Music Listening, Music Therapy, Phenomenology and Neuroscience

Appendix 3.02 Survey of The Neurosciences a

nd Music I

I

Conference 2005

From Perception to Performance

Title, Category

Aim

Mus. Material, Cultural Ref.

Technology & Procedure

Main focus of interest

Conclusion

51P. Passynkova et al.

(454

-456)

Left auditory cortex specialization

Cat. 2: Consonance / Dissonance

52P.

Steinbeis et al.

(457

-461)

Processing of harmonic expectancy violations

Cat. 2: Harmony Cat. 19: Emotion

53P.

Vines et al.

(462

-466)

Dimensions of emotions in performance

Cat. 19: Emotion

Cat. 20: Musical expression

To investigate the

repre

sentation of consonant

and dissonant chords in the auditory cortex

To study if harmonic expectancy violations can trig

ger emotional processes

To explore the dimensions of emotions conveyed by music

Synthesized chords and individual notes. Piano timbre using Cubasis software

CR: Western

Recorded music:

Six Bach

chorales con

taining

unexpected harmonies

, plus

alt ered versions containing expected and very unexpected hamonies

CR: Western

Recorded music:

Audio-

video

recordings of two clarinetists playing a Stravinsky piece in three manners: immobile, standard and exaggerated

CR: Western

fMRI during listening to consonant and dissonant chords, and the individual harmonic tones of chords

EEG in

30 locations, plus

measurement of Electro

dermal activity

(EDA)

Judgement task: com

paring

durations, to show attention

12 musicians, 12 non

musicians.

3 groups: auditory only, visual only, and auditory + visual. For each stimulus, the experience of 19 emotions

was

rated on Likert scales.

Factor analysis.

Activation of auditory cortex

Differences in Event

-related

potentials (ERP) and EDA between responses

Differences in emotional experiences between groups: auditory only, visual only, and auditory + visual.

Stronger BOLD response to consonant than to dissonant chords in left posterior auditory cortex

, mainly

planum temporale Harmonically unexpected events

elicit emotional effects

Visual experiences was the primary channel through which the clarinetists’ performance intentions influenced the emotions of observers