Music Listening, Music Therapy, Phenomenology and Neuroscience

Appendix 3.01 Survey of The Neurosciences and Music I

• Conference 2002

Roundtable I: Dissecting the Perceptual Components of Music

Title, Category

Aim

Mus. Material, Cultural Ref.

Technology & Procedure

Main focus of interest

Conclusion

*8. Demorest & Morrison

(112

-117)

Cultural Familiarity

Cat. 7: Cultur

e

*9. De Poli (118

-123)

Expressive Intentions in Music Performance

Cat. 20: Musical expression

1

*10. Lopez et al. (124-

130)

Musicians versus Nonmusicians

Cat. 1: Pitch, melody

Cat. 8:

Musicians

Comparing Western subjects’ responses to music of a familiar and an unfamiliar culture

Understanding

musicians’

strat

egies for different

expres

sive intentions

Auditory responses to simple musical stimuli and to melodies

Recordings:

Excerpts from

a

sonata by A. Scarlatti and a traditional Chinese piece, Liu Qin Niang

CR: Western, Chinese

Recordings

of professional

performances

of scores from

Western classical and African

-American music

.

10-

20 sec. melodies played

with seven

different

expressive intentions: Neutral, bright, dark, hard, soft, heavy, light

.

CR: Western, European ethnic,

African

-American

Pure tones: 1) Single tones

2) Single chords 3) Arpeggios

Synthesized piano sound: Mozart: Twinkle

twinkle little

star, Bach

Invention no. 8

CR:

Western

A precisely described set of stimuli

Western subjects: Six professional string players and six untrained control subjects.

fMRI while listening

Questionnaire, pro

posing the

selection of descrip

tive

adjectives; factor

analysis of

adjectives. Computer modeling

10 performing amateur musicians, 10 non

-musicians.

EEG and MEG simultaneously while listening. Five Oddball paradigms

Differences in brain activation due to cultural familiarity of the music. The term ”mus

ical

accomodation” might be more accurate than ”musical comprehension”

(p. 114)

Computer modeling of expressive intentions by means of analysis-

by-

synthesis

Differences in amplitudes and latencies between musicians and non

-musicians. Mismatch

Negativity

(MMN

), N1, P300

Activation

did not differ on

the basis of

cultural

familiarity, but on the basis of musical expertise

. Each

listener may universally apply his or her comprehension strategies to all music (

p. 114)

Kine

ma

tics (

Tempo and

tempo variations

) correlated

with

expressive intentions:

”bright” versus

”dark”.

Energy (

intensity

and

attack time

) correlated with

expressive intentions: ”h

ard”

versus ”

soft”

Mismatch Negativity (

MMN

) in

all subjects. Hypothesis: Each future tone is pr

edicted.

The advantage of ”musicianship” is more evident in more complex musical sequences

(p. 129)

MMN: Mismatch negativity

: In EEG, a deflection in the auditory evoked response when a deviance is randomly inserted in a series of otherwise equal s

timuli

(the

Oddball paradigm

)^

(Paper

No. 10:

Lopez p.124).

”A unique indicator of automatic cerebral processing of auditory stimuli” (

Paper

No. 26:

Sittiprapaporn p.199)

1 See also

Bigand (NM II, 2005:430)