Psychological Effects of Music and Sound
Scientific Research/ Article.
1
Title
Title
Frequencies of Inaudible High-Frequency Sounds Differentially Affect Brain Activity: Positive and Negative Hypersonic Effects
2
Author(s)
Ariko Fukushima, Reiko Yagi, Norie Kawai, Manabu Honda, Emi Nishina, Tsutomu Oohashi.
Author(s)
Ariko Fukushima, Reiko Yagi, Norie Kawai, Manabu Honda, Emi Nishina, Tsutomu Oohashi.
4
Key Words
#hypersoniceffect #midbrain #diencephalon #EEG #HFC
Key Words
#hypersoniceffect #midbrain #diencephalon #EEG #HFC
5
Year
2014
Year
2014
3
Abstract
The hypersonic effect is a phenomenon in which sounds containing significant quantities of non-stationary high-frequency components (HFCs) above the human audible range (max. 20 kHz) activate the midbrain and diencephalon and evoke various physiological, psychological and behavioral responses. Yet important issues remain unverified, especially the relationship existing between the frequency of HFCs and the emergence of the hypersonic effect. In this study, to investigate the relationship between the hypersonic effect and HFC frequencies, we divided an HFC (above 16 kHz) of recorded gamelan music into 12 band components and applied them to subjects along with an audible component (below 16 kHz) to observe changes in the alpha2 frequency component (10–13 Hz) of spontaneous EEGs measured from centro- parieto-occipital regions (Alpha-2 EEG), which we previously reported as an index of the hypersonic effect. Our results showed reciprocal directional changes in Alpha-2 EEGs depending on the frequency of the HFCs presented with audible low-frequency component (LFC). When an HFC above approximately 32 kHz was applied, Alpha-2 EEG increased significantly compared to when only audible sound was applied (positive hypersonic effect), while, when an HFC below approximately 32 kHz was applied, the Alpha-2 EEG decreased (negative hypersonic effect). These findings suggest that the emergence of the hypersonic effect depends on the frequencies of inaudible HFC.
Abstract
The hypersonic effect is a phenomenon in which sounds containing significant quantities of non-stationary high-frequency components (HFCs) above the human audible range (max. 20 kHz) activate the midbrain and diencephalon and evoke various physiological, psychological and behavioral responses. Yet important issues remain unverified, especially the relationship existing between the frequency of HFCs and the emergence of the hypersonic effect. In this study, to investigate the relationship between the hypersonic effect and HFC frequencies, we divided an HFC (above 16 kHz) of recorded gamelan music into 12 band components and applied them to subjects along with an audible component (below 16 kHz) to observe changes in the alpha2 frequency component (10–13 Hz) of spontaneous EEGs measured from centro- parieto-occipital regions (Alpha-2 EEG), which we previously reported as an index of the hypersonic effect. Our results showed reciprocal directional changes in Alpha-2 EEGs depending on the frequency of the HFCs presented with audible low-frequency component (LFC). When an HFC above approximately 32 kHz was applied, Alpha-2 EEG increased significantly compared to when only audible sound was applied (positive hypersonic effect), while, when an HFC below approximately 32 kHz was applied, the Alpha-2 EEG decreased (negative hypersonic effect). These findings suggest that the emergence of the hypersonic effect depends on the frequencies of inaudible HFC.
1
Title
Title
Hearing Sounds, Understanding Actions: Action Representation in Mirror Neurons
2
Author(s)
Evelyne Kohler, Christian Keysers, M. Alessandra Umiltà, Leonardo Fogassi, Vittorio Gallese, Giacomo Rizzolatti.
Author(s)
Evelyne Kohler, Christian Keysers, M. Alessandra Umiltà, Leonardo Fogassi, Vittorio Gallese, Giacomo Rizzolatti.
4
Key Words
#premotorcortex #mirrorneurons #auditory #language
Key Words
#premotorcortex #mirrorneurons #auditory #language
5
Year
2002
Year
2002
3
Abstract
Many object-related actions can be recognized by their sound. We foundneurons in monkey premotor cortex that discharge when the animal performsa specific action and when it hears the related sound. Most of the neurons alsodischarge when the monkey observes the same action. These audiovisual mirrorneurons code actions independently of whether these actions are performed,heard, or seen. This discovery in the monkey homolog of Broca’s area might shedlight on the origin of language: audiovisual mirror neurons code abstract contents—the meaning of actions—and have the auditory access typical of human language to these contents.
Abstract
Many object-related actions can be recognized by their sound. We foundneurons in monkey premotor cortex that discharge when the animal performsa specific action and when it hears the related sound. Most of the neurons alsodischarge when the monkey observes the same action. These audiovisual mirrorneurons code actions independently of whether these actions are performed,heard, or seen. This discovery in the monkey homolog of Broca’s area might shedlight on the origin of language: audiovisual mirror neurons code abstract contents—the meaning of actions—and have the auditory access typical of human language to these contents.
1
Title
Title
Modulated stimuli demonstrate asymmetric interactions between hearing and vision
2
Author(s)
Quoc C. Vuong, Mark Laing, Anjana prabhu, Hei Iong tung, Adrian Rees.
Author(s)
Quoc C. Vuong, Mark Laing, Anjana prabhu, Hei Iong tung, Adrian Rees.
4
Key Words
#hearing #vision #auditoryvisualinteractions #cuboidshape #temporalsynchrony
Key Words
#hearing #vision #auditoryvisualinteractions #cuboidshape #temporalsynchrony
5
Year
2019
Year
2019
3
Abstract
The nature of interactions between the senses is a topic of intense interest in neuroscience, but an unresolved question is how sensory information from hearing and vision are combined when the two senses interact. A problem for testing auditory-visual interactions is devising stimuli and tasks that are equivalent in both modalities. Here we report a novel paradigm in which we first equated the discriminability of the stimuli in each modality, then tested how a distractor in the other modality a ected performance. Participants discriminated pairs of amplitude-modulated tones or size- modulated visual objects in the form of a cuboid shape, alone or when a similarly modulated distractor stimulus of the other modality occurred with one of the pair. Discrimination of sound modulation depth was a ected by a modulated cuboid only when their modulation rates were the same. In contrast, discrimination of cuboid modulation depth was little affected by an equivalently modulated sound. Our results suggest that what observers perceive when auditory and visual signals interact is not simply determined by the discriminability of the individual sensory inputs, but also by factors that increase the perceptual binding of these inputs, such as temporal synchrony.
Abstract
The nature of interactions between the senses is a topic of intense interest in neuroscience, but an unresolved question is how sensory information from hearing and vision are combined when the two senses interact. A problem for testing auditory-visual interactions is devising stimuli and tasks that are equivalent in both modalities. Here we report a novel paradigm in which we first equated the discriminability of the stimuli in each modality, then tested how a distractor in the other modality a ected performance. Participants discriminated pairs of amplitude-modulated tones or size- modulated visual objects in the form of a cuboid shape, alone or when a similarly modulated distractor stimulus of the other modality occurred with one of the pair. Discrimination of sound modulation depth was a ected by a modulated cuboid only when their modulation rates were the same. In contrast, discrimination of cuboid modulation depth was little affected by an equivalently modulated sound. Our results suggest that what observers perceive when auditory and visual signals interact is not simply determined by the discriminability of the individual sensory inputs, but also by factors that increase the perceptual binding of these inputs, such as temporal synchrony.
1
Title
Title
The Effects of Music on Pain: A Meta-Analysis
2
Author(s)
Jin Hyung Lee,
Author(s)
Jin Hyung Lee,
4
Key Words
#musictherapy #musicmedicine #pain #metaanalysis
Key Words
#musictherapy #musicmedicine #pain #metaanalysis
5
Year
2016
Year
2016
3
Abstract
Background: Numerous meta-analyses have been conducted on the topic of music and pain, with the latest comprehensive study published in 2006. Since that time, more than 70 randomized controlled trials (RCTs) have been published, necessitating a new and comprehensive review.
Objective: The aim of this meta-analysis was to examine published RCT studies investigating the effect of music on pain. Methods: The present study included RCTs published between 1995 and 2014. Studies were obtained by searching 12 databases and hand- searching related journals and reference lists. Main outcomes were pain intensity, emotional distress from pain, vital signs, and amount of anal- gesic intake. Study quality was evaluated according to the Cochrane Collaboration guidelines.
Results: Analysis of the 97 included studies revealed that music inter- ventions had statistically signi cant effects in decreasing pain on 0–10 pain scales (MD = –1.13), other pain scales (SMD = –0.39), emotional distress from pain (MD = –10.83), anesthetic use (SMD = –0.56), opi- oid intake (SMD = –0.24), non-opioid intake (SMD = –0.54), heart rate (MD = –4.25), systolic blood pressure (MD = –3.34), diastolic blood pres- sure (MD = –1.18), and respiration rate (MD = –1.46). Subgroup and mod- erator analyses yielded additional clinically informative outcomes.
Conclusions: Considering all the possible bene ts, music interventions may provide an effective complementary approach for the relief of acute, procedural, and cancer/chronic pain in the medical setting.
Abstract
Background: Numerous meta-analyses have been conducted on the topic of music and pain, with the latest comprehensive study published in 2006. Since that time, more than 70 randomized controlled trials (RCTs) have been published, necessitating a new and comprehensive review.
Objective: The aim of this meta-analysis was to examine published RCT studies investigating the effect of music on pain. Methods: The present study included RCTs published between 1995 and 2014. Studies were obtained by searching 12 databases and hand- searching related journals and reference lists. Main outcomes were pain intensity, emotional distress from pain, vital signs, and amount of anal- gesic intake. Study quality was evaluated according to the Cochrane Collaboration guidelines.
Results: Analysis of the 97 included studies revealed that music inter- ventions had statistically signi cant effects in decreasing pain on 0–10 pain scales (MD = –1.13), other pain scales (SMD = –0.39), emotional distress from pain (MD = –10.83), anesthetic use (SMD = –0.56), opi- oid intake (SMD = –0.24), non-opioid intake (SMD = –0.54), heart rate (MD = –4.25), systolic blood pressure (MD = –3.34), diastolic blood pres- sure (MD = –1.18), and respiration rate (MD = –1.46). Subgroup and mod- erator analyses yielded additional clinically informative outcomes.
Conclusions: Considering all the possible bene ts, music interventions may provide an effective complementary approach for the relief of acute, procedural, and cancer/chronic pain in the medical setting.
1
Title
Title
Music listening as self-enhancement: Effects of empowering music on momentary explicit and implicit self-esteem
2
Author(s)
Paul Elvers, Timo Fischinger, Jochen Steffens
Author(s)
Paul Elvers, Timo Fischinger, Jochen Steffens
4
Key Words
#implicitattitudes #musicandsocialcognition #musicandwellbeing #selfenhancement #selfesteem
Key Words
#implicitattitudes #musicandsocialcognition #musicandwellbeing #selfenhancement #selfesteem
5
Year
2017
Year
2017
3
Abstract
In everyday life people use music to adjust their levels of arousal, to regulate their mood and emotions, and to cope with previous experiences, indicating that music plays an important role for everyday wellbeing. While the relationship between music and emotions has received considerable interest in past decades, little is known about the self-esteem boosting function of empowering music. In the present study, we investigated the relationship of music listening and self-esteem, by examining how momentary explicit and implicit self-esteem are (a) influenced by the expressive properties of music and (b) predicted by individual differences in responses to music. Results indicate that both explicit and implicit self-esteem are affected by music listening but in different ways. While momentary explicit self-esteem changed as a function of the expressive properties of the music and was positively predicted by liking, implicit self-esteem was positively predicted by empathy and negatively predicted by nostalgia. In contrast to changes in self-esteem, no changes in mood were observed. We anticipate our findings to be a starting point for further investigations of the cognitive and affective processes involved when listening to empowering music. Conclusions: Considering all the possible bene ts, music interventions may provide an effective complementary approach for the relief of acute, procedural, and cancer/chronic pain in the medical setting.
Abstract
In everyday life people use music to adjust their levels of arousal, to regulate their mood and emotions, and to cope with previous experiences, indicating that music plays an important role for everyday wellbeing. While the relationship between music and emotions has received considerable interest in past decades, little is known about the self-esteem boosting function of empowering music. In the present study, we investigated the relationship of music listening and self-esteem, by examining how momentary explicit and implicit self-esteem are (a) influenced by the expressive properties of music and (b) predicted by individual differences in responses to music. Results indicate that both explicit and implicit self-esteem are affected by music listening but in different ways. While momentary explicit self-esteem changed as a function of the expressive properties of the music and was positively predicted by liking, implicit self-esteem was positively predicted by empathy and negatively predicted by nostalgia. In contrast to changes in self-esteem, no changes in mood were observed. We anticipate our findings to be a starting point for further investigations of the cognitive and affective processes involved when listening to empowering music. Conclusions: Considering all the possible bene ts, music interventions may provide an effective complementary approach for the relief of acute, procedural, and cancer/chronic pain in the medical setting.