Making music

When Dr. Brian Loosmore decided to make a virginal, he also made new discoveries about his family history, the joys of painstaking, skilled craftsmanship and the pitfalls of underestimating the instruction books that come with kits.     

When the brain plays music: auditory-motor interactions in music perception and production

Music performance is both a natural human activity, present in all societies, and one of the most complex and demanding cognitive challenges that the human mind can undertake. Unlike most other sensory-motor activities, music performance requires precise timing of several hierarchically organized actions, as well as precise control over pitch interval production, implemented through diverse effectors according to the instrument involved. We review the cognitive neuroscience literature of both motor and auditory domains, highlighting the value of studying interactions between these systems in a musical context, and propose some ideas concerning the role of the premotor cortex in integration of higher order features of music with appropriately timed and organized actions.     

Influence of music on heart rate variability and comfort--a consideration through comparison of music and noise

By considering three kinds of music and noise, this research investigates the influence of music on the living body by comparing the difference of influence on heart rate variability and comfort when subjects listen to music and are exposed to noise. We used two pieces of classical music, rock music, and noise recorded by a tape recorder. The following conclusions were made from the findings of the research: 1) Hearing classical music results in a small variance of Mayer Wave related Sinus Arrhythmia (MWSA) component and Respiratory Sinus Arrhythmia (RSA) component compared with a body being at rest. This is because the sympathetic nerve is suppressed by the sound of classical music. With rock music and noise, however, the MWSA component increases and the RSA component decreases. 2) From a psychological evaluation, we found that classical music tends to cause comfort and rock music and noise tend to cause discomfort. 3) A correlation was found between the balance of the MWSA component and the RSA component and the psychological evaluation. As the comfort increases, the variance of MWSA decreases; as discomfort increases, the variance of MWSA increases.     

Preference for consonant music over dissonant music by an infant chimpanzee

It has been shown that humans prefer consonant sounds from the early stages of development. From a comparative psychological perspective, although previous studies have shown that birds and monkeys can discriminate between consonant and dissonant sounds, it remains unclear whether nonhumans have a spontaneous preference for consonant music over dissonant music as humans do. We report here that a five-month-old human-raised chimpanzee (Pan troglodytes) preferred consonant music. The infant chimpanzee consistently preferred to produce, with the aid of our computerized setup, consonant versions of music for a longer duration than dissonant versions. This result suggests that the preference for consonance is not unique to humans. Further, it supports the hypothesis that one major basis of musical appreciation has some evolutionary origins.     

Cross-cultural perspectives on music and musicality

Musical behaviours are universal across human populations and, at the same time, highly diverse in their structures, roles and cultural interpretations. Although laboratory studies of isolated listeners and music-makers have yielded important insights into sensorimotor and cognitive skills and their neural underpinnings, they have revealed little about the broader significance of music for individuals, peer groups and communities. This review presents a sampling of musical forms and coordinated musical activity across cultures, with the aim of highlighting key similarities and differences. The focus is on scholarly and everyday ideas about music—what it is and where it originates—as well the antiquity of music and the contribution of musical behaviour to ritual activity, social organization, caregiving and group cohesion. Synchronous arousal, action synchrony and imitative behaviours are among the means by which music facilitates social bonding. The commonalities and differences in musical forms and functions across cultures suggest new directions for ethnomusicology, music cognition and neuroscience, and a pivot away from the predominant scientific focus on instrumental music in the Western European tradition.     

Neural overlap in processing music and speech

Neural overlap in processing music and speech, as measured by the co-activation of brain regions in neuroimaging studies, may suggest that parts of the neural circuitries established for language may have been recycled during evolution for musicality, or vice versa that musicality served as a springboard for language emergence. Such a perspective has important implications for several topics of general interest besides evolutionary origins. For instance, neural overlap is an important premise for the possibility of music training to influence language acquisition and literacy. However, neural overlap in processing music and speech does not entail sharing neural circuitries. Neural separability between music and speech may occur in overlapping brain regions. In this paper, we review the evidence and outline the issues faced in interpreting such neural data, and argue that converging evidence from several methodologies is needed before neural overlap is taken as evidence of sharing.     

The perception of music.

A common but none the less remarkable human faculty is the ability to recognize and reproduce familiar pieces of music. No two performances of a given piece will ever be acoustically identical, but a listener can perceive, in both, the same rhythmic and tonal relationships, and can judge whether a particular note or phrase was played out of time or out of tune. The problem considered in this lecture is that of describing the conceptual structures by which we represent Western classical music and the processes by which these structures are created. Some new hypotheses about the perception of rhythm and tonality have been cast in the form of a computer program which will transcribe a live keyboard performance of a classical melody into the equivalent of standard musical notation.     

Appropriating school music for economic goals: Exploring evidence of neo-social ideology in music advocacy

This article explores the extent to which recent policy-based advocacy for music in Australian schools has been guided by economic arguments. This exploration was driven by emerging commentary on the rise of neo-social education policy, which is said to have reframed equality and social justice in education as tools for economic agendas. To explore the presence of this neo-social ideology in school music advocacy, key Australian policy documents have been analyzed using Critical Discourse Analysis. Results show that while current advocacy does champion social and subjective benefits, these benefits are ultimately justified in economistic terms. While caveats to these findings are discussed, the argument is made for new education policies that adequately value subjective wellbeing and social justice as goals in their own right.     

Infant learning: music and the baby brain

When it comes to listening to music, infants literally have a more open mind than their parents. Studies which investigate listening behaviour of babies and adults have shown that, as we learn to discriminate the musical sounds in our own environment, we become less sensitive to those of other cultures.     

Neuropsychology: music of the hemispheres

Music may be the food of love but it is also good fodder for cognitive scientists. Here we highlight a recent study of a neuropsychological patient who has lost her ability to read music, but not text, in the absence of any other musical deficit.     

Why birdsong is sometimes like music

The sounds and songs of birds have inspired the musical compositions of numerous cultures throughout the globe. This article examines a variety of compositions from Western music that feature birdsong and explores the concept of birds as both vocalists and instrumentalists. The concept of birds as composers is then developed-how they use rhythmic variations, pitch relationships, and combinations of notes similar to those found in music-and the theory that birds create variation in their songs partially to avoid monotony is considered. Various families of birds that borrow sounds from other species are surveyed, in particular the European starling (Sturnus vulgaris), which may have inspired a Mozart composition. We conclude that the fusion of avian bioacoustics and the study of birdsong in music may function as a conservation tool, raising the awareness of humans and stimulating future generations to save for posterity what remains of the natural world.     

EEG coherence analysis in music listening

Changes in EEG coherence were studied in subjects without special musical education when they were listening to low classic music (below 30 dB). The numbers of significant changes in coherence function in the left and right hemispheres were different. Predominant increase in coherence in the alpha 2, beta 1, and beta 2 frequency ranges was observed in the right temporal-central and parietal-occipital cortical areas. The left-hemispheric coherence was predominantly, decreased on the account of its decrease in the alpha range.