakefulness tests (MWT) after baseline sleep and one night of total sleep deprivation either with background music or under standard (quiet) conditions. It was hypothesized that the music would help maintain wakefulness both under baseline and sleep deprivation conditions. The results of the study showed that sleep latencies were increased in both MSLT and MWT when music was presented, but that this effect occurred primarily before subjects were sleep-deprived (a significant Music by Sleep Deprivation interaction). Sleep latencies were 15 and 11 min on the MSLT (33 and 26 min on the MWT) with Music as compared to Quiet after baseline sleep. Heart rate, used as a measure of physiological arousal, was significantly elevated in MWT and MSLT trials where music was presented. These data support previous work showing that level of arousal has an impact on measured sleep tendency which is independent of that of the sleep system. On a practical level, these data indicate that music may play a small beneficial role in helping to maintain arousal.

Adult↗

PubMed2003

The do re mi's of everyday life: the structure and personality correlates of music preferences.

The present research examined individual differences in music preferences. A series of 6 studies investigated lay beliefs about music, the structure underlying music preferences, and the links between music preferences and personality. The data indicated that people consider music an important aspect of their lives and listening to music an activity they engaged in frequently. Using multiple samples, methods, and geographic regions, analyses of the music preferences of over 3,500 individuals converged to reveal 4 music-preference dimensions: Reflective and Complex, Intense and Rebellious, Upbeat and Conventional, and Energetic and Rhythmic. Preferences for these music dimensions were related to a wide array of personality dimensions (e.g., Openness), self-views (e.g., political orientation), and cognitive abilities (e.g., verbal IQ).

Adolescent↗

PubMed2002

The effectiveness of music as an intervention for hospital patients: a systematic review.

INTRODUCTION: Over the past few decades there has been a growing interest in the use of music, which has seen it used to achieve a diverse range of outcomes. While music as an intervention for hospital patients has subject to considerable evaluation, many of these studies are small and findings are therefore often contradictory. This systematic review was conducted to investigate the effectiveness of music as an intervention for hospital patients. METHOD: A comprehensive search was undertaken involving all major health care databases. For studies to be included in the review they must have investigated the effect of music, involved adult hospital patients and used a randomized controlled trial design. These studies must also have used outcome measures such as anxiety, satisfaction, pain, mood and vital signs. Identified studies were critically appraised, and then categorized according to whether music was evaluated during normal care delivery or during invasive and unpleasant procedures. When appropriate, studies were combined in a meta-analysis. RESULTS: A total of 29 studies were identified that fulfilled the inclusion criteria, of which 10 were subsequently excluded following critical appraisal. Music played via headphones reduces anxiety of patients during normal care deliver, but it has no impact on the anxiety of patients undergoing procedures such as bronchoscopy, sigmoidoscopy or surgery with a spinal anaesthetic. Music produces a small reduction in respiratory rate during normal care delivery, but appears to have little effect on other vital sign parameters. It has no impact on the vital signs of patients undergoing procedures. Although the evidence is limited, music also appears improve the mood and tolerance of patients. CONCLUSION: This review demonstrates the effectiveness of music for the reduction of anxiety during normal care deliver. Given the inexpensive nature of this intervention, and the lack of adverse events, it is recommended as an adjunct to normal care practices. This review also highlights the need for further research into many aspect of this intervention.

Adult↗