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PubMed1997

Music in theatre: not so harmonious. A survey of attitudes to music played in the operating theatre.

Music played to staff in the operating theatre is thought to improve surgeons' concentration but its effects on other theatre staff are unknown. We surveyed 200 anaesthetists to determine the prevalence of music playing in the operating theatre and anaesthetists' attitudes to it. The response rate was 72% and of these 72% (104) worked in a theatre where music was played regularly. Around 26% of the sample felt that music reduced their vigilance and impaired their communication with other staff while 11.5% felt that music might distract their attention from alarms. Fifty-one per cent felt that music was distracting when a problem was encountered during the anaesthetic.

Adult↗
PubMed2006

Effects of musical expertise and boundary markers on phrase perception in music.

A neural correlate for phrase boundary perception in music has recently been identified in musicians. It is called music closure positive shift ("music CPS") and has an equivalent in the perception of speech ("language CPS"). The aim of the present study was to investigate the influence of musical expertise and different phrase boundary markers on the music CPS, using event-related brain potentials (ERPs) and event-related magnetic fields (ERFs). Musicians and nonmusicians were tested while listening to binary phrased melodies. ERPs and ERFs of both subject groups differed considerably from each other. Phrased melody versions evoked an electric CPS and a magnetic CPSm in musicians, but an early negativity and a less pronounced CPSm in nonmusicians, suggesting different perceptual strategies for both subject groups. Musicians seem to process musical phrases in a structured manner similar to language. Nonmusicians, in contrast, are thought to detect primarily discontinuity in the melodic input. Variations of acoustic cues in the vicinity of the phrase boundary reveal that the CPS is influenced by a number of parameters that are considered to indicate phrasing in melodies: pause length, length of the last tone preceding the pause, and harmonic function of this last tone. This is taken as evidence that the CPS mainly reflects higher cognitive processing of phrasing, rather than mere perception of pauses. Furthermore, results suggest that the ERP and MEG methods are sensitive to different aspects within phrase perception. For both subject groups, qualitatively different ERP components (CPS and early negativity) seem to reflect a top-down activation of general but different phrasing schemata, whereas quantitatively differing MEG signals appear to reflect gradual differences in the bottom-up processing of acoustic boundary markers.

Adult↗
PubMed2001

[Music therapy for chronic headaches. Evaluation of music therapeutic groups for patients suffering from chronic headaches].

PROBLEM: This paper presents a new approach to music therapeutic treatments. We developed a short time treatment ( 8 group sessions) for patients suffering from chronic headaches. The multimodal concept of this headache treatment and particularly the effect of a sound trance on headache patients are explained and evaluated in this paper. METHODS: An evaluation study was done with 34 patients, who belonged to four therapy groups. In order to evaluate this treatment the patients were interviewed and had to fill out several self-rating scales about pain and some psychological variables (e. g. depression) before, directly after and 6-12 months after the treatment. This treatment group (n=26) was compared to a small waiting group (n=9). A case study elucidated the psycho-social anamnesis, and the process and outcome of the music therapy. RESULTS: The case study shows that the sound trance caused a loss of the affect control or at least reduced it. This experience enabled the patients to develop creative solutions, which resulted in a pain relief 6-12 month later. The comparison of the statistic means directly before and after the treatment did not reveal many therapeutic effects. Yet, 6-12 months later many patients reported less days at which they suffered from headaches; and they also significantly improved their ability of pain control. CONCLUSION: The results indicate that music therapy groups are more successful than a waiting group. The study's results agree with numerous other psychological evaluation studies and shows once more that music therapists working with patients suffering from chronic headaches are able to achieve successful results particularly long-dated. Thus, creative therapeutic approaches supplement the medical treatment, as they help the patients to develop an adaptive way of coping their pain. Yet, it will need further research to confirm the benefit of music therapy for patients suffering from chronic pain.

Adult↗
PubMed2006

The emotional power of music: how music enhances the feeling of affective pictures.

Music is an intriguing stimulus widely used in movies to increase the emotional experience. However, no brain imaging study has to date examined this enhancement effect using emotional pictures (the modality mostly used in emotion research) and musical excerpts. Therefore, we designed this functional magnetic resonance imaging study to explore how musical stimuli enhance the feeling of affective pictures. In a classical block design carefully controlling for habituation and order effects, we presented fearful and sad pictures (mostly taken from the IAPS) either alone or combined with congruent emotional musical excerpts (classical pieces). Subjective ratings clearly indicated that the emotional experience was markedly increased in the combined relative to the picture condition. Furthermore, using a second-level analysis and regions of interest approach, we observed a clear functional and structural dissociation between the combined and the picture condition. Besides increased activation in brain areas known to be involved in auditory as well as in neutral and emotional visual-auditory integration processes, the combined condition showed increased activation in many structures known to be involved in emotion processing (including for example amygdala, hippocampus, parahippocampus, insula, striatum, medial ventral frontal cortex, cerebellum, fusiform gyrus). In contrast, the picture condition only showed an activation increase in the cognitive part of the prefrontal cortex, mainly in the right dorsolateral prefrontal cortex. Based on these findings, we suggest that emotional pictures evoke a more cognitive mode of emotion perception, whereas congruent presentations of emotional visual and musical stimuli rather automatically evoke strong emotional feelings and experiences.

Acoustic Stimulation↗
PubMed2005

Separate cortical networks involved in music perception: preliminary functional MRI evidence for modularity of music processing.

Music perception is a quite complex cognitive task, involving the perception and integration of various elements including melody, harmony, pitch, rhythm, and timbre. A preliminary functional MRI investigation of music perception was performed, using a simplified passive listening task. Group independent component analysis (ICA) was used to separate out various components involved in music processing, as the hemodynamic responses are not known a priori. Various components consistent with auditory processing, expressive language, syntactic processing, and visual association were found. The results are discussed in light of various hypotheses regarding modularity of music processing and its overlap with language processing. The results suggest that, while some networks overlap with ones used for language processing, music processing may involve its own domain-specific processing subsystems.

Adult↗
PubMed2002

Music matters: preattentive musicality of the human brain.

During listening to a musical piece, unexpected harmonies may evoke brain responses that are reflected electrically as an early right anterior negativity (ERAN) and a late frontal negativity (N5). In the present study we demonstrate that these components of the event-related potential can be evoked preattentively, that is, even when a musical stimulus is ignored. Both ERAN and N5 differed in amplitude as a function of music-theoretical principles. Participants had no special musical expertise; results thus provide evidence for an automatic processing of musical information in onmusicians."

Adolescent↗
PubMed1990

The role of knowledge-based expectations in music perception: evidence from musical restoration.

The perceptual restoration of musical sounds was investigated in 5 experiments with Samuel's (1981a) discrimination methodology. Restoration in familiar melodies was compared to phonemic restoration in Experiment 1. In the remaining experiments, we examined the effect of expectations (generated by familiarity, predictability, and musical schemata) on musical restoration. We investigated restoration in melodies by comparing familiar and unfamiliar melodies (Experiment 2), as well as unfamiliar melodies varying in tonal and rhythmic predictability (Experiment 3). Expectations based on both familiarity and predictability were found to reduce restoration at the melodic level. Restoration at the submelodic level was investigated with scales and chords in Experiments 4 and 5. At this level, key-based expectations were found to increase restoration. Implications for music perception, as well as similarities between restoration in music and speech, are discussed.

Adult↗
PubMed2005

Auditory feedback in music performance: the role of melodic structure and musical skill.

Five experiments explored whether fluency in musical sequence production relies on matches between the contents of auditory feedback and the planned outcomes of actions. Participants performed short melodies from memory on a keyboard while musical pitches that sounded in synchrony with each keypress (feedback contents) were altered. Results indicated that altering pitch contents can disrupt production, but only when altered pitches form a sequence that is structurally similar to the planned sequence. These experiments also addressed the role of musical skill: Experiments 1 and 3 included trained pianists; other experiments included participants with little or no musical training. Results were similar across both groups with respect to the disruptive effects of auditory feedback manipulations. These results support the idea that a common hierarchical representation guides sequences of actions and the perception of event sequences and that this coordination is not acquired from learned associations formed by musical skill acquisition.

Adolescent↗
PubMed2002

Music is as distracting as noise: the differential distraction of background music and noise on the cognitive test performance of introverts and extraverts.

Previous research has found that introverts' performance on complex cognitive tasks is more negatively affected by distracters, e.g. music and background television, than extraverts' performance. This study extended previous research by examining whether background noise would be as distracting as music. In the presence of silence, background garage music and office noise, 38 introverts and 38 extraverts carried out a reading comprehension task, a prose recall task and a mental arithmetic task. It was predicted that there would be an interaction between personality and background sound on all three tasks: introverts would do less well on all of the tasks than extraverts in the presence of music and noise but in silence performance would be the same. A significant interaction was found on the reading comprehension task only, although a trend for this effect was clearly present on the other two tasks. It was also predicted that there would be a main effect for background sound: performance would be worse in the presence of music and noise than silence. Results confirmed this prediction. These findings support the Eysenckian hypothesis of the difference in optimum cortical arousal in introverts and extraverts.

Adolescent↗
PubMed1990

Assessment of musical processing in brain-damaged patients: implications for laterality of music.

Reception and production aspects of musical ability were assessed in two studies of left cerebro-vascular accident (LCVA) and right cerebro-vascular accident (RCVA) patients and controls. Musical tasks included perception of rhythm and pitch variations in familiar and unfamiliar tunes; and production of a well-known song, three original melodies, and imitation of rhythm patterns. The only "laterality of music" effect to emerge in the first study was impaired ability in LVCA patients to correctly perceive rhythmic changes. In the second study LCVAs were poorer than the other two groups in the singing of novel melodies, and both lesioned groups were poorer than controls in singing a familiar tune and in tapping rhythms. Premorbid musical ability was significantly related to performance over all groups combined. The RCVA group showed an inconsistent pattern of performance. The LCVA group was consistently more impaired over all tasks but apart from the aforementioned effects this was nonsignificant. It is argued that laterality effects for music processing cannot be reliably established.

Aged↗
PubMed1983

Effects of a music therapy program upon awareness of mood in music, group cohesion, and self-esteem among hospitalized adolescent patients.

Subjects for this study were 13 hospitalized patients given the diagnosis of adjustment reaction to adolescence. The subjects were randomly divided into experimental and control groups. The experimental period consisted of 18 1-hour sessions. Subjects in the control group did not attend music therapy activities. Experimental subjects engaged in group discussions concerning moods and emotions in music, expression and identification of body language, story composition to recorded music, and drawing to music. Four types of pre and posttests were administered: agreement on mood or emotion expressed in music as measured by an adjective checklist; sociograms to measure group cohesion; the number of pronouns expressing group feelings ("we, our"); and scores of the Coopersmith Self-Esteem Inventory. Significant differences in favor of experimental subjects were found on the adjective checklist (p = .01) and the group versus personal pronouns (p less than .05). The group cohesion measure approached significance (p = .062).

Adolescent↗
PubMed1987

Music Rx: physiological and emotional responses to taped music programs of preoperative patients awaiting plastic surgery.

This study investigated the physiological and emotional responses of patients awaiting an elective plastic surgery procedure to a 30-minute taped music program. The study replicated in part the research study of Bonny entitled "Music Rx." Values for the physiological variables of systolic blood pressure, diastolic blood pressure, pulse rate, mean arterial pressure (MAP), and double product index (DPI) were obtained before and after the music listening. These data were analyzed via a repeated measures t-test using each subject as her or his own control. The convenience sample of 10 was nonrandomized. Emotional responses were evaluated by means of an open-ended, nondirective questionnaire developed around 5 categories of depression, sadness, and despair; psychological isolation and defensiveness; anxiety; difficulty of medical management; and preoccupation with pain. Process recordings and documented verbal and body language were used before and after the music to identify themes and mood states expressed by patients. Every physiological variable decreased in value at the less than .001 level of significance. The most significant emotional effect appeared to be an experienced shift in patients' awareness toward a more relaxed, calm state. The most critical conclusion is that music listening appeared to effect desirable pattern shifts in physiological and emotional states in the presurgical setting for those patients studied.

Blood Pressure↗
PubMed1991

Musical aptitudes, musical interests and mental retardation.

A modified version of the Bentley scales of musical aptitude was given to a sample of mild and moderately retarded adults chosen on the basis of alleged musical interest or experience. Several comparison groups were also given the assessment battery. The musical nominees generally performed more accurately than both matched retarded subjects with no particular musical interests and a group of normal children matched on (Wechsler) vocabulary scores. The musical nominees showed especially high performance on the subtest assessing voice analysis in chords.

Adult↗
PubMed2006

Can music bring people together? Effects of shared musical preference on intergroup bias in adolescence.

Recent research has successfully applied social identity theory to demonstrate how individuals use music as a basis for intergroup differentiation. The current study investigated how music might also be used to encourage the development of positive intergroup attitudes. Participants (N = 97) were allocated to one of two experimentally created social groups and then led to believe that the groups had similar or different musical preferences. They then evaluated each group and reported their perceptions concerning how they expected their own group to be evaluated by the other group. Participants who believed the groups had similar musical preferences reported more positive intergroup attitudes relative to a control group; they also expected to be evaluated more positively by members of the other group. However, positive intergroup perceptions were also reported by those who believed the two groups had different musical preferences. The implications of these findings for theory and practice are discussed.

Adolescent↗
PubMed1994

University biology and music majors' emotional ratings of musical stimuli and their physiological correlates of heart, rate, finger temperature, and blood pressure.

Physiological responses associated with the ratings of musical stimuli were investigated. For 101 university music and biology students in the experimental group, heart rate, blood pressure, and finger temperature were measured before and after listening to about 10 min. of music (Venus and Jupiter from Holst's The Planets) in an anechoic chamber. They also served as their own controls by sitting in silence for about 10 min. No significant differences were found on the three measures for the two musical stimuli between the musical or control conditions or between the two majors.

Adult↗
PubMed2004

Music, musicians, and the brain: an exploration of musical genius. The 2004 presidential address.

The concept of musical genius used to frame a discussion of the "art" practiced by neurosurgeons is the focus of the 2004 Presidential Address to the American Association of Neurological Surgeons (AANS). The musical genius, in contrast to the musically talented individual, is profiled and placed in the pantheon of those who have demonstrated extraordinary creativity. Observations and speculations about the specialization and elaboration of brain structures in musicians evolve into a discussion of artificial intelligence as a foil to what constitutes the essence of humanity. Taking an inductive approach, the author juxtaposes the conclusion about "music, musicians, and the brain" with the theme of the 2004 annual meeting of the AANS, "Advancing Patient Care Through Technology and Creativity," to elaborate on the characteristics of the consummate neurosurgeon. (Note: Musical vignettes used in the address can be found in the accompanying article posted on Neurosurgical Focus http://www.aans.org/education/journal/neurosurgical).

Brain↗
PubMed2004

Timing variations in music performance: musical communication, perceptual compensation, and/or motor control?

A perceptual performance paradigm was designed to disentangle the timing variations in music performance that are due to perceptual compensation, motor control, and musical communication. First, pianists perceptually adjusted the interonset intervals of three excerpts so that they sounded regular. These adjustments deviated systematically from regularity, highlighting two sources of perceptual biases in time perception: rhythmic grouping and a psychoacoustic intensity effect. Then the participants performed the excerpts on the piano in the same regular way. The intensity effect disappeared, and some variations due to motor constraints were observed in relation to rhythmic groups. Finally, the participants performed the excerpts musically. Variations due to musical communication involved additional group-final lengthening that reflected the hierarchical grouping structure of the excerpts. These results underline the nuclear role of grouping in musical time perception and production.

Adult↗
PubMed2001

Bringing music to life: a study of music therapy and palliative care experiences in a cancer hospital.

A music therapy research study aimed at understanding patients', visitors' and staff members' experiences of a music therapy program in a cancer hospital over a three-month period is described. Respondents' answers to brief open-ended questions, as well as the music therapist researcher's interpretations of the program's relevance, were examined using thematic analysis based on grounded theory. ATLAS.ti software supported data management and analysis. Themes encapsulating 128 patients' reflections about music therapy were delineated and substantiate how music therapy can support palliative care aims throughout the cancer illness trajectory.

Adolescent↗