Content uploaded by Hajime Fukui
Author content
All content in this area was uploaded by Hajime Fukui on Jun 12, 2018
Content may be subject to copyright.
A preview of the PDF is not available
Music and testosterone - A new hypothesis for the origin and function of music
Abstract and Figures
The origin and function of music have been discussed extensively, but they remain a mystery. There have been numerous discussions about the close relationship between spatial ability and testosterone, spatial ability and musical ability, and testosterone and musical ability. The reason that a sex hormone such as testosterone is closely related to music is still unknown despite the many reports that music affects the human endocrine system. I reported findings that music suppressed testosterone in the male. The current study investigates whether listening to music affects the testosterone level in females and whether any sex differences exist in the effect of listening to music on testosterone level. Finally, I propose a new hypothesis for the evolutionary function and origin of music.
Figures - uploaded by Hajime Fukui
Author content
All figure content in this area was uploaded by Hajime Fukui
Content may be subject to copyright.
... Brown , 2000bMerker 2000;Cross 2009Cross , 2012Dunbar 2003Dunbar , 2012Koelsch and Siebel 2005;Mithen 2005;Gamble 2012;Morley 2013). The underlying mechanism here might involve its suppressing testosterone and stimulating endorphins (Fukui and Yamashita 1998;Fukui 2001;Dunbar 2012). It has been suggested that music serves as a form of vocal grooming at a distance (Dunbar 2003(Dunbar , 2012 and that it can contribute to conflict resolution (Fukui 2001;Huron 2003;Bown and Wiggins 2009). ...
... The underlying mechanism here might involve its suppressing testosterone and stimulating endorphins (Fukui and Yamashita 1998;Fukui 2001;Dunbar 2012). It has been suggested that music serves as a form of vocal grooming at a distance (Dunbar 2003(Dunbar , 2012 and that it can contribute to conflict resolution (Fukui 2001;Huron 2003;Bown and Wiggins 2009). ...
and Key Words Making or listening to music is pan-cultural, nearly universal, and highly valued. Musical behaviors probably appeared between 500,000 and 60,000 years ago. The more recent date captures the era when H. sapiens spread globally from Africa. The older date corresponds with a time when song might have produced individual or social benefits and the physiological and cognitive conditions for its production were present (in our predecessor, H. heidelbergensis). Music is so multi-functional, however, that it is not clear if it was an evolutionary adaptation (as opposed to a byproduct or non-biological technology) or, if so, what it was an adaptation for.
... Hirn's (1900) line of reasoning was picked up by contemporary researchers interested in the evolution of music and art in general. Fukui's (2001) hypothesis about the evolution of music, for instance, is grounded on the idea that, at some point during the evolution of our lineage, new tensions arose because of competition for resources and mates. The adoption of a new lifestyle, including monogamy, biparental families and group living would have led to an excess of testosterone, fueling aggression and sexual conflict. ...
... The adoption of a new lifestyle, including monogamy, biparental families and group living would have led to an excess of testosterone, fueling aggression and sexual conflict. Based on the finding that music alters testosterone levels in men and women, Fukui (2001) believes that music appeared as a means to control this hormone's levels, suppressing the problematic aggressive and sexual behaviors it promoted. Dissanayake (2007) also considers that one of art's essential functions is to relieve tension and anxiety. ...
This dissertation collects a series of papers produced as part of my doctoral research activities. In them, I approach aesthetics as a broad, low-level cognitive capacity guiding animal behaviour in accord with environmentally relevant sensory stimuli.
... No se conoce con exactitud la génesis de estas distonías profesionales, aunque se piensa que sobre una base de predisposición genética un entrenamiento excesivo y quizás inadecuado, con compromiso del sistema nervioso periférico, acabaría por perturbar el funcionamiento de los circuitos centrales que controlan estos actos motores específicos. El patrón de activación cortical en estos casos muestra una regresión para parecerse a los del practicante aficionado, con una mayor extensión de la corteza implicada [57][58][59] . ...
La percepción y producción musical es una función particular del cerebro humano. La investigación en este campo está creciendo al contar con el apoyo de las modernas téc-nicas de neuroimagen (tomografía por emisión de positro-nes y resonancia magnética-funcional). En la neurología clí-nica el interés por el fenómeno musical y los trastornos de su procesamiento ha sido menor. La música no es sólo una actividad artística, sino un lenguaje encaminado esencial-mente a comunicar, evocar y reforzar diversas emociones. Aunque es todavía un tema abierto, el procesamiento de la música es independiente del lenguaje común y cada uno utiliza circuitos independientes, pudiendo estar uno afecta-do gravemente y el otro prácticamente indemne. Por otra parte, dentro del procesamiento de la música podrían existir canales separados para los elementos temporales (ritmo), melódicos (tono, timbre, melodía), memoria y respuesta emocional. Los estudios de casos particulares de oído abso-luto, amusia congénita y adquirida, epilepsia musicogénica y alucinaciones musicales también han contribuido al cono-cimiento del procesado cerebral de la música. El cerebro de los músicos profesionales muestra peculiares cambios en su anatomía y funcionalidad. Además del estrés y el dolor cró-nico, las distonías específicas de actos motores relacionados con la interpretación constituyen una parcela especial de la patología de los músicos que conciernen al quehacer neuro-lógico. Escuchar y practicar música puede tener beneficios educacionales y terapéuticos. Music and neurology Music perception and output are special functions of the human brain. Investigation in this field is growing with the support of modern neuroimaging techniques (functional magnetic resonance imaging, positron emission tomography). Interest in the music phenomenon and the disorders regarding its processing has been limited. Music is not just an artistic activity but a language to communicate, evoke and reinforce several emotions. Although the subject is still under debate, processing of music is independent of common language and each one uses independent circuits. One may be seriously affected and the other practically unharmed. On the other hand, there may be separate channels within the processing of music for the temporary elements (rhythm), melodic elements (pitch, timbre, and melody), memory and emotional response. The study of subjects with absolute pitch, congenital and acquired amusias, musicogenic epilepsy and musical hallucinations has greatly contributed to the knowledge of how the brain processes music. Music training involves some changes in morphology and physiology of professional musicians' brains. Stress, chronic pain and professional dystonias constitute a special field of musicians' disturbances that concerns neurological practice. Listening to and playing music may have some educational and therapeutic benefits. INTRODUCCIÓN La palabra música hace referencia a algo que atañe o se relaciona con las musas. En la mitología griega las musas, hijas de Zeus y Mnemósine, eran deidades encargadas de la inspiración y patrocinio de las actividades artísticas. Euter-pe, representada con una flauta, podría ser considerada co-mo la «supermusa», es decir, la más musical, aunque también la danzarina Terpsícore, la de bella voz Calíope, que enseñó el canto a Aquiles, y Erato, que no se despegaba nunca de su lira, mantienen una estrecha relación con el mágico mundo sonoro. Las musas, con su doble misión de deleitar a los dio-ses e inspirar a los hombres, suponen una especie de cordón 67 39 Artículo especial
... Pertinent reviews are found in the work of Gangrade (2012), Chanda and Levitin (2013), and Fancourt, Ockelford, and Belai (2014). Endocrine music studies have typically focused on cortisol (CS) (e.g., VanderArk & Ely, 1992), testosterone (e.g., Fukui, 2001), human growth hormone (HGH), oxytocin (OT), and adrenocorticotropic hormone (ACTH). The few extant studies examining the effect of music on prolactin (PRL) have produced complex results. ...
Philosophers have long wrestled with the apparent paradox of the enjoyment of negative emotional portrayals in the arts. An example of this apparent paradox is the enjoyment among some listeners of nominally sad music. An experiment is reported in which 39 participants listened to sad and happy music while serum prolactin (PRL) concentrations were measured. The purpose of the experiment was to test an a priori theory, proposed by Huron, that liking sad music is mediated by elevated PRL levels. Contrary to the theory, sad music did not result in a significant increase in PRL; nor was the pleasure of listening to sad music associated with increased PRL. Nominally happy music did result in a decrease of PRL, especially for those participants who most prefer happy music over sad music. The effect was greatest for those who score high on a measure of loneliness. Consistent with other studies, the degree of liking sad music over happy music was found to correlate with trait openness to experience, although this effect was not echoed in PRL levels. Post-hoc analyses indicate that PRL decreases were most marked for male listeners and those who score high on a loneliness measure. In general, the results are not consistent with the theory proposed by Huron.
... This follows the results of Hassler and Nieschlag (1989), who found that female composers had higher T levels and male composers had lower T levels. Fukui (2001) showed that when women listen to music, their T levels increased over baseline, with a notable increase when they listened to their favorite music; however, for men T decreased when listening to music. Fink and colleagues (2004) found inverse relationships between 2D:4D and androgenized behaviors in women but not in men, theorizing that this connection may be more evident in women because men have a decreased within-sex variation in prenatal and circulating T than women, rendering comparisons ineffective. ...
Sex, drugs, and rock and roll (SDRR) is a storied trilogy in popular culture. However, in scientific literature, there is little empirical evidence to determine if there is a positive relationship between these three phenomena, despite biological, psychological, and social
reasons that would suggest they are connected. Via questionnaire, we asked participants to self-report alcohol and drug use, sexual behaviors and attitudes, and musical ability and preference. Although evidence was limited, there was some support for an SDRR connection, particularly among male performers and female listeners of rock and “harder” music. Interestingly, this mimics patterns of several bird species where males are the producers and
females are the consumers of song. Ethological considerations and future directions are discussed.
Hudba je jedinečným fenoménom v každej kultúre. Je univerzálna a má schopnosť pôsobiť na emocionalitu poslucháča. Zväčša sa však o hudbe uvažuje len z pohľadu estetiky alebo hudobnej teórie. Predkladaná diplomová práca sa preto pokúša o obšírnejšiu analýzu hudby prostredníctvom kognitívnych vied. Využíva pri tom oblasť filozofie, evolučných teórií, neurovied a umelej inteligencie. Súčasťou práce je aj experimentálny výskum priestorového vnímania hudby, ktorý reflektuje jedinečnosť ľudského vnímania a aspekt hudby, ktorý ovplyvňuje emocionalitu. Keďže hudba už nie je iba doménou ľudí, ale na jej produkcii sa podieľa aj umelá inteligencia, diplomová práca experimentálne skúma aj produkciu umelej inteligencie, ktorú podrobuje Turingovmu testu.
Artykuł jest poświęcony historii, obszarom badawczym i najważniejszym wynikom badań prowadzonym w ramach społecznej psychologii muzyki. Analizy psychologiczne traktują wielokrotnie muzykę jakby istniała w społecznej próżni; nie doceniają w pełni społecznego kontekstu jej odbioru lub wykonywania. Społeczna psychologia muzyki w przedmiot swojej analizy, pomiędzy fenomeny typowo społeczne, włącza także kwestie rozwojowe, poznawcze, różnic indywidualnych oraz kliniczne. Autor publikacji nie koncentruje się jedynie na aktualnym stanie wiedzy, ale przedstawia także wcześniejsze dokonania badaczy i teoretyków społecznej psychologii oraz socjologii muzyki. Poprzez odniesienie się do szerokiego spektrum literatury przedmiotu, w artykule przedstawiona została ważna rola muzyki w funkcjonowaniu społecznym człowieka. Tym samym niniejsza publikacja przybliża i wyjaśnia społeczno-psychologiczny rodowód pojęcia homo musicus.
Testosterone is a nuclear androgen receptor ligand that controls multiple pathways in brain. In addition to the active biosynthesis of steroids in classic steroidogenic organs such as gonads, adrenals and placenta, testosterone also produced in astrocyte cells of brain. Testosterone and its level must be regulated in brain; because, it directly and indirectly affects memory and several key behavioral characteristics. The significance of sound waves on key enzymes that regulate levels of testosterone in brain has not been investigated. The aim of our study was to examine physical stress of such as sound on induction behavioral changes in animal models. According to the current study, sound waves with 528 Hz frequency in 100 dB intensity induce testosterone production in brain by enhancing StAR and SF-1 and reducing P450 aromatase gene expression. Frequency of 528 Hz also reduces total concentration of reactive oxidative species in brain tissue. Prolonged exposure to this sound wave showed reduction of anxiety related behaviors in rats. The results reveal that reduced anxiety is related to increased concentration of testosterone in brain. This study may lead to ascertain a possible therapy in which sounds may be utilized to reduce anxiety in individual.
The relationship between musical talent, especially the ability to compose and/or improvise, and visual-spatial ability was investi- gated. Subjects were 60 boys and 60 girls from 9 to 14 years of age. Three groups of 40 were compared: (1) Children with musical talent and the ability to compose and/or improvise. (2) Children with musical talent without the ability to compose and/or impro- vise. (3) Non-musicians as controls. The spatial visualisation factor was found to be significantly related to musical talent in boys and in girls; high scores on Witelson's Dichaptic Stimulation Test were significantly related to musical talent in boys. The 13 boys and 13 girls with highest scores for their compositions and/or improvis- ations as evaluated by music scientists were contrasted with group 3. Results from the total sample were confirmed. One year later 51 boys and 52 girls who had participated in the first stage of the study were retested. Creative musical ability was significantly related to spatial orientation in both boys and girls and to spatial visual- isation in boys.
Mood and response to auditory sexual stimuli were assessed in 33 hypogonadal men receiving testosterone (T) replacement therapy, 10 eugonadal men receiving T in a male contraceptive clinical trial, and 19 eugonadal men not administered T. Prior to and after 6 weeks of hormone administration, men completed a mood questionnaire, rated sexual arousal to and sexual enjoyment of auditory sexual stimuli, and performed a dichotic listening task measuring selective attention for sexual stimuli. Mood questionnaire results suggest that T has positive effects on mood in hypogonadal men when hormone levels are well below the normal male range of values, but does not have any effects on mood when hormone levels are within or above the normal range. However, increased sexual arousal and sexual enjoyment were associated with T administration regardless of gonadal status. Eugonadal men administered T also increased in the bias to attend to sexual stimuli. In contrast, the comparison group of eugonadal men not administered T showed no mood or sexual behavior changes across the two test sessions. These data support a positive relationship between T and sexual interest, sexual arousal, and sexual enjoyment in men.
The neurohypophyseal hormone oxytocin has been implicated in many aspects of reproduction including sexual behavior. This review considers the hypotheses that oxytocin and/or the neural events surrounding the release of oxytocin may have behavioral effects during sexual arousal, orgasm, sexual satiety and other aspects of sociosexual interactions.
The cognitive performance of normal men and women was studied, grouped according to whether the subjects had relatively high or low salivary testosterone (T) concentrations. Men with lower T performed better than other groups on measures of spatial/mathematical ability, tasks at which men normally excel. Women with high T scored higher than low-T women on these same measures. T concentrations did not relate significantly to scores on tests that usually favor women or that do not typically show a sex difference. These results support suggestions of a nonlinear relationship between T concentrations and spatial ability, and demonstrate some task specificity in this respect.
Two recently published hypotheses on the biological basis of special talents are discussed in relation to experimental data obtained from musical composers, instrumentalists, painters, and non-musicians, and from adolescent boys and girls with different levels of musical capacities. Both hypotheses assign an important influence to prenatal testosterone effects on the developing brain. Geschwind and Galaburda (1985) predict that subjects with special talents may have anomalous hemispheric dominance for verbal material. This was confirmed experimentally in adolescents and in adults using a dichotic listening task to assess functional lateralization. Hassler and Nieschlag (1989) expect musicians of both sexes to be psychologically androgynous and to have current testosterone levels that differ from sex-typed males and females. Salivary testosterone was measured in adults and in adolescents. Creative musical behavior was associated with very low testosterone values in males, and with high testosterone levels in females. Sexual activity level and motivation did not differ between males with testosterone levels less than or equal to 200 pmol/l and those with greater than 220 pmol/l. We tentatively suggest from our data that, among a complex interaction of biological and social factors, an optimal testosterone range may exist for the expression of creative musical behavior. Exceeding the range in the course of adolescence may be detrimental for musical creativity in boys.