Mental Representations in Musical Processing and Their Role in Action-Perception Loops
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
MATTERS and Sound
Letters to the Editor 833 1 Kennedy WR, Alter M, Sung JH. Progressive seemed in the first days to originate exter- The inhibition was revealed in our studies proximal spinal and bulbar muscular atro- phy of late onset: a sex-linked recessive trait. nally and was heard bilaterally. The melody during a period of voluntary contraction by J Neurol Neurosurg Psychiatry: first published as 10.1136/jnnp.56.7.833 on 1 July 1993. Downloaded from Neurology 1968;18:671-80. she heard was extremely loud, leading her stimulating the motor cortex at a strength 2 Harding AE, Thomas PK, Baraister M, to ask surrounding people to turn off the lower than that required to produce excita- Bradbury PG, Morgan-Hughes JA, radio, which she believed to be the source tion under the same conditions. A recent Ponsford JR. X-linked recessive bulbospinal neuronopathy: a report of ten cases. J Neurol of the tune. The music began suddenly, was study has reported that the discharge of Neurosurg Psychiatty 1982;45: 1012-19. slow, clear and reminiscent of popular motor neurons in the first dorsal interosseus 3 Mukai E, Mitsuma T, Takahashi A, Sobue I. songs that she had heard in her youth, but muscle of the hand of a patient with multi- Endocrinological study of hypogonadism and feminization in patients with bulbar were still unknown to her. She was able to ple sclerosis could be suppressed by tran- spinal muscular atrophy. Clin Neurol sing this melody. Shortly after the onset of scranial magnetic stimulation of the motor (Tokyo) 1984;24:925-9. -
Social Implications Arise in Embodied Music Cognition Research Which Can Counter Musicological “Individualism”
Edinburgh Research Explorer Social implications arise in embodied music cognition research which can counter musicological “individualism” Citation for published version: Moran, N 2014, 'Social implications arise in embodied music cognition research which can counter musicological “individualism”', Frontiers in Psychology, vol. 5, no. 676, 676. https://doi.org/10.3389/fpsyg.2014.00676 Digital Object Identifier (DOI): 10.3389/fpsyg.2014.00676 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Frontiers in Psychology General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 05. Oct. 2021 REVIEW ARTICLE published: 18 July 2014 doi: 10.3389/fpsyg.2014.00676 Social implications arise in embodied music cognition research which can counter musicological “individualism” Nikki Moran* Reid School of Music, Edinburgh College of Art, Edinburgh University, Edinburgh, UK Edited by: The agenda in music research that is broadly recognized as embodied music cognition has Werner Goebl, University of Music arrived hand-in-hand with a social interpretation of music, focusing on the real-world basis of and Performing Arts Vienna, Austria its performance, and fostering an empirical approach to musician movement regarding the Reviewed by: communicative function and potential of those movements. -
POSTER PRESENTATIONS POSTER SESSION 1 – Monday 15Th
XVI WORLD CONGRESS OF PSYCHIATRY “FOCUSING ON ACCESS, QUALITY AND HUMANE CARE” MADRID, SPAIN | September 14-18, 2014 POSTER PRESENTATIONS POSTER SESSION 1 – Monday 15th ADHD: ________________________________________________________________________________________________ 1 – 109 Addiction: _________________________________________________________________________________________ 110 – 275 Anxiety, Stress and Adjustment Disorders: _________________________________________ 276 – 368 Art and Psychiatry: ___________________________________________________________________________ 369 – 384 Biological Psychiatry and Neuroscience: ____________________________________________ 385 – 443 Brain and Pain: _________________________________________________________________________________ 444 – 449 Child and Adolescent Mental and Behavioral Disorders: ______________________ 450 – 603 Conflict Management and Resolution: _______________________________________________ 604 – 606 Dementia, Delirium and Related Cognitive Disorders: _________________________ 607 – 674 Diagnostic Systems: _________________________________________________________________________ 675 – 683 Disasters and Emergencies in Psychiatry: __________________________________________ 684 – 690 Dissociative, Somatization and Factitious Disorders: __________________________ 691 – 710 Eating Disorders: ______________________________________________________________________________ 711 – 759 Ecology, Psychiatry and Mental Health: ______________________________________________ 760 – 762 Epidemiology -
Embodied Music Cognition and Mediation Technology Briefly, What It Is All About
Embodied music cognition and mediation technology Briefly, what it is all about: Embodied music cognition = Experiencing music in relation to our bodies, specifically in relation to body movements, both visible (overt) and imagined (covert) Mediation technology = Various technologies for capturing, storing, transmitting, and generating music In sum: Human music making, music perception and music cognition in our technological world Chapters: 1 Musical experience and signification 2 Paradigms of music research 3 Ecological conceptions 4 Corporeal articulations and intentionality 5 Corporeal articulations and imitation 6 Interaction with musical instruments 7 Search for and retrieval of music 1. Musical experience and signification Experience and description: • Music is everywhere; music is one of the most important cultural (and economic) factors of our lives • Behavioral resonance, awareness, description: Trying to capture essential elements of musical experience • The need for description: How do we get information about peoples’ musical experience and how do we represent and interpret this information? Description and subjective interpretation: • Signification practice: Verbal accounts of musical experience • Hermeneutics methodology: Interpreting music by way of various metaphors and/or narratives • Dealing with intentionality: Assigning purpose to music, e.g. programmatic intentions • Mediating access to music: Can these various verbal accounts of music be useful in accessing music, i.e. in music information retrieval, google-like searches for music, etc.? The subjectivist approach: • Dualism: Split between the physics of sound and the mental/emotional features of music. But is this dualism well-founded? - The embodied paradigm will say no. • Relativism: Are descriptions of music completely arbitrary, totally subjective? – Probably not, as there will in many cases be quite clear inter-subjective agreements. -
Musical Hallucinations in Schizophrenia
Mental Illness 2015; volume 7:6065 Musical hallucinations in reported having musical hallucinations.4 Notably the musical hallucinations tended to Correspondence: Robert G. Bota, UC Irvine schizophrenia be sudden in onset, familiar, and mixed instru- Health Neuropsychiatric Center, 101 The City mental and vocal, with most patients having a Drive South, Orange, CA 92868, USA. Jessica Galant-Swafford, Robert Bota soothing affective response to the music Tel.:+1.714.456.2056. Department of Psychiatry, University of (62%). Interestingly, when the musical halluci- E-mail: [email protected] California, Irvine, CA, USA nations had more religious content, the patients claimed to have less volitional control Received for publication: 8 June 2015. Accepted for publication: 8 June 2015. Musical hallucinations (MH) are complex over them. This suggests that the presence or phenomena that are associated with hearing absence of religious content in the musical This work is licensed under a Creative Commons loss, brain disease (glioma, epilepsy, cere- hallucination may be useful for differentiating Attribution NonCommercial 3.0 License (CC BY- brovascular disease, encephalitis), and psychi- between musical imagery and musical halluci- NC 3.0). atric disorders such as major depressive disor- nations. ©Copyright J. Galant-Swafford and R. Bota, 2015 der, bipolar disease, and schizophrenia. MH Baba and Hamada suggest that musical hal- lucinations in patients with schizophrenia are Licensee PAGEPress, Italy are also commonly seen in people without Mental Illness 2015; 7:6065 phenomena that originate as memory repre- otorhinolaryngological, neurological, or mental doi:10.4081/mi.2015.6065 illness pathology.1 sentations or pseudo-hallucinations akin to In his novel Musicophilia, Oliver Sacks evoked musical imagery, which transition into true hallucinations during the progression of writes that his patients with musical halluci- cal content that were obsessive-compulsive in the disease. -
Music and Cognitive Extension”
Empirical Musicology Review Vol. 9, No. 3-4, 2014 Towards Extended Music Cognition: Commentary on “Music and Cognitive Extension” JAKUB RYSZARD MATYJA Polish Academy of Sciences, Warsaw, Poland. University of Huddersfield, United Kingdom ABSTRACT: In his paper, Luke Kersten (2014) argues that since music cognition is part of a locationally wide computational system, it can be considered as an extended process. Overall I sympathize with Kersten’s (2014) view. However, in the present paper I underline those issues that need to be, in my opinion, developed in a more detailed and cautious way. Extended music perception is the idea that “it ain’t all in the head”, but rather involves the exploitation of non-neural body and musical environment. In order to push the debate further, I suggest situating Kersten’s views within a broader context of recent research, thus strengthening the theoretical importance of his proposal. Submitted 4 September 2014; accepted 24 November 2014. KEYWORDS: music perception, extended cognition, music cognition, wide computationalism, musical affordances EXTENDED COGNITION AND MUSIC THE extended cognition (EC) hypothesis (e.g., Theiner, 2011) was originally formulated by Clark and Chalmers (1998). In the latter paper there is notably no reference to Gibson’s (1966) ideas of non- inferential direct perception, nor the concept of affordances. However, in his classical book Being There, Clark (1998) argued for the possibility of linking Gibson’s ecological approach with his representational framework of EC. Similarly, the proponents of embodied music cognition (e.g., Leman, 2008), although sometimes criticized heavily (Schiavio and Menin, 2013), see no problem in linking (musical) affordances with representational frameworks. -
Musical Hallucinations, Musical Imagery, and Earworms: a New Phenomenological Survey
Consciousness and Cognition 65 (2018) 83–94 Contents lists available at ScienceDirect Consciousness and Cognition journal homepage: www.elsevier.com/locate/concog Musical hallucinations, musical imagery, and earworms: A new phenomenological survey T ⁎ Peter Moseleya,b, , Ben Alderson-Daya, Sukhbinder Kumarc, Charles Fernyhougha a Psychology Department, Durham University, South Road, Durham DH1 3LE, United Kingdom b School of Psychology, University of Central Lancashire, Marsh Lane, Preston PR1 2HE, United Kingdom c Institute of Neuroscience, Newcastle University, Newcastle NE1 7RU, United Kingdom ARTICLE INFO ABSTRACT Keywords: Musical hallucinations (MH) account for a significant proportion of auditory hallucinations, but Auditory hallucinations there is a relative lack of research into their phenomenology. In contrast, much research has Musical hallucinations focused on other forms of internally generated musical experience, such as earworms (in- Earworms voluntary and repetitive inner music), showing that they can vary in perceived control, repeti- Mental imagery tiveness, and in their effect on mood. We conducted a large online survey (N = 270), including Phenomenology 44 participants with MH, asking participants to rate imagery, earworms, or MH on several variables. MH were reported as occurring less frequently, with less controllability, less lyrical content, and lower familiarity, than other forms of inner music. MH were also less likely to be reported by participants with higher levels of musical expertise. The findings are outlined in relation to other forms of hallucinatory experience and inner music, and their implications for psychological models of hallucinations discussed. 1. Introduction Auditory hallucinations (AH) are defined as the conscious experience of sounds that occur in the absence of any actual sensory input. -
Aubinet-The-Craft-Of-Yoiking-Revised
Title page 1 The Craft of Yoiking Title page 2 The Craft of Yoiking Philosophical Variations on Sámi Chants Stéphane Aubinet PhD thesis Department of Musicology University of Oslo 2020 Table of contents Abstract vii Sammendrag ix Acknowledgements xi Abbreviations xv Introduction 1 The Sámi 2 | The yoik 11 [Sonic pictures 17; Creation and apprenticeship 22; Musical structure 25; Vocal technique 29; Modern yoiks 34 ] | Theoretical landscape 39 [Social anthropology 46; Musicology 52; Philosophy 59 ] | Strategies of attention 64 [Getting acquainted 68; Conversations 71; Yoik courses 76; Consultations 81; Authority 88 ] | Variations 94 1st variation: Horizon 101 On the risks of metamorphosis in various practices Along the horizon 103 | Beyond the horizon 114 | Modern horizons 121 | Antlered ideas 125 2nd variation: Enchantment 129 On how animals and the wind (might) engage in yoiking Yoiks to non-humans 131 | The bear and the elk 136 | Enchantment and belief 141 | Yoiks from non-humans 147 | The blowing of the wind 152 | A thousand colours in the land 160 3rd variation: Creature 169 On the yoik’s creative and semiotic processes Painting with sounds 171 | The creation of new yoiks 180 | Listening as an outsider 193 | Creaturely semiosis 200 | The apostle and the genius 207 vi The Craft of Yoiking 4th variation: Depth 213 On the world inside humans and its animation Animal depths 214 | Modal depths 222 | Spiritual depths 227 | Breathed depths 231 | Appetition 236 | Modern depths 241 | Literate depths 248 5th variation: Echo 251 On temporality -
CAN't GET IT out of MY HEAD: BRAIN DISORDER CAUSES MYSTERIOUS MUSIC HALLUCINATIONS , February 28, 2004 the Sunday Telegraph Maga
CarlZimmer.com 7/20/05 12:19 PM CAN'T GET IT OUT OF MY HEAD: BRAIN DISORDER CAUSES MYSTERIOUS MUSIC HALLUCINATIONS The Sunday Telegraph Magazine, February 28, 2004 Janet Dilbeck clearly remembers the moment the music started. Two years ago she was lying in bed on the California ranch where she and her husband were caretakers. A mild earthquake woke her up. To Californians, a mild earthquake is about as unusual as a hailstorm, so Dilbeck tried to go back to sleep once it ended. But just then she heard a melody playing on an organ, "very loud, but not deafening," as she recalls. Dilbeck recognized the tune, a sad old song called When You and I Were Young, Maggie. Maggie was her mother's name, and when Dilbeck (now 70) was a girl her father would jokingly play the song on their home organ. Dilbeck is no believer in ghosts, but as she sat up in bed listening to the song, she couldn't help but ask, "Is that you, Daddy?" She got no answer, but the song went on, clear and loud. It began again from the beginning, and continued to repeat itself for hours. "I thought, this is too strange," Dilbeck says. She tried to get back to sleep, but thanks to the music she could only doze off and on. When she got up at dawn, the song continued. In the months to come, Dilbeck would hear other songs. She heard merry-go-round calliopes and Silent Night. For a few weeks, it was The Star-Spangled Banner. -
Involuntary Musical Imagery, As Conditioned by Everyday Music
Involuntary Musical Imagery, as conditioned by everyday music listening Ioanna Filippidi Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy. Department of Music The University of Sheffield. September 2018 Abstract Music in one’s head is a very prevalent phenomenon in everyday life, but the aetiology behind it is still unclear. This thesis aimed to investigate the phenomenon of involuntary musical imagery (INMI), and particularly, under the hypothesis that it is a conditioned response from everyday music listening. Music listening can be a highly rewarding experience, and people use it more than ever to accompany their everyday lives: such systematic habits can create a process similar to classical conditioning, where, when two stimuli systematically pair, one will evoke the response that is usually elicited by the other. This premise has been investigated in three studies, designed specifically for this hypothesis: two laboratory-based behavioural experiments and an Experience Sampling (ES) study. The first experiment explored whether the conditioning process could be recreated in a laboratory context, by repeatedly pairing music with an activity. The second experiment explored the already established conditioning by investigating whether INMI would occur in the place of music: a stress induction experiment was designed to assess if individuals who use music to regulate their stress would experience INMI, in the place of music, as a coping mechanism. The third study explored INMI’s relationship to music listening in the everyday lives of individuals in order to assess this premise in a real-life setting. Overall, the findings of this research were encouraging to the hypothesis, suggesting that there is a relationship between uses of music and INMI in the aspects of activities, mood regulation, genre, and valence, and some evidence that INMI can indeed be a conditioned response. -
Download Syllabus
Draft Syllabus Subject To Change 1 Music and Madness Carmel Raz This undergraduate seminar offers historical, critical, and cross-cultural perspectives on music as a cause, symptom, and treatment of madness. The course is intended to foster interdisciplinary engagement between students interested in music, medicine, literature, philosophy, and anthropology, and to provide them with critical tools to examine constructions of music and altered mental states in social, scientific, and historical contexts. In every class, we will investigate a number of approaches to a given mental state by discussing readings by musicologists, ethnomusicologists, historians, disability studies, and medico-scientific researchers. No musical background or skills are necessary to participate. In addition to an in-depth presentation of readings in class (approximately corresponding to one reading in each disciplinary area), students will complete occasional brief responses and quizzes, and will submit a final research paper. Assignments and Grading Breakdown: 1. Final paper (ca. 15-20 pages) and presentation (40% of grade) 2. Active class participation (25% of grade) • Come to class prepared to critique the readings assigned each class. 3. Written responses / quizzes (10% of grade) 4. Introduction of two or three readings, assigned in class (25% of grade) • Two or three depends on the length and difficulty of the texts. • Students introducing the text should send me a short summary – ca. 300 words of the text’s main arguments and 3-5 discussion questions by 8pm on the Saturday prior to their presentation. Policies: • No computers, tablets, or phones in the classroom. • Office hours: Thursday at 11-11:45am at my office in the Heyman Center, room 313. -
The Cognitive Neuroscience of Music
THE COGNITIVE NEUROSCIENCE OF MUSIC Isabelle Peretz Robert J. Zatorre Editors OXFORD UNIVERSITY PRESS Zat-fm.qxd 6/5/03 11:16 PM Page i THE COGNITIVE NEUROSCIENCE OF MUSIC This page intentionally left blank THE COGNITIVE NEUROSCIENCE OF MUSIC Edited by ISABELLE PERETZ Départment de Psychologie, Université de Montréal, C.P. 6128, Succ. Centre-Ville, Montréal, Québec, H3C 3J7, Canada and ROBERT J. ZATORRE Montreal Neurological Institute, McGill University, Montreal, Quebec, H3A 2B4, Canada 1 Zat-fm.qxd 6/5/03 11:16 PM Page iv 1 Great Clarendon Street, Oxford Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © The New York Academy of Sciences, Chapters 1–7, 9–20, and 22–8, and Oxford University Press, Chapters 8 and 21. Most of the materials in this book originally appeared in The Biological Foundations of Music, published as Volume 930 of the Annals of the New York Academy of Sciences, June 2001 (ISBN 1-57331-306-8). This book is an expanded version of the original Annals volume. The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2003 All rights reserved.