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At least 127 records · Page 7Linked to original sources
PubMed1998

Preference for musical tempo involving systematic variations of presented tempi for known and unknown musical excerpts.

Previous studies have indicated inconsistently that preferred tempo was moderate or fast. The basis for inconsistency might be differences in methods, i.e., differences in tempo operation and subjects' experience of listening to musical pieces. The present study examined the preference for tempo using known and unknown melodies which were presented at varied tempi systematically. 119 undergraduates not majoring in music were subjects, divided into three subgroups, slow, medium, and fast music groups according to tempi designated by composers. Subjects rated items about Perceived Activity and affect for each stimulus presented at varied tempi. Subjects evaluated fast tempi as active regardless of differences in the designated tempi and prior listening experience. Affect (including preference) showed an inverted-U shape relationship to variations in tempo. The most preferred tempo was the designated tempo for known melodies, while moderate tempi (109 to 130 in metronome measure) were preferred for unknown melodies.

Acoustic Stimulation↗
PubMed1999

[Music and heart rate variability. Study of the effect of music on heart rate variability in healthy adolescents].

The effect of trophotropic (relaxing) music on heart rate and heart rate variability has been investigated in 23 healthy young individuals by means of 24-hour Holter-ECG. Relaxing music (Bach, Vivaldi, Mozart) resulted in significant reduction of heart rate and also significant reduction of heart rate variability. The significance of these results for the use of music in coronary heart disease is discussed.

Adolescent↗
PubMed1996

Perception of musical tension in short chord sequences: the influence of harmonic function, sensory dissonance, horizontal motion, and musical training.

This study investigates the effect of four variables (tonal hierarchies, sensory chordal consonance, horizontal motion, and musical training) on perceived musical tension. Participants were asked to evaluate the tension created by a chord X in sequences of three chords [C major-->X-->C major] in a C major context key. The X chords could be major or minor triads major-minor seventh, or minor seventh chords built on the 12 notes of the chromatic scale. The data were compared with Krumhansl's (1990) harmonic hierarchy and with predictions of Lerdahl's (1988) cognitive theory, Hutchinson and Knopoff's (1978) and Parncutt's (1989) sensory-psychoacoustical theories, and the model of horizontal motion defined in the paper. As a main outcome, it appears that judgments of tension arose from a convergence of several cognitive and psychoacoustics influences, whose relative importance varies, depending on musical training.

Auditory Perception↗
PubMed1988

Measuring musical responsiveness in autistic children: a comparative analysis of improvised musical tone sequences of autistic, normal, and mentally retarded individuals.

This study provided a systematic analysis of improvised tone sequences of autistic children, as compared to musical improvisations by normal and mentally retarded control subjects. The data indicate that autistic children's tone patterns, analyzed and scored for rhythm, restriction, complexity, rule adherence, and originality, almost reached the scores of normal children. The highest individual total score in the study was achieved by an autistic child. Autistic children scored significantly higher than a control group of mentally retarded individuals. The autistic children's tone sequences showed high scores on the rhythm, restriction, and originality scales which support the notion of unusual musical responsiveness and abilities when compared to results in other performance and behavioral areas. In terms of complexity and rule adherence, autistic children's tone sequences resembled those of the mentally retarded by being rather short and repetitive.

Adult↗
PubMed1991

A musical road to recovery: music in intensive care.

The aim in this paper is to review the possible beneficial effects of music on intensive care patients. Many aspects are considered incorporating the history and physiological and psychological effects music may have. This is then related to the nurses' role within intensive care situations.

Critical Care↗
PubMed1994

Computer music in the service of music therapy: the MIDIGRID and MIDICREATOR systems.

The paper describes the use of the MIDIGRID and MIDICREATOR systems with a range of transducers and interface devices in music therapy. This opens up new possibilities, as well as new challenges in the way in which such technology may be used in therapy. The paper includes a discussion of the role of music therapy, together with some case histories involving the use of these systems.

Adolescent↗
PubMed2005

The visual/kinesthetic effects of melodic contour in musical notation as it affects vocal timbre in singers of classical and music theater repertoire.

The purpose of this investigation was to obtain information from professional singers active in performing of both classical and music theater repertoire with regard to the visual/kinesthetic effect of melodic contour in musical notation as it affects vocal timbre. The evaluation of data gathered during the study indicates that there is reason to investigate the resulting postural shifts of the head and neck because they are guided by visual maps of melodic contour and its inversion. Significantly, it was discovered that the tone quality produced when a singer's head and neck postures followed the natural melodic contour of the melody was in no case considered to be the most pleasing of the conditions studied and that, in many cases, the tone quality produced when a singer's head and neck postures followed a map of the inversion of the melodic contour was judged to be much improved. The results of the study also indicate that the development of new technology for the general teaching studio, designed to address these effects, may be useful to these singers.

Adult↗
PubMed1997

Perceiving musical stability: the effect of tonal structure, rhythm, and musical expertise.

The goal of this study was to investigate several factors that determine musical stability in unaccompanied tonal melodies. Following M. R. Jones's (1987) theory of dynamic attending, the author assumed that strongly accented tones act as stable melodic reference points. Three main results were observed: (a) tonal structure, rhythm, and melodic factors (i.e., pitch skips or change in melodic contour) all contributed to defining the stability experienced on the melodic tones; (b) a linear combination of 5 melodic and rhythmic features provided a good fit to the stability ratings; and (c) some of these features contributed differently, depending on the extent of musical expertise of the participants. The results are interpreted within C. L. Krumhansl's (1990) model of tonal perception and Jones's theory of dynamic attending.

Auditory Perception↗
PubMed2000

Music therapy practicum practices: a survey of music therapy educators.

Music therapy program directors were surveyed about various aspects of their music therapy practica. The survey addressed various aspects of the structure of the practicum, on-campus clinics, faculty supervision, videotaped supervision, and evaluation of practicum students. Responses were received from 38 educators from undergraduate programs. Results indicate that there is wide variety in the number of practica required and in the amount of time spent in practica. Several populations are included in the practicum experiences offered by every university, although the means of achieving this variety varies. Results also showed variations in the way that practicum experiences are set up so that in some cases students observe and assist, sometimes eventually assuming full responsibility for the session, while in others the students are responsible for the entire session from the beginning. The content of classes that accompany the practica, when such classes exist, is similar from program to program. There are also wide variations in practicum supervision and faculty compensation for this supervision.

Curriculum↗
PubMed1996

Linguistic aspects of magnitude-estimation scaling of instrumental music, instrumental music with vocal accompaniment, and spoken lyrics.

An analysis of variance of magnitude estimates of loudness of three different types of complex auditory stimuli, instrumental music, instrumental music with vocal accompaniment, and spoken lyrics showed, for 100 young adults, no differences for the types of stimuli. The linguistic aspects of these complex auditory stimuli do not differentially influence loudness judgments.

Adolescent↗
PubMed2001

Naming of musical notes: a selective deficit in one musical clef.

We investigated the ability to perform solfeggio, i.e. oral reading of musical notes in MP, a 65 year-old female professional musician, who, following a left temporoparietal ischemia, showed a complex pattern of amusia. The deficit on which we focused was her inability to read orally the bass (F) clef, often substituting it with the violin (G) clef. This problem could not be attributed to a lack of comprehension. The patient could in fact correctly perform on the piano the same sequences she erroneously read aloud; she was also able to correctly judge whether two strings, one in bass clef and the other in violin clef, represented the same sequence of notes. The problem seems to lie in the inability to retrieve note names keeping into account the clef-rule. It is hypothesized that, in the production of note names, this function requires the identification and application of syntactic-like information, in analogy with what is thought to happen in the retrieval of other words.

Aged↗
PubMed2001

Drugs and the dance music scene: a survey of current drug use patterns among a sample of dance music enthusiasts in the UK.

This study explores the utility of a self-completion survey method to quickly and cheaply generate information on patterns and trends among regular "recreational" drug consumers. Data is reported here from 1151 subjects accessed through a dance music publication. In keeping with previous studies of drug use within the dance scene polysubstance use was the norm. Many of those reporting use of "ecstasy" were regularly using multiple tablets often consumed in combination with other substances thus exposing themselves to serious health risks, in particular the risk of dose related neurotoxic effects. Seventy percent were drinking alcohol at hazardous levels. Subjects' patterns of drug purchasing also put them at risk of severe criminal sanction. Data supported evidence that cocaine use had become increasing popular in the UK, but contrasted with some commentators' views that ecstasy use was in decline. The utility of this method and how the results should be interpreted is discussed, as are the data's implications for harm and risk reduction activities.

Adult↗
PubMed1985

Music psychopathology. I. Musical tempo and psychiatric disease.

In 53 psychiatric inpatients and 31 matched controls musical tempo was examined by means of instrumental playing of a well-known children's song. Despite an extreme interindividual tempo range the individual tempo remained surprisingly stable also over longer periods of time. The assumption that tempo would slow down in correlation with depressed mood could only be confirmed for endogenous-depressive patients, although neurotic and schizophrenic patients were often depressed to a comparable extent. Tapping at maximum speed refers to the supposed correlation with weakened motor performance in psychotic depression which is discussed.

Adolescent↗
PubMed1985

Music psychopathology. II. Assessment of musical expression.

A short polarity profile which was well suited for the assessment of the musical expression of performances recorded from mentally ill patients and controls is described. 9 out of 12 polarities showed sufficient differentiating qualities, ranging from professional to poor amateur performances. Only 3 polarities had to be reformulated. The assessments of the 3 experts had a high interrater reliability and retest stability. The very significant correlation between the results of the experts and 50 independent subjects indicates the validity of the experiment.

Humans↗
PubMed1999

[Vibration-assisted music therapy reduces pain and promotes relaxation of para- and tetraplegic patients. A pilot study of psychiatric and physical effects of simultaneous acoustic and somatosensory music stimulation as pain management].

Pain is a well known phenomenon in posttraumatic spinal cord injuries. Nearly 10% of the patients develop most severe, invalidizing, as a rule neurogenic pain conditions that are hardly accessible to conventional therapies. A pilot study was therefore conducted with 10 paraplegics and tetraplegics suffering chronic pain, investigating how vibration supported music therapy with the Musica Medica method affected pain experience, tension/relaxation and well-being. In addition to subjective experience, we measured physiological parameters (finger tip skin temperature, electrodermal activity, heart rate, respiration frequency) during the therapy sessions. All patients had a high acceptance of the method which throughout the group had brought about an increase in relaxation and well-being as well as a decrease of pain experience. The autonomic nervous system variables correlated with relaxation and in addition pointed to an activating impact of the therapy chosen.

Adult↗
PubMed1989

Masculinity, femininity, and musical composition psychological and psychoendocrinological aspects of musical and spatial faculties.

Physiological and psychological masculinity and femininity were assessed in relation to musical capacities and spatial ability. Male composers had lower mean testosterone levels than male instrumentalists and male non-musicians; female composers had higher testosterone levels than female instrumentalists and female non-musicians. Testosterone in saliva was the physiological marker for androgyny. All of the groups were found to be psychologically androgynous on Bem's Sex-Role Inventory and all groups had above average spatial ability. Musicians, however, surpassed non-musicians on spatial visualization and on Witelson's Dichaptic Stimulation Test.

Adult↗