Intersections between music education and music therapy: Education reform,arts education,exceptionality, and policy at the local level

In this article, a music teacher educator and a music therapy clinician and educator discuss special education policy and arts instruction at the district level. To illustrate the gulf between federal and local policies with regard to exceptional learners and arts instruction, we examine the intersections of music therapy and music education with regard to self-contained classes of students with moderate to severe disabilities. Our discussion focuses on provision of services and opportunity to learn, and results in specific policy suggestions, including: (a) increasing administrators' understanding of music therapy, adaptive music education, and music education, so that decisions regarding arts instruction can be better-informed and more child-centered, (b) treating music therapists as allied health professionals who do not need to be certified teachers to practice in schools, and (c) improving initial music teacher preparation and providing opportunities for professional development to increase awareness of necessary information and effective strategies to improve music teaching and learning for students with special needs.     

The music of your emotions: neural substrates involved in detection of emotional correspondence between auditory and visual music actions

In humans, emotions from music serve important communicative roles. Despite a growing interest in the neural basis of music perception, action and emotion, the majority of previous studies in this area have focused on the auditory aspects of music performances. Here we investigate how the brain processes the emotions elicited by audiovisual music performances. We used event-related functional magnetic resonance imaging, and in Experiment 1 we defined the areas responding to audiovisual (musician's movements with music), visual (musician's movements only), and auditory emotional (music only) displays. Subsequently a region of interest analysis was performed to examine if any of the areas detected in Experiment 1 showed greater activation for emotionally mismatching performances (combining the musician's movements with mismatching emotional sound) than for emotionally matching music performances (combining the musician's movements with matching emotional sound) as presented in Experiment 2 to the same participants. The insula and the left thalamus were found to respond consistently to visual, auditory and audiovisual emotional information and to have increased activation for emotionally mismatching displays in comparison with emotionally matching displays. In contrast, the right thalamus was found to respond to audiovisual emotional displays and to have similar activation for emotionally matching and mismatching displays. These results suggest that the insula and left thalamus have an active role in detecting emotional correspondence between auditory and visual information during music performances, whereas the right thalamus has a different role.     

Theme E: Disabilities: Analysis models and tools

This paper presents the topics and the activity of the theme E “disabilities: analysis models and tools” within the GDR STIC Santé. This group has organized a conference and a workshop during the period 2011–2012. The conference has focused on technologies for cognitive, sensory and motor impairments, assessment and use study of assistive technologies, user centered method design and the place of ethics in these research topics. The objective of “bodily integration of technique” workshop, organized in the framework of Défi Sens (CNRS) was to develop a multidisciplinary approach (physiology, robotics and anthropology) of the relationships between body and technology taking as an example the prostheses for the compensation of sensorimotor disabilities. Efforts will focus on strengthening the development of a multidisciplinary research for the design of assistive technologies for elderly people and people with disabilities. The modelling of the user's abilities and the designing of adaptable AT to the needs of the person will be carried out with other groups of this GDR and also with other GDRs.     

Music as knowledge in Shamanism and other healing traditions of Siberia

Several presenters made the point that one cannot look at narrative alone, without taking into account the music, dance, and drumming that, in many settings, go along with it. One of these presenters was Marilyn Walker, who has had the good fortune to work with healers in Siberia. Although academic in approach, Marilyn’s paper also recognizes the importance of experiential ways of knowing. In her Quebec City presentation, she shared some of this experiential dimension by showing and commenting on videotaped segments featuring three Siberian healers. Walker’s paper discusses healing at several levels. In addition to several healing dimensions that she lists at the end of her paper, she mentions the physiological effects of music, dance, and drumming. Current research is leading to a better understanding of how trauma affects the brain and the body, and ways that various therapies, including new therapies focusing on sensorimotor effects, can promote healing. Along with these developments has come a greater appreciation and understanding among some mental health practitioners of some of the neuropsychological processes by which traditional practices such as narrative, singing, drumming, and dancing, may bring about healing.     

Self-Reported Comprehension Ratings of Dog Behavior by Puppy Owners

ABSTRACT

Dogs show a range of behaviors that reflect their emotional state. It is important that dog owners recognize these behaviors to accurately assess their dog's emotional state. We examined dog owners' self-reported comprehension (SRC) of their dog's emotional state. Eighty-nine participants attending puppy socialization classes at local veterinary clinics in the Melbourne Metropolitan area, Victoria, Australia, rated their comprehension of their dog's emotional states (Happy, Sad, Anxious, Angry, Friendly Greeting, and Anxious Greeting) and listed the behaviors they used to judge the emotional state of their dog. In most cases (Anxious Greeting being the only exception), the owners' perceived comprehension of their dog's emotional state was not closely related to the number of behaviors they reported. The reported behaviors were mostly restricted to vocalizations and gross body movements. There was also no relationship between SRC and dog morphology. There were relationships between SRC and the age and gender of the participant, and previous puppy ownership. It was concluded that most dog owners report having a good understanding of the emotional state of their dogs, when they seem to have low appreciation of the signals that dogs send in the earlier stages of emotional arousal. An approach to lowering dog owners' perception of their comprehension of dog behavior, which may increase their willingness to seek education on dog behavior, and increase the efficacy of the education, is suggested.     

The Production and Perception of Emotionally Expressive Walking Sounds: Similarities between Musical Performance and Everyday Motor Activity

Several studies have investigated the encoding and perception of emotional expressivity in music performance. A relevant question concerns how the ability to communicate emotions in music performance is acquired. In accordance with recent theories on the embodiment of emotion, we suggest here that both the expression and recognition of emotion in music might at least in part rely on knowledge about the sounds of expressive body movements. We test this hypothesis by drawing parallels between musical expression of emotions and expression of emotions in sounds associated with a non-musical motor activity: walking. In a combined production-perception design, two experiments were conducted, and expressive acoustical features were compared across modalities. An initial performance experiment tested for similar feature use in walking sounds and music performance, and revealed that strong similarities exist. Features related to sound intensity, tempo and tempo regularity were identified as been used similarly in both domains. Participants in a subsequent perception experiment were able to recognize both non-emotional and emotional properties of the sound-generating walkers. An analysis of the acoustical correlates of behavioral data revealed that variations in sound intensity, tempo, and tempo regularity were likely used to recognize expressed emotions. Taken together, these results lend support the motor origin hypothesis for the musical expression of emotions.     

Expanding intersubjective awareness: the anthropology of kinaesthetic diversity

When people with widely diverse bodily characteristics collaborate in dancing together, an exploration and communication of movement and embodied knowledge takes place through dialogue and shared practice. Engagement in these activities develops participants’ awareness of and appreciation for kinaesthetic complexities and diverse embodiments, promoting an understanding of bodily difference as contributing to, rather than detracting from, the realm of physical arts and society as a whole. Based on fieldwork conducted in Israel and the United States with integrated dance projects bringing together people with and without disabilities, this article offers an ethnographic analysis that continues the anthropological endeavour of revealing the ways kinaesthetic knowledge (awareness and knowledge of the movement and spatial orientation of one's body) is fostered. Introducing disability into movement theory, I offer an understanding of movement/stasis as a spectrum of ways of moving, looking at what happens when individuals who are different from one another engage in shared, critical reflection upon their movement practices.     

Make an Art Slide Library

Self-assessment can play an important role in teachers’ personal and professional development and is encouraged by educational programs worldwide. This article reports on a Greek study that aimed to investigate generalist preservice kindergarten teachers’ self-assessment of their music teaching ability. One hundred participants were asked to design and deliver three music sessions for the kindergarten and then prepare a short reflective portfolio. Qualitative analysis of the portfolios led to the identification of different issues related to student practices, including preservice teacher training, teaching ability, the effect of different school environments and policies, and personal thoughts and feelings. Finally, the article discusses the role of self-assessment in understanding students’ academic needs and suggests initiatives and policies that might promote better teaching practices in music education, both at kindergarten and university level.     

Emotional voice and emotional body postures influence each other independently of visual awareness

Multisensory integration may occur independently of visual attention as previously shown with compound face-voice stimuli. We investigated in two experiments whether the perception of whole body expressions and the perception of voices influence each other when observers are not aware of seeing the bodily expression. In the first experiment participants categorized masked happy and angry bodily expressions while ignoring congruent or incongruent emotional voices. The onset between target and mask varied from -50 to +133 ms. Results show that the congruency between the emotion in the voice and the bodily expressions influences audiovisual perception independently of the visibility of the stimuli. In the second experiment participants categorized the emotional voices combined with masked bodily expressions as fearful or happy. This experiment showed that bodily expressions presented outside visual awareness still influence prosody perception. Our experiments show that audiovisual integration between bodily expressions and affective prosody can take place outside and independent of visual awareness.     

Comparison of emotion recognition from facial expression and music

The recognition of basic emotions in everyday communication involves interpretation of different visual and auditory clues. The ability to recognize emotions is not clearly determined as their presentation is usually very short (micro expressions), whereas the recognition itself does not have to be a conscious process. We assumed that the recognition from facial expressions is selected over the recognition of emotions communicated through music. In order to compare the success rate in recognizing emotions presented as facial expressions or in classical music works we conducted a survey which included 90 elementary school and 87 high school students from Osijek (Croatia). The participants had to match 8 photographs of different emotions expressed on the face and 8 pieces of classical music works with 8 offered emotions. The recognition of emotions expressed through classical music pieces was significantly less successful than the recognition of emotional facial expressions. The high school students were significantly better at recognizing facial emotions than the elementary school students, whereas girls were better than boys. The success rate in recognizing emotions from music pieces was associated with higher grades in mathematics. Basic emotions are far better recognized if presented on human faces than in music, possibly because the understanding of facial emotions is one of the oldest communication skills in human society. Female advantage in emotion recognition was selected due to the necessity of their communication with the newborns during early development. The proficiency in recognizing emotional content of music and mathematical skills probably share some general cognitive skills like attention, memory and motivation. Music pieces were differently processed in brain than facial expressions and consequently, probably differently evaluated as relevant emotional clues.     

Why bodies? Twelve reasons for including bodily expressions in affective neuroscience

Why bodies? It is rather puzzling that given the massive interest in affective neuroscience in the last decade, it still seems to make sense to raise the question ‘Why bodies’ and to try to provide an answer to it, as is the goal of this article. There are now hundreds of articles on human emotion perception ranging from behavioural studies to brain imaging experiments. These experimental studies complement decades of reports on affective disorders in neurological patients and clinical studies of psychiatric populations. The most cursory glance at the literature on emotion in humans, now referred to by the umbrella term of social and affective neuroscience, shows that over 95 per cent of them have used faces as stimuli. Of the remaining 5 per cent, a few have used scenes or auditory information including human voices, music or environmental sounds. But by far the smallest number has looked into whole-body expressions. As a rough estimate, a search on PubMed today, 1 May 2009, yields 3521 hits for emotion × faces, 1003 hits for emotion × music and 339 hits for emotion × bodies. When looking in more detail, the body × emotion category in fact yields a majority of papers on well-being, nursing, sexual violence or organ donation. But the number of cognitive and affective neuroscience studies of emotional body perception as of today is lower than 20.Why then have whole bodies and bodily expressions not attracted the attention of researchers so far? The goal of this article is to contribute some elements for an answer to this question. I believe that there is something to learn from the historical neglect of bodies and bodily expressions. I will next address some historical misconceptions about whole-body perception, and in the process I intend not only to provide an impetus for this kind of work but also to contribute to a better understanding of the significance of the affective dimension of behaviour, mind and brain as seen from the vantage point of bodily communication. Subsequent sections discuss available evidence for the neurofunctional basis of facial and bodily expressions as well as neuropsychological and clinical studies of bodily expressions.     

Trait Dominance Promotes Reflexive Staring at Masked Angry Body Postures

It has been shown that dominant individuals sustain eye-contact when non-consciously confronted with angry faces, suggesting reflexive mechanisms underlying dominance behaviors. However, dominance and submission can be conveyed and provoked by means of not only facial but also bodily features. So far few studies have investigated the interplay of body postures with personality traits and behavior, despite the biological relevance and ecological validity of these postures. Here we investigate whether non-conscious exposure to bodily expressions of anger evokes reflex-like dominance behavior. In an interactive eye-tracking experiment thirty-two participants completed three social dominance tasks with angry, happy and neutral facial, bodily and face and body compound expressions that were masked from consciousness. We confirmed our predictions of slower gaze-aversion from both non-conscious bodily and compound expressions of anger compared to happiness in high dominant individuals. Results from a follow-up experiment suggest that the dominance behavior triggered by exposure to bodily anger occurs with basic detection of the category, but not recognition of the emotional content. Together these results suggest that dominant staring behavior is reflexively driven by non-conscious perception of the emotional content and triggered by not only facial but also bodily expression of anger.     

Bach Is the Father of Harmony: Revealed by a 1/f Fluctuation Analysis across Musical Genres

Harmony is a fundamental attribute of music. Close connections exist between music and mathematics since both pursue harmony and unity. In music, the consonance of notes played simultaneously partly determines our perception of harmony; associates with aesthetic responses; and influences the emotion expression. The consonance could be considered as a window to understand and analyze harmony. Here for the first time we used a 1/f fluctuation analysis to investigate whether the consonance fluctuation structure in music with a wide range of composers and genres followed the scale free pattern that has been found for pitch, melody, rhythm, human body movements, brain activity, natural images and geographical features. We then used a network graph approach to investigate which composers were the most influential both within and across genres. Our results showed that patterns of consonance in music did follow scale-free characteristics, suggesting that this feature is a universally evolved one in both music and the living world. Furthermore, our network analysis revealed that Bach’s harmony patterns were having the most influence on those used by other composers, followed closely by Mozart.     

Embodied economics: how bodily information shapes the social coordination dynamics of decision-making

To date, experiments in economics are restricted to situations in which individuals are not influenced by the physical presence of other people. In such contexts, interactions remain at an abstract level, agents guessing what another person is thinking or is about to decide based on money exchange. Physical presence and bodily signals are therefore left out of the picture. However, in real life, social interactions (involving economic decisions or not) are not solely determined by a person''s inference about someone else''s state-of-mind. In this essay, we argue for embodied economics: an approach to neuroeconomics that takes into account how information provided by the entire body and its coordination dynamics influences the way we make economic decisions. Considering the role of embodiment in economics—movements, posture, sensitivity to mimicry and every kind of information the body conveys—makes sense. This is what we claim in this essay which, to some extent, constitutes a plea to consider bodily interactions between agents in social (neuro)economics.     

I-space: the effects of emotional valence and source of music on interpersonal distance

Background

The ubiquitous use of personal music players in over-crowded public transport alludes to the hypothesis that apart from making the journey more pleasant, listening to music through headphones may also affect representations of our personal space, that is, the emotionally-tinged zone around the human body that people feel is “their space”. We evaluated the effects of emotional valence (positive versus negative) and source (external, i.e. loudspeakers, versus embedded, i.e. headphones) of music on the participant''s interpersonal distance when interacting with others.

Methodology/Principal Findings

Personal space was evaluated as the comfort interpersonal distance between participant and experimenter during both active and passive approach tasks. Our results show that, during passive approach tasks, listening to positive versus negative emotion-inducing music reduces the representation of personal space, allowing others to come closer to us. With respect to a no-music condition, an embedded source of positive emotion-inducing music reduced personal space, while an external source of negative emotion-inducing music expanded personal space.

Conclusions/Significance

The results provide the first empirical evidence of the relation between induced emotional state, as a result of listening to positive music through headphones, and personal space when interacting with others. This research might help to understand the benefit that people find in using personal music players in crowded situations, such as when using the public transport in urban settings.     

The MPI Emotional Body Expressions Database for Narrative Scenarios

Emotion expression in human-human interaction takes place via various types of information, including body motion. Research on the perceptual-cognitive mechanisms underlying the processing of natural emotional body language can benefit greatly from datasets of natural emotional body expressions that facilitate stimulus manipulation and analysis. The existing databases have so far focused on few emotion categories which display predominantly prototypical, exaggerated emotion expressions. Moreover, many of these databases consist of video recordings which limit the ability to manipulate and analyse the physical properties of these stimuli. We present a new database consisting of a large set (over 1400) of natural emotional body expressions typical of monologues. To achieve close-to-natural emotional body expressions, amateur actors were narrating coherent stories while their body movements were recorded with motion capture technology. The resulting 3-dimensional motion data recorded at a high frame rate (120 frames per second) provides fine-grained information about body movements and allows the manipulation of movement on a body joint basis. For each expression it gives the positions and orientations in space of 23 body joints for every frame. We report the results of physical motion properties analysis and of an emotion categorisation study. The reactions of observers from the emotion categorisation study are included in the database. Moreover, we recorded the intended emotion expression for each motion sequence from the actor to allow for investigations regarding the link between intended and perceived emotions. The motion sequences along with the accompanying information are made available in a searchable MPI Emotional Body Expression Database. We hope that this database will enable researchers to study expression and perception of naturally occurring emotional body expressions in greater depth.     

The obese brain athlete: self-regulation of the anterior insula in adiposity

The anterior insular cortex (AIC) is involved in emotional processes and gustatory functions which can be examined by imaging techniques. Such imaging studies showed increased activation in the insula in response to food stimuli as well as a differential activation in lean and obese people. Additionally, studies investigating lean subjects established the voluntary regulation of the insula by a real-time functional magnetic resonance imaging-brain computer interface (rtfMRI-BCI) approach. In this exploratory study, 11 lean and 10 obese healthy, male participants were investigated in a rtfMRI-BCI protocol. During the training sessions, all obese participants were able to regulate the activity of the AIC voluntarily, while four lean participants were not able to regulate at all. In successful regulators, functional connectivity during regulation vs. relaxation between the AIC and all other regions of the brain was determined by a seed voxel approach. Lean in comparison to obese regulators showed stronger connectivity in cingular and temporal cortices during regulation. We conclude, that obese people possess an improved capacity to self-regulate the anterior insula, a brain system tightly related to bodily awareness and gustatory functions.     

Tensions and perplexities within teacher education and P–12 schools for music teachers with visual impairments

We have written this article seeking to connect societal perceptions of disability with P–12 schools and higher education institutions toward the goal of greater understanding and equitable employment opportunities for music teachers with disabilities, specifically teacher candidates with visual impairment. In our investigation, we examine the following questions: (a) How have special education programs within P–12 schools, universities, and schools of music reflected societal perceptions of persons with disabilities and how do those in turn influence perceptions of teacher candidates? (b) How have the essential functions of teaching been articulated by accreditation programs and what tensions arise when music teachers with visual impairments are considered for employment? and (c) What are potential ways forward for P–12 education, teacher education programs, and schools of music? To disrupt binaries between able and disabled in schools, we recommend embracing a broader, interdependent view of music education, one that is defined by and includes all teaching professionals and school communities. Additionally, we support recruitment of teacher candidates with disabilities to music education programs and consistent advocacy through matriculation and job placement to encourage entry into P–12 schools.     

Somatic awareness in the clinical care of patients with body distress symptoms

The purpose of this paper is to provide primary care physicians and medical specialists with an experiential psychosomatic framework for understanding patients with body distress symptoms. The framework relies on somatic awareness, a normal part of consciousness, to resolve the dualism inherent in conventional multidisciplinary approaches. Somatic awareness represents a guiding healing heuristic which acknowledges the validity of the patient's physical symptoms and uses body sensations to identify the psychological, physiological, and social factors needed for symptom self-regulation. The experiential approach is based on psychobiologic concepts which include bodily distress disorder, central sensitization, dysfunctional breathing, and contextual nature of mood.