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At least 343 records · Page 19Linked to original sources
PubMed2002

A controlled trial of music and pre-operative anxiety in Chinese men undergoing transurethral resection of the prostate.

AIM OF THE STUDY: To test the effects of music intervention on pre-operative anxiety in Chinese males undergoing transurethral resection of the prostate. RATIONALE: No studies have measured the effects of music intervention in reducing pre-operative anxiety for patients with transurethral resection of the prostate (TURP). Previous studies have examined the effects of music on pre-operative anxiety but have not examined the possible effects of the presence of a carer as an independent variable in pre-operative anxiety levels of patients in addition to the music intervention. The cultural validity of applying a music intervention to the reduction of pre-operative anxiety was also investigated. DESIGN: A quasi-experimental design with three groups: music intervention, nurse presence and control group. METHOD: Thirty patients having TURP were randomly assigned (n = 10 each group) to one of the three groups. Pre- and post-test measures of systolic and diastolic blood pressure, heart rate and state anxiety using the Chinese State-Trait Anxiety Inventory (C-STAI) were obtained for the three groups. RESULTS: The findings showed that the music intervention significantly reduced all blood pressure levels for the patients. A reduction in state anxiety level was also found for the music intervention group. No significant reductions in blood pressure, heart rate and state anxiety level were found in the nurse presence and control groups. CONCLUSION: The results support the cross-cultural validity of using a music intervention in pre-operative anxiety reduction, in this case for TURP patients waiting in the theatre holding area.

Anxiety↗
PubMed1998

Objective measurement of mood change induced by contemporary music.

A myriad of previous studies from a variety of disciplines has shown several effects of music on mind and body. This study investigated the relationship between different categories of contemporary music (n = 6) and the mood states of a group of students (n = 12), using the Profile of Mood States (POMS), to measure mood before and after exposure to these different pieces of music. When analysed together, all six pieces of music produced an overall change in mood (P = 0.008) as measured by 2-way repeated measures analysis of variance (ANOVA). When each category was examined individually, four categories of music produced highly significant changes in mood: the tense category (score -4.0 +/- 1.8 POMS Units; P < 0.001); depressed category (+0.5 +/- 0.2; P < 0.001); angry category (+0.9 +/- 1.6; P < 0.03); and the all moods category (1.6 +/- 0.3; P < 0.04). One piece of dance music produced changes in all mood categories, giving the largest positive mean mood change. By contrast, the popular/independent music, associated with the tense category, produced the largest negative mean mood change. The five POMS mood states were analysed separately for each piece of music. These findings are consistent with previous work. In addition, the finding of the effects of specific music categories on mood may have important implications for therapy in mental health and mental health nursing.

Adult↗
PubMed2006

The effect of music during warm-up on consecutive anaerobic performance in elite adolescent volleyball players.

Music is believed to improve athletic performance. The aim of the present study was to determine the effect of arousing music during warm-up on anaerobic performance in elite national level adolescent volleyball players. Twenty-four players (12 males and 12 females) performed the Wingate Anaerobic Test following a 10-minute warm-up with and without music (two separate occasions, random order). During warm-up with music, mean heart rate was significantly higher. Following the warm-up with music, peak anaerobic power was significantly higher in all volleyball players (10.7 +/- 0.3 vs. 11.1 +/- 0.3 Watts/kg, p < 0.05, without and with music, respectively). Gender did not influence the effect of music on peak anaerobic power. Music had no significant effect on mean anaerobic output or fatigue index in both genders. Music affects warm-up and may have a transient beneficial effect on anaerobic performance.

Acoustic Stimulation↗
PubMed2003

Effects of pre-exercise listening to slow and fast rhythm music on supramaximal cycle performance and selected metabolic variables.

We examined the effect of listening to two different types of music (with slow and fast rhythm), prior to supramaximal cycle exercise, on performance, heart rate, the concentration of lactate and ammonia in blood, and the concentration of catecholamines in plasma. Six male students participated in this study. After listening to slow rhythm or fast rhythm music for 20 min, the subjects performed supramaximal exercise for 45 s using a cycle ergometer. Listening to slow and fast rhythm music prior to supramaximal exercise did not significantly affect the mean power output. The plasma norepinephrine concentration immediately before the end of listening to slow rhythm music was significantly lower than before listening (p < 0.05). The plasma epinephrine concentration immediately before the end of listening to fast rhythm music was significantly higher than before listening (p < 0.05). The type of music had no effect on blood lactate and ammonia levels or on plasma catecholamine levels following exercise. In conclusion, listening to slow rhythm music decreases the plasma norepinephrine level, and listening to fast rhythm music increases the plasma epinephrine level. The type of music has no impact on power output during exercise.

Adult↗
PubMed2006

Synaesthesia for reading and playing musical notes.

This study reports three cases of synaesthesia who experience colors in response to written musical notation, graphemes and heard music. The synaesthetes show Stroop-like interference when asked to name the colour of graphemes but not for written musical notes. However, reliable interference is found in two further studies that require deeper processing of the musical notation (namely playing music from colored notation, and naming the synaesthetic color of the notes whilst suppressing the veridical color). This is the first empirical demonstration of synaesthesia for musical notation. The fact that synaesthetic color influences music playing/reading (a sensory-motor transformation) but not verbal color naming suggests that synaesthetic Stroop effects can arise from processing the meaning of a stimulus and not just as a result of verbal response interference. However, it is likely that the color associations themselves have a developmental origin in the names assigned to them. In all three cases, the colors of the written notes are related to the graphemes that arbitrarily denote them (e.g., 'A' may be "red" both as a letter and when written in musical notation). The results suggest that synaesthetic associations may migrate from one representational format (e.g., graphemes) to another (e.g., musical notation).

Acoustic Stimulation↗
PubMed2000

Receptive amusia: evidence for cross-hemispheric neural networks underlying music processing strategies.

Perceptual musical functions were investigated in patients suffering from unilateral cerebrovascular cortical lesions. Using MIDI (Musical Instrument Digital Interface) technique, a standardized short test battery was established that covers local (analytical) as well as global perceptual mechanisms. These represent the principal cognitive strategies in melodic and temporal musical information processing (local, interval and rhythm; global, contour and metre). Of the participating brain-damaged patients, a total of 69% presented with post-lesional impairments in music perception. Left-hemisphere-damaged patients showed significant deficits in the discrimination of local as well as global structures in both melodic and temporal information processing. Right-hemisphere-damaged patients also revealed an overall impairment of music perception, reaching significance in the temporal conditions. Detailed analysis outlined a hierarchical organization, with an initial right-hemisphere recognition of contour and metre followed by identification of interval and rhythm via left-hemisphere subsystems. Patterns of dissociated and associated melodic and temporal deficits indicate autonomous, yet partially integrated neural subsystems underlying the processing of melodic and temporal stimuli. In conclusion, these data contradict a strong hemispheric specificity for music perception, but indicate cross-hemisphere, fragmented neural substrates underlying local and global musical information processing in the melodic and temporal dimensions. Due to the diverse profiles of neuropsychological deficits revealed in earlier investigations as well as in this study, individual aspects of musicality and musical behaviour very likely contribute to the definite formation of these widely distributed neural networks.

Acoustic Stimulation↗
PubMed2003

The effects of music therapy on the quality and length of life of people diagnosed with terminal cancer.

The purpose of this study was to evaluate the effects of music therapy on quality of life, length of life in care, physical status, and relationship of death occurrence to the final music therapy interventions of hospice patients diagnosed with terminal cancer. Subjects were adults who were living in their homes, receiving hospice care, and were diagnosed with terminal cancer. A total of 80 subjects participated in the study and were randomly assigned to one of two groups: experimental (routine hospice services and clinical music therapy) and control (routine hospice services only). Groups were matched on the basis of gender and age. Quality of life was measured by the Hospice Quality of Life Index-Revised (HQOLI-R), a self-report measure given every visit. Functional status of the subjects was assessed by the hospice nurse during every visit using the Palliative Performance Scale. All subjects received at least two visits and quality of life and physical status assessments. A repeated measures ANOVA revealed a significant difference between groups on self-report quality of life scores for visits one and two. Quality of life was higher for those subjects receiving music therapy, and their quality of life increased over time as they received more music therapy sessions. Subjects in the control group, however, experienced a lower quality of life than those in the experimental group, and without music, their quality of life decreased over time. There were no significant differences in results by age or gender of subjects in either condition. Furthermore, there were no significant differences between groups on physical functioning, length of life, or time of death in relation to the last scheduled visit by the music therapist or counselor. This study provides an overview of hospice/palliative care, explains the role of music therapy in providing care, and establishes clinical guidelines grounded in research for the use of music therapy in improving the quality of life among the terminally ill.

Adult↗
PubMed2004

A post-hoc analysis of music therapy services for residents in nursing homes receiving hospice care.

This study analyzed the use of music therapy for residents in nursing homes receiving hospice care. An ex-post facto design was utilized to evaluate participants' length of life on the hospice program, time of death in relation to last visit by the social worker and music therapist, the number of sessions and total number of minutes spent in direct care by the social worker and music therapist, and care plan needs treated by the nurse, social worker, and music therapist. A total of 80 participants' medical records were randomly selected for this study. All participants were in nursing homes, 40 of whom had been referred to music therapy. Results showed no significant differences on the time of death in relation to last visit by hospice professional, but there were significant differences in the length of life for those receiving music therapy. Females in this study lived significantly longer than males. Participants received significantly more music therapy sessions than social work sessions, and music therapists spent significantly more time in direct care with participants than did social workers. Care plan needs were analyzed graphically and indicate that music therapists meet important needs of participants.

Adult↗
PubMed1987

The influence of subjective factors on temporary threshold shifts after exposure to music and noise of equal energy.

The present study examined the influence of subjective factors on temporary threshold shifts (TTS) after exposure to noise and music. Two groups of subjects, those who indicated liking and those who indicated disliking pop/rock music, were exposed to both noise and music on separate occasions. Subjects who liked the music exhibited less TTS following music than noise. They also exhibited less TTS in music than the subjects who disliked the music. Those who disliked the music evidenced greater magnitude of TTS in music than noise.

Attitude↗
PubMed2001

Music and the neurologist. A historical perspective.

Neurological disorders affecting musical function can produce either positive or negative symptoms. Positive phenomena include musicogenic epilepsy (seizures triggered by music), musical partial seizures (hallucinated music as the expression of the seizure), musical release hallucinations (nonepileptic musical hallucinations, usually associated with impaired hearing), and synesthesia (hallucinated colors triggered by musical tones). Negative phenomena comprise the amusias, which can be receptive, expressive, or both, and can selectively involve particular components of musical processing, including pitch, interval, contour, rhythm, meter, timbre, and emotional response. Amusia is often accompanied by aphasia, but each can occur in the absence of the other. Neurological disorders provide evidence that musical processing is multimodal and widely distributed in both cerebral hemispheres.

Aphasia↗
PubMed2005

Cardiovascular, cerebrovascular, and respiratory changes induced by different types of music in musicians and non-musicians: the importance of silence.

OBJECTIVE: To assess the potential clinical use, particularly in modulating stress, of changes in the cardiovascular and respiratory systems induced by music, specifically tempo, rhythm, melodic structure, pause, individual preference, habituation, order effect of presentation, and previous musical training. DESIGN: Measurement of cardiovascular and respiratory variables while patients listened to music. SETTING: University research laboratory for the study of cardiorespiratory autonomic function. PATIENTS: 12 practising musicians and 12 age matched controls. INTERVENTIONS: After a five minute baseline, presentation in random order of six different music styles (first for a two minute, then for a four minute track), with a randomly inserted two minute pause, in either sequence. MAIN OUTCOME MEASURES: Breathing rate, ventilation, carbon dioxide, RR interval, blood pressure, mid-cerebral artery flow velocity, and baroreflex. RESULTS: Ventilation, blood pressure, and heart rate increased and mid-cerebral artery flow velocity and baroreflex decreased with faster tempi and simpler rhythmic structures compared with baseline. No habituation effect was seen. The pause reduced heart rate, blood pressure, and minute ventilation, even below baseline. An order effect independent of style was evident for mid-cerebral artery flow velocity, indicating a progressive reduction with exposure to music, independent of style. Musicians had greater respiratory sensitivity to the music tempo than did non-musicians. CONCLUSIONS: Music induces an arousal effect, predominantly related to the tempo. Slow or meditative music can induce a relaxing effect; relaxation is particularly evident during a pause. Music, especially in trained subjects, may first concentrate attention during faster rhythms, then induce relaxation during pauses or slower rhythms.

Adult↗
PubMed1996

Dinner music for demented patients: analysis of video-recorded observations.

At a nursing home ward for demented patients, selections of dinner music were played during three periods of 2 weeks. At the end of the study was a control period. The reactions of five patients to three different types of music were registered by video observations. This study showed that the patients were affected by music, particularly soothing music. For example, it was found that when music was played one of the study's restless patients became unusually calm whereas another fed herself more than usual. The patients spent more time with dinner when music was played. Dinner music made the patients eat more calmly. Music as a nursing tool is an intervention that is simple to realize and worth trying. A tentative conclusion of this study is that music can beneficially affect restless and agitated demented patients.

Aged↗
PubMed2005

Music and anxiety in Williams syndrome: a harmonious or discordant relationship?

In this two-part study, we assessed musical involvements in two samples of persons with Williams syndrome compared to others with mental retardation and also related musicality to anxiety and fears in Study 2. Relative to others with mental retardation, those with Williams syndrome were more likely to take music lessons, play an instrument, and have higher ratings of musical skills. In the Williams syndrome groups only, fewer externalizing symptoms were associated with listening to music, whereas less anxiety and fewer fears were associated with the frequency, duration, and skill in producing music as well as emotional responses to negatively toned music. Implications are discussed for future research on musical processing, musical interventions, and well-being in Williams syndrome and other groups.

Acoustic Stimulation↗
PubMed1993

Interactive effects of musical and visual cues on time perception: an application to waiting lines in banks.

This study explores the interactive effects of musical and visual cues on time perception in a specific situation, that of waiting in a bank. Videotapes are employed to stimulate the situation; a 2 x 3 factorial design (N = 427) is used: 2 (high vs low) amounts of visual information and 2 (fast vs slow) levels of musical tempo in addition to a no-music condition. Two mediating variables are tested in the relation between the independent variables (musical and visual ones) and the dependent variable (perceived waiting time), mood and attention. Results of multivariate analysis of variance and a system of simultaneous equations show that musical cues and visual cues have no symmetrical effects: the musical tempo has a global (moderating) effect on the whole structure of the relations between dependent, independent, and mediating variables but has no direct influence on time perception. The visual cues affect time perception, the significance of which depends on musical tempo. Also, the "Resource Allocation Model of Time Estimation" predicts the attention-time relation better than Ornstein's "storage-size theory." Mood state serves as a substitute for time information with slow music, but its effects are cancelled with fast music.

Adult↗
PubMed1994

Effects of gender and listeners' preference on magnitude-estimation scaling of rock music.

The purpose of the present study was to examine the effects of gender and listener preference on magnitude-estimation scaling of rock music. Four groups of young adults were tested: 14 women who liked rock music, 14 women who disliked rock music, 14 men who liked rock music, and 14 men who disliked rock music. Subjects were instructed to assign numerical values to a random series of nine suprathreshold intensity levels of a 10-sec. sample of rock music. Analysis indicated that there was no difference in scaling performance between women and men. There was a difference in scaling performance between the group of women who liked rock music and the group of women who disliked rock music. There was no difference in the way the two groups of men performed the scaling task. These results suggest that men and women perform magnitude-estimation scaling of rock music similarly. Women, however, allow preference to influence how they choose numbers during magnitude-estimation scaling tasks whereas men do not.

Adolescent↗
PubMed1994

Emotional reactions to music by gender, age, and expertise.

Fragments of classical music were submitted to 80 subjects, 40 children 9 to 10 years old and 40 adults 19 to 29 years old who were divided into eight groups of ten, to induce feelings of happiness, sadness, anger, and fear. The task required linking each piece of music to one emotion, identifying at the same time the intensity of the emotional response on a scale of 1 to 3. The goal was to study how gender, age, and exposure or expertise related to emotional perceptions of music. Analysis showed (a) experts in music and nonexperts ascribed similar emotions to pieces of music, (b) there was no difference in emotional response to music by gender, although women linked to music stronger emotions of anger than girls, (c) children perceived greater feeling of happiness in music and less feeling of anger than adults, and (d) emotions of anger and fear in music were often confused with one another.

Adult↗
PubMed2000

Does background music in a store enhance salespersons' persuasiveness?

Background music has been studied as a key element of the store atmosphere in terms of its emotional effects; however, previous studies have shown also that music may have cognitive influence on consumers. How does music affect the salespersons' persuasive efforts within the store? To answer this question an experimental study was designed to assess the effects of four levels of arousing music conditions (no-low-moderate high arousing music). The level of pleasure of the musical pieces was controlled for. Music does not moderate significantly the effects of the salespersons on the intent to buy, but low and moderately arousing music (similarly low and moderately interesting musical pieces) does influence significantly the effects on the acceptance of the salesperson's arguments and the "desire to affiliate," i.e., to enter into communication.

Adult↗
PubMed1997

Recognition of music in long-term memory: are melodic and temporal patterns equal partners?

The notion that the melody (i.e., pitch structure) of familiar music is more recognizable than its accompanying rhythm (i.e., temporal structure) was examined with the same set of nameable musical excerpts in three experiments. In Experiment 1, the excerpts were modified so as to keep either their original pitch variations, whereas durations were set to isochrony (melodic condition) or their original temporal pattern while played on a single constant pitch (rhythmic condition). The subjects, who were selected without regard to musical training, were found to name more tunes and to rate their feeling of knowing the musical excerpts far higher in the melodic condition than in the rhythmic condition. These results were replicated in Experiment 2, wherein the melodic and rhythmic patterns of the musical excerpts were interchanged to create chimeric mismatched tunes. The difference in saliency of the melodic pattern and the rhythmic pattern also emerged with a music-title-verification task in Experiment 3, hence discarding response selection as the main source of the discrepancy. The lesser effectiveness of rhythmic structure appears to be related to its lesser encoding distinctiveness relative to melodic structure. In general, rhythm was found to be a poor cue for the musical representations that are stored in long-term memory. Nevertheless, in all three experiments, the most effective cue for music identification involved the proper combination of pitches and durations. Therefore, the optimal code of access to long-term memory for music resides in a combination of rhythm and melody, of which the latter would be the most informative.

Adult↗