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The neuroscience of emotion in music
Abstract
Communicative Musicality’ explores the intrinsic musical nature of human interaction. The theory of communicative musicality was developed from groundbreaking studies showing how in mother/infant communication there exist noticeable patterns of timing, pulse, voice timbre, and gesture. Without intending to, the exchange between a mother and her infant follow many of the rules of musical performance, including rhythm and timing. This is the first book to be devoted to this topic. In a collection of cutting-edge chapters, encompassing brain science, human evolution, psychology, acoustics and music performance, it focuses on the rhythm and sympathy of musical expression in human communication from infancy. It demonstrates how speaking and moving in rhythmic musical ways is the essential foundation for all forms of communication, even the most refined and technically elaborated, just as it is for parenting, good teaching, creative work in the arts, and therapy to help handicapped or emotionally distressed persons. A landmark in the literature, ‘Communicative Musicality’ is a valuable text for all those in the fields of developmental, educational, and music psychology, as well as those in the field of music therapy.
... A third reason for a focus on music in couple therapy is the burgeoning neuroscience of the impact of music on human emotional expression, communication, and bonding (Levitin 2006;Panksepp and Trevarthen 2009;Sacks 2008). This research suggests the importance of attending to the musical aspects of how couple partners communicate and connect, supports use of music-based interventions for evoking, capturing, and soothing powerful emotions, and for communicating a therapeutic idea or observation in a manner that heightens it's salience, poignancy, and impact. ...
... Through stimulating neurochemical responses such as endogenous opioids and dopamine, music has the power to generate intense positive or so-called "negative" emotions like sadness, loneliness, fear, and anger. Panksepp and Trevarthen (2009) note that music is deeply connected to meaning, operating from parts of the brain most related to "our animal heritage and the dynamic instinctual movements that communicate emotions" (p. 105). ...
... Infants respond to music prior to mastering language, experiencing it bodily, as opposed to purely cognitively. Indeed, Panksepp and Trevarthen (2009) suggest that processes of meaning making in reasoning and language are based upon the deeper levels of musical production and response, such as rhythm, tempo, and pitch. They assert that music "evolved as a prime facilitator of our social communication, our learning and the creation of cultural meaning…" (p. ...
Over the past three decades, the theory and practice of couple therapy has moved towards integrative approaches. Typically, two or more couple therapy theories and their associated practices are blended into a more comprehensive, flexible approach to conceptualizing and intervening with couples’ problems. Emerging findings from social and affective neuroscience are also increasingly incorporated. This article argues for broadening integrative efforts to include the perspectives and products of the arts and humanities into couple therapy, with a focus on music. The article presents the rationale for this broadened scope of integration by discussing E. O. Wilson’s consilience theory and its bearing on the distinctions and convergence among the science, craft, and art of therapy. The research on the neuroscience of music and the role of music in affective experience, expression, and intimate relationships strongly supports use of music in transformative work with couples. Music theory and arts provide a useful framework for creating novel theories about couple relationships, for observing and understanding distressed couples’ problematic patterns, and for formulating interventions. Sensitivity to the musical aspects of therapists’ communicative behavior can increase the impact of interventions. The article provides a practical framework for utilizing music in couple therapy, and includes several illustrative case examples.
... Early mother-infant dialogue consists of non-verbal elements such as gaze, movement, touch, sound, rhythm, melody, pitch, volume and tempo. The interaction can be described as a "dance" in which even newborn babies are able to synchronize with their mothers in a well-matched rhythm and phrasing of movement, vocals and sound (Panksepp & Trevarthen, 2009). From the beginning, babies contribute to the conversation with their parent at periodic breaks with sighs, yawning, gurgling, or cooing (Trehub, 2009, p.229). ...
... Parent-infant dialogue is not possible without the ability of parent and infant to synchronize their movements and vocalizations in rhythm, the dynamic and intensity of expression, pitch and harmony (Panksepp & Trevarthen, 2009;Schögler, 1998;Stern, 1998;Lenz & von Moreau, 2004). Rhythmic synchronicity and harmonic synchrony are the expressions of a fluid and well-matched parent-infant dialogue (Kestenberg-Amighi, 1999). ...
... Theoretical evidence indicates that music can support the process of parent-infant bonding. Being able to evoke synchronization, harmony and positive emotions in parent-infant interaction, many authors state that the music offers a scaffold and a model in which emotional exchanges between parent and child are facilitated and positively shaped by rhythm, tempo, volume, pitch, tonality, and harmony (Panksepp & Trevarthen, 2009;Trehub, 2009;Stern, 1998;Trevarthen, 2004). ...
Background. Music therapy for young children and their caregivers is not yet developed in the Netherlands, while it fits very well with the current Dutch policy to support the empowerment of young families. This study examines the effectiveness, efficacy and practice of parent-child music therapy in order to support the development and introduction of a Dutch parent-infant music therapy intervention for children, aged zero to five.
Methodology. Three reviews of international literature and a survey among 106 Dutch music therapists have been conducted to provide empirical, theoretical and practice-based evidence, and to find out where parent-infant music therapy could be implemented in the Netherlands.
Results. A systematic review of 48 publications on empirical evidence provided strong evidence that parent-child music therapy is effective in the early treatment of children with physical, mental and behavioural issues and in the treatment of at-risk families with young children. Parent-infant music therapy improves child development and behaviour, parenting skills, parental well-being, and parent-child interaction and relationship.
A review of 38 publications on practice-based evidence identified strong consensus among practices. Best practices indicate that music activities should be offered within a predictable framework and should include structured improvisation, singing action songs in combination with movement activities, and singing lullabies or listening to calm music in combination with physical closeness. Core techniques are modelling, structuring, and engaging parent and child in musical interaction, and in individual settings also mirroring and holding. Best practices indicate that the music therapist’s attitude should reflect a positive and strengths-oriented approach.
A review of related theories identified broad theoretical evidence, which supports the hypothesis that music therapy can be effective in supporting child development and in promoting a positive parent-child relationship. From a theoretical point of view, effective ingredients of parent-infant music therapy are: the use of structured improvisation, re-creation of children’s songs, the use of action songs in combination with movement activities, and the use of quiet music paired with physical touch. There is strong theoretical evidence supporting the use of children’s songs or children’s music that offer strong rhythmic cues and repetitive rhythmic patterns.
A survey among 106 Dutch music therapists indicates that parent-infant music therapy in the Netherlands could be offered within institutions for mentally disabled children, private practices and special education programmes. The biggest potential target groups include children with autism spectrum disorder, children with conduct disorder, and children with attachment problems. A group of 17 music therapists reports a need for parent-infant music therapy at their work places.
Conclusion. The effectiveness of parent-child music therapy for children, aged zero to five, is supported by empirical, theoretical and practice-based evidence. More research is needed to identify which contra-indications should be considered, and which clients do not profit from parent-infant music therapy. Next to that, further research should investigate the effects of music on parent-child attachment.
... Early mother-infant dialogue consists of non-verbal elements such as gaze, movement, touch, sound, rhythm, melody, pitch, volume and tempo. The interaction can be described as a " dance " in which even newborn babies are able to synchronize with their mothers in a well-matched rhythm and phrasing of movement, vocals and sound (Panksepp & Trevarthen, 2009). From the beginning, babies contribute to the conversation with their parent at periodic breaks with sighs, yawning, gurgling, or cooing (Trehub, 2009, p.229). ...
... Due to the musical character of parent-infant communication, music seems to reach the parent-infant dyad at the heart of their interactions. Parent-infant dialogue is not possible without the ability of parent and infant to synchronize their movements and vocalizations in rhythm, the dynamic and intensity of expression, pitch and harmony (Panksepp & Trevarthen, 2009; Schögler, 1998; Stern, 1998; Lenz & von Moreau, 2004). Rhythmic synchronicity and harmonic synchrony are the expressions of a fluid and well-matched parent-infant dialogue (Kestenberg-Amighi, 1999). ...
... Theoretical evidence indicates that music can support the process of parent-infant bonding. Being able to evoke synchronization, harmony and positive emotions in parent-infant interaction, many authors state that the music offers a scaffold and a model in which emotional exchanges between parent and child are facilitated and positively shaped by rhythm, tempo, volume, pitch, tonality, and harmony (Panksepp & Trevarthen, 2009; Trehub, 2009; Stern, 1998; Trevarthen, 2004). What is not yet researched is whether music works for all parent-child dyads or whether there are impairments in the child or the parent, due to for instance trauma, psychiatric disorder or developmental problems, which cannot be restored by musical interventions. ...
... Early mother-infant dialogue consists of non-verbal elements such as gaze, movement, touch, sound, rhythm, melody, pitch, volume and tempo. The interaction can be described as a "dance" in which even newborn babies are able to synchronize with their mothers in a well-matched rhythm and phrasing of movement, vocals and sound (Panksepp & Trevarthen, 2009). From the beginning, babies contribute to the conversation with their parent at periodic breaks with sighs, yawning, gurgling, or cooing (Trehub, 2009, p.229). ...
... Parent-infant dialogue is not possible without the ability of parent and infant to synchronize their movements and vocalizations in rhythm, the dynamic and intensity of expression, pitch and harmony (Panksepp & Trevarthen, 2009;Schögler, 1998;Stern, 1998;Lenz & von Moreau, 2004). Rhythmic synchronicity and harmonic synchrony are the expressions of a fluid and well-matched parent-infant dialogue (Kestenberg-Amighi, 1999). ...
... Theoretical evidence indicates that music can support the process of parent-infant bonding. Being able to evoke synchronization, harmony and positive emotions in parent-infant interaction, many authors state that the music offers a scaffold and a model in which emotional exchanges between parent and child are facilitated and positively shaped by rhythm, tempo, volume, pitch, tonality, and harmony (Panksepp & Trevarthen, 2009;Trehub, 2009;Stern, 1998;Trevarthen, 2004). ...
Background: Music therapy for young children (aged 0–5) and their caregivers is not yet developed in the Netherlands.Methodology: Systematic review of empirical evidence; review of practice-based evidence; review of related theories; survey among Dutch music therapists.Results: Parent–child music therapy is effective in the early treatment of children with physical, mental and behavioural issues and in the treatment of at-risk families with young children. Best practices show consensus in the use of structured improvisation, action songs, and lullabies, the use of several core techniques, and a strengths-oriented attitude. Related theories indicate that music can support the process of parent–infant bonding. The biggest potential target group for Dutch music therapists who want to offer parent–infant music therapy is formed by children with autism spectrum disorder, children with conduct disorder, and children with attachment problems.Conclusion: The effectiveness of parent–child music therapy for children aged 0–5 is supported by empirical, theoretical, and practice-based evidence. More research is needed to identify which contra-indications should be considered, and which clients do not profit from parent–infant music therapy.
... Music affects emotions, providing an intrinsic reward system that enhances social functionality. Music enhances hormone release (oxytocin), which enhances social bonding, coordinating and entraining the individual with the group (Panksepp & Trevarthen, 2009). Music provides a common sense of intentionality and an inclusive sense derived from the underlying pulse or rhythm. ...
... Effects of music include the modulation of emotional states that enhance and transform emotionality. Panksepp & Trevarthen (2009) noted music can relieve loneliness and negative emotions of sadness and loss, as well as enhance positive emotions such as love, happiness, satisfaction. Crowe reviewed research which illustrates the power of music therapy to elicit unconditional love, which may be the most beneficial of all healing states. ...
... This ability of music to produce empathy involves its capacity to synchronize our experiences through dynamics such as rhythm, tone, melody and lyrics, which produce a common awareness. Panksepp & Trevarthen (2009) propose that music's established power to evoke healing responses reflects its ability to elicit core brain mechanisms, specifically its capacity to elicit neurochemical responses from the opioid and dopamine systems. Through effects on the hypothalamus, music also enhances immune system functioning, manifested in decreases in cortisol and increases in secretion of immunoglobulin A. Music can counter stress responses, reducing blood pressure, cardiac rate, and other ANS stress markers. ...
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The worldwide development of raves and similar collective rituals characterized by all night communal rituals involving dance, drumming, music, and often the use of psychedelic substances can be understood as a modern manifestation of the same biological principles underlying shamanism. The shamanic ritual was a nighttime ceremony which engaged all of the community in a powerful interaction with the spirit world as the shaman beat drums or rattled while singing, chanting and dancing. The common underlying biogenetic structures of shamanism and raves involve: the social functions of ritual; the effects of dance and music as systems for social bonding and emotional communication; and the effects on consciousness that produce alterations of emotions, identity and consciousness and personal healing.
... Music is an evolved extension of primate vocalization systems exemplified by group chorusing (Merker 2009) that expanded the expressive capacities of hominins by providing C37P58 C37S19 C37P59 C37P60 a medium for affective semantics (Cross & Morley, 2009). This communicative dynamic enhanced coordination of larger groups (Panksepp & Trevarthen, 2009). Music synchronizes movement, engaging interpersonal entrainment, and producing group integration, emotional bonding, and unifying experiences enhanced by endogenous hormone release (Panksepp & Trevarthen, 2009). ...
... This communicative dynamic enhanced coordination of larger groups (Panksepp & Trevarthen, 2009). Music synchronizes movement, engaging interpersonal entrainment, and producing group integration, emotional bonding, and unifying experiences enhanced by endogenous hormone release (Panksepp & Trevarthen, 2009). Music has innate capacities to affect emotions, an intrinsic reward system that enhances social functionality (Hauser & McDermott, 2003). ...
Shamanism is a transcultural concept for understanding roles of ritual and psychedelics in the prehistoric origins of religiosity. The origins of religiosity are revealed by parallels of shamanic and chimpanzee collective ritualizations involving group chorusing and drumming with dramatic bipedal displays. This hominid baseline was expanded with mimetic evolution of song, dance and enactment. Psychedelic substances stimulate innate cognitive dispositions manifested in shamanism such as the human-like qualities of spirits, animal identities and other spiritual and mystical experiences. These structural features of consciousness are stimulated by mimetic performances with song, dancing, and drumming; painful and exhausting austerities; and psychedelic substances. These produce altered experiences of the self which are conceptualized within indigenous psychologies as spirits and one’s soul, spiritual allies, and animal powers that can be incorporated into personal powers (i.e., animal transformation). Cross-cultural manifestation of shamanic features reveal that they are based in biology rather than merely cultural traditions.
... Specifically, it is thought to derive from a brain and nervous system that senses and processes emotional experience in terms of tempo, rhythm and pulse as well as timbre, pitch and other qualities of music (Turner and Ioannides, 2009). Innate musicality and the possibility of being in time with another that it affords has been linked to the capacity for intersubjective sympathy and the development of a social mind (Panksepp and Trevarthen, 2009). 'Temporal and acoustic features of infant parent vocal interactions, foster a sympathetic co-ordination, enabling subjective feelings inside one subject's body to "touch" and "move" others' (Powers and Trevarthen, 2009: 212). ...
... Establishing intersubjective time in the parent-infant dyad has been identified as intrinsic to the development of a sociable self. Furthermore, musical rhythmicity establishes a link between sensorimotor co-ordination, itself an enactment of embodied temporal synergies, and the development of vocalisation and verbal language skills (Panksepp and Trevarthen, 2009). ...
Psychosocial interview-based methodologies have been heavily reliant on what has been long been thought of as a talk-led encounter. Interest in walking as a research method has been driven by the ways in which it alters the research relationship through the kinetic and relational affordances of moving side by side while walking, which also brings place and space into the encounter. However, a walking interview is also an event that occurs in time and, in this article, we explore this temporality through an exploration of the fluctuations of tempo and rhythmicity in a mobile interview group. We draw on theories of communicative musicality, which have focused mainly on parent–infant exchanges, to explore often unconscious dimensions of group communication. We argue that mobile interviews work simultaneously through the temporal/musical and the visual/spatial registers and we develop this theme with reference to a case example taken from a study of the everyday lives of young men accessing an organisation for homeless people. The walking interview allowed for a shared reimagining of a young man’s biography as he escorted us through the scenes, settings and phases of his everyday life. We use this example to consider how the rhythmical aspects of walking together support the communicative musicality of the interview group. Our analysis provides a window onto the unspoken aspects of the interview process which significantly affect our interpretation.
... Music and synchronous movement such as dancing provokes the release of endogenous opioids and stimulates neurotransmitter systems (dopamine, norepinephrine) (Tarr, Launay & Dunbar, 2014;. Communal singing elicits oxytocin production (Panksepp & Trevarthen, 2009;Chanda & Levitin, 2013), a neurohormone enhancing social bonding. Music, chanting and rhythmic activities such as drumming, dancing and clapping elicit endorphin responses that extended the group capacity for social bonding (Dunbar, 2014). ...
... Music manifests emergent properties that communicate basic emotions and transform them into expressions of complex feelings through the coordination of biological, physical, psychological, cognitive and social processes (Cross and Morley, 2009). Consequently, music is a highly effective mechanisms for coordination of emotions, experience and interpersonal relations and contributes to emotional bonding by enhancing coordination and emotional synchrony within the group (Panksepp and Trevarthen, 2009). This synchrony contributes to enhanced well-being through effects on social emotional systems related to mammalian and group bonding. ...
This review illustrates the relevance of shamanism and its evolution under effects of psilocybin as a framework for identifying evolved aspects of psychedelic set and setting. Effects of 5HT2 psychedelics on serotonin, stress adaptation, visual systems and personality illustrate adaptive mechanisms through which psychedelics could have enhanced hominin evolution as an environmental factor influencing selection for features of our evolved psychology. Evolutionary psychology perspectives on ritual, shamanism and psychedelics provides bases for inferences regarding psychedelics’ likely roles in hominin evolution as exogenous neurotransmitter sources through their effects in selection for innate dispositions for psychedelic set and setting. Psychedelics stimulate ancient brain structures and innate modular thought modules, especially self-awareness, other awareness, “mind reading,” spatial and visual intelligences. The integration of these innate modules are also core features of shamanism. Cross-cultural research illustrates shamanism is an empirical phenomenon of foraging societies, with its ancient basis in collective hominid displays, ritual alterations of consciousness, and endogenous healing responses. Shamanic practices employed psychedelics and manipulated extrapharmacological effects through stimulation of serotonin and dopamine systems and augmenting processes of the reptilian and paleomammalian brains. Differences between chimpanzee maximal displays and shamanic rituals reveal a zone of proximal development in hominin evolution. The evolution of the mimetic capacity for enactment, dance, music, and imitation provided central capacities underlying shamanic performances. Other chimp-human differences in ritualized behaviors are directly related to psychedelic effects and their integration of innate modular thought processes. Psychedelics and other ritual alterations of consciousness stimulate these and other innate responses such as soul flight and death-and-rebirth experiences. These findings provided bases for making inferences regarding foundations of our evolved set, setting and psychology. Shamanic setting is eminently communal with singing, drumming, dancing and dramatic displays. Innate modular thought structures are prominent features of the set of shamanism, exemplified in animism, animal identities, perceptions of spirits, and psychological incorporation of spirit others. A shamanic-informed psychedelic therapy includes: a preparatory set with practices such as sexual abstinence, fasting and dream incubation; a set derived from innate modular cognitive capacities and their integration expressed in a relational animistic worldview; a focus on internal imagery manifesting a presentational intelligence; and spirit relations involving incorporation of animals as personal powers. Psychedelic research and treatment can adopt this shamanic biogenetic paradigm to optimize set, setting and ritual frameworks to enhance psychedelic effects.
... The autonomic nervous system has its own slow rhythms (Delamont et al. 1999), which are integrated with faster somatic rhythms in the affective nervous system (Panksepp and Trevarthen 2009) (Table 12.2). Together these regulate the intensity and goals of action and balance exertions against recuperation. ...
... Animal gestures transmit purposes and feelings between individuals "musically" (Wallin et al. 2000). They are derivative of self-regulatory movements which have become adapted for acting intersubjectively in social communication (Darwin 1872;MacLean 1990;Porges 2003;Rodriguez and Palacios 2007;Dissanayake 2000;Panksepp and Trevarthen 2009;Trevarthen 2005b). Neurophysiological studies confirm that intra-synchrony of "proprioception" within subjects becomes inter-synchrony of "alteroception" mediated between them by "distance senses" of sight and hearing. ...
Research on the timing of spontaneous actions made from birth—for self-sensing of the infant’s own body posture and movements, for perceptual apprehension of objects or events in the outside world, and for intimate communication with a parent—proves that innate measures of time regulate prospective control of body actions of a coherent human Self. Infants are born capable of synchronising with, imitating and complementing expressions of a parent’s feelings and interests in proto-conversational exchanges. Affective appraisals of imagined consequences for the well-being of body and mind are signalled by expressive movements of emotion that are sympathetically shared. Within a few weeks infants join with rhythms of play in narratives of expressive display, learning how to participate in conventional rituals that tell stories of a “proto-habitus.” Before the end of the first year the child shares conventional use of objects and develops proto-linguistic symbolic coding of actions that identify objects to be shared in cooperation with familiar companions.
Infants’ movements have universal temporal parameters of “musicality,” as cultivated in the “imitative arts” of theatre, dance, song and music. The same measures of “pulse,” “quality” and “narrative” are also evident in serial ordering of steps in completion of practical projects and in propositional representations. This primary sensori-motor intelligence and its intersubjective “vitality dynamics” must be considered as fundamental in any philosophy of the nature of our experience of time and its cultivated uses and measures. Understanding of inner “life time” benefits from a neuro-psychology of movements and their prospective perceptual control, a science developed over the past century.
... La actividad del cuerpo representada 3 en la corteza cerebral y en las estructuras más profundas que conectan las neuronas corticales en grupos activos y emocionalmente cargados, muestra el estilo "afectivo" de la intencionalidad en movimiento (Panksepp, 1998;Panksepp & Trevarthen, 2009). Esto confirma que el cerebro al poner en marcha actividades motóricas complejas, con un sentido del ritmo finamente controlado, anticipa la guía perceptiva de los movimientos respecto a Vol. 5 (1) -Febrero 2011; pp. ...
... 1. the expressive function-especially, conveying emotions (Altenmüller et al., 2013;Cook, 2002;Eerola & Vuoskoski, 2013;Gabrielsson & Juslin, 2003;Johnson-Laird & Oatley, 2010;Juslin, 2005Juslin, , 2011Juslin, , 2013Krumhansl, 2002;Mohn et al., 2010;Nikolsky, 2015a;Panksepp & Trevarthen, 2009;Peretz, 2013;Perlovsky, 2012;Schiavio et al., 2017;Trainor, 2010;van Goethem & Sloboda, 2011), 2. the phatic function-in other words, reinforcing interpersonal and social bonding (Boer & Fischer, 2012;Clarke et al., 2015;Clayton, 2016;Cross, 2009;Dunbar, 2012a, b;Harvey, 2017Harvey, , 2020Mehr et al., 2021;Savage et al., 2020;Trevarthen, 2002), 3. the conative function-in other words, calling to action (Karl & Robinson, 2015;Kühl, 2011;Leman, 2009;Liszkowski et al., 2012;Mehr et al., 2021;Monelle, 2006;Nazaikinsky, 2013;Rodman & Rodman, 2010;Tagg, 2012;Tarasti, 1998;Vuust & Roepstorff, 2008), and 4. the mnemonic function-memory conservation (Belfi et al., 2015;Boer & Fischer, 2012;Janata et al., 2007;Levitin, 2019;Nikolsky, 2016b;Tamm, 2019;van Dijck, 2006;. ...
Together with language, music is perhaps the most distinctive behavioral trait of the human species. Different hypotheses have been proposed to explain why only humans perform music and how this ability might have evolved in our species. In this paper, we advance a new model of music evolution that builds on the self-domestication view of human evolution, according to which the human phenotype is, at least in part, the outcome of a process similar to domestication in other mammals, triggered by the reduction in reactive aggression responses to environmental changes. We specifically argue that self-domestication can account for some of the cognitive changes, and particularly for the behaviors conducive to the complexification of music through a cultural mechanism. We hypothesize four stages in the evolution of music under self-domestication forces: (1) collective protomusic; (2) private, timbre-oriented music; (3) small-group, pitch-oriented music; and (4) collective, tonally organized music. This line of development encompasses the worldwide diversity of music types and genres and parallels what has been hypothesized for languages. Overall, music diversity might have emerged in a gradual fashion under the effects of the enhanced cultural niche construction as shaped by the progressive decrease in reactive (i.e., impulsive, triggered by fear or anger) aggression and the increase in proactive (i.e., premeditated, goal-directed) aggression.
... This may help develop an emotional awareness of music as they grow up, even if they are born with no inherent understanding of emotional meanings in speech and music [12]. However, the inherent ability of infants to distinguish between more emotive infant-directed and adult-directed speech and actively listen to the former, in itself, be a type of inherited recognition of emotional qualities in music [13]. An additional hypothesis may be that such emotional expressions present in music may be sought after by adults, partly because it brings a call back to the beginnings of emotional development with sounds as an infant, acting as a source of comfort like it did during their childhood. ...
... In particular, the amygdala participates in conditioned fear responses via a descending amygdalo-hypothalamo-PAG circuit, which Panksepp (2000) defined as the FEAR system, one of the basic raw affective systems engendered at the PAG. Top-down influences from the hypothalamus may also be involved in the conditioning of positive emotional experiences such as nurturance (Panksepp and Trevarthen, 2009;Yu et al., 2022). Overall, the PAG elaborates incoming sensory stimuli with affect to ascertain whether an environment or another animal is safe or threatening. ...
Although the manifestation of trauma in the body is a phenomenon well-endorsed by clinicians and traumatized individuals, the neurobiological underpinnings of this manifestation remain unclear. The notion of somatic sensory processing, which encompasses vestibular and somatosensory processing and relates to the sensory systems concerned with how the physical body exists in and relates to physical space, is introduced as a major contributor to overall regulatory, social-emotional, and self-referential functioning. From a phylogenetically and ontogenetically informed perspective, trauma-related symptomology is conceptualized to be grounded in brainstem-level somatic sensory processing dysfunction and its cascading influences on physiological arousal modulation, affect regulation, and higher-order capacities. Lastly, we introduce a novel hierarchical model bridging somatic sensory processes with limbic and neocortical mechanisms regulating an individual’s emotional experience and sense of a relational, agentive self. This model provides a working framework for the neurobiologically informed assessment and treatment of trauma-related conditions from a somatic sensory processing perspective.
... The theoretical frameworks, however, are not yet totally coherent. Much research on bodily reactions stems from animal testing or experiments with humans outside the domain of music, which makes it difficult to translate the findings to the case of music and human listeners (see [32]). Yet, it is important to gather as many empirical data as possible in various clinical settings in an attempt to "naturalize" the musical experience, even if the final explanations remain tentative in their generalizing power (see [33] for a broad overview). ...
This article is a hypothesis and theory paper. It elaborates on the possible relation between music as a stimulus and its possible effects, with a focus on the question of why listeners are experiencing pleasure and reward. Though it is tempting to seek for a causal relationship, this has proven to be elusive given the many intermediary variables that intervene between the actual impingement on the senses and the reactions/responses by the listener. A distinction can be made, however, between three elements: (i) an objective description of the acoustic features of the music and their possible role as elicitors; (ii) a description of the possible modulating factors—both external/exogenous and internal/endogenous ones; and (iii) a continuous and real-time description of the responses by the listener, both in terms of their psychological reactions and their physiological correlates. Music listening, in this broadened view, can be considered as a multivariate phenomenon of biological, psychological, and cultural factors that, together, shape the overall, full-fledged experience. In addition to an overview of the current and extant research on musical enjoyment and reward, we draw attention to some key methodological problems that still complicate a full description of the musical experience. We further elaborate on how listening may entail both adaptive and maladaptive ways of coping with the sounds, with the former allowing a gentle transition from mere hedonic pleasure to eudaimonic enjoyment.
... 1. the expressive function-especially, conveying emotions (Altenmüller et al., 2013;Cook, 2002;Eerola & Vuoskoski, 2013;Gabrielsson & Juslin, 2003;Johnson-Laird & Oatley, 2010;Juslin, 2005Juslin, , 2011Juslin, , 2013Krumhansl, 2002;Mohn et al., 2010;Nikolsky, 2015a;Panksepp & Trevarthen, 2009;Peretz, 2013;Perlovsky, 2012;Schiavio et al., 2017;Trainor, 2010;van Goethem & Sloboda, 2011), 2. the phatic function-in other words, reinforcing interpersonal and social bonding (Boer & Fischer, 2012;Clarke et al., 2015;Clayton, 2016;Cross, 2009;Dunbar, 2012a, b;Harvey, 2017Harvey, , 2020Mehr et al., 2021;Savage et al., 2020;Trevarthen, 2002), 3. the conative function-in other words, calling to action (Karl & Robinson, 2015;Kühl, 2011;Leman, 2009;Liszkowski et al., 2012;Mehr et al., 2021;Monelle, 2006;Nazaikinsky, 2013;Rodman & Rodman, 2010;Tagg, 2012;Tarasti, 1998;Vuust & Roepstorff, 2008), and 4. the mnemonic function-memory conservation (Belfi et al., 2015;Boer & Fischer, 2012;Janata et al., 2007;Levitin, 2019;Nikolsky, 2016b;Tamm, 2019;van Dijck, 2006;. ...
Together with language, music is perhaps our most distinctive behavioral trait. As for language, different hypotheses have been proposed to explain why only humans perform music and how this ability might have evolved in the species. In this paper, we advance a new model of music evolution that builds on the self-domestication view of human evolution, according to which the human phenotype is, at least in part, the outcome of a process similar to mammal domestication, triggered by a reduction in reactive aggression responses resulting from environmental changes. In the paper, we specifically argue that self-domestication can account for some of the cognitive changes, and particularly for the behaviors conducive for the complexification of music through a cultural mechanism. We hypothesize 4 stages in the evolution of music under self-domestication forces: collective proto-music, private timbre-oriented music, small group pitch-oriented music, and finally, collective tonally-organized music. This line of development parallels what has been hypothesized for languages. It encompasses the diversity of music types and genres described worldwide. Overall, music diversity emerges in a gradual fashion under the effects of our enhanced abilities for cultural niche construction, as shaped by the progressive decrease in reactive (i.e., impulsive, triggered by fear or anger) aggression and the increase in proactive (i.e., premeditated, goal-directed) aggression.
... En los estudios sobre protoconversaciones se prestó atención principalmente al análisis vocálico, en las performances el foco estuvo puesto en el análisis sonoro y kinético. En el estudio de ambos fenómenos, el contacto es frecuentemente nombrado como un elemento presente y relevante, cuyo análisis, sin embargo, permanece vacante (Dissanayake, 2000;Gratier, 2003;Malloch & Trevarthen, 2009;Mazokopaki & Kugiumutzakis, 2009;Panksepp & Trevarthen, 2009). Como se desarrolló en el segundo capítulo de este trabajo, la descripción sistemática de la presencia del contacto en interacciones tempranas se ha realizado mayoritariamente en trabajos que analizan el rol del contacto corporal entre madre y bebé en el contexto experimental de stillface; sin embargo todavía no se han realizado estudios longitudinales amplios en contexto ecológico de interacción (Jean, Stack y Fogel, 2009;Hertenstein & Weiss, 2014). ...
Se estudian las características de las performances y las protoconversaciones en un estudio longitudinal de caso único. Se explora y define el reciente concepto de "performance". Dichas interacciones constituyen juegos sociales entre adulto y bebé que aparecen durante el primer año de vida. Se comprobó que en la díada estudiada la frecuencia de performances superaba ampliamente la de protoconversaciones.
Se estudia también las características de los contactos corporales piel a piel entre madre y bebé en el contexto de las performances.
... Human beings are endowed with the ability to express feelings and intentions in a shared social space through movements organized in a time frame ranged 0.3 to 7 seconds. Especially the time frame 3 to 6 seconds is considered fundamental to human motoric and perceptual functions, such as early mother -infant interactions, language, and music [37], [38], [39]. ...
Estimating the engagement of children is an essential prerequisite for constructing natural Child-Robot Interaction. Especially in the case of children with Autism Spectrum Disorder, monitoring the engagement of the other party allows robots to adjust their actions according to the educational and therapeutic goals in hand. In this work, we delve into engagement estimation with a focus on children with autism spectrum disorder. We propose deep convolutional architectures for engagement estimation that outperform previous methods and explore their performance under variable conditions, in four databases depicting ASD and TD children interacting with robots or humans.
... For Darwin, however, sympathy is one of the maternal instincts (Darwin 1871, 110) and therefore constitutes a primal quality in our psycho-physical make up. A contemporary successor to this aspect of Darwin's work is the research of J. Panksepp and his colleagues into the primal, biological psycho-musicality of most animals, particularly with regard to child rearing, mating and social expressions of fear and aggression (Panksepp and Trevarthen 2009). In the course of the paper Black refers to Daniel Stern: Stern's (1985) important notion of "affect attunement" presupposes a sympathetic connection between mother and child. ...
I describe the ubiquity of the musical—non-metaphorical, actually musical—dimension in the psychoanalytic encounter. I point out that this needs underlining since, strangely, it has been neglected in psychoanalytic literature until recent years, which I suggest is a legacy of Freud’s aversion to music. I look at a wide range of psychoanalytic literature which invokes music metaphorically while neglecting its literal musicality. I also explore the possible musical dimension of texts which explore non-verbal emotionality. I consider the long-term effects on internal object relations and personality of pre-verbal, infantile musicality and also of musicality within the womb. I conclude with an extended clinical example.
... Tarr, Launay and Dunbar ( 2014 ) review evidence for the causal impact of music in provoking the release of endogenous opioids and stimulation of neurotransmitter systems (dopamine and norepinephrine). Singing in communal ritual stimulates oxytocin production (Chanda & Levitin, 2013 ;Panksepp & Trevarthen, 2009 ), a neurohormone implicated in social bonding. Synchronised group movement such as dance also provokes the release of endorphins and enhances social bonding (Tarr, Launay and Dunbar, 2016 ). ...
Chapter 7 examines the cross-cultural manifestations of the various specific kinds of supernatural experiences as reflecting intrinsic features of human nature. The phenomenological dynamics of shamanic alterations of consciousness are linked to the physiological effects of ritual practices on the autonomic nervous system. These stimulate the modulatory neurotransmitter systems of serotonin, dopamine and the endocannabinoids, as well as the endogenous opioid system. These provide the biological bases for these experiences, involving the ability of diverse procedures and agents to provoke similar brain responses that enhance access to evolutionarily early strata of the brain. These brain areas provide the special cognitive qualities of consciousness that underlie perceptions of the supernatural. Ritual practices induce supernatural experiences through disrupting higher order information integration and top-down cognitive control, permitting emergence of cognitive processes related to ancient brain structures and primary process levels of cognition, identity and awareness. These biological bases for supernatural experiences are illustrated in an assessment of soul flight as involving a disassembling of the integration of innate capacities involved in the experience of body, self, and cognition. This and other shamanic alterations of consciousness are examined as adaptations that enhanced cognition through expanded access to unconscious mental processes.
... In contrast, humans are able to identify the artist performing a new song if familiar with the artist in question. This ability to process and identify with music has roots in neuroscience [4] and thus an algorithmic representation would work best if it included an analogous learning model. ...
Previous attempts at music artist classification use frame-level audio features which summarize frequency content within short intervals of time. Comparatively, more recent music information retrieval tasks take advantage of temporal structure in audio spectrograms using deep convolutional and recurrent models. This paper revisits artist classification with this new framework and empirically explores the impacts of incorporating temporal structure in the feature representation. To this end, an established classification architecture, a Convolutional Recurrent Neural Network (CRNN), is applied to the artist20 music artist identification dataset under a comprehensive set of conditions. These include audio clip length, which is a novel contribution in this work, and previously identified considerations such as dataset split and feature-level. Our results improve upon baseline works, verify the influence of the production details on classification performance and demonstrate the trade-offs between sample length and training set size. The best performing model achieves an average F1-score of 0.937 across three independent trials which is a substantial improvement over the corresponding baseline under similar conditions. Finally, to showcase the effectiveness of the CRNN's feature extraction capabilities, we visualize audio samples at its bottleneck layer demonstrating that learned representations segment into clusters belonging to their respective artists.
... Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers, 'protonarrative envelopes' of expression for ideas of activity (Panksepp and Bernatzky, 2002;Panksepp and Trevarthen, 2009), are the building blocks of what become particular cultural instances of the art of music, and of dance, theater and other temporal arts (Blacking, 1995). ...
Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual ‘patterns of action,’ which we have identified as our innate ‘communicative musicality.’ To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to show the timings and shapes of intersubjective vocalizations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasize that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language.
... Music enhances adaptation Chapter 21: Shamanism and the Brain through more effective devices for group coordination and formation of stronger emotional bonds among the members of a group. These effects of music reflect direct effects on the release of oxytocin, a neurohormone that enhances social bonding (see Panksepp and Trevarthen 2008). ...
... Trevarthen, , 2012Trevarthen & Aitken, 2001;, 2017Trevarthen et al., 2014;Trevarthen & Hubley, 1978; for a schematic overview, see Trevarthen & Bjørkvold, 2016, p. 46). His standpoint on intersubjectivity relies on intentions and emotions as causal preconditions for shared experience of referential signs (and, hence, the work of Freeman, 2008;Panksepp, 2003;Panksepp & Trevarthen, 2009) when he argues that infants are capable of "intentional and emotional factors of meaning making" (Trevarthen & Delafield-Butt, 2013, pp. 169, 181;cf. ...
The thesis of an innate universal moral grammar (UMG) relies upon an analogy to the thesis of a universal grammar of the human faculty of language in linguistics. Drawing upon this faculty, John Mikhail (2011), among others, argues that we humans have an inborn moral grammar. In this article, this fascinating thesis is juxtaposed with counterperspectives from the various fields on which it is based, with substantial criticism from such fields as neurobiology, evolutionary and developmental psychology, and philosophy, leaving ample space for doubting UMG and, especially, its claimed innateness. In methodological terms, Mikhail suggested using collective evidence from the various disciplines to prove the hypothesis of an innate UMG, as there is not sufficient substantial support for UMG within each discipline alone. This multi- and interdisciplinary approach is also contested in this article. In lieu of UMG, this article proposes thinking of intersubjectivity in order to deal with the origins and development of the biological setup of human morality. In so doing, it refers to Colwyn Trevarthen's concept of primary, secondary, and tertiary intersubjectivity, which is gaining more and more in popularity. This enables us, so runs the argument, to align morality and its development with core concepts of (developmental) psychology. Such an understanding of morality furthermore lays bare the origins of moral normativity, which is essential in order to evaluate moral behavior. (PsycINFO Database Record
... From the social cognitive perspective, music is not only communicative in the sense of sharing information, but also concerned with transmission of emotions (Panksepp, Trevarthen, 2008;Roederer, 1984). Emotion often accompanies our musical experiences and emotional impact is one of the main reasons that people listen to music (Sloboda, O'Neill, 2001). ...
Music is pervasive across human cultures and throughout times. Particularly, music serves great importance at social functions. Like many cultures’ use of music, throat singing or khöömei, the most distinguished aspect of Tuva’s music, contributes significantly to social communication, emotional expression, social bonding and religious rituals. Acknowledgment and consideration of current social cognitive findings of music may thus provide a better insight into the nature of throat singing. To date, evidence has indicated that similar to language, music is a fundamental channel of communication, and these two constructs may have common origins in a single communicative system. Moreover, music may modulate neural activity in the brain structures associated with emotions and alter our autonomic responses. In addition to information sharing, music thus has the capacity to convey emotions. This ability may further render music a powerful mechanism to facilitate social bonding and ritual practice, as individuals’ internal states during these social events become synchronized through musical engagement.
In conclusion, I suggest that those social cognitive perspectives may point toward new directions for a continuing discourse on our understanding of throat singing.
... The right hemisphere, in contrast, has superior mastery of the immediate 'appositional' experience )of forms perceived by sight, sound, or touchand, according to recent research, of odors, which are detected and evaluated emotionally by the right nostril (which projects to the right hemisphere) but named by the left (Herz et al., 1999). The right hemisphere can remember affect-laden experiences such as these better, can distinguish and remember faces better, and has richer reactions to colors and to affective tones of the voice in song or speech and its prosodic quality or 'musicality' (Panksepp and Trevarthen, 2009;Turner and Ioannides, 2009). It perceives more easily resemblances in topological but not Euclidean geometry. ...
Research on the consequences of complete section of the forebrain commissures in cats and monkeys, and in human patients operated to control epilepsy, has clarified how the brain mediates perception, learning, memory, and the control of movements, and has raised many questions. No single process of consciousness and no simple localization of ‘modules’ of perception or reasoning have been found. However, consistent differences between the awareness of the left and right hemispheres in human beings, and regarding their capacity to integrate experience of objects with skilled action, to employ language in speech or writing, to imagine contexts for discrimination and decision making, to attribute qualia to objects, and to sympathize with the motives and feelings of other persons, cast light on how the human brain is uniquely adapted for cooperative cultural life. The findings of split brain research have importance for the whole range of scholarship that attempts to explain the human condition.
... Music and its effects on emotions provide an intrinsic reward for engaging in these activities that enhance social functionality. This includes the ability of music to enhance hormone release, with effects on oxytocin that enhance social bonds (see Panksepp & Trevarthen, 2009). These hormonal effects have both individual and collective effects, coordinating and entraining the individual with the group. ...
The concept of shamanism provides an important paradigmatic framework for understanding altered consciousness. Shamanism is a primordial form of transcendence of ordinary consciousness that was found cross-culturally, reflecting manifestations of evolved biological adaptations. Evolved capacities for hypnotic susceptibility, processing exogenous neurotransmitter analogues, and music and dance contributed to the emergence of shamanism. Other cross-cultural features of shamanic alteration of consciousness such as dream incubation and strenuous and stressful activities share physiological effects of inducing parasympathetic dominant states. These contribute to the production of a key feature of shamanism, the soul flight or out-of-body experience, which illustrate basic features of altered consciousness involving aspects of self related to an ancient pre-language system of personal representation and emotional bonding.
... Stern (2010) calls these shared events of mother-infant play "proto-narrative envelopes. " They appear to express the ebb and flow of autonomic or visceral processes that function as a background "psychic time" in the organization of sequences of cognitive elements, intentional acts, and the affective, interpersonal quality of expressions in communication (Keltner 2003;Meissner and Wittmann 2011;Panksepp and Trevarthen 2009;Wittmann 2009). This is the sense of time in action, of purpose for moving, that Lashley proposed must be the foundation for linguistic syntax (Lashley 1951). ...
... Es entsteht »resonating mind« aus dem Zusammenspiel von Arbeitsbündnis, Intensität der emotionalen Kommunikation, vielleicht auch aus Resonanzeffekten der Spiegelneuronen. Das deutsche Wort »einschwingen« oder »einstimmen« enthält den Bezug zur Musikalität (Panksepp & Trevarthen 2010). Hinzu kommt der »flow« von Zuhören, Selbstbeobachtung, Fokussierung auf Themen und Szenen. ...
Situating things psychic in an internal space that is clearly set off from the outside world and investigating that internal space by means of introspection are historically conditioned approaches that impose restrictions that we need to break free of. The upvaluation of depth and the devaluation of surface are only conceivable within a model of spatial metaphors. As a guiding opposition, we might try replacing internal/external by visible/invisible. New metaphors, specifically of a musical nature, are best suited to describing the intensive experience of the therapeutic situation. The vertical dimension loses nothing of its rightful status in the reconstruction of a story that invariably features actual genesis of an intersubjective nature (between analyst and patient). Recent findings suggest that this situation can be described by drawing upon metaphors of balance, rhythm, and resonance. Forfeiting traditional guiding oppositions would put psychoanalysis in a position to free itself of the illusion that it could ever investigate internal space without [a] world. Psychoanalysis takes place in a world that would be easier to experience in phenomenological terms (rather than being trapped in introspection). Investigating the resonant unconscious in its interplay with the vertical dimension may well be one of the major tasks awaiting psychoanalysis in future.
... Zapravo, postoji snažna tradicija u shvaćanju o posebnoj vezi između glazbe i čovjekove emocionalnosti (usp. primje rice Carroll, 1988;Cohen, 2001;Gorbman, 1987: 79-82;Harré, 1997;Hospers, 1997;Kivy, 1997;Panksepp, Trevarthen, 2009;Robinson, 2006;Smith, 1999;Tan, Pfordresher, Harré, 2010). 35 To je shvaćanje itekako prisutno pri uporabi glazbe uz film. ...
Film and music are two distinct and separate arts. Nevertheless, music has become so closely tied with film from its very beginning that it is mostly perceived as a natural, inseparable, and frequently unnoticeable part of a film. The basic theoretical problem is to account for the symbiosis of film and music. One of the answers may be the compensatory theory of film music. According to this theory there are some basic insufficiencies that haunt film, and one of the functions of film music (in fact, its basic function according to Petar Kivy) is to compensate for some of them. The article investigates some of the historical insufficiencies that have been indicated to be compensated by music - e.g., the noise covering function during the presentation of silent films; the cover-up of sound inconsistencies in sound films; the fastening of slow pace of some film scenes; the filling in for emotional bleakness of the presented world within the two-dimensional film image etc. Though some of these insufficiencies were real, and music may have been efficient in compensating for them, most of them were historically transient, connected with only a short lived technological phase of the film art. They were 'corrected' soon enough to displace particular compensating function of music, making it - at best historically local. Still, music has stayed all along with film even in the periods when aforementioned insufficiencies were overcome, so one has to conclude that the compensatory function has never been music's main function in film, but only the historically casual and transient one. The question of the historically more consistent and more central functions of film music is dealt with in author's other papers (Turkovic, 2000 -'Functions of stylistic figures', and Turkovic, 2007b -'Non-diegetic film music as a 'guide' through film discourse').
In this article we seek to integrate theories of music origins and dance with hominin fossil anatomy and the paleoecological contexts of hominin evolution. Based on the association between rhythm in music, dance and locomotion, we propose that early bipedal hominins may have evolved neurobiological substrates different from other great apes due to the rhythmic aspects of bipedal walking and running. Combined with the emancipation of the hands resulting from erect posture, we propose that the neurobiological changes necessary for technological innovation, cultural practices and human musical abilities may have evolved, at least in incipient form, much earlier than previously thought. The consequent ability to synchronize movement and sound production may have also proved beneficial as early bipedal hominins ventured out of late Miocene and early Pliocene woodland and forested habitats and into more open habitats with increased predation risk. We also postulate that, along with bipedalism, paedomorphic morphogenesis of the skull at the base of the hominin clade was a necessary prerequisite for the evolution of vocal modulation and singing in later varieties of hominin. To date research into the evolution of music and dance has yet to be integrated with the fossil and paleoecological evidence of early hominin evolution. This paper seeks to fill this lacuna in the extant literature on human evolution. We also suggest that autocatalytic feedback loops evolving synergistically with hominin erect posture, skull and hand morphology, neurochemical processes and the self-domestication syndrome, have been operative from early hominins some 6 Ma to the present. We document this process by reference to primatological, ethnographic, neurochemical and archaeological data.
Este artigo propõe um diálogo transdisciplinar entre a música, a musicalidade originária, a educação musical e o autismo. Essa interlocução tecerá uma rede de ideias, fundamentadas em pesquisas e em nossa experiência pedagógica, buscando integrar nessa trama os conceitos de desenvolvimento musical e de desenvolvimento sociocomunicativo. O objetivo desse contraponto a muitas vozes é discutir as possíveis razões pelas quais a música, por meio da educação musical, pode abrir janelas únicas de comunicação com o indivíduo autista. Compreendendo a música como resultante da musicalidade originária (ou inata) do ser humano, tal qual a palavra, traremos argumentos para mostrar que a experiência musical sistematizada pela educação musical faz aflorar, atiça e provoca essa musicalidade originária, permitindo o desenvolvimento musical e a organização dos processos de comunicação social, em geral comprometidos nos autistas.
The Oxford Handbook of the Auditory Brainstem provides an in-depth reference to the organization and function of ascending and descending auditory pathways in the mammalian brainstem. Individual chapters are organized along the auditory pathway, beginning with the cochlea and ending with the auditory midbrain. Each chapter provides an introduction to the respective area and summarizes our current knowledge before discussing the disputes and challenges that the field currently faces.The handbook emphasizes the numerous forms of plasticity that are increasingly observed in many areas of the auditory brainstem. Several chapters focus on neuronal modulation of function and plasticity on the synaptic, neuronal, and circuit level, especially during development, aging, and following peripheral hearing loss. In addition, the book addresses the role of trauma-induced maladaptive plasticity with respect to its contribution in generating central hearing dysfunction, such as hyperacusis and tinnitus.The book is intended for students and postdoctoral fellows starting in the auditory field and for researchers of related fields who wish to get an authoritative and up-to-date summary of the current state of auditory brainstem research. For clinical practitioners in audiology, otolaryngology, and neurology, the book is a valuable resource of information about the neuronal mechanisms that are currently discussed as major candidates for the generation of central hearing dysfunction.
Research shows that language acquisition and musicality, with the connected aspects of tonality, inflexion and rhythm, are closely related. Although scientific understanding of the nature of this link continues to develop, there appears to be sufficient evidence to support the view that music, and song in particular, holds great potential in advancing young children’s growing linguistic skills. This applies to first language settings as well as to additional languages, but maximising the benefit requires a highly skilled and responsive practitioner base and a clearly developed teaching strategy. This study shows that parents’ and practitioners’ attitudes to song activities are generally positive. However, there were clear gaps in knowledge, and the concluding section indicates training opportunities as well as criteria for the composition of new song material for bilingual Early Years groups.
Neuroscientific discoveries since the second half of the last century have revealed the mechanisms underlying mind-body functioning, going beyond Cartesian dualism and highlighting a relationship of interdependence between the two elements in a complex stimulus-response system. The results obtained restored to the body dimension a role of primary importance in the elaboration of experience, which is first and foremost of a sensory-perceptual nature. The assumption on which this dialogue hinges is that the mind, which is thus embodied, cannot be separated from the body in the mechanisms of knowledge acquisition; therefore, the aim of this paper is to investigate the ways in which the performing arts can be configured as innovative embodied didactic methodologies, starting with an epistemological excursus that recovers, with a historical slant, psychological and neuroscientific theories on emotions and perceptions in educational practice, continuing with the description of some concrete examples to be adopted in formal educational contexts.
Reflexionen der Vorgeschichte können sich insoweit auf Fakten stützen, als diese durch archäologische Forschung mit Ausgrabungen sowie archäogenetische Analysen Verstorbener zugänglich gemacht wurden. Dies ist nur sehr lückenhaft gegeben, sodass hermeneutische Verfahren voll ausgeschöpft werden müssen und auch Techniken der Modellbildung erforderlich sind, um ein kohärentes Bild der Höhlenzeit entstehen zu lassen. Evolutionstheorie stellt einen Rahmen bereit, archäologische Relikte mit Hilfe eines Erklärungsrasters zu verstehen, das Grundmuster der Selektion unterstellt. Dazu gehören neben der natürlichen Auslese nach Darwin, die den individuellen Überlebenskampf in den Mittelpunkt rückt, auch Konzepte wie „Gruppenselektion“ und „Familienselektion“, die das korporative Moment der Auslese betonen (Wilson 2013; Wrangham 2019a). In der Evolutionspsychologie gilt außerdem als auslesewirksam die sexuelle Partnerwahl (Buss 2019; Pinker 2002; Schaik und Michel 2020), da diese darüber entscheidet, wessen Gene welche Chancen haben, in zukünftigen Individuen fortzuexistieren. Das Selektionsprinzip, das in diesem Buch als relevant erachtet wird, sind Naturkatastrophen, die zu einer plötzlichen Verkleinerung der Population geführt haben und eine eigene krisenabhängige Auslese hervorrufen. Wir gehen davon aus, dass ein oder mehrere vulkanische Winter in prähistorischer Zeit die Populationen des Homo sapiens stark dezimierten und die Überlebenden in höhenähnliche Rückzugsräume zwangen. Welche Denk- und Verhaltensweisen waren für die Höhlenbewohner unter Krisenbedingungen für das Überleben relevant? Welche Genkonstellation inklusive epigenetischer Verhaltensdispositionen (Berger et al. 2009) sorgte für die größte Überlebenschance? Das methodische Vorgehen besteht darin, die Krisenbewältigung in der Vorgeschichte zu rekonstruieren und mit Daten aus der Krisenbewältigung der Gegenwart zu vergleichen. Strukturähnlichkeiten kognitiver Dispositionen damals und heute können als Indiz für eine Persistenz archaischer Kognitionsschemata gewertet werden, wenn diese ganzheitlich und passgenau übereinstimmen und/oder Analogien über viele Stufen belegbar sind und die Plausibilität eines archaischen Kognitionsimports schrittweise gesteigert werden kann.
Context
Eighty-seven patients newly diagnosed with lung, breast, or gastrointestinal cancer and undergoing chemotherapy in the infusion suite of a large urban hospital in New York City.
Objective
Patients were enrolled in this study of music therapy's impact on resilience in coping with the impact of symptoms inclusive of symptom clustering.
Methods
Patients were randomly assigned to three arms: clinical instrumental improvisation or clinical vocal improvisation 43 subjects to instrumental improvisation or vocal improvisation and 44 subjects to control. All subjects received a Medical Music Psychotherapy Assessment including psychosocial information and music preferences, pre-/post-Resilience Scale, Hospital Anxiety and Depression Scale, Visual Analogue Scale/Faces Scale, and a pain—Color Analysis Scale. Interventions included 20-minute music therapy (MT) and two additional sessions.
Results
Significant increases in Resilience Scale in MT groups after treatment with instrumental and vocal MT interventions equally potent-reflect average changes of 3.4 and 4.83 (P = 0.625), respectively. Although Hospital Anxiety and Depression Scale scores showed little impact of MT on perceived anxiety/depression, a strong correlation is seen between vocal intervention and lower depression scores through Visual Analogue Scale–rendered postsessions. This yielded a significant decrease in pain levels immediately after MT, with the final session showing the most significant change in pain level. Resilience in enduring procedures is a necessary component of combating potential negative illness perception.
Conclusion
Our study shows MT's facility to propel resilience in patients newly diagnosed with cancer, particularly when promoting and pairing adaptation toward coping through the expression of perceived negative effects of emotional and physiological symptoms.
Underlying any complex relational intersubjectivity there is an inherent urge to connect, to have proximity, to engage in an experience of interpersonal contact. The hypothesis set out here is that this most basic urge to connect is dependent on circuits based in three main components: the midbrain superior colliculi (SC), the midbrain periaqueductal gray (PAG), and the mesolimbic and mesocortical dopamine systems originating in the midbrain ventral tegmental area. Firstly, there is orienting towards or away from interpersonal contact, dependent on approach and/or defensive/withdrawal areas of the SC. Secondly, there is an affective response to the contact, mediated by the PAG. Thirdly, there is an associated, affectively-loaded, seeking drive based in the mesolimbic and mesocortical dopamine systems. The neurochemical milieu of these dopaminergic systems is responsive to environmental factors, creating the possibility of multiple states of functioning with different affective valences, a polyvalent range of subjectively positive and negative experiences. The recognition of subtle tension changes in skeletal muscles when orienting to an affectively significant experience or event has clinical implications for processing of traumatic memories, including those of a relational/interpersonal nature. Sequences established at the brainstem level can underlie patterns of attachment responding that repeat over many years in different contexts. The interaction of the innate system for connection with that for alarm, through circuits based in the locus coeruleus, and that for defence, based in circuits through the PAG, can lay down deep patterns of emotional and energetic responses to relational stimuli. There may be simultaneous sequences for attachment approach and defensive aggression underlying relational styles that are so deep as to be seen as personality characteristics, for example, of borderline type. A clinical approach derived from these hypotheses, Deep Brain Reorienting, is briefly outlined as it provides a way to address the somatic residues of adverse interpersonal interactions underlying relational patterns and also the residual shock and horror of traumatic experiences. We suggest that the innate alarm system involving the SC and the locus coeruleus can generate a pre-affective shock while an affective shock can arise from excessive stimulation of the PAG. Clinically significant residues can be accessed through careful, mindful, attention to orienting-tension-affect-seeking sequences when the therapist and the client collaborate on eliciting and describing them.
Previous attempts at music artist classification use frame level audio features which summarize frequency content within short intervals of time. Comparatively, more recent music information retrieval tasks take advantage of temporal structure in audio spectrograms using deep convolutional and recurrent models. This paper revisits artist classification with this new framework and empirically explores the impacts of incorporating temporal structure in the feature representation. To this end, an established classification architecture, a Convolutional Recurrent Neural Network (CRNN), is applied to the artist20 music artist identification dataset under a comprehensive set of conditions. These include audio clip length, which is a novel contribution in this work, and previously identified considerations such as dataset split and feature level. Our results improve upon baseline works, verify the influence of the producer effect on classification performance and demonstrate the trade-offs between audio length and training set size. The best performing model achieves an average F1 score of 0.937 across three independent trials which is a substantial improvement over the corresponding baseline under similar conditions. Additionally, to showcase the effectiveness of the CRNN's feature extraction capabilities, we visualize audio samples at the model's bottleneck layer demonstrating that learned representations segment into clusters belonging to their respective artists.
A mother talking and playing with her infant a few weeks old shares delicate patterns of movement with her child, matching rhythms and expressions of emotion. The infant is an active, sensitive, and creative partner, often taking the lead. The dynamics and affections or emotions of their relating depend on innate adaptations for moving the human body rhythmically to sustain vitality and for communicating their regulations of an intelligent life by shared motives and feelings. Mothers’ affectionate speech is “musical” in ways adapted to fit with and celebrate the expressive impulses and feelings of the baby seeking company. Applying methods of acoustics physics, a musician Stephen Malloch developed a microanalysis of the “communicative musicality” both mother and infant enjoy in their vocal play. He traced how parameters of sound he identified in their voices were represented in proto-conversations of the first 2 months after a full-term birth and then how the impulse to share musical expressions invents playful rituals combining poetic narratives with actions of the body in universal human ways, which lead to learning of culture-specific habits and a language. Innate motives for the discovery of meaning in companionship that appear in the first efforts of a human self to share life in movement with affectionate friends constitute an essential support for any sensitive therapeutic care or education that adults may offer for a developing child, especially for a prematurely born baby (Trevarthen and Fresquez, Body, Movement and Dance in Psychotherapy, 2015; Trevarthen and Malloch, The Nordic Journal of Music Therapy 9(2), 3–17, 2000).
Psychoanalysis and Psychotherapy have, in one way or another, focused on the amelioration of the negative. This has only done half the job; the other half being to actively bring Positive Experience into patients’ lives. Positive Psychoanalysis moves away from this traditional focus on negative experience and problems, and instead looks at what makes for a positive life experience, bringing a new clinical piece to what psychoanalysts do: Positive Psychoanalysis and the interdisciplinary theory and research behind it. The envelope of functions entailed in Positive Psychoanalysis is an area of Being described as Subjective Well-Being. This book identifies three particular areas of function encompassed by SWB: Personal Meaning, Aesthetics, and Desire. Mark Leffert looks at the importance of these factors in our positive experiences in everyday life, and how they are manifested in clinical psychoanalytic work. These domains of Being form the basis of chapters, each comprising an interdisciplinary discussion integrating many strands of research and argument. Leffert discusses how the areas interact with each other and how they come to bear on the care, healing, and cure that are the usual subjects of psychoanalytic treatment. He also explores how they can be represented in contemporary psychoanalytic theory. This novel work discusses and integrates research findings, phenomenology, and psychoanalytic thought that have not yet been considered together. It seeks to inform readers about these subjects and demonstrates, with clinical examples, how to incorporate them into their clinical work with the negative, helping patients not just to heal the negative but also move into essential positive aspects of living: a sense of personal meaning, aesthetic competence, and becoming a desiring being that experiences Subjective Well-Being. Drawing on ideas from across neuroscience, philosophy, and social and culture studies, this book sets out a new agenda for covering the positive in psychoanalysis. Positive Psychoanalysis will appeal to psychoanalysts and psychotherapists, neuroscientists and philosophers, as well as academics across these fields and in psychiatry, comparative literature, and literature and the mind.
This chapter considers the role of entertainment media in education, health, and quality of life. Because of its potential to affect our well-being, entertainment can be seen as a public health issue. When freely chosen, entertainment can produce desired states such as relaxation or arousal and can induce the range of human emotions that enrich daily life. The emotional and social satisfactions provided by entertainment are supplemented by their impact on executive functioning and health.
Entertainment serves the range of “uses and gratifications” familiar to media students (cognitive, social, emotional/physiological).
Among the cognitive benefits of entertainment media are the maintenance or improvement of problem solving and enhanced perceptual skills. Listening to music or watching television can produce positive cognitive effects. Music, in addition to its mood management function, also affects brain development, language, and cognitive development.
One undeniable feature of play is fun. Positive emotions, including humor, contribute to a sense of well-being and health.
Video gaming can be beneficial for brain development and functioning. The positive effects of video gaming may also prove relevant in therapeutic interventions targeting psychiatric disorders, particularly depression. Studies of the noninstitutionalized elderly suggest that digital games can speed reaction time and may positively influence executive function and have social and emotional benefits. Exergames are a substitute for physical exercise when outdoor play is not feasible.
If entertainment is a public health issue, it is largely in the area of mental health that it has its greatest impact. Enjoying music, a film, a video game, or a You Tube video can improve mood, strengthen friendships, and increase competence.
Digital entertainment media have been used in basic scientific research. Games can teach STEM subjects efficiently by reaching a large audience.
This chapter considers the role of entertainment media in education, health, and quality of life. Because of its potential to affect our well-being, entertainment can be seen as a public health issue. When freely chosen, entertainment can produce desired states such as relaxation or arousal and can induce the range of human emotions that enrich daily life. The emotional and social satisfactions provided by entertainment are supplemented by their impact on executive functioning and health.
Entertainment serves the range of “uses and gratifications” familiar to media students (cognitive, social, emotional/physiological).
Among the cognitive benefits of entertainment media are the maintenance or improvement of problem solving and enhanced perceptual skills. Listening to music or watching television can produce positive cognitive effects. Music, in addition to its mood management function, also affects brain development, language, and cognitive development.
One undeniable feature of play is fun. Positive emotions, including humor, contribute to a sense of well-being and health.
Video gaming can be beneficial for brain development and functioning. The positive effects of video gaming may also prove relevant in therapeutic interventions targeting psychiatric disorders, particularly depression. Studies of the noninstitutionalized elderly suggest that digital games can speed reaction time and may positively influence executive function and have social and emotional benefits. Exergames are a substitute for physical exercise when outdoor play is not feasible.
If entertainment is a public health issue, it is largely in the area of mental health that it has its greatest impact. Enjoying music, a film, a video game, or a You Tube video can improve mood, strengthen friendships, and increase competence.
Digital entertainment media have been used in basic scientific research. Games can teach STEM subjects efficiently by reaching a large audience.
The Analysis of social unconscious encounters in psychoanalysis is here focused as horizontal dimension of the unconscious. As even the analyst in his utterances is unconsciously determined by the analysand I propose to renounce of a military metaphor like "intervention". Baby-watchers carefully have documented the details of human resonance phenomena and how important they are. In my bottom-up approach I ascend from the baby-level to the bodily level of analyst-analysand physiology and then to the verbal level and find, by results of documented research, a structural isomorphism between all these levels. Thus, there is continuity from preverbal infant level of resonance to verbally elaborated levels of exchange. This continuity weakens the sharp distinction between "body" and "mind" usually taken as an attack on psychoanalysis where, allegedly, "only words" are exchanged. There is more in verbal exchange than these critics imagine. A case example serves as illustration to discuss some aspects of psychoanalytic technique.
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