1,721,129 research outputs found
A system sciences approach to consonance/dissonance: From biological constraints to cultural differences: Reply to comments on: "Consonance and dissonance perception. A critical review of the historical sources, multidisciplinary findings, and main hypotheses"
No full textWe are grateful to all commentators who took the time to read and provide insightful and thought-provoking commentaries on our article on consonance and dissonance perception [1]. The different backgrounds and expertise of the various contributors enriched the discussion by highlighting different issues across several research perspectives. Here, we discuss some of the important theoretical issues and observations raised by Lahdelma and Eerola [2], Parncutt and Schiavio [3], Brandt [4], Proverbio [5], and Bowling [6]
Intelligence and Music: Lower Intelligent Quotient Is Associated With Higher Use of Music for Experiencing Strong Sensations
Full text linkIntelligence is a key psychological feature associated to emotion and perception. Listening to music is often linked to emotional experience and sensation seeking (SS), traits that have been shown overall negatively correlated with intelligence. In a sample of 53 musicians and 54 non-musicians, we assessed the use of music for experiencing strong emotions through the Music in Mood Regulation (MMR) and the intelligence quotient (IQ) by using the Wechsler Adult Intelligence Scale III (WAIS-III). We found a negative correlation between the full IQ score and the use of music for SS in both musician and non-musician groups. Furthermore, the use of music for SS was negatively correlated with Verbal IQ in musicians, and with Performance IQ in non-musicians. Our findings indicate that less intelligent individuals make a higher use of music for experiencing strong sensations than more intelligent ones. Furthermore, this association is modulated by the individual musical expertise
The chronnectome of musical beat
Full text linkKeeping time is fundamental for our everyday existence. Various isochronous activities, such as locomotion, require us to use internal timekeeping. This phenomenon comes into play also in other human pursuits such as dance and music. When listening to music, we spontaneously perceive and predict its beat. The process of beat perception comprises both beat inference and beat maintenance, their relative importance depending on the salience of beat in the music. To study functional connectivity associated with these processes in a naturalistic situation, we used functional magnetic resonance imaging to measure brain responses of participants while they were listening to a piece of music containing strong contrasts in beat salience. Subsequently, we utilized dynamic graph analysis and psychophysiological interactions (PPI) analysis in connection with computational modelling of beat salience to investigate how functional connectivity manifests these processes. As the main effect, correlation analyses between the obtained dynamic graph measures and the beat salience measure revealed increased centrality in auditory-motor cortices, cerebellum, and extrastriate visual areas during low beat salience, whereas regions of the default mode- and central executive networks displayed high centrality during high beat salience. PPI analyses revealed partial dissociation of functional networks belonging to this pathway indicating complementary neural mechanisms crucial in beat inference and maintenance, processes pivotal for extracting and predicting temporal regularities in our environment
Neural Correlates of Music Listening: Does the Music Matter?
Full text linkThe last decades have seen a proliferation of music and brain studies, with a major focus on plastic changes as the outcome of continuous and prolonged engagement with music. Thanks to the advent of neuroaesthetics, research on music cognition has broadened its scope by considering the multifarious phenomenon of listening in all its forms, including incidental listening up to the skillful attentive listening of experts, and all its possible effects. These latter range from objective and sensorial effects directly linked to the acoustic features of the music to the subjectively affective and even transformational effects for the listener. Of special importance is the finding that neural activity in the reward circuit of the brain is a key component of a conscious listening experience. We propose that the connection between music and the reward system makes music listening a gate towards not only hedonia but also eudaimonia, namely a life well lived, full of meaning that aims at realizing one's own "daimon" or true nature. It is argued, further, that music listening, even when conceptualized in this aesthetic and eudaimonic framework, remains a learnable skill that changes the way brain structures respond to sounds and how they interact with each other.status: Published onlin
Brain Connectivity Networks and the Aesthetic Experience of Music
Full text linkListening to music is above all a human experience, which becomes an aesthetic experience when an individual immerses himself/herself in the music, dedicating attention to perceptual-cognitive-affective interpretation and evaluation. The study of these processes where the individual perceives, understands, enjoys and evaluates a set of auditory stimuli has mainly been focused on the effect of music on specific brain structures, as measured with neurophysiology and neuroimaging techniques. The very recent application of network science algorithms to brain research allows an insight into the functional connectivity between brain regions. These studies in network neuroscience have identified distinct circuits that function during goal-directed tasks and resting states. We review recent neuroimaging findings which indicate that music listening is traceable in terms of network connectivity and activations of target regions in the brain, in particular between the auditory cortex, the reward brain system and brain regions active during mind wandering
Music and Brain Plasticity: How Sounds Trigger Neurogenerative Adaptations
Full text linkThis contribution describes how music can trigger plastic changes in the brain. We elaborate on the concept of neuroplasticity by focussing on three major topics: the ontogenetic scale of musical development, the phenomenon of neuroplasticity as the outcome of interactions with the sounds and a short survey of clinical and therapeutic applications. First, a distinction is made between two scales of description: the larger evolutionary scale (phylogeny) and the scale of individual development (ontogeny). In this sense, listeners are not constrained by a static dispositional machinery, but they can be considered as dynamical systems that are able to adapt themselves in answer to the solicitations of a challenging environment. Second, the neuroplastic changes are considered both from a structural and functional level of adaptation, with a special focus on the recent findings from network science. The neural activity of the medial regions of the brain seems to become more synchronised when listening to music as compared to rest, and these changes become permanent in individuals such as musicians with year-long musical practice. As such, the question is raised as to the clinical and therapeutic applications of music as a trigger for enhancing the functionality of the brain, both in normal and impaired people
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Sensitivity to Social Reward in Music Behavior Changes After Music Training in Preadolescence
Full text linkDuring the last decades, a growing body of research on musical pleasure has shed light on individual differences and mechanisms underlying music reward sensitivity. Music training has been identified as a factor able to affect the rewarding experience associated with music, although in the existing literature, evidence on children is scarce. The current study focused on the effects of music training and individual musical engagement on sensitivity to music reward in preadolescence. One hundred and forty-two students (aged 10-14 years) at three different Italian music middle schools were tested three times over a period of one year and a half. Eighty two children belonged to a music curriculum within the school and 60 belonged to a standard curriculum. The Barcelona Music Reward Questionnaire (BMRQ), a multi-dimensional assessment tool to measure music reward sensitivity, was used, and pre-existing differences in music sophistication were controlled for. Moreover, in addition to the between-group comparison, highlighting the formal music training variable, the actual amount of musical activities and engagement both in and out of school was also taken into account. Several positive effects in terms of music social reward were found for students with a high level of musical engagement. Also, results showed a main effect of gender, with girls showing higher scores than boys in total BMRQ score and in several subdomains. Taken together, these data provide new evidence for the special role played by collective musical activities and suggest that music training may be able to promote social connection in preadolescence
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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