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The Influence of Musical Rhythm on Cardiovascular, Respiratory, And
The Influence of Musical Rhythm on Cardiovascular, Respiratory, and Electrodermal Activity Dissertation zur Erlangung des Doktorgrades der Philosophie (Dr. phil.) vorgelegt der Philosophischen Fakult¨at der Martin-Luther-Universit¨at Halle-Wittenberg, Institut f¨ur Musik, Abteilung Musikwissenschaft von Martin Morgenstern geboren am 3. Juni 1979 in Dresden Gutachter: Professor Dr. Wolfgang Auhagen Martin-Luther-Universit¨at, Halle-Wittenberg Professor Dr. med. Hans-Christian Jabusch Hochschule f¨ur Musik Carl Maria von Weber, Dresden Tag der Verteidigung: 7. Juli 2009 iii Abstract Background. Athanasius Kircher, one of the first prominent figures to pro- pose a connection between the distinct rhythm of the heart and the state of people’s health, suggested the use of rhythmic stimuli to cure diseases. Since then, there have been various attempts to alter the heart rate by means of auditory stimuli, and for similar purposes. Be it in music or in rhythmical coordination tasks, interactions of periodic exogenous pulses and endogenous biological rhythms have been studied extensively. However, there are still limitations to understanding the regulating mechanisms in cardio-respiratory synchronisation. Aims. Various listening and bio-feedback experiments are discussed, dealing with different aspects of the influence of rhythmical auditory stimuli on cardio-respiratory regulation, biological rhythm generation and coordina- tion. A focus is on the interpretation of respective physiological adaptation processes and different relaxation strategies that might help musicians to deal with unwanted stress before, during, and after a musical performance. Dif- ferent challenges inherent to empirical musicological and music-related bio- medical research, and how they might be tackled in future experiments, are considered. -
Focusing Attention T O P I
43-2410 - Module 7: Introduction Page 1 of 14 43-2410 - Aesthetics of the Motion Picture Soundtrack MODULE 07: (Film) Music, Meaning, Emotion, Communication INTRODUCTION t o p i c s Focusing attention - Accents Cognitive aspects of pitch and time in music -Melody - Contours - Tonality Memory limits - Data reduction - Categories Complexity, Prediction, Preference, Interest Maximal variety with minimal elements - Musical scales as psychological constructs Focusing Attention Experiencing time Our experience of time seems to often proceed independently from clock time. Musical organization of sounds may offer us means to explore this difference. The fleeting nature of non-linguistic sound events (in music, film, etc), accentuated by the potential absence of a referent, highlights the larger problem of defining the perceptual 'present.' Present is shaped by our selective attention to events or aspects of events. This selective attention and, therefore, our experience of 'present' events is always mediated by the memory of past events and the expectation of future ones, while at the same time reshaping both our memories and our expectations. The dialectic nature of the way we experience the present, past, and future is defining of the human experience of time and is explored within phenomenological research (e.g. Ricoeur, 1991; "Time and Narrative"). 43-2410 - Module 7: Introduction Page 2 of 14 Two competing theories of time within psychology I_ Storage-size theory (Ornstein, 1969). Memory storage-needs influence our estimates of time: a percept containing a large amount of information will require more storage capacity in short-term memory, generating the impression of greater elapsed time. II_ Attentional capacity theories (Hicks et al., 1976; Block, 1978; etc.). -
A Qualitative Exploration of the Internalised Use of Aural, Visual, Kinaesthetic, and Other Imagery in the Perception and Performance of Music
University of Wollongong Thesis Collections University of Wollongong Thesis Collection University of Wollongong Year In search of the inner voice: a qualitative exploration of the internalised use of aural, visual, kinaesthetic, and other imagery in the perception and performance of music Nicole Saintilan University of Wollongong Saintilan, Nicole, In search of the inner voice: a qualitative exploration of the inter- nalised use of aural, visual, kinaesthetic, and other imagery in the perception and performance of music, PhD thesis, Faculty of Education, University of Wollongong, 2008. http://ro.uow.edu.au/theses/725 This paper is posted at Research Online. http://ro.uow.edu.au/theses/725 In Search of the Inner Voice: A Qualitative Exploration of the Internalised use of Aural, Visual, Kinaesthetic, and Other Imagery in the Perception and Performance of Music Completed in fulfilment of requirements for the degree of Doctor of Philosophy Nicole Saintilan BCA (Hons), M Mus, A Mus A, Grad Dip Ed Faculty of Education, University of Wollongong 2008 Statement of Sources Apart from the acknowledged borrowings from other sources, the work in this thesis, to my knowledge, is original. No part of this thesis has been submitted to any other institution for academic credit. Nicole Saintilan. September, 2008 ii Style Guidelines According to Departmental advice received, the Style Guidelines to be adopted for the presentation of this thesis were optional. Therefore, the guidelines of choice were those of the Publication Manual of the American Psychological Society (5th.ed.). Taken into account was the variation allowed by these guidelines (for material other than journal articles) that is not only permissible, but also desirable in the interests of clear communication. -
Shepard, 1982
Psychological Review VOLUME 89 NUMBER 4 JULY 1 9 8 2 Geometrical Approximations to the Structure of Musical Pitch Roger N. Shepard Stanford University ' Rectilinear scales of pitch can account for the similarity of tones close together in frequency but not for the heightened relations at special intervals, such as the octave or perfect fifth, that arise when the tones are interpreted musically. In- creasingly adequate a c c o u n t s of musical pitch are provided by increasingly gen- eralized, geometrically regular helical structures: a simple helix, a double helix, and a double helix wound around a torus in four dimensions or around a higher order helical cylinder in five dimensions. A two-dimensional "melodic map" o f these double-helical structures provides for optimally compact representations of musical scales and melodies. A two-dimensional "harmonic map," obtained by an affine transformation of the melodic map, provides for optimally compact representations of chords and harmonic relations; moreover, it is isomorphic to the toroidal structure that Krumhansl and Kessler (1982) show to represent the • psychological relations among musical keys. A piece of music, just as any other acous- the musical experience. Because the ear is tic stimulus, can be physically described in responsive to frequencies up to 20 kHz or terms of two time-varying pressure waves, more, at a sampling rate of two pressure one incident at each ear. This level of anal- values per cycle per ear, the physical spec- ysis has, however, little correspondence to ification of a half-hour symphony requires well in excess of a hundred million numbers. -
The Composition and Performance of Spatial Music
The Composition and Performance of Spatial Music A dissertation submitted to the University of Dublin for the degree of Doctor of Philosophy Enda Bates Trinity College Dublin, August 2009. Department of Music & Department of Electronic and Electrical Engineering Trinity College Dublin Declaration I hereby declare that this thesis has not been submitted as an exercise for a degree at this or any other University and that it is entirely my own work. I agree that the Library may lend or copy this thesis upon request. Signed, ___________________ Enda Bates ii Summary The use of space as a musical parameter is a complex issue which involves a number of different, yet interrelated factors. The technical means of performance, the sonic material, and the overall musical aesthetic must all work in tandem to produce a spatial impression in the listener which is in some way musically significant. Performances of spatial music typically involve a distributed audience and often take place in an acoustically reverberant space. This situation is quite different from the case of a single listener at home, or the composer in the studio. As a result, spatial strategies which are effective in this context may not be perceived correctly when transferred to a performance venue. This thesis examines these complex issues in terms of both the technical means of spatialization, and the compositional approach to the use of space as a musical parameter. Particular attention will be paid to the effectiveness of different spatialization techniques in a performance context, and what this implies for compositional strategies which use space as a musical parameter. -
Working Memory for Pitch, Timbre, and Words
This article was downloaded by: [Barbara Tillmann] On: 08 April 2013, At: 13:10 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Memory Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/pmem20 Working memory for pitch, timbre, and words Katrin Schulze a b & Barbara Tillmann a a Lyon Neuroscience Research Center, Auditory Cognition and Psychoacoustics Team, CNRS UMR5292, INSERM U1028, Université de Lyon, Lyon, France b Developmental Cognitive Neuroscience Unit, UCL Institute of Child Health, London, UK Version of record first published: 01 Nov 2012. To cite this article: Katrin Schulze & Barbara Tillmann (2013): Working memory for pitch, timbre, and words, Memory, 21:3, 377-395 To link to this article: http://dx.doi.org/10.1080/09658211.2012.731070 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
Major Heading
THE APPLICATION OF ILLUSIONS AND PSYCHOACOUSTICS TO SMALL LOUDSPEAKER CONFIGURATIONS RONALD M. AARTS Philips Research Europe, HTC 36 (WO 02) Eindhoven, The Netherlands An overview of some auditory illusions is given, two of which will be considered in more detail for the application of small loudspeaker configurations. The requirements for a good sound reproduction system generally conflict with those of consumer products regarding both size and price. A possible solution lies in enhancing listener perception and reproduction of sound by exploiting a combination of psychoacoustics, loudspeaker configurations and digital signal processing. The first example is based on the missing fundamental concept, the second on the combination of frequency mapping and a special driver. INTRODUCTION applications of even smaller size this lower limit can A brief overview of some auditory illusions is given easily be as high as several hundred hertz. The bass which serves merely as a ‘catalogue’, rather than a portion of an audio signal contributes significantly to lengthy discussion. A related topic to auditory illusions the sound ‘impact’, and depending on the bass quality, is the interaction between different sensory modalities, the overall sound quality will shift up or down. e.g. sound and vision, a famous example is the Therefore a good low-frequency reproduction is McGurk effect (‘Hearing lips and seeing voices’) [1]. essential. An auditory-visual overview is given in [2], a more general multisensory product perception in [3], and on ILLUSIONS spatial orientation in [4]. The influence of video quality An illusion is a distortion of a sensory perception, on perceived audio quality is discussed in [5]. -
Music Interventions in Health Care White Paper H C Are in Healt I Nterventions Music 1
MUSIC INTERVENTIONS IN HEALTH CARE WHITE PAPER ARE C H NTERVENTIONS IN HEALT NTERVENTIONS I MUSIC MUSIC 1 BY LINE GEBAUER AND PETER VUUST - IN COLLABORATION WITH WIDEX, SOUNDFOCUS, DKSYSTEMS, AARHUS UNIVERSITY AND DANISH SOUND INNOVATION NETWORK PUBLISHER ABOUT THE PUBLICATION DANISH SOUND INNOVATION NETWORK This publication and possible comments and discussions can be Technical University of Denmark downloaded from www.danishsound.org. Matematiktorvet, Building 303B 2800 Kongens Lyngby The content of this publication reflects the authors’ point of view Denmark and not necessarily the view of the Danish Sound Innovation T +45 45253411 Network as such. W www.danishsound.org Copyright of the publication belongs to the authors. Possible agree- FEBRUARY 2014 ments between the authors might regulate the copyright in detail. ABOUT THE AUTHORS PROF. PETER VUUST is a unique combination of a world class musician and a top-level scientist. Based on his distinguished music and research career, he was appointed professor at The Royal Academy of Music Aarhus (RAMA) in 2008. Peter Vuust has since 2007 led the multidisciplinary research group Music in the Brain, at CFIN Aarhus University Hospital, which aims at understanding the neural processing of music, by using a combination of advanced music theory, behavioural experience, and state-of-the-art brain scanning methods. DR LINE GEBAUER holds an MA in Psychology and a PhD in Neuroscience from Aarhus University. She is currently a postdoctoral fellow in Prof. Peter Vuust’s Music in the Brain research group. Line is studying the neurobiological correlates of 2 music perception, in particular music-induced emotions and pleasure in healthy individuals and in people with developmental WHITE disorders. -
Low Frequency Spatialization in Electro-Acoustic Music and Tel (02) 9528 4362 Performance: Composition Meets Perception Fax (02) 9589 0547 Roger T
not ROCKET SCIENCE but REAL SCIENCE Pyrotek Noise Control recognises that the effective specification of a product needs reliable data. As such we are working with some of the world’s leading testing and certification organisations to help support our materials with clear unbiased test data giving a specifier the facts about our products’ performance. With an ongoing research and testing budget we have some interesting data to share. To keep up to date with all the additions to testing we are making, simply contact us for a personal visit or review our website www.pyroteknc.com and sign up for our ‘PRODUCT UPDATE’ emails and we will keep you up to date with our developments. you can hear a pin drop www.pyroteknc.com manufacturing quietness testing_april2014.indd 1 19/03/2014 3:02:43 PM Acoustics Australia EDITORIAL COMMITTEE: Vol. 42, No. 2 August 2014 Marion Burgess, From the Guest Editor.....................................................75 Truda King, Tracy Gowen From the President . .77 From the Chief Editor .....................................................78 PAPERS Acoustics Australia All Editorial Matters Special Issue: AUDITORY PERCEPTION (articles, reports, news, book reviews, new products, etc) Native and Non-Native Speech Perception The Editor, Acoustics Australia Daniel Williams and Paola Escudero. .........................................79 c/o Marion Burgess In Thrall to the Vocabulary [email protected] www.acoustics.asn.au Anne Cutler. ............................................................84 Active Listening: Speech Intelligibility in Noisy Environments General Business Simon Carlile . ...........................................................90 (subscriptions, extra copies, back issues, advertising, etc.) Auditory Grammar Mrs Leigh Wallbank Yoshitaka Nakajima, Takayuki Sasaki, Kazuo Ueda and Gerard B. Remijn. 97 P O Box 70 OYSTER BAY NSW 2225 Low Frequency Spatialization in Electro-Acoustic Music and Tel (02) 9528 4362 Performance: Composition Meets Perception Fax (02) 9589 0547 Roger T. -
Modularity of Music: Evidence from a Case of Pure Amusia
J Neurol Neurosurg Psychiatry 2000;69:541–545 541 J Neurol Neurosurg Psychiatry: first published as 10.1136/jnnp.69.4.541 on 1 October 2000. Downloaded from SHORT REPORT Modularity of music: evidence from a case of pure amusia Massimo Piccirilli, Tiziana Sciarma, Simona Luzzi Abstract referred to us in December 1997 for the onset A case of pure amusia in a 20 year old left of a sudden and violent left frontotemporal handed non-professional musician is re- headache, which was followed by nausea and ported. The patient showed an impair- vomiting and was associated with a language ment of music abilities in the presence of disorder. The neurological examination per- normal processing of speech and environ- formed at admission showed only aphasia mental sounds. Furthermore, whereas characterised by rare literal paraphasia cor- recognition and production of melodic rected by the patient himself, with impaired sequences were grossly disturbed, both verbal comprehension. Medical history did not the recognition and production of rhythm indicate any noteworthy diseases, with the patterns were preserved. This selective exception of surgery performed when the breakdown pattern was produced by a patient was 3 years old to remove an angioma focal lesion in the left superior temporal from the pulp of the second finger on his left gyrus. This case thus suggests that not hand. only linguistic and musical skills, but also An emergency cerebral CT showed a left melodic and rhythmic processing are temporal haematoma with a maximum diam- independent of each other. This func- eter of 4.5 cm, surrounded by perilesional tional dissociation in the musical domain oedema. -
The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000. -
Neuromusical Research: an Overview of the Literature
In: Neurosciences in Music Pedagogy ISBN: 978-1-60021-834-7 Editors: W. Gruhn and F. Rauscher, pp. 1-25 © 2007 Nova Science Publishers, Inc. Chapter I NEUROMUSICAL RESEARCH: AN OVERVIEW OF THE LITERATURE Richard D. Edwards and Donald A. Hodges ABSTRACT With growing interest in the neuroscience of music among both neuroscientists and music educators, the task of reviewing the extant neuromusical research has become more exciting, if not a bit more complicated due to the diversity of topics and the increasing number of available studies. We provide an overview of neuromusical research by discussing its historical foundations (especially with the advancements of imaging technologies), support from ancillary areas (anthropology, ethnomusicology, ethology, and music psychology), support from fetal and infant responses to music, and support from studies of special musicians (prodigies, savants, Williams Syndrome musicians, and Alzheimer’s patients). The main section presents findings and implications from recent neuroimaging studies by dividing the research into five categories: (1) Perception and Cognition, (2) Affective Responses, (3) Musical Performance, (4) Learning, and (5) Genetic Factors. Several broad conclusions regarding the state of human musicality are presented in the concluding section. Among these conclusions, perhaps the most valuable evidence that neuromusical research currently holds for educators is that musicality is a birthright of all people and that music processing is inherent to some degree in all humans. Humanity has long wondered about the mind. Before Descartes proposed “I think, therefore, I am” or even before Plato and Aristotle ever contemplated the psyche, the oldest brain map on record was being drawn upon papyrus in Egypt almost 5,000 years ago1.