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PubMedDate not supplied

The effect of music-based imagery and musical alternate engagement on the burn debridement process.

Management of pain is a primary concern in the treatment of burn patients. The intent of this study was to test the efficacy of music-based imagery and musical alternate engagement in assisting burn patients in managing their pain and anxiety during debridement. Twenty-five patients, 7 years of age and older, who were admitted to the Comprehensive Burn Care Center were enrolled in the study, which used a repeated-measures design with subjects serving as their own control. Subjects were randomly assigned to 1 of 2 groups. Those placed in Group A received music therapy intervention during their first dressing change, and no music therapy on the following day. Group B received no music therapy intervention during their first dressing change and music therapy during their next dressing, on the following day. Data were collected at 4 intervals in the medical procedure; in the patient's room before transfer to the treatment room, in the treatment room during debridement, in the treatment room after debridement, and upon returning to the patient's room. The measurements taken were pulse, patients' self-report of pain, patients' self-report of anxiety, and the nurse's observation of patients' tension. There was a significant reduction in the self-reporting of pain in those who received music therapy in contrast to those who did not receive music therapy (P < .03). Music therapy is a valuable noninvasive intervention for the treatment of pain after burn injury.

Adolescent↗
PubMed1994

Music for the dying: a personal account of the new field of music-thanatology--history, theories, and clinical narratives.

Music-thanatology is a palliative medical modality employing prescriptive music to tend the complex physical and spiritual needs of the dying. "Infirmary music" was an intimate expression of French monastic medicine in 11th-century Cluny and anticipated the holism of both the hospice and palliative medical movements by almost 800 years. Although no longer an expression of any institutional religious identity, music-thanatology is nevertheless concerned with the possibility of a blessed death and the gift that conscious dying can bring to the fullness of life. Music-thanatology interns seek to integrate and model these contemplative and clinical values in daily practice: 18 interns deliver prescriptive music in bedside vigils serving the dying in home, hospital, and hospice settings with great effectiveness in oncology, respiratory illnesses, the slow degenerative diseases, and AIDS. This article is submitted to nurses to serve as an introduction to the field of music-thanatology, providing readers with a brief history, meaningful clinical narratives, some of the musical theories involved, research concerns (archival and medical), and milestones to be addressed for the future implementation of music-thanatology in hospitals and hospices and communities across the nation.

Forecasting↗
PubMedDate not supplied

Music thanatology: prescriptive harp music as palliative care for the dying patient.

Music thanatology represents an emerging area in which the raw materials of music, usually harp and/or voice, assist and comfort the dying patient. During prescriptive "music vigils, " the clinician-musician carefully observes physiological changes, cues, and breathing patterns, thereby synchronizing the music to reflect or support the patient's physiology and overall condition. Using data collected from 65 patients, this study was designed to assess the effectiveness of prescriptive harp music on selected palliative care outcomes using a sample of de-identified data forms from past music vigils. Patients were administered a 25- to 95-minute intervention of prescriptive harp music. Data collected included vital signs and observational indicators before (Ti) and after (T2) the vigil. Patients were more likely to experience decreased levels of agitation and wakefulness while also breathing more slowly and deeply with less effort at the conclusion of the music vigil. Results from this study suggest that a prescriptive vigil conducted by a trained music thanatologist could provide an effective form of palliative care for dying patients.

Aged↗
PubMed1992

Biochemical and galvanic skin responses to music stimuli by college students in biology and music.

The purpose of this study was to examine biochemical and physiological responses to musical stimuli. Specifically, university music and biology students' plasma levels of norepinephrine, endorphin, and cortisol, and their galvanic skin responses were measured before and after listening to two different musical selections in an anechoic chamber and during controlled silence. The results indicated that biochemical variables changed significantly in both groups during listening to music but were not different during the controlled silence. These data suggest that music majors may listen more analytically to music. GSR responses were significantly higher for music majors than biology majors, and plasma cortisol increased in music students but decreased in biology students. Music which elicits specific emotions induces physiological changes which may be beneficial to relaxation and behavioral therapies.

Adult↗
PubMed2003

Dyslexia and music. From timing deficits to musical intervention.

The underlying causes of the language and literacy difficulties experienced by dyslexic children are not yet fully understood, but current theories suggest that timing deficits may be a key factor. Dyslexic children have been found to exhibit timing difficulties in the domains of language, music, perception and cognition, as well as motor control. The author has previously suggested that group music lessons, based on singing and rhythm games, might provide a valuable multisensory support tool for dyslexic children by encouraging the development of important auditory and motor timing skills and subsequently language skills. In order to examine this hypothesis, a research program was designed that involved the development of group music lessons and musical tests for dyslexic children in addition to three experimental studies. It was found that classroom music lessons had a positive effect on both phonologic and spelling skills, but not reading skills. Results also indicated that dyslexic children showed difficulties with musical timing skills while showing no difficulties with pitch skills. These apparent disassociations between spelling and reading ability and musical timing and pitch ability are discussed. The results of the research program are placed in the context of a more general model of the potential relationship between musical training and improved language and literacy skills.

Auditory Perception↗
PubMed1995

Intonation of musical intervals by musical intervals by deaf subjects stimulated with single bipolar cochlear implant electrodes.

Some subjects with cochlear implants have been shown to associate electrical stimulus pulse rates with the pitches of musical tones. In order to clarify the role of these pitch sensations in a musical context, the present investigation examined the intonation accuracy achieved by implant subjects when adjusting pulse rates in the reconstruction of musical intervals. Using a method of adjustment, the subjects altered a variable pulse rate, relative to a fixed reference rate, on one electrode, in the tuning of musical intervals abstracted from familiar melodies. At low pulse rates, subjects generally tuned the intervals to the same frequency ratios which define tonal musical intervals in normal-hearing listeners, with error margins comparable to musically untrained subjects. Two subjects were, in addition, able to transpose these melodic intervals from a standard reference pulse rate to higher and lower reference rates (reference and target pulse rates with geometric means of the intervals ranging from 81 to 466 pulses/s). Generally, the intervals were adjusted on a ratio scale, according to the same frequency ratios which define analogous acoustical musical intervals. These results support the hypothesis that, at low pulse rates, a temporal code in the auditory nerve alone is capable of defining musical pitch.

Acoustic Stimulation↗
PubMed2004

Music improves dopaminergic neurotransmission: demonstration based on the effect of music on blood pressure regulation.

The mechanism by which music modifies brain function is not clear. Clinical findings indicate that music reduces blood pressure in various patients. We investigated the effect of music on blood pressure in spontaneously hypertensive rats (SHR). Previous studies indicated that calcium increases brain dopamine (DA) synthesis through a calmodulin (CaM)-dependent system. Increased DA levels reduce blood pressure in SHR. In this study, we examined the effects of music on this pathway. Systolic blood pressure in SHR was reduced by exposure to Mozart's music (K.205), and the effect vanished when this pathway was inhibited. Exposure to music also significantly increased serum calcium levels and neostriatal DA levels. These results suggest that music leads to increased calcium/CaM-dependent DA synthesis in the brain, thus causing a reduction in blood pressure. Music might regulate and/or affect various brain functions through dopaminergic neurotransmission, and might therefore be effective for rectification of symptoms in various diseases that involve DA dysfunction.

Animals↗
PubMed2005

Musical structure modulates semantic priming in vocal music.

It has been shown that harmonic structure may influence the processing of phonemes whatever the extent of participants' musical expertise [Bigand, E., Tillmann, B., Poulin, B., D'Adamo, D. A., & Madurell, F. (2001). The effect of harmonic context on phoneme monitoring in vocal music. Cognition, 81, B11-B20]. The present study goes a step further by investigating how musical harmony may potentially interfere with the processing of words in vocal music. Eight-chord sung sentences were presented, their last word being either semantically related (La girafe a un tres grand cou, The giraffe has a very long neck) or unrelated to the previous linguistic context (La girafe a un tres grand pied, The giraffe has a very long foot). The target word was sung on a chord that acted either as a referential tonic chord or as a congruent but less referential subdominant chord. Participants performed a lexical decision task on the target word. A significant interaction was observed between semantic and harmonic relatedness suggesting that music modulates semantic priming in vocal music. Following Jones' dynamic attention theory, we argue that music can modulate semantic priming in vocal music, by modifying the allocation of attentional resource necessary for linguistic computation.

Humans↗
PubMed2005

Music, memory, and Alzheimer's disease: is music recognition spared in dementia, and how can it be assessed?

Despite intriguing and suggestive clinical observations, no formal research has assessed the possible sparing of musical recognition and memory in Alzheimer's dementia (AD). A case study is presented of an 84-year old woman with severe cognitive impairment implicating AD, but for whom music recognition and memory, according to her caregivers, appeared to be spared. The hypotheses addressed were, first, that memory for familiar music may be spared in dementia, and second, that musical recognition and memory may be reliably assessed with existing tests if behavioral observation is employed to overcome the problem of verbal or written communication. Our hypotheses were stimulated by the patient EN, for whom diagnosis of AD became probable in 2000. With severe problems in memory, language, and cognition, she now has a mini-mental status score of 8 (out of 30) and is unable to understand or recall standard instructions. In order to assess her music recognition abilities, three tests from the previous literature were adapted for behavioral observation. Two tests involved the discrimination of familiar melodies from unfamiliar melodies. The third involved the detection of distortions ("wrong" notes) in familiar melodies and discrimination of distorted melodies from melodies correctly reproduced. Test melodies were presented to EN on a CD player and her responses were observed by two test administrators. EN responded to familiar melodies by singing along, usually with the words, and often continuing to sing after the stimulus had stopped. She never responded to the unfamiliar melodies. She responded to distorted melodies with facial expressions - surprise, laughter, a frown, or an exclamation, "Oh, dear!"; she never responded in this way to the undistorted melodies. Allowing these responses as indicators of detection, the results for EN were in the normal or near normal range of scores for elderly controls. As well, lyrics to familiar melodies, spoken in a conversational voice without rhythmic or pitch clues, often prompted EN to sing the tune that correctly accompanied the lyrics. EN's results provide encouraging support for our hypotheses that sparing of musical memory may be a feature of some forms of dementia and that it may be reliably and quantitatively assessed through behavioral observation. The contrast between EN's response to music and her mini-mental status is dramatic. The article concludes with several considerations why music may be preserved in dementia and suggestions to guide future research.

Aged↗
PubMed1997

The musical brain: brain waves reveal the neurophysiological basis of musicality in human subjects.

To reveal neurophysiological prerequisites of musicality, auditory event-related potentials (ERPs) were recorded from musical and non-musical subjects, musicality being here defined as the ability to temporally structure auditory information. Instructed to read a book and to ignore sounds, subjects were presented with a repetitive sound pattern with occasional changes in its temporal structure. The mismatch negativity (MMN) component of ERPs, indexing the cortical preattentive detection of change in these stimulus patterns, was larger in amplitude in musical than non-musical subjects. This amplitude enhancement, indicating more accurate sensory memory function in musical subjects, suggests that even the cognitive component of musicality, traditionally regarded as depending on attention-related brain processes, in fact, is based on neural mechanisms present already at the preattentive level.

Adolescent↗
PubMed2006

Redesign and initial validation of an instrument to assess the motivational qualities of music in exercise: the Brunel Music Rating Inventory-2.

In the present study, a measure to assess the motivational qualities of music in exercise was redesigned, extending previous research efforts (Karageorghis et al., 1999). The original measure, the Brunel Music Rating Inventory (BMRI), had shown limitations in its factor structure and its applicability to non-experts in music selection. Redesign of the BMRI used in-depth interviews with eight participants (mean age 31.9 years, s = 8.9 years) to establish the initial item pool, which was examined using a series of confirmatory factor analyses. A single-factor model provided a good fit across three musical selections with different motivational qualities (comparative fit index, CFI: 0.95-0.98; standardized root mean residual, SRMR: 0.03-0.05). The single-factor model also demonstrated acceptable fit across two independent samples and both sexes using one piece of music (CFI: 0.86-1.00; SRMR: 0.04-0.07). The BMRI was designed for experts in selecting music for exercise (e.g. dance aerobic instructors), whereas the BMRI-2 can be used both by exercise instructors and participants. The psychometric properties of the BMRI-2 are stronger than those of the BMRI and it is easier to use. The BMRI-2 provides a valid and internally consistent tool by which music can be selected to accompany a bout of exercise or a training session. Furthermore, the BMRI-2 enables researchers to standardize music in experimental protocols involving exercise-related tasks.

Adult↗
PubMed2000

Brain indices of music processing: "nonmusicians" are musical.

Only little systematic research has examined event-related brain potentials (ERPs) elicited by the cognitive processing of music. The present study investigated how music processing is influenced by a preceding musical context, affected by the task relevance of unexpected chords, and influenced by the degree and the probability of violation. Four experiments were conducted in which "nonmusicians" listened to chord sequences, which infrequently contained a chord violating the sound expectancy of listeners. Integration of in-key chords into the musical context was reflected as a late negative-frontal deflection in the ERPs. This negative deflection declined towards the end of a chord sequence, reflecting normal buildup of musical context. Brain waves elicited by chords with unexpected notes revealed two ERP effects: an early right-hemispheric preponderant-anterior negativity, which was taken to reflect the violation of sound expectancy; and a late bilateral-frontal negativity. The late negativity was larger compared to in-key chords and taken to reflect the higher degree of integration needed for unexpected chords. The early right-anterior negativity (ERAN) was unaffected by the task relevance of unexpected chords. The amplitudes of both early and late negativities were found to be sensitive to the degree of musical expectancy induced by the preceding harmonic context, and to the probability for deviant acoustic events. The employed experimental design opens a new field for the investigation of music processing. Results strengthen the hypothesis of an implicit musical ability of the human brain.

Acoustic Stimulation↗
PubMedDate not supplied

Pain, music creativity and music therapy in palliative care.

An analysis of the music therapy literature yields numerous reports to support the role of music in the alleviation of pain in palliative care. Four theoretical perspectives that support why many patients report reduced pain sensation after music therapy include: the psychological relationship between music and pain; the psychophysiological theory; spinal mechanisms involved in pain modulation; and the role of endorphins. Considerations significant to the use of music in pain relief include how music, used inappropriately, can aggravate pain sensation. Case studies, which include the use of creative music therapy techniques, point to the efficacy of music therapy in alleviating the pain experiences of both palliative care patients and their significant others.

Creativity↗
PubMed2006

Effect of musical training on musical perception and hearing sensitivity: conventional and high-frequency audiometric comparison.

This prospective study was designed to investigate the role of musical training on musical perception and hearing acuity and to determine probable hearing loss. Thirty students, aged 17 to 23 years, were evaluated for hearing sensitivity within conventional and high-frequency audiometric ranges. The hearing thresholds of the controls were compared with those of the students. To evaluate the effect of musical training on musical perception, students were given an examination consisting of single-note, harmonic hearing; multiple sounds (chords with two, three, and four sounds), horizontal hearing; melody, and rhythm. Musical perception and the average hearing level of the students on admission to the faculty were compared with the data from students after a 2-year musical education program. The hearing sensitivity of the students at the initial and final evaluations was not similar. The average hearing acuity increased for the whole conventional audiometric range (p < .05). There was worsening for 12, 14, and 16 kHz for the high-frequency audiometric range (p < .05). The decrease in average hearing acuity at these frequencies was statistically significant, as indicated by Student's t-test (p < .05). Although the average musical hearing sensitivity increased for horizontal hearing (p < .05), it did not change for harmonic hearing (p > .05). Musical training might increase the spontaneous attention to the sound heard and the ability to discriminate. Hearing reduction at the high frequencies might be attributed to continuous noise exposure.

Adolescent↗
PubMed2000

The effect of an interactive experience on music majors' perceptions of music for deaf students.

The purpose of this study was to examine the effect of an interactive experience on music majors' perceptions of music experiences for deaf students. Twenty-three members of a pre-existing college brass ensemble served as subjects, and a 1-hour interactive concert/presentation for 10 deaf elementary children served as the independent variable. The interactive experience was designed to provide social, musical, and educational interactions between the college musicians and the deaf children. A pretest-posttest design was utilized, and the dependent variable was a questionnaire designed to examine the subjects' perceptions regarding music for deaf students, including how prepared, comfortable, and willing they felt to provide music experiences for deaf students. Results reveal that this single interactive experience had a significant effect on the subjects' perceptions of the value of music in the education of deaf children (p <.05). Although the pretest and posttest scores indicate that the subjects felt apprehensive about their preparedness to work with deaf students, the subjects felt significantly more positive about their preparedness following the interaction (p <.001). An analysis of open comments indicates that the subjects perceived the experience as (a) very positive, (b) increasing their knowledge and perception of music for deaf students, (c) helping them better relate to the deaf population, (d) promoting interest in similar experiences and in gaining more information, and (e) eliciting a feeling that future teachers should have similar experiences. Quotes from the subjects are given, and implications for teacher training/music therapy programs are discussed.

Adult↗
PubMed2006

The role of music in deaf culture: deaf students' perception of emotion in music.

Although emotional interpretation of music is an individual and variable experience, researchers have found that typical listeners are quite consistent in associating basic or primary emotions such as happiness, sadness, fear, and anger to musical compositions. It has been suggested that an individual with a sensorineural hearing loss, or any lesion in auditory perceptors in the brain may have trouble perceiving music emotionally. The purpose of the present study was to investigate whether students with a hearing loss who associate with the deaf culture, assign the same emotions to music as students without a hearing loss. Sixty-two elementary and junior high students at a Midwestern state school for the deaf and students at neighboring elementary and junior high schools served as participants. Participants at the state school for the deaf had hearing losses ranging from moderate to severe. Twelve film score excerpts, composed to depict the primary emotions-happiness, sadness, and fear, were used as the musical stimuli. Participants were asked to assign an emotion to each excerpt. Results indicated a significant difference between the Deaf and typical hearing participants' responses, with hearing participants' responses more in agreement with the composers' intent. No significant differences were found for age or gender. Analyses of the Deaf participants' responses indicate that timbre, texture, and rhythm are perhaps the musical elements most influential in transmitting emotion to persons with a hearing loss. Adaptive strategies are suggested for assisting children who are deaf in accessing the elements of music intended to portray emotion.

Adolescent↗
PubMed2006

Songs composed for use in music therapy: a survey of original songwriting practices of music therapists.

While researchers have documented the efficacy of clinical songwriting in music therapy, limited research has been conducted on songs composed by music therapists that address clinical goals. The purpose of this research was to examine the original songwriting practices of music therapists. Professional music therapists (N = 1,364) received a 14-question survey via email asking each to identify client populations and clinical goals addressed by original songs, their length of time in clinical practice, and specifics about their acquisition of songwriting skills. The data collected from 302 completed surveys revealed that respondents who used original songs were most likely to work with children and adolescents in schools or the developmental disability field and wrote songs in order to individualize treatment. Music therapists working with persons over 65 years of age in long term care or assisted living programs were the least likely to use original songs in clinical practice, opting for interventions utilizing the client's familiar music. Most music therapists found songwriting generally easy, but only 37% indicated that they acquired this skill during their undergraduate degree. Additional research on the clinical efficacy of original songs and therapist's compositional processes is needed to identify best practices models for strategic songwriting.

Adolescent↗