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At least 19 recordsLinked to original sources
PubMed1991

Preferences of elderly music listeners residing in nursing homes for art music, traditional jazz, popular music of today, and country music.

The purpose of this study was to investigate seniors' comparative music preference for four generic styles including art music, country music, popular music of today, and traditional jazz. The study also attempted to identify certain variables that have an effect on preference. Sixty-three subjects with a mean age of 82.5 from four nursing homes in the South Central Michigan area participated in the study. An interview and musical preference test were administered to the subjects individually. The listening test consisted of 16 music selections, four from each style. The seniors judged how much they liked the selections on a scale from 1 to 5, with 5 indicating greatest preference. Results indicated that country music style was preferred the most, followed by traditional jazz, art music, and lastly popular music. Variables that were found to affect preference were education level, community size in which the seniors grew up, and music training outside the school setting.

Aged↗
PubMed1979

Effects of background music on musical task performance and subsequent music preference.

The present study examined the effects of background music on performance of a musical task and on subsequent preference for that music. 60 music and 60 non-music majors heard background music in music-only or music-plus-task conditions, and a third group heard no music in a task-only condition. A preference test of four musical excerpts, including the background [corrected] music excerpt, was administered subsequently to all three groups of subjects. Although music majors scored higher than non-majors, background music did not differentially affect task scores. Music students exhibited a differential preference following both musical conditions, while non-music subjects demonstrated differential preference only following the music-only condition.

Achievement↗
PubMed2001

Music skills and the expressive interpretation of music in children with Williams-Beuren syndrome: pitch, rhythm, melodic imagery, phrasing, and musical affect.

This paper studied music in 14 children and adolescents with Williams-Beuren syndrome (WBS), a multi-system neurodevelopmental disorder, and 14 age-matched controls. Five aspects of music were tested. There were two tests of core music domains, pitch discrimination and rhythm discrimination. There were two tests of musical expressiveness, melodic imagery and phrasing. There was one test of musical interpretation, the ability to identify the emotional resonance of a musical excerpt. Music scores were analyzed by means of logistic regressions that modeled outcome (higher or lower music scores) as a function of group membership (WBS or Control) and cognitive age. Compared to age peers, children with WBS had similar levels of musical expressiveness, but were less able to discriminate pitch and rhythm, or to attach a semantic interpretation to emotion in music. Music skill did not vary with cognitive age. Musical strength in individuals with WBS involves not so much formal analytic skill in pitch and rhythm discrimination as a strong engagement with music as a means of expression, play, and, perhaps, improvisation.

Adolescent↗
PubMed2004

The music of speech: music training facilitates pitch processing in both music and language.

The main aim of the present experiment was to determine whether extensive musical training facilitates pitch contour processing not only in music but also in language. We used a parametric manipulation of final notes' or words' fundamental frequency (F0), and we recorded behavioral and electrophysiological data to examine the precise time course of pitch processing. We compared professional musicians and nonmusicians. Results revealed that within both domains, musicians detected weak F0 manipulations better than nonmusicians. Moreover, F0 manipulations within both music and language elicited similar variations in brain electrical potentials, with overall shorter onset latency for musicians than for nonmusicians. Finally, the scalp distribution of an early negativity in the linguistic task varied with musical expertise, being largest over temporal sites bilaterally for musicians and largest centrally and over left temporal sites for nonmusicians. These results are taken as evidence that extensive musical training influences the perception of pitch contour in spoken language.

Adult↗
PubMed1991

Music psychopathology. IV. The course of musical expression during music therapy with psychiatric inpatients.

The music therapeutic productions of 67 psychiatric inpatients were analyzed concerning a systematic variation in the course of therapy. The impairment of performance was not as regular as with customary music, nevertheless with growing remission it was reversible in all diagnostic subgroups. The change for the better of rhythmic and motor skills of endogenous-depressed patients was seen to the same extent as with traditional music. The polarity profile developed for the assessment of music proved meaningful in the characterization of music therapeutic utterances.

Adult↗
PubMed1991

[Within the boundaries of music. Case report: Music therapy with a pre-psychotic adolescent. Importance of music in psychotherapeutic processes].

In presenting the case of a 12-15 year old boy with severe learning difficulties and antisocial tendencies the author reflects upon the process of musical enculturation in music therapy. The deployment of symbolical meaning through the therapeutic use of sound and music is described - from music as a self object up to the point where music is fully acknowledged as a cultural object. It is shown, how this process goes with the unfolding and working through of the transference relationship.

Adolescent↗
PubMed2002

Change detection in multi-voice music: the role of musical structure, musical training, and task demands.

This study evaluated the relationship between primitive and scheme-driven grouping (A. S. Bregman, 1990) by comparing the ability of different listeners to detect single note changes in 3-voice musical compositions. Primitive grouping was manipulated by the use of 2 distinctly different compositional styles (homophony and polyphony). The effects of scheme-driven processes were tested by comparing performance of 2 groups of listeners (musicians and nonmusicians) and by varying task demands (integrative and selective listening). Following previous studies, which had tested only musically trained participants, several variables were manipulated within each compositional style. The results indicated that, although musicians demonstrated a higher sensitivity to changes than did nonmusicians, the 2 groups exhibited similar patterns of sensitivity under a variety of conditions.

Achievement↗
PubMed2000

Music therapy for dementia symptoms.

BACKGROUND: While music/music therapy does not represent a treatment of dementia, its use is based on a possible beneficial effect on symptoms including social, emotional and cognitive skills and for decreasing behavioral problems of individuals with dementias. Thus, there are clear implications for patients' and caregivers' quality of life. However, quantification and documentation of the evidence of this effect is necessary. Professional music therapists are accountable for providing efficient, beneficial treatment. Further, music therapists are responsible for assessing, designing and implementing music therapy treatments, monitoring client progress, and reformulating their practice according to data collected and new advancements in the field. If they wait until sufficient valid, empirical data on all aspects of a disability or music response are available before attempting to design a therapy session, they may well reach retirement age before even one client can be served. On the other hand, promulgating the efficacy of music therapy in general, or of specific music therapy techniques, in the absence of any substantiation other than intuition or tradition borders on professional recklessness. OBJECTIVES: To gather and evaluate the evidence for the effectiveness of music therapy for dementia symptoms. SEARCH STRATEGY: All available sources of references were searched for randomised controlled trials of music therapy used as an intervention in dementia. The search terms included 'controlled trial or study, music*, therapy, dement*, Alzheimer*, cognitive impairment.' SELECTION CRITERIA: The reviewers assessed the methodological quality of the studies available for inclusion. The criteria used are presence and adequacy of a control condition, independent assessment of patients' performance (ie standardized ratings carried out by a person other than the music therapist) and the number of participants (no fewer than three). DATA COLLECTION AND ANALYSIS: No randomised controlled trials, or trials with quantitative data suitable for analysis were found. MAIN RESULTS: The research into music therapy to date has lacked methodological design rigour. However, the research evidence available provides sufficient grounds on which to justify further investigations into the use of music therapy in dementia patients. In this context, the reviewers discuss some of the issues and research from the studies that were considered for inclusion. REVIEWER'S CONCLUSIONS: This review was not able to identify reliable empirical evidence on which to justify the use of music therapy as a treatment for dementia. However, the evidence available suggests that music therapy may be beneficial in treating or managing dementia symptoms, and the predominant conclusion of this review is the highlighting of the need for better designed studies of the intervention.

Alzheimer Disease↗
PubMed2001

The use of music on Barney & Friends: implications for music therapy practice and research.

This descriptive study examined the music content of 88 episodes from the PBS television show Barney & Friends, which aired from September 1992 to September 1998, in an attempt to quantify musical examples and presentations that may be considered introductory music experiences for preschoolers. Using many of the procedures identified by Wolfe and Stambaugh (1993) in their study on the music of Sesame Street, 25% of Barney & Friends' 88 episodes were analyzed by using the computer observation program SCRIBE in determining: (a) the temporal use of music; (b) performance medium; and (c) intention of music use. Furthermore, each structural prompt presentation (n = 749) from all 88 episodes was examined for: (a) tempo; (b) vocal range; (c) music style; (d) word clarity; (e) repetition; (f) vocal modeling; and (g) movement. Results revealed that the show contained more music (92.2%) than nonmusic (7.8%), with the majority of this music containing instrumental sounds (61%). The function of this music was distributed equally between structural prompt music (48%) and background music (48%). The majority of the structural prompt music contained newly composed material (52%), while 33% consisted of previously composed material. Fifteen percent contained a combination of newly composed and previously composed material. The most common tempo range for presentations on the show was 80-100 bpm, while vocal ranges of a 9th, 8th, 6th, and 7th were predominant and most often sung by children's voices. The adult male voice was also common, with 84% of all adult vocals being male. The tessitura category with the greatest number of appearances was middle C to C above (n = 133), with the majority of the presentations (n = 435, 73%) extending singers' voices over the register lift of B above middle C. Children's music and music of the American heritage were the most common style categories observed, and these two categories combined on 260 (35%) presentations. The use of choreographed movement and props/costumes was also prevalent, and may have contributed to high interobserver reliability of tempo. Implications for music therapists and teachers working with young children and music researchers examining various epistemological questions of music learning and behavior are discussed.

Child, Preschool↗
PubMed1995

Human EEG responses to classical music and simulated white noise: effects of a musical loudness component on consciousness.

The main purpose of the present study was to investigate the psychophysiological effects of music on human EEG. For this purpose, a sound modulator was developed which simulates the sound-pressure variations of a given piece of music by white noise (sim-music). Using this apparatus, the author tested the psychophysiological effects of music on human EEG. The electroencephalograms (EEG), electrocardiograms (ECG), and electrooculograms (EOG) of eight normal volunteers were recorded for a total of 21 min., 5 sec. per session for each subject under three sound conditions: silence for 5 min., two types of music (music) or two types of simulated noise (sim-music) for 11 min., 5 sec., followed by silence for another 5 min. Each subject was exposed to a total of 10 music and 10 sim-music conditions. At the low consciousness level (drowsiness, Stage S1), higher delta component power densities were observed with sim-music than with music. Thus, even in the same Stage S1, entire physiological consciousness levels may be higher when listening to music than to sim-music. While listening to music, many subjects reported that they felt pleasantly relaxed or comfortable. However, with the sim-music, they reported feeling unpleasantly weary and sleepy. It seems that the mental set toward two sound conditions differed greatly for many subjects. In Stage S1, the differences in EEG slow components showed that the differences in consciousness had a physiological aspect and indicated differences in mental set toward both sound conditions and mental activity during the listening conditions.

Adult↗
PubMed2002

Music for relaxation: a comparison of musicians and nonmusicians on ratings of selected musical recordings.

The purpose of this study was to determine the kinds of musical selections/CDs to place in a portfolio to be used within a music listening/relaxation program for parents of children in a pediatric hospital. A panel of experts (4 music therapy graduate students and 2 music therapy instructors) listened to a selection of CD recordings (n = 10) which reported to contain music for relaxation. These 10 recordings were chosen based either on words within the title suggestive of sedative/relaxing music, or the literature (booklet) accompanying the CD that contained claims of such therapeutic value. Average number of selections across the 10 recordings was 9.8 with a total of 98 musical selections presented to the panel. A 1 1/2-minute segment from each selection (starting at the beginning of each piece) was played on a stereo CD unit, and time was given to complete a response form following each of the musical selections. The panel was asked to rate the relaxation quality of each piece, and to specify the musical characteristics that enhanced and/or distracted from relaxation. Weekly listening sessions of 40-50 minutes in duration were scheduled across a 10-week time period. Based on the results of the experts, 10 of the 98 musical selections were chosen for presentation to a group of nonmusicians. Again, as with the experts, the nonmusicians listened to 1 1/2-minute segments from each selection and completed a response form similar to the form completed by the panel. Additional questions asked the nonmusicians whether they listened to music for relaxation, and if so, what kind(s) of music they preferred to use for this purpose. Results from the panel of experts and nonmusicians were compiled, and descriptive statistics were used to compare the data. Suggestions were given concerning possible inclusion of musical recordings that may be used in a music listening/ relaxation program for parents of children within a pediatric setting.

Adult↗
PubMed1995

Musical responsiveness and blocked capacity for intimacy: a comparison of music and psychology students.

The hypothesis that music serves a compensatory emotional need, specifically that blocked capacity for intimacy would predict musical responsiveness, was examined in musicians and psychologists. Music and psychology students completed a musical preference scale and measures of personal relationships and capacity for intimacy. Degree of musical responsiveness was significantly related to a blocked capacity for intimacy in music students but these measures were non-significantly negatively related in psychology students. For the latter group, musical preference (i.e. degree of liking for different kinds of music) and measures of blocked capacity for intimacy were significantly negatively related to reported time spent listening to music. The results for music students are consistent with the Freudian hypothesis of sublimation and extend the work of Machotka in the realm of visual arts to that of music. The results for psychology students, however, indicate that for them music is not serving an aesthetic function in the sense defined by Wallach (1959). The most plausible explanation for the difference between music and psychology students is in terms of anxiety as a mediating variable.

Adolescent↗
PubMedDate not supplied

Music! Music! Music!

Explore the source record for details and available documents.

Adaptation, Physiological↗
PubMed1993

Cortisol, biochemical, and galvanic skin responses to music stimuli of different preference values by college students in biology and music.

The purpose of this study was to examine biochemical and galvanic skin responses to music stimuli. Specifically, 30 university biology and 30 music students' plasma levels of norepinephrine and cortisol and their galvanic skin responses were measured before and after listening to two different musical selections, one of which was preferred (liked) by the music students and not preferred (disliked) by the biology students. The music-listening sessions and the controlled silent sessions were done in an anechoic chamber. 30 biology majors and 30 music majors were in the experimental groups; 14 biology and 17 music majors comprised the control group. Analysis indicated that the cortisol levels and galvanic skin responses were significantly higher for the music majors than the biology majors. The data indicate that music majors listen more critically and analytically to music than biology majors, and cortisol levels are associated with this as increases in music majors and decreases in biology majors after the music.

Adult↗