Music and the brain research paper

Related slideshares at project research hed on apr 16, ainment & humor,Are you sure you want message goes you sure you want message goes , im doing my senior project on the same thing. You sure you want message goes y/music therpist at mahatma gandhi medical college and research y/music project research 1ryan naybennett12th lit/comp16 september 2011 how music affects the brain music has been affecting society throughout history. Music is just a part of human instinct; all the cultures thatcan be found on earth can be traced to music. It has been proven that music has many influences on humans in positive andnegative ways. Music has been proven to alter a person’s mood, and has shown to causephysical responses in many people simultaneously. Classical music causes the heart beat and pulse rateto relax to the beat of the music. By decreasing the blood pressure this enhances the ability to affects the brain by influencing behavior, being therapeutic, and helps the mind processinformation more efficiently. Theirstudies have also shown that music may even help patients heal from disease or stroke. Elenamannes, a lead scientist in brain research, has tracked the human relationship with musicthroughout a person’s lifetime. She believes that one day music will play a major role in howpeople deal with their health. Mannes even went far enough to say that the cries ofbabies just a few weeks old were discovered to have some intervals common to western also states that scientists believe music stimulates more parts of the brain than any otherhuman function. With this knowledge, she sees that music has so much potential when it comesto affecting the brain and how it of the main areas of the brain music can have a realimpact on is with neurological deficits. For example, if a patient who just had a stroke occur andlost verbal functions, those functions can be stimulated by music. However,the right side has not been proven for that role in any way; people with brain damage to the leftand right side still appreciate music in the same way. Studies of musical understanding inpeople who have damage to either hemisphere, as well as brain scans of people taken whilelistening to tunes, reveal that music perception emerges from the interplay of activity in bothsides of the brain” (joelving). To interpret music all sounds go into the ears, then travel to the auditorycortex, which are assemblages of cells just above both ears. On the left side of thebrain, people can process quick changes in frequency and intensity. A reason for this is because without both sides ofthe brain it is impossible to tell the difference between three-quarter and four-quarter time. Thefront of thebrain is where memories are stored, which also plays part in rhythm and 3perception. Research has also found that activities in the brain control movement even whenpeople just listen to music without moving any parts of their bodies. Studies have found that music can reduce stress, aid relaxation, alleviatedepression, and help store and recall information among other functions” (kirkweg). A vitalway music reduces stress in the body is by lowering the total amount of the hormone can be a great stress reliever for everyday life. The brain is made up of a veryintricate system of neural networks that sends information from one part of the brain to h studying neural networks it has been discovered that there are many factors that seem toaffect this. The music factorimproves the efficiently of how the brain transfers information; therefore, improving memory forthe patients. Many scientific experiments and projects have been completed to discover the extent ofthe power of music. Until 1970, research done on music had to do with studying effects thatrelates to the beat of the music. It was found that slow-paced music could slow the heartbeat andthe breathing rate as well as decrease blood pressure. The key component of music that makes it positive to the brainis the order in which it is made. The order of the music from the baroque and classical 4causes the brain to respond in special ways. When the brain translates theorder of music it is a lot like doing a math problem in school. Once realized by the brain, themind starts performing more efficiently while listening to this ordered music. An example of thebrain figuring out the order in music is when the brain looks at different pieces of informationand decides if they are different or the same. By studying the biology of music, people could use music in areas where it produces vitalbenefits like the medical field. Recently though, studies have started to show that in intensive care units wherebackground music is played, the patients need lower amounts of the drugs compared to patientswith no music.

Research paper on how music affects your mood

It does not just stop there; hospitals also play background music in intensive careunits for premature babies. Researchers have found that such music, as well as a nurses ormothers humming, helps babies to gain weight faster and to leave the unit earlier than babieswho dont hear these sounds” (cromie). By being difficult to organize fights occur, but with the right type of music theconfusion and disagreements are reduced. These are just a few of many practical reasons whymusic has such a strong effect on the mind. It has been theorized that individuals are greatly influenced by the tonesfound in their native language which in turn influence their native music” (sancar). Oncerealizing this, it easy to imply that individuals born into diverse cultures have brains which 5formed to respond to different types of melodies. For music to cause an emotional response, the areas used in deciphering,learning, and remembering music must be linked to the areas producing an emotional short terms this means to get an emotional response from a song, the brain needs to decipherand learn it to make a connection to its emotions. The main reason for people liking a certaintype of music all depends on which type produces the most endorphins. Also liking certain typesof music all depends on the mood that a person is currently in. Music has also been proven toactivate areas of the limbic system which are vital in producing pleasurable effects. Having this information, there are more possibilitiesof using music therapy like for people who have depression in their lives. It is quite easy to see exactly how strong the power of music is and will become in thefuture. For example, a study shows thatstudents who study music in high school make better grades then those who do not. Thereasoning for this is that listening to music makes you think more efficiently and improves yourmemory. Society has relied on music so greatly that without music life would change as weknow it today. Every culture that has been created throughout history has some form of music,showing that music is fundamental to life. Music is now being used as therapy which isradicalizing the way people think of sound. People can lower their blood pressure, findhappiness through depression, and recover through major surgery all by the power of g skills with linkedin course - linkedin oint 2016 essential course - linkedin ng online course - linkedin project research project research an's senior project research project research g research paper sent successfully.. 00511pmcid: pmc3741536the psychological functions of music listeningthomas schäfer,1,* peter sedlmeier,1 christine städtler,1 and david huron21department of psychology, chemnitz university of technology, chemnitz, germany2school of music, cognitive and systematic musicology laboratory, ohio state university, columbus, oh, usaedited by: andriy myachykov, northumbria university, ukreviewed by: darya zabelina, northwestern university, usa; clemens wöllner, uni bremen, germany*correspondence: thomas schäfer, department of psychology, chemnitz university of technology, 09107 chemnitz, germany e-mail: hcysp@this article was submitted to frontiers in cognition, a specialty of frontiers in information ► article notes ► copyright and license information ►received 2013 apr 29; accepted 2013 jul ght © 2013 schäfer, sedlmeier, städtler and is an open-access article distributed under the terms of the creative commons attribution license (cc by). No use, distribution or reproduction is permitted which does not comply with these article has been cited by other articles in ctwhy do people listen to music? Over the past several decades, scholars have proposed numerous functions that listening to music might fulfill. However, different theoretical approaches, different methods, and different samples have left a heterogeneous picture regarding the number and nature of musical functions. Part one of the paper reviews the research contributions that have explicitly referred to musical functions. It is concluded that a comprehensive investigation addressing the basic dimensions underlying the plethora of functions of music listening is warranted. Part two of the paper presents an empirical investigation of hundreds of functions that could be extracted from the reviewed contributions. Principal component analysis suggested three distinct underlying dimensions: people listen to music to regulate arousal and mood, to achieve self-awareness, and as an expression of social relatedness. The first and second dimensions were judged to be much more important than the third—a result that contrasts with the idea that music has evolved primarily as a means for social cohesion and communication. The implications of these results are discussed in light of theories on the origin and the functionality of music listening and also for the application of musical stimuli in all areas of psychology and for research in music ds: music, functions of music, self-awareness, social relatedness, arousal regulation, mood regulationintroductionmusic listening is one of the most enigmatic of human behaviors. Moreover, in the array of seemingly odd behaviors, few behaviors match music for commandeering so much time, energy, and money. Music is a ubiquitous companion to people's everyday enthusiasm for music is not a recent development. Recognizably musical activities appear to have been present in every known culture on earth, with ancient roots extending back 250,000 years or more (see zatorre and peretz, 2001). The ubiquity and antiquity of music has inspired considerable speculation regarding its origin and hout history, scholars of various stripes have pondered the nature of music. Philosophers, psychologists, anthropologists, musicologists, and neuroscientists have proposed a number of theories concerning the origin and purpose of music and some have pursued scientific approaches to investigating them (e. There is little physical evidence—like stone carvings or fossilized footprints—that might provide clues to music's past.

Nevertheless, there are a number of plausible and interesting conjectures that offer useful starting-points for investigating the functions of music. Promising approach to the question of music's origins focuses on how music is used—that is, it's various functions. The assumption is that the function(s) that music is presumed to have served in the past would be echoed in at least one of the functions that music serves today. Of course, how music is used today need have no relationship with music's function(s) in the remote past. Nevertheless, evidence from modern listeners might provide useful clues pertinent to theorizing about proposing various musical functions, not all scholars have related these functions to music's presumed evolutionary roots. For many scholars, the motivation has been simply to identify the multiple ways in which music is used in everyday lives (e. Consequently, the existing literature is something of a aim of the present study is to use the extant literature as a point of departure for a fresh re-appraisal of possible musical functions. In part 1 of our study, we summarize the results of an extensive literature survey concerning the possible functions of music. Specifically, we identified and skimmed hundreds of publications that explicitly suggest various functions, uses, or benefits for music. We do not refer to each of the identified publications but concentrate on the ones that have identified either more than one single function of music listening or a single unique function that is not captured in any other publication. In part 2, we present the results of an empirical study whose purpose was to distill—using principal components analysis (pca)—the many proposed functions of music listening. To anticipate our results, we will see that pca suggests three main dimensions that can account for much of the shared variance in the proposed musical of the research on the functions of musicdiscussions and speculations regarding the functions of music listening can be found in both theoretical literature concerning music as well as in empirical studies of music. Table ​tablea1a1 provides an overview of theoretical proposals regarding musical function, whereas table ​tablea2a2 provides an overview of empirical studies regarding musical function. Together, the two tables provide a broad inventory of potential functions for tical approachesmany scholars have discussed potential functions of music exclusively from a theoretical point of view. In addition, in the literature, one commonly finds lists or collections of functions that music can have. Given the aim of assembling a comprehensive list, all works are included in our ons of music as they derive from specific approaches or theoriesevolutionary approaches. Darwin discussed some possibilities but felt there was no satisfactory solution to music's origins (darwin, 1871, 1872). Miller (2000), for instance, has argued that music making is a reasonable index of biological fitness, and so a manifestation of sexual selection—analogous to the peacock's tail. Anyone who can afford the biological luxury of making music must be strong and healthy. Thus, music would offer an honest social signal of physiological r line of theorizing refers to music as a means of social and emotional communication. Similar idea is that music contributes to social cohesion and thereby increases the effectiveness of group action. Relatedly, music may provide a means to reduce social stress and temper aggression in others. The idea that music may function as a social cement has many proponents (see huron, 2001; mithen, 2006; bicknell, 2007). Novel evolutionary theory is offered by falk (2004a,b) who has proposed that music arose from humming or singing intended to maintain infant-mother attachment. Humming or singing consequently arose as a consoling signal indicating caretaker proximity in the absence of physical r interesting conjecture relates music to human anxiety related to death, and the consequent quest for meaning. Dissanayake (2009), for example, has argued that humans have used music to help cope with awareness of life's transitoriness. In a manner similar to religious beliefs about the hereafter or a higher transcendental purpose, music can help assuage human anxiety concerning mortality (see, e. For example, music-induced chills produce reduced activity in brain structures associated with anxiety (blood and zatorre, 2001). 275) has noted that: “we all hear the music we like as something special, as something that defies the mundane, takes us “out of ourselves,” puts us somewhere else. The experience of flow states (nakamura and csikszentmihalyi, 2009), peaks (maslow, 1968), and chills (panksepp, 1995), which are often evoked by music listening, might similarly be interpreted as forms of transcendence or escapism (see also fachner, 2008). Generally, schubert (2009) has argued that the fundamental function of music is its potential to produce pleasure in the listener (and in the performer, as well). Relatedly, music might have emerged as a safe form of time-passing—analogous to the sleeping behaviors found among many predators. As humans became more effective hunters, music might have emerged merely as an entertaining and innocuous way to pass time during waking hours (see huron, 2001). Anthropological accounts of music often refer to multiple social and cultural benefits arising from music.

In his book, the anthropology of music, merriam proposed 10 social functions music can serve (e. Merriam's work has had a lasting influence among music scholars, but also led many scholars to focus exclusively on the social functions of music. Following in the tradition of merriam, dissanayake (2006) proposed six social functions of ritual music (such as display of resources, control, and channeling of individual aggression, and the facilitation of courtship). Many scholars have steered clear of evolutionary speculation about music, and have instead focused on the ways in which people use music in their everyday lives today. This approach focuses on the needs and concerns of the listeners and tries to explain how people actively select and use media such as music to serve these needs and concerns. Arnett (1995) provides a list of potential uses of music such as entertainment, identity formation, sensation seeking, or culture r line of research is “experimental aesthetics” whose proponents investigate the subjective experience of beauty (both artificial or natural), and the ensuing experience of pleasure. For example, in discussing the “recent work in experimental aesthetics,” bullough (1921) distinguished several types of listeners and pointed to the fact that music can be used to activate associations, memories, experiences, moods, and way of summary, many musical functions have been proposed in the research literature. Evolutionary speculations have tended to focus on single-source causes such as music as an indicator of biological fitness, music as a means for social and emotional communication, music as social glue, music as a way of facilitating caretaker mobility, music as a means of tempering anxiety about mortality, music as escapism or transcendental meaning, music as a source of pleasure, and music as a means for passing time. Other accounts have posited multiple concurrent functions such as the plethora of social and cultural functions of music found in anthropological writings about music. Non-evolutionary approaches are evident in the uses-and-gratifications approach—which revealed a large number of functions that can be summarized as cognitive, emotional, social, and physiological functions—and the experimental aesthetics approach, whose proposed functions can similarly be summarized as cognitive and emotional ons of music as they derive from literature researchas noted, many publications posit musical functions without providing a clear connection to any theory. Some of these works refer to only one single function of music—most often because this functional aspect was investigated not with the focus on music but with a focus on other psychological phenomena. Yet other works list extensive collections of purported musical that refer to only one single functional aspect of music include possible therapeutic functions for music in clinical settings (cook, 1986; frohne-hagemann and pleß-adamczyk, 2005), the use of music for symbolic exclusion in political terms (bryson, 1996), the syntactic, semantic, and mediatizing use of film music (maas, 1993), and the use of music to manage physiological arousal (bartlett, 1996). Vast majority of publications identify several possible musical functions, most of which—as stated above—are clearly focused on social aspects. Most of these studies identified a very large number of potential functions of way of summary, there exists a long tradition of theorizing about the potential functions of music. In the ensuing section, we turn to consider empirically-oriented research regarding the number and nature of potential musical cal investigationsa number of studies have approached the functions of music from an empirical perspective. In the first approach, the research aim is to uncover or document actual musical functioning. That is, the research aims to observe or identify one or more ways in which music is used in daily life. In the second approach, the research goal is to infer the structure or pattern underlying the use of music. That is, the research aims to uncover potential basic or fundamental dimensions implied by the multiple functions of music. However, when discussing some of the most important works here, we will separate studies where respondents were asked for the functions of music in open surveys from studies where the authors provided their own collections of functions, based on either literature research or face s about the functions music can havea number of studies have attempted to chronicle the broad range of musical functions. Most of these studies employed surveys in which people were asked to identify the ways in which they make use of music in their lives. We will restrict our ensuing remarks to the largest and most comprehensive ro-premuzic and furnham (2007) identified 15 functions of music among students and subsequently ran focus groups from which they distilled three distinct dimensions: emotional use, rational use, and background use. She interviewed more than a thousand young people in different countries and assembled a comprehensive collection of musical functions. When interviewing older participants, hays and minichiello (2005) qualitatively identified six dimensions: linking, life events, sharing and connecting, wellbeing, therapeutic benefits, escapism, and various surveys and interview studies clearly diverge with regard to the number of different musical functions. Studies using predefined collections of functions of musicapart from the open-ended surveys and interview methods, a number of studies investigating musical functions begin with researcher-defined collections or even categories/dimensions. Some of these predefined collections or categories/dimensions were simply borrowed from the existing published research, whereas others were derived from specific theoretical cal studies on functions of music emerging from specific theoretical approaches. Some of the above mentioned theoretical approaches to the functionality of music have been investigated in empirical studies. Boehnke and münch (2003) developed a model of the relationship of adolescents' development, music, and media use. They proposed seven functions of music that relate to the developmental issues of young people (such as peer group integration, physical maturation, or identity development). 1972) and used a collection of 30 functions of music they assembled from literature research and interviews. Lehmann (1994) developed a situations-functions-preference model and proposed that music preferences emerge from the successful use of music to serve specific functions for the listener, depending on the current situation. Lehmann identified 68 ways in which people use music, from which he was able to reduce them to 15 music reception strategies (rezeptionsweisen) such as compensation/escapism, relaxation, and identification. Misenhelter and kaiser (2008) adopted merriam's (1964) anthropological approach and attempted to identify the functions of music in the context of music education. Wells and hakanen (1997) adopted zillmann's (1988a,b) mood management theory and identified four types of users regarding the emotional functions of music: mainstream, music lover, indifferent, and heavy cal studies on functions of music emerging from literature research.

A number of studies have made use of predefined musical functions borrowed from the existing research literature. As mentioned, not all of those studies tried to assemble an exhaustive collection of musical functions in order to produce a comprehensive picture of the functions of music; but many studies were focused on specific aspects such as the emotional, cognitive, or social functions of äfer and sedlmeier (2009) collected 17 functions of music from the literature and found functions related to the management of mood and arousal as well as self-related functions to be the ones that people highly ascribe to their favorite music. 2000) used a collection of 10 functions of music from the literature and factor analyzed them resulting in three distinct dimensions of music use: self-related, emotional, and and lull (1986) collected 18 functions of music videos and were able to reduce them to four dimensions: social learning, passing time, escapism/mood, and social interaction. Melton and galician (1987) identified 15 functions of radio music and music videos; and greasley and lamont (2011) collected 15 functions of music, as well. 2011) collected 19 functions of music from the literature and used confirmatory factor analysis to group them into five dimensions. In a clinical study with adolescents, walker kennedy (2010) found 47 functions of music that could be reduced to five way of summary, extant empirical studies have used either an open approach—trying to capture the variety of musical functions in the course of surveys or questionnaire studies—or predefined collections of functions as they resulted from specific theoretical approaches or from literature research. These different approaches have led to quite heterogeneous collections of possible musical functions—from only few functions posited by a specific hypothesis, to long lists arising from open surveys. Moreover, although the many attempts to distill the functions of music to fewer dimensions have produced some points of agreement, the overall picture remains structure among the functions of musicwith each successive study of musical functions, the aggregate list of potential uses has grown longer. Questionnaire studies, in particular, have led to the proliferation of possible ways in which music may be relevant in people's lives. Even if one sidesteps the question of possible evolutionary origins, the multitude of hundreds of proposed functions raises the question of whether these might not be distilled to a smaller set of basic noted earlier, previous research appears to converge on four dimensions: social functions (such as the expression of one's identity or personality), emotional functions (such as the induction of positive feelings), cognitive or self-related functions (such as escapism), and arousal-related functions (such as calming down or passing time). These four dimensions might well account for the basic ways in which people use music in their daily that cluster analysis and pca/factor analysis presume that the research begins with a range of variables that ultimately capture all of the factors or dimensions pertaining to the phenomenon under consideration. The validity of these analyses depends, in part, on including a sufficient range of variables so that all of the pertinent factors or dimensions are likely to ingly, we propose to address the question of musical functions anew, starting with the most comprehensive list yet of potential music-related functions. In addition, we will aim to recruit a sample of participants covering all age groups, a wide range of socio-economic backgrounds, and pursue our analysis without biasing the materials to any specific ental functions of music—a comprehensive empirical studythe large number of functions of music that research has identified during the last decades has raised the question of a potential underlying structure: are there functions that are more fundamental and are there others that can be subsumed under the fundamental ones? As we have outlined above, many scientists have been in search of basic distinct dimensions among the functions of music. For instance, some scholars have focused exclusively on the social functions of music while others have been interested in only the emotional ones; some used only adolescent participants while others consulted only older people. To date, there is still no conclusive categorization of the functions of music into distinct dimensions, which makes psychological studies that rely on the use of music and its effects on cognition, emotion, and behavior still difficult (see also stefanija, 2007). 2000; laiho, 2004; schubert, 2009; lonsdale and north, 2011), there has been no large-scale empirical study that analyzed the number and nature of distinct dimensions using the broad range of all potential musical functions—known so far—all at sought to remedy this deficiency by assembling an exhaustive list of the functions of music that have been identified in past research and putting them together in one questionnaire study. Based on the research reviewed in the first part of this study, we identified more than 500 items concerned with musical use or function. Specifically, we assembled an aggregate list of all the questions and statements encountered in the reviewed research that were either theoretically derived or used in empirical studies. All of the items were phrased as statements in the form “i listen to music because … ” the complete list of items is given in table ​tablea3,a3, together with their german versions as used in our participants were asked to rate how strongly they agreed with each item-statement on a scale from 0 (not at all) to 6 (fully agree). When responding to items, participants were instructed to think of any style of music and of any situation in which they would listen to music. That in carrying out such a survey, we are assuming that participants have relatively accurate introspective access to their own motivations in pursuing particular musical behaviors, and that they are able to accurately recall the appropriate experiences. Of course, there exists considerable empirical research casting doubt on the accuracy of motivational introspection in self-report tasks (e. Music helps people think about who they are, who they would like to be, and how to cut their own path. Music helps me show that i belong to a given social group; music makes me feel connected to my friends; music tells me how other people think). People can use music to feel close to their friends, to express their identity and values to others, and to gather information about their social environment. Music is a great pastime; music can take my mind off things) and as a means to get into a positive mood and regulate one's physiological arousal (e. Arousal and mood regulation proved to be the most important dimension of music listening closely followed by self-awareness. These two dimensions appear to represent the two most potent reasons offered by people to explain why they listen to music, whereas social relatedness seems to be a relatively less important reason (ranging below the scale mean). Discussionsince the earliest writing on the psychology of music, researchers have been concerned with the many ways in which people use music in their lives. In the first part of this paper, we reviewed literature spanning psychological, musicological, biological, and anthropological perspectives on musical function. Surveying the literature from the past 50 years, we identified more than 500 purported functions for music. Pca revealed just three distinct dimensions: people listen to music to achieve self-awareness, social relatedness, and arousal and mood regulation. We propose calling these the big three of music part one of our study we noted that several empirical studies suggest grouping musical functions according to four dimensions: cognitive, emotional, social/cultural, and physiological/arousal-related functions.

Music conveys feelings; music can lighten my mood; music helps me better understand my thoughts and emotions), indicating that they might play an important role in achieving self-awareness, probably in terms of identity formation and self-perception, respectively. Music makes me cheerful; music can enhance my mood; i'm less bored when i listen to music), suggesting that moods are not central issues pertaining to identity. Along with the maintenance of a pleasant level of physiological arousal, the maintenance of pleasant moods is an effect of music that might rather be utilized as a “background” strategy, that is, not requiring a deep or aware involvement in the music. The regulation of emotions, on the other side, could be a much more conscious strategy requiring deliberate attention and devotion to the music. Music psychology so far has not made a clear distinction between music-related moods and emotions; and the several conceptions of music-related affect remain contentious (see hunter and schellenberg, 2010). Our results appear to call for a clearer distinction between moods and emotions in music psychology noted earlier, a presumed evolutionary origin for music need not be reflected in modern responses to music. The three functional dimensions found in our study are compatible with nearly all of the ideas about the potential evolutionary origin of music mentioned in the introduction. The idea that music had evolved as a means for establishing and regulating social cohesion and communication is consistent with the second dimension. The idea of music satisfying the basic human concerns of anxiety avoidance and quest for meaning is consistent with the first dimension. And the notion that the basic function of music could have been to produce dissociation and pleasure in the listener is consistent with the third light of claims that music evolved primarily as a means for promoting social cohesion and communication—a position favored by many scholars—the results appear noteworthy. Seemingly, people today hardly listen to music for social reasons, but instead use it principally to relieve boredom, maintain a pleasant mood, and create a comfortable private space. Such a private mode of music listening might simply reflect a western emphasis on individuality: self-acknowledgement and well-being appear to be more highly valued than social relationships and relatedness (see also roberts and foehr, 2008; heye and lamont, 2010). Results of the present study may be of interest to psychologists who make use of music as a tool or stimulus in their research. The way people usually listen to music outside the laboratory will surely influence how they respond to musical stimuli in psychological experiments. For those researchers who make use of music in psychological studies, some attention should be paid to how music is used in everyday life. The three dimensions uncovered in this study can provide a parsimonious means to identify the value a person sets on each of three different types of music use. It is also conceivable that individual patterns of music use are related to personality traits, a conjecture which may warrant future regard to music cognition, the present results are especially relevant to studies about aesthetic preferences, style or genre preferences, and musical choice. Recent research suggests that musical functions play an important role in the formation and development of music preferences (e. It will be one of the future tasks of music cognition research to investigate the dependence of music preference and music choice on the functional use of music in people's way of summary, in a self-report study, we found that people appear to listen to music for three major reasons, two of which are substantially more important than the third: music offers a valued companion, helps provide a comfortable level of activation and a positive mood, whereas its social importance may have been ct of interest statementthe authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of ixtable a1overview of theoretical contributions that have derived, proposed, or addressed more than one function or functional aspect of music a2overview about empirical studies that have identified and/or investigated more than one function or functional aspect of music some places, we could only provide exemplary functions because either the total number of functions was too large to be displayed here or not all functions were given in the original a3the 129 statements referring to the functions of music exhaustively derived from past research, together with their means, standard deviations, and factor loadings (varimax rotated). Listen to music … [ich höre musik …]statisticsfactor loadingsmsd123because it helps me think about myself. Because it makes me feel connected to all people who like the same kind of music. Physiological responses to music and sound stimuli, in handbook of music psychology, 2nd edn, ed hodges d. Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Music makes the people come together: social functions of music listening for young people across cultures. Toward a pragmatics of musical communication, in music and manipulation: on the social uses and social control of music, eds brown s. Ritual and ritualization: musical means of conveying and shaping emotion in humans and other animals, in music and manipulation: on the social uses and social control of music, eds brown s. Root, leaf, blossom, or bole: concerning the origin and adaptive function of music, in communicative musicality: exploring the basis of human companionship, eds malloch s. The roles of music in society: the ethnomusicological perspective, in the social psychology of music, eds hargreaves d. A sociological approach to the pop music phenomenon: radio and music video utilization for expectation, motivation and satisfaction. Evolution of human music through sexual selection, in the origins of music, eds wallin n. Flow theory and research, in oxford handbook of positive psychology, 2nd edn, eds lopez s. Popular music in childhood and adolescence, in handbook of children and the media, eds singer d. An exploration of differences in response to music related to levels of psychological health in adolescents. The emotional use of popular music by adolescents, in mass media and society, eds wells a.

Outvisionwhy time mattersvideosorganizationpartners & affiliatesnsf science of learning centerspeopleexecutive committeeexternal advisory committeeprincipal investigatorstraineestraineesthe tdlc trainee committeeformer tdlc traineesstaffresearchcenter initiativesnetworksour labsinteracting memory systems networkperceptual expertise networksensory motor networksocial interaction networkfacilitiesresearch highlightsthe temporal huddlepublicationspress roomin the newsannouncementsnewsletterspublicationsawardseventsphoto galleryarchived newsopportunitiesfor studentstdlc investigators by institutiontdlc investigators by disciplinesan diego fellowship programfor educatorsjob opportunitiescontact uscontact initiativesnetworksour labsinteracting memory systems labsperceptual expertise network imotor network labssocial interaction networkfacilitiesresearch highlightsthe temporal research research : music and the is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend. Because of its temporal nature, it is an ideal focus for tdlc research, as well as a way to integrate across tdlc networks and can affect the brain in many ways, many of which are just now being studied. Music therapy — the clinical application of music to treat a wide range of diagnoses using physiological and medical approaches – has advanced dramatically over the past decade. It is proving to be an effective clinical tool for treating medical diagnoses such as alzheimer's disease, autism, post-traumatic stress disorder, dementia, stroke, nicu infants, language acquisition, dyslexia, pain management, stress and anxiety, coma, and ly, tdlc members were involved in organizing two conferences about music and the brain. The first, held on march 24, 2011 -- the newark workshop on music, brain and education at rutgers university -- was sponsored by tdlc and organized by tdlc co-director paula tallal. The second -- the new york academy of science multidisciplinary conference on "music, science and medicine" -- occurred the next day, on march 25, 2011. This landmark meeting explored the connection between recent scientific findings and their possible application to clinical music and physiological function. The ultimate goal of the conference was to bring together experts studying music in human adaptive function, physiological sciences, neuroscience, neurology, medical research, psychology, music education, and other related disciplines, and to promote collaborative research, communication, and translation of scientific research into music-based clinical treatments of disease. March 24, 2011, tdlc cod paula tallal organized a tdlc-sponsored conference -- the newark workshop on music, brain and education at rutgers university. Tdlc members paula tallal and gyorgy buzsáki were also involved in organizing a new york academy of science multidisciplinary conference on "music, science and medicine" on march 25, 2011. Paula tallal, who helped to organize the nyas music conference, explains how music -- more specifically timing in the auditory system -- might affect language development: "understanding the importance of auditory processing speed is really important for understanding how language works in the brain ... Using electroencephalographic recording, they have found that the way these infants process sound in their brains may provide a way to predict later language difficulties. The researchers hope to develop interventions that might correct any early deficiencies (please click here for more). Studies by nadine gaab, assistant professor of pediatrics at children's hospital boston and harvard medical school, have demonstrated that people with musical experience found it easier than non-musicians to detect small differences in word syllables. Musical experience improved the way people's brains process split-second changes in sounds and tones used in speech, and consequently, may affect the acoustic and phonetic skills needed for learning language and reading. The brain becomes more efficient and can process more subtle auditory cues that occur simultaneously," she said. Please click here to listen to nadine gaab present her recent research at the nyas 2011 conference, posted on the science network). Another key investigator in the field of music and the brain, nina kraus from northwestern university, is studying the neurobiology underlying speech and music perception. She has found that "musical experience strengthens neural, perceptual and cognitive skills that undergird hearing speech in noise throughout the lifespan. Researchers alexander khalil, victor minces, and andrea chiba have observed a correlation between musical synchrony and attentional pilot project, conducted at the museum school (a san diego city schools charter school), demonstrated a significant correlation between the ability of 150 children to synchronize in an ensemble setting—regardless of other musical abilities— and their ability to "pay attention" or maintain focus not only in music class but in other areas as well. Now that a relationship between the ability to synchronize musically and attentional performance has been established, and because musical synchrony can be learned, the research team seeks to determine whether a period of musical practice might translate to overall improvement in attentional performance. Isabel gauthier, and her graduate student yetta wong are interested in the holistic processing of musical notation. They studied brain activity in people with various degrees of musical experience, and were surprised by exactly how much of the brain becomes engaged in the simple act of perceiving a single note, especially in advanced musicians. Brain computer interface converts emotions into teams of researchers at uc san diego's swartz center for computational neuroscience (sccn) and institute for neural computation (inc) are pioneering a new field called brain computer interface (bci). Scott makeig, tzyy-ping jung, and colleagues are developing technology that links thoughts, commands and emotions from the brain to computers, using eeg. His studies use the brain computer interface to read emotions and convert those emotions into musical tones. In his "quartet for brain and trio" project ("just: a suite for flute, violin, cello, and brain"), dr. Makeig composed the music and performed the violin, accompanied by a flutist, a cellist, and a so-called "brainist". The "brainist," cognitive science graduate student tim mullen, focused on one of five distinct emotional states, feeling it fully inside his body. When he entered into a certain feeling, sensors brought brain signals to the mobile brain/body imaging (mobi) laboratory, converting the emotion into a similar-feeling tone complex. This research demonstrates that a computer can decode primal emotions and the brain can communicate these feelings through music, without even lifting a addition to the bci studies, sccn is involved in several other music projects. In one, phd student grace leslie is working with scott makeig to study emotional expression of a person attempting to convey the feeling of the music they are hearing via expressive 'conducting' gestures, using their new mobile brain/body imaging (mobi) laboratory. Makeig and his team are using an instrumented violin bow to collect eeg, motion capture, and bow dynamics from violinists attempting to express various feelings vita simple open-string bowed violin -based e studies show correlations between auditory processing ability and cognitive functions, investigators have begun to develop and test music-based interventions that might help improve children's cognitive abilities (e. Laurel trainor, director of the institute for music and the mind at mcmaster university in west hamilton, ontario, and colleagues compared preschool children who had taken music lessons with those who did not.

Those with some training showed larger brain responses on a number of sound recognition tests given to the children. Even a year or two of music training led to enhanced levels of memory and attention (when measured by the same type of tests that monitor electrical and magnetic impulses in the brain). Harvard university researcher gottfried schlaug found a correlation between early-childhood training in music and enhanced motor and auditory skills as well as improvements in verbal ability and nonverbal researcher terry jernigan is involved in a newly developing study to explore the impact of musical/symphonic training on cognitive and brain development in children in chula vista elementary schools. The team is especially interested in how musical training impacts the development of language, attention, and executive function, and the brain networks that support these abilities. The project builds on the strengths of the three participating organizations: nsi (~15 years of research on music neuroscience), the san diego youth symphony (extensive experience in music education) and dr. The researchers, who are currently looking into possible funding sources, are currently doing pilot studies in two chula vista elementary schools, with children primarily learning string instruments (e. The team plans to use behavioral cognitive tests and structural brain 's paula tallal explains that auditory language training, as well as musical training, is being shown to alter the functional anatomy of the brain that is traditionally associated with speech and language processing. She explains, "behavioral data shows that musical training, as well as neuroplasticity-based acoustic training, significantly improves language and reading skills. Thus, one route by which music therapy may most significantly impact clinical populations is by improving dynamic auditory attention, sequencing and memory processes. That a correlation has been found between music training and cognitive and language improvements, the next step is to create and test different interventions that might help improve cognitive and language skills in children at risk or struggling in reading or other attentional tasks. The program consists of a series of computer-delivered brain fitness exercises to help educators improve children's academic achievement. Tallal explains, "metabolic brain activity more closely resembles "normal" readers, and reading improved enormously after intervention. Our focus is not just auditory, it is not just music, but what that does for language and how important language is for all academic achievement. Buzsáki):The role of auditory processing in language development and tallal, phd, rutgers syntax: what does music offer to neuroscience (and vice versa). All rights music affects the an researchers lead the way in understanding the neurological, psychological and cognitive basis of jacob berkowitz | jan 15 ration by jamie the front doors of the montreal neurological institute and hospital, perched on the south side of mount royal overlooking the city, is a quote from the institute’s famous founder wilder penfield: “the problem of neurology is to understand man himself. Penfield’s classic articles, the 1963 paper, “the brain’s record of auditory and visual experience: a final summary and discussion. Zatorre leafs through the monograph and stops at a page with a line drawing of the human brain dotted with dozens of points clustered along the right superior temporal gyrus – a lobe of neurons behind and above the ear. It’s a summary of all the areas where patients heard music when their brains were stimulated,” says dr. The course of hundreds of brain surgeries to relieve patients’ debilitating seizures from 1934 to 1961, dr. Penfield the neurologist and brain surgeon used a pencil-tip-sized electrode with a mild current to gently stimulate different areas of patients’ brains, noting what they experienced, from smells to sights to intense feelings and dr. Penfield ever so gently zapped case 4 – lying on the operating room table, the top of her skull cut away to reveal her brain – she described clearly hearing white christmas. These patients clearly had music hard-wired into their brains, with even the correct rhythm and timing, dr. What’s cool is, if you fast forward 40 years, we now have the tools to actually study this experimentally with brain imaging,” says dr. Zatorre, a world pioneer in using neuroimaging to watch how our brains groove to, sing along with and enjoy dr. Penfield published his landmark account of the functional localization of music in our brains, there was nary a psychologist or neuroscientist studying music and the mind. Penfield’s article, music in its myriad forms has emerged as a primary instrument for exploring our essential natures – no brain surgery during the past 40 years, it has been canadian researchers who’ve been global leaders in creating this hot new field (see sidebar, “on the origins of a new science,” below). With montreal as its nerve centre, a network of well-funded canadian institutes has emerged as publication powerhouses and graduate-student magnets, including those at mcgill, université de montréal, ryerson university and mcmaster university, creating a dynamic canadian music and mind research a century after dr. Penfield’s initial observations on our brains’ musical nature, music and mind researchers say it appears there’s in fact no better tool than music for teasing out the subtleties of what makes us tick. Music is one of the few universal cultural traits, on a par with language, and most scientists think it’s unique to homo sapiens (not withstanding bird song – “more akin to language,” says dr. It turns out that music provides a unique window into the networked complexity of our minds. Music is represented all through the brain, there’s no music centre,” says queen’s university’s lola cuddy, a music psychology distributed musical neural complexity happens in part because music is much more than sound. Music and mind researchers are exploring music in relation to movement (mcgill university’s daniel levitin notes that in most cultures the word for music and dance are the same), vision, memory, language, its emotional resonances and its genetic and evolutionary basis. And they’re stripping music down note by note to understand the nitty-gritty of what moves is the case at mcmaster university’s maple lab (music, acoustics, perception and learning), the world’s first music and mind lab focused on percussion. Schutz’ group recently reported on their finding that foot or finger tapping improved a listener’s ability to keep musical time during a silent interval and thus determine whether, after a period of silence, a beat was in time or not.

Schutz, who’s garnered more than $1 million in research funding since founding maple in 2009, including $430,000 from the canadian foundation for innovation. Schutz, it’s what’s seemingly obvious that’s providing a new route to understanding the complexity of sensory integration in our brains. It sort of blew my mind realizing how the visual information is really playing an essential role in the whole musical process,” says dr. Zatorre – who arrived at the neuro in 1981 as it acquired canada’s first ct scanner – notes that being able to see into the musical brain “allowed us to start asking much more sophisticated questions. Zatorre and then doctoral student valorie salimpoor (now at the baycrest health sciences’ rotman research institute in toronto), reported in science a study clearly linking music, emotion and neurotransmitters. Using neuroimaging, they watched as study participants’ brains released the key pleasure-related neurotransmitter dopamine several anticipatory seconds before the peak emotional crescendo of music they liked, a milestone in the cognitive neuroscience of the opposite side of mount royal from dr. Zatorre, isabelle peretz is exploring how we’re wired for music by studying the least musical among us. Peretz is based at brams, the international laboratory for brain, music and sound research, which she co-founded with dr. Peretz’s group reported the first case of congenital amusia in a child, a 10-year-old montreal girl referred to the researcher by a stymied but immensely patient choir director. Peretz found through an ad that she had placed in montreal papers looking for research subjects. Peretz’s research has shown that it’s pitch discrimination, rather than keeping time, that’s at the core of tly, dr. Peretz is leading the global hunt for the first specifically music-related genes, which she believes could be linked to mutations in genes that encode for the formation of frontotemporal neurons in the brain. This gene-brain-music pursuit is fuelled by the 2001 discovery of the foxp2 gene, the first linked to a heritable speech-language disorder. Her lab is currently working on the molecular analysis of dna collected from one large family with multi-generational basic research into the dance of musical notes and neurons is giving new legitimacy and tools to the ancient use of music as an instrument of healing. Music therapy is a very old practice [but] it has no credibility in the scientific world,” says cognitive psychologist frank russo, who in 2005 founded ryerson university’s smart (science of music, auditory research and technology) lab in toronto. Russo, is that music and mind research is slowly providing empirical research to underpin (or not) various music therapies, in turn rebranding them as “neurological music interventions. This vision of clinical trial-style musical testing is part of what’s spurred the creation of the university of toronto’s ambitious new music and health research rly, in march 2013, mcgill psychologist and leading mind-and-music researcher daniel levitin (who recently announced he’s leaving mcgill to become dean of arts and humanities at the minerva schools in san francisco), co-authored the first large-scale literature review of the impact of music on health outcomes. Summarizing the findings of more than 400 scientific studies, the review noted that there’s clinical evidence that playing and listening to music can boost our immune systems and reduce stress – in fact, listening to music was found to be more effective than prescription drugs in reducing a patient’s pre-surgery it’s already clear that music can do far more than provide a calming balm: song and rhythm can rewire our brains to overcome brain damage. Music therapists used a technique called melodic intonation therapy (often used with stroke survivors) to rewire ms. Giffords’ language skills, using melody to shift her brain’s language centre from the left hemisphere to the right ryerson’s smart lab, dr. Russo is hoping to leverage the neural links between music, movement and emotion to help emotionally kick-start parkinson’s patients who’ve lost expressiveness. Researchers think the inability of parkinson’s patients to physically express emotion in turn limits their ability to understand . Russo is currently leading a research project in toronto funded by parkinson’s canada that’s a kind of “air guitar” for emotions, using music to reignite parkinson patients’ emotional expression. We’ve become convinced that simulation is an important part of understanding emotion in music. At the university of western ontario, cognitive neuroscientist jessica grahn is exploring how musical rhythm could act as a sort of musical walker to help parkinson’s patients and others with movement disorders to improve their gait and mind and music researchers begin another half-century of research, they are learning that music is not only central to being human, but that for many of us, in the end, music might be all that’s left of us. Queen’s psychologist lola cuddy is presently leading a brain imaging study of alzheimer’s patients to understand why, when almost all other aspects of mind are gone, the music plays on. This preservation is really quite striking when you look at other forms of deterioration in the brain,” says dr. We have one or two severely demented patients who don’t even recognize their families, but they do recognize music. Berkowitz is a science writer in almonte, ontario, and author stardust revolution: the new story of our origins in the the origins of a new present crescendo of interest in music and the mind is a far cry from the scholarly silence on the topic in 1969 when lola cuddy set up canada’s first proto music psychology lab at queen’s university. There was not much talk of the mind, and there wasn’t much talk of music … because it wasn’t something behavioural that you could measure like an animal running down a maze,” says dr. Cuddy, canada’s grande dame of music psychology, an emeritus professor at queen’s and still leading a research gained an academic toehold, she says, with the cognitive psychology revolution. Rather than a behaviorist approach focused on only observable physical behaviours, cognitive psychologists studied the brain as mind, those experiences going on inside our heads that can’t be directly observed, such as memory and feelings. Everybody was seeing music as an art, as a cultural artifact that we really didn’t have to pay attention to,” says cognitive neuropsychologist and belgian native isabelle peretz. In the early 1980s, she sidelined dreams of a career as a professional classical guitarist to begin to pick away at the psychology of music at université de montré 2007, with $14 million from the canada foundation for innovation, dr.

Peretz and colleague robert zatorre co-founded brams, the international laboratory for brain, music and sound research, now the world’s foremost such institute. Labs like brams are combining the latest brain imaging and digital music technologies to give researchers unprecedented views of the interaction of our brains on pioneering work of canadian scientists “influenced an entire generation of students like me … to go into [the] field,” says via e-mail cognitive psychologist daniel levitin, recently of mcgill university and best-selling author of books, such as this is your brain on music, that have brought the psycho-musical theme into public ing the emerging field of sity affairs moderates all comments according to the following guidelines.