Hearing and Body
Scientific Research / Article.
1
Title
Title
Music, Brain, and Rehabilitation: Emerging Therapeutic Applications and Potential Neural Mechanisms
2
Author(s)
Teppo Särkämö, Eckart Altenmüller, Antoni Rodríguez-Fornells, Isabelle Peretz.
Author(s)
Teppo Särkämö, Eckart Altenmüller, Antoni Rodríguez-Fornells, Isabelle Peretz.
4
Key Words
#music #cognition #movement #brain #neurologicaldisorders #rehabilitation #neuroimaging #MusicRhythmMovement #MusicRhythmandLanguage #MusicandHearingImpairment #MusicLearningandMemory #ResponsivenesstoMusicinNeurologicalDisorders #SoundBasedTechnologicalAdvances
Key Words
#music #cognition #movement #brain #neurologicaldisorders #rehabilitation #neuroimaging #MusicRhythmMovement #MusicRhythmandLanguage #MusicandHearingImpairment #MusicLearningandMemory #ResponsivenesstoMusicinNeurologicalDisorders #SoundBasedTechnologicalAdvances
5
Year
2016
Year
2016
3
Abstract
Music, Brain, and Rehabilitation: Emerging Therapeutic Applications and Potential Neural Mechanism. Music, Learning, and Memory. Music and hearing impairment. Responsiveness to Music in Neurological Disorders.
Abstract
Music, Brain, and Rehabilitation: Emerging Therapeutic Applications and Potential Neural Mechanism. Music, Learning, and Memory. Music and hearing impairment. Responsiveness to Music in Neurological Disorders.
1
Title
Title
Moving to music: effects of heard and imagined musical cues on movement-related brain activity
2
Author(s)
Rebecca S. Schaefer, Alexa M. Morcom, Neil Roberts, Katie Overy.
Author(s)
Rebecca S. Schaefer, Alexa M. Morcom, Neil Roberts, Katie Overy.
4
Key Words
#Music #movements #rehabilitation #musicperception #leftandrighthemisphere #motornetworkregion #motorsystem
Key Words
#Music #movements #rehabilitation #musicperception #leftandrighthemisphere #motornetworkregion #motorsystem
5
Year
2014
Year
2014
3
Abstract
Music is commonly used to facilitate or support movement, and increasingly used in movement rehabilitation. Additionally, there is some evidence to suggest that music imagery, which is reported to lead to brain signatures similar to music perception, may also assist movement. However, it is not yet known whether either imagined or musical cueing changes the way in which the motor system of the human brain is activated during simple movements. Here, functional magnetic resonance imaging was used to compare neural activity during wrist flexions performed to either heard or imagined music with self-pacing of the same movement without any cueing. Focusing specifically on the motor network of the brain, analyses were performed within a mask of BA4, BA6, the basal ganglia (putamen, caudate, and pallidum), the motor nuclei of the thalamus, and the whole cerebellum. Results revealed that moving to music compared with self-paced movement resulted in significantly increased activation in left cerebellum VI. Moving to imagined music led to significantly more activation in pre-supplementary motor area (pre-SMA) and right globus pallidus, relative to self-paced movement. When the music and imagery cueing conditions were contrasted directly, movements in the music condition showed significantly more activity in left hemisphere cerebellum VII and right hemisphere and vermis of cerebellum IX, while the imagery condition revealed more significant activity in pre-SMA. These results suggest that cueing movement with actual or imagined music impacts upon engagement of motor network regions during the movement, and suggest that heard and imagined cues can modulate movement in subtly different ways. These results may have implications for the applicability of auditory cueing in movement rehabilitation for different patient populations
Abstract
Music is commonly used to facilitate or support movement, and increasingly used in movement rehabilitation. Additionally, there is some evidence to suggest that music imagery, which is reported to lead to brain signatures similar to music perception, may also assist movement. However, it is not yet known whether either imagined or musical cueing changes the way in which the motor system of the human brain is activated during simple movements. Here, functional magnetic resonance imaging was used to compare neural activity during wrist flexions performed to either heard or imagined music with self-pacing of the same movement without any cueing. Focusing specifically on the motor network of the brain, analyses were performed within a mask of BA4, BA6, the basal ganglia (putamen, caudate, and pallidum), the motor nuclei of the thalamus, and the whole cerebellum. Results revealed that moving to music compared with self-paced movement resulted in significantly increased activation in left cerebellum VI. Moving to imagined music led to significantly more activation in pre-supplementary motor area (pre-SMA) and right globus pallidus, relative to self-paced movement. When the music and imagery cueing conditions were contrasted directly, movements in the music condition showed significantly more activity in left hemisphere cerebellum VII and right hemisphere and vermis of cerebellum IX, while the imagery condition revealed more significant activity in pre-SMA. These results suggest that cueing movement with actual or imagined music impacts upon engagement of motor network regions during the movement, and suggest that heard and imagined cues can modulate movement in subtly different ways. These results may have implications for the applicability of auditory cueing in movement rehabilitation for different patient populations
1
Title
Title
Testing a 2,500 year-old hypothesis: If music breathes new life into old blood cells... play on!
2
Author(s)
John Stuart Reid
Author(s)
John Stuart Reid
4
Key Words
#musictherapy #healing #listening #soundpressurelevel #depression #anxiety #musicexperience
Key Words
#musictherapy #healing #listening #soundpressurelevel #depression #anxiety #musicexperience
5
Year
2019
Year
2019
3
Abstract
Pythagoras of Samos held the belief that music could be used in place of medicine and that it contributed greatly to health. Today, Music Therapy is a clinical discipline that focuses on, for example, supporting patients with depression or relieving anxiety during the pre and post-operative phases of a patient’s hospitalization. Music Therapy is generally defined as an intervention in which “the therapist helps the client to promote health, using music experiences and the relationships developing through them.” Many studies have been conducted that demonstrate the efficacy of Music Therapy, but now, interest is growing in the field of Music Medicine, which, as its name implies, focuses on the demonstrable benefits of music as treatment for specific maladies; one definition is, “listening to music without the presence of a therapist.” A Cochrane analysis of twenty-six Music Medicine clinical trials with a total of 1369 participants, titled, Music for stress and anxiety reduction in coronary heart disease patients, concluded that “listening to music may have a beneficial effect on systolic blood pressure and heart rate in people with coronary heart disease and appears to be effective in reducing anxiety in people with myocardial infarction.” The same report mentioned, “Listening to music may reduce pain and respiratory rate and appears to improve patients’ quality of sleep following a cardiac procedure or surgery.” Johns Hopkins Medicine also acknowledges the role of music in addressing illness and indicates a range of illnesses they aim to treat with music, including, Huntingdon Disease, Parkinson’s Disease and Dementia. However, the present study, described below, may indicate the need for an expanded definition of Music Medicine in which the entire body of the client or patient, or a specific part of the body, is immersed in music at a specific sound pressure level. Such immersion in a music field or in specific sound frequencies, may provide measurable and beneficial physiological effects, as distinct from the benefits associated with listening to music via headphones or speakers.
Abstract
Pythagoras of Samos held the belief that music could be used in place of medicine and that it contributed greatly to health. Today, Music Therapy is a clinical discipline that focuses on, for example, supporting patients with depression or relieving anxiety during the pre and post-operative phases of a patient’s hospitalization. Music Therapy is generally defined as an intervention in which “the therapist helps the client to promote health, using music experiences and the relationships developing through them.” Many studies have been conducted that demonstrate the efficacy of Music Therapy, but now, interest is growing in the field of Music Medicine, which, as its name implies, focuses on the demonstrable benefits of music as treatment for specific maladies; one definition is, “listening to music without the presence of a therapist.” A Cochrane analysis of twenty-six Music Medicine clinical trials with a total of 1369 participants, titled, Music for stress and anxiety reduction in coronary heart disease patients, concluded that “listening to music may have a beneficial effect on systolic blood pressure and heart rate in people with coronary heart disease and appears to be effective in reducing anxiety in people with myocardial infarction.” The same report mentioned, “Listening to music may reduce pain and respiratory rate and appears to improve patients’ quality of sleep following a cardiac procedure or surgery.” Johns Hopkins Medicine also acknowledges the role of music in addressing illness and indicates a range of illnesses they aim to treat with music, including, Huntingdon Disease, Parkinson’s Disease and Dementia. However, the present study, described below, may indicate the need for an expanded definition of Music Medicine in which the entire body of the client or patient, or a specific part of the body, is immersed in music at a specific sound pressure level. Such immersion in a music field or in specific sound frequencies, may provide measurable and beneficial physiological effects, as distinct from the benefits associated with listening to music via headphones or speakers.
1
Title
Title
The what, where and how of auditory-object perception
2
Author(s)
Jennifer K. Bizley, Yale E. Cohen
Author(s)
Jennifer K. Bizley, Yale E. Cohen
4
Key Words
#hearing #auditoryobject #acousticenvironment #cortex #neuralstructures #cognitivestates #perception
Key Words
#hearing #auditoryobject #acousticenvironment #cortex #neuralstructures #cognitivestates #perception
5
Year
2013
Year
2013
3
Abstract
The fundamental perceptual unit in hearing is the ‘auditory object’. Similar to visual objects, auditory objects are the computational result of the auditory system's capacity to detect, extract, segregate and group spectrotemporal regularities in the acoustic environment; the multitude of acoustic stimuli around us together form the auditory scene. However, unlike the visual scene, resolving the component objects within the auditory scene crucially depends on their temporal structure. Neural correlates of auditory objects are found throughout the auditory system. However, neural responses do not become correlated with a listener's perceptual reports until the level of the cortex. The roles of different neural structures and the contribution of different cognitive states to the perception of auditory objects are not yet fully understood.
Abstract
The fundamental perceptual unit in hearing is the ‘auditory object’. Similar to visual objects, auditory objects are the computational result of the auditory system's capacity to detect, extract, segregate and group spectrotemporal regularities in the acoustic environment; the multitude of acoustic stimuli around us together form the auditory scene. However, unlike the visual scene, resolving the component objects within the auditory scene crucially depends on their temporal structure. Neural correlates of auditory objects are found throughout the auditory system. However, neural responses do not become correlated with a listener's perceptual reports until the level of the cortex. The roles of different neural structures and the contribution of different cognitive states to the perception of auditory objects are not yet fully understood.