Posts tagged music
Articles and news from the latest research reports.
Rhesus monkeys cannot hear beat in music
Beat induction, the ability to pick up regularity – the beat – from a varying rhythm, is not an ability that rhesus monkeys possess. These are the findings of researchers from the University of Amsterdam (UvA) and the National Autonomous University of Mexico (UNAM), which have recently been published in the scientific journal PLOS ONE.
The research conducted by Henkjan Honing, professor of Music Cognition at the UvA, and a team of neurobiologists headed by Hugo Merchant from the UNAM, shows that rhesus monkeys cannot detect the beat in music, although they are able to detect rhythmic groups in music. The results of this research support the view that beat induction is a uniquely human, cognitive skill and contribute to a further understanding of the biology and evolution of human music.
(Photograph by Shane Moore)
Duetting musicians sync brainwaves even when playing different notes
According to a study published by a team of psychologists, musicians playing different parts of a duet aren’t just syncing time — they synchronise brainwaves.
Johanna Sänger of Berlin’s Max Planck Institute for Human Development gathered 32 guitarists and arranged them in pairs to play Sonata in G Major by Christian Gottlieb Scheidler. Each musician was hooked up to electrodes, so Sänger and her team could monitor their brain activity the 60 times they were asked to play the composition. An earlier study from the Institute had already demonstrated that guitarists playing the exact same tune begin to share brainwave patterns. However, in this study Sänger asked the musicians to play different parts from the same piece of music. As well as playing totally different notes, one was asked to take the lead and set the tempo for the other to follow. Her hypothesis was that, if the brainwave patterns again aligned, then it would demonstrate they have an inherently important role in musicians’ “interpersonally coordinated behaviour” — or, their ability to play well as a pair. All pairs did in fact present with synchronised brain oscillations.
"When people coordinate their own actions, small networks between brain regions are formed," said Sänger. "But we also observed similar network properties between the brains of the individual players, especially when mutual coordination is very important; for example at the joint onset of a piece of music."
The synchronisation is known as “phase locking”, and took place largely where the frontal and central electrodes were placed (the frontal lobe is responsible for retaining long term memory, aligning emotion memory with social norms and predicting an action’s consequences).
The results prove, says the paper, that synchronisation of brain patterns plays “a functional role in music performance”, but also “that brain mechanisms indexed by phase locking, phase coherence, and structural properties of within-brain and hyperbrain networks support interpersonal action coordination”.
Sänger also found that the “leader’s” brainwaves were stronger and began before the music did, demonstrating their “decision to begin playing at a certain moment in time” as represented by well-coordinated frontal lobe activity.
Music to Your Brain by Dwayne Godwin and Jorge Cham
Ever wondered what your brain sounds like? Now you can hear the sweet melody of the mind by listening to sound composed from an analysis of brain activity.
Musical Training as a Framework for Brain Plasticity: Behavior, Function, and Structure
Musical training has emerged as a useful framework for the investigation of training-related plasticity in the human brain. Learning to play an instrument is a highly complex task that involves the interaction of several modalities and higher-order cognitive functions and that results in behavioral, structural, and functional changes on time scales ranging from days to years. While early work focused on comparison of musical experts and novices, more recently an increasing number of controlled training studies provide clear experimental evidence for training effects. Here, we review research investigating brain plasticity induced by musical training, highlight common patterns and possible underlying mechanisms of such plasticity, and integrate these studies with findings and models for mechanisms of plasticity in other domains.
Music in Our Ears: The Biological Bases of Musical Timbre Perception
Timbre is the attribute of sound that allows humans and other animals to distinguish among different sound sources. Studies based on psychophysical judgments of musical timbre, ecological analyses of sound’s physical characteristics as well as machine learning approaches have all suggested that timbre is a multifaceted attribute that invokes both spectral and temporal sound features. Here, we explored the neural underpinnings of musical timbre. We used a neuro-computational framework based on spectro-temporal receptive fields, recorded from over a thousand neurons in the mammalian primary auditory cortex as well as from simulated cortical neurons, augmented with a nonlinear classifier. The model was able to perform robust instrument classification irrespective of pitch and playing style, with an accuracy of 98.7%. Using the same front end, the model was also able to reproduce perceptual distance judgments between timbres as perceived by human listeners. The study demonstrates that joint spectro-temporal features, such as those observed in the mammalian primary auditory cortex, are critical to provide the rich-enough representation necessary to account for perceptual judgments of timbre by human listeners, as well as recognition of musical instruments.
Perfect Pitch: Knowing the Note May Be in Your Genes
People with perfect pitch seem to possess their own inner pitch pipe, allowing them to sing a specific note without first hearing a reference tone. This skill has long been associated with early and extensive musical training, but new research suggests that perfect pitch may have as much to do with genetics as it does with learning an instrument or studying voice.
Previous research does draw a connection between early musical training and the likelihood of a person developing perfect pitch, which is also referred to as absolute pitch. This is especially true among speakers of tonal languages, such as Mandarin. Speakers of English and other non-tonal languages are far less likely to develop perfect pitch, even if they were exposed to early and extensive musical training.
“We have wondered if perfect pitch is as much about nature or nurture,” said Diana Deutsch, a professor of psychology at the University of California, San Diego. “What is clear is that musically trained individuals who speak a non-tone language can acquire absolute pitch, but it is still a remarkably rare talent. What has been less clear is why most others with equivalent musical training do not.” Deutsch and her colleague Kevin Dooley present their findings at the 164th meeting of the Acoustical Society of America (ASA), held Oct. 22 – 26 in Kansas City, Missouri.
To shine light on this question, the researchers studied 27 English speaking adults, 7 of whom possessed perfect pitch. All began extensive musical training at or before the age of 6. The researchers tested the subjects’ memory ability using a test known as the digit span, which measures how many digits a person can hold in memory and immediately recall in correct order. They presented the digits either visually or auditorily; for the auditory test, the subject listened to the numbers through headphones, and for the visual test the digits were presented successively at the center of a computer screen.
The people with perfect pitch substantially outperformed the others in the audio portion of the test. In contrast, for the visual test, the two groups exhibited very similar performance, and their scores were not significantly different from each other. This is significant because other researchers have shown previously that auditory digit span has a genetic component.
“Our finding therefore shows that perfect pitch is associated with an unusually large memory span for speech sounds,” said Deutsch, “which in turn could facilitate the development of associations between pitches and their spoken languages early in life.”
(Source: newswise.com)
The Power of Music: Mind Control by Rhythmic Sound
You walk into a bar and music is thumping. All heads are bobbing and feet tapping in synchrony. Somehow the rhythmic sound grabs control of the brains of everyone in the room forcing them to operate simultaneously and perform the same behaviors in synchrony. How is this possible? Is this unconscious mind control by rhythmic sound only driving our bodily motions, or could it be affecting deeper mental processes?
The mystery runs deeper than previously thought, according to psychologist Annett Schirmer reporting new findings today at the Society for Neuroscience meeting in New Orleans. Rhythmic sound “not only coordinates the behavior of people in a group, it also coordinates their thinking—the mental processes of individuals in the group become synchronized.”
This finding extends the well-known power of music to tap into brain circuits controlling emotion and movement, to actually control the brain circuitry of sensory perception. This discovery helps explain how drums unite tribes in ceremony, why armies march to bugle and drum into battle, why worship and ceremonies are infused by song, why speech is rhythmic, punctuated by rhythms of emphasis on particular syllables and words, and perhaps why we dance.
The Neuroscience Of Music
Why does music make us feel? On the one hand, music is a purely abstract art form, devoid of language or explicit ideas. The stories it tells are all subtlety and subtext. And yet, even though music says little, it still manages to touch us deep, to tickle some universal nerves. When listening to our favorite songs, our body betrays all the symptoms of emotional arousal. The pupils in our eyes dilate, our pulse and blood pressure rise, the electrical conductance of our skin is lowered, and the cerebellum, a brain region associated with bodily movement, becomes strangely active. Blood is even re-directed to the muscles in our legs. (Some speculate that this is why we begin tapping our feet.) In other words, sound stirs us at our biological roots. As Schopenhauer wrote, “It is we ourselves who are tortured by the strings.”
We can now begin to understand where these feelings come from, why a mass of vibrating air hurtling through space can trigger such intense states of excitement. A paper in Nature Neuroscience by a team of Montreal researchers marks an important step in revealing the precise underpinnings of “the potent pleasurable stimulus” that is music. Although the study involves plenty of fancy technology, including fMRI and ligand-based positron emission tomography (PET) scanning, the experiment itself was rather straightforward. After screening 217 individuals who responded to advertisements requesting people that experience “chills to instrumental music,” the scientists narrowed down the subject pool to ten. (These were the lucky few who most reliably got chills.) The scientists then asked the subjects to bring in their playlist of favorite songs – virtually every genre was represented, from techno to tango – and played them the music while their brain activity was monitored.
The Dementia and Music Project - Chloe Meineck
This project is a culmination of two years research highlighting the advantages of listening to familiar music for dementia sufferers. This coupled with the fact that when many people move into a home they feel lost in their unfamiliar surroundings. The music box, which is all hand made, combines an interactive music player, with a memory box of co-designed special objects.
The film is Barbara talking about her life, her most important objects, music, events and her most treasured people.