搜索结果：music

BACKGROUND: Depression is a highly prevalent mood disorder that is characterised by persistent low mood, diminished interest, and loss of pleasure. Music therapy may be helpful in modulating moods and emotions. An update of the 2008 Cochrane review was needed to improve knowledge on effects of music therapy for depression. OBJECTIVES: 1. To assess effects of music therapy for depression in people of any age compared with treatment as usual (TAU) and psychological, pharmacological, and/or other therapies.2. To compare effects of different forms of music therapy for people of any age with a diagnosis of depression. SEARCH METHODS: We searched the following databases: the Cochrane Common Mental Disorders Controlled Trials Register (CCMD-CTR; from inception to 6 May 2016); the Cochrane Central Register of Controlled Trials (CENTRAL; to 17 June 2016); Thomson Reuters/Web of Science (to 21 June 2016); Ebsco/PsycInfo, the Cumulative Index to Nursing and Allied Health Literature (CINAHL), Embase, and PubMed (to 5 July 2016); the World Health Organization International Clinical Trials Registry Platform (WHO ICTRP), ClinicalTrials.gov, the National Guideline Clearing House, and OpenGrey (to 6 September 2016); and the Digital Access to Research Theses (DART)-Europe E-theses Portal, Open Access Theses and Dissertations, and ProQuest Dissertations and Theses Database (to 7 September 2016). We checked reference lists of retrieved articles and relevant systematic reviews and contacted trialists and subject experts for additional information when needed. We updated this search in August 2017 and placed potentially relevant studies in the "Awaiting classification" section; we will incorporate these into the next version of this review as appropriate. SELECTION CRITERIA: All randomised controlled trials (RCTs) and controlled clinical trials (CCTs) comparing music therapy versus treatment as usual (TAU), psychological therapies, pharmacological therapies, other therapies, or different forms of music therapy for reducing depression. DATA COLLECTION AND ANALYSIS: statistic. MAIN RESULTS: We included in this review nine studies involving a total of 421 participants, 411 of whom were included in the meta-analysis examining short-term effects of music therapy for depression. Concerning primary outcomes, we found moderate-quality evidence of large effects favouring music therapy and TAU over TAU alone for both clinician-rated depressive symptoms (SMD -0.98, 95% CI -1.69 to -0.27, 3 RCTs, 1 CCT, n = 219) and patient-reported depressive symptoms (SMD -0.85, 95% CI -1.37 to -0.34, 3 RCTs, 1 CCT, n = 142). Music therapy was not associated with more or fewer adverse events than TAU. Regarding secondary outcomes, music therapy plus TAU was superior to TAU alone for anxiety and functioning. Music therapy and TAU was not more effective than TAU alone for improved quality of life (SMD 0.32, 95% CI -0.17 to 0.80, P = 0.20, n = 67, low-quality evidence). We found no significant discrepancies in the numbers of participants who left the study early (OR 0.49, 95% CI 0.14 to 1.70, P = 0.26, 5 RCTs, 1 CCT, n = 293, moderate-quality evidence). Findings of the present meta-analysis indicate that music therapy added to TAU provides short-term beneficial effects for people with depression if compared to TAU alone. Additionally, we are uncertain about the effects of music therapy versus psychological therapies on clinician-rated depression (SMD -0.78, 95% CI -2.36 to 0.81, 1 RCT, n = 11, very low-quality evidence), patient-reported depressive symptoms (SMD -1.28, 95% CI -3.75 to 1.02, 4 RCTs, n = 131, low-quality evidence), quality of life (SMD -1.31, 95% CI - 0.36 to 2.99, 1 RCT, n = 11, very low-quality evidence), and leaving the study early (OR 0.17, 95% CI 0.02 to 1.49, 4 RCTs, n = 157, moderate-quality evidence). We found no eligible evidence addressing adverse events, functioning, and anxiety. We do not know whether one form of music therapy is better than another for clinician-rated depressive symptoms (SMD -0.52, 95% CI -1.87 to 0.83, 1 RCT, n = 9, very low-quality evidence), patient-reported depressive symptoms (SMD -0.01, 95% CI -1.33 to 1.30, 1 RCT, n = 9, very low-quality evidence), quality of life (SMD -0.24, 95% CI -1.57 to 1.08, 1 RCT, n = 9, very low-quality evidence), or leaving the study early (OR 0.27, 95% CI 0.01 to 8.46, 1 RCT, n = 10). We found no eligible evidence addressing adverse events, functioning, or anxiety. AUTHORS' CONCLUSIONS: Findings of the present meta-analysis indicate that music therapy provides short-term beneficial effects for people with depression. Music therapy added to treatment as usual (TAU) seems to improve depressive symptoms compared with TAU alone. Additionally, music therapy plus TAU is not associated with more or fewer adverse events than TAU alone. Music therapy also shows efficacy in decreasing anxiety levels and improving functioning of depressed individuals.Future trials based on adequate design and larger samples of children and adolescents are needed to consolidate our findings. Researchers should consider investigating mechanisms of music therapy for depression. It is important to clearly describe music therapy, TAU, the comparator condition, and the profession of the person who delivers the intervention, for reproducibility and comparison purposes.

What is music? Does music deserve a place in general education? If so why? Music Matters ,develops new answers to these questions through a wide-ranging examination of Music as a diverse human practice. The result is a ground-breaking philosophy of music education that provides critically reasoned perspectives on the nature and significance of performing, listening, musicianship, multiculturalism, creativity, consciousness, curriculum development and more. Music Matters is exceptional for the attention it pays to many aspects of music and education that past music education philosophy either misses of ignores altogether. Following an incisive critique of conventional thinking, Elliot develops a multidimensional concept of music that explains why music-making and listening are unique forms of thinking and unique forms of the most important kinds of knowing human beings can achieve. In a richly detailed narrative that examines a wealth of recent philosophical foundation allows teachers to affirm to themselves, and others, that music deserves a central place in the education of all people. Among many working ideas of this new philosophy is a distinctive concept of curriculum-as-practicum that explains how music educators can fulfil their educational mandate. Through intended first as a text for pre-service and in-service music teachers, Music Matters is for anyone who takes a serious interest in music and music education.

A proposal that an embodied cognition approach to music research—drawing on work in computer science, psychology, brain science, and musicology—offers a promising framework for thinking about music mediation technology. Digital media handles music as encoded physical energy, but humans consider music in terms of beliefs, intentions, interpretations, experiences, evaluations, and significations. In this book, drawing on work in computer science, psychology, brain science, and musicology, Marc Leman proposes an embodied cognition approach to music research that will help bridge this gap. Assuming that the body plays a central role in all musical activities, and basing his approach on a hypothesis about the relationship between musical experience (mind) and sound energy (matter), Leman argues that the human body is a biologically designed mediator that transfers physical energy to a mental level—engaging experiences, values, and intentions—and, reversing the process, transfers mental representation into material form. He suggests that this idea of the body as mediator offers a promising framework for thinking about music mediation technology. Leman proposes that, under certain conditions, the natural mediator (the body) can be extended with artificial technology-based mediators. He explores the necessary conditions and analyzes ways in which they can be studied. Leman outlines his theory of embodied music cognition, introducing a model that describes the relationship between a human subject and its environment, analyzing the coupling of action and perception, and exploring different degrees of the body's engagement with music. He then examines possible applications in two core areas: interaction with music instruments and music search and retrieval in a database or digital library. The embodied music cognition approach, Leman argues, can help us develop tools that integrate artistic expression and contemporary technology.

This report introduces a new corpus of music, speech, and noise. This dataset is suitable for training models for voice activity detection (VAD) and music/speech discrimination. Our corpus is released under a flexible Creative Commons license. The dataset consists of music from several genres, speech from twelve languages, and a wide assortment of technical and non-technical noises. We demonstrate use of this corpus for music/speech discrimination on Broadcast news and VAD for speaker identification.

Research on how the brain processes music is emerging as a rich and stimulating area of investigation of perception, memory, emotion, and performance. Results emanating from both lesion studies and neuroimaging techniques are reviewed and integrated for each of these musical functions. We focus our attention on the common core of musical abilities shared by musicians and nonmusicians alike. Hence, the effect of musical training on brain plasticity is examined in a separate section, after a review of the available data regarding music playing and reading skills that are typically cultivated by musicians. Finally, we address a currently debated issue regarding the putative existence of music-specific neural networks. Unfortunately, due to scarcity of research on the macrostructure of music organization and on cultural differences, the musical material under focus is at the level of the musical phrase, as typically used in Western popular music.

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.

One reason for the universal appeal of music lies in the emotional rewards that music offers to its listeners. But what makes these rewards so special? The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies. Studies 1 and 2 (n=354) were conducted to compile a list of music-relevant emotion terms and to study the frequency of both felt and perceived emotions across 5 groups of listeners with distinct music preferences. Emotional responses varied greatly according to musical genre and type of response (felt vs. perceived). Study 3 (n=801)--a field study carried out during a music festival--examined the structure of music-induced emotions via confirmatory factor analysis of emotion ratings, resulting in a 9-factorial model of music-induced emotions. Study 4 (n=238) replicated this model and found that it accounted for music-elicited emotions better than the basic emotion and dimensional emotion models. A domain-specific device to measure musically induced emotions is introduced--the Geneva Emotional Music Scale.

<italic>The Oxford Handbook of Music Psychology</italic>provides a comprehensive overview of the latest developments in this fast-growing area of research. With contributions from experts in the field, the coverage offered has both range and depth. The fifty-two articles are divided into eleven sections covering both experimental and theoretical perspectives. Ten sections each present articles that focus on specific areas of music psychology: the origins and functions of music; music perception; responses to music; music and the brain; musical development; learning musical skills; musical performance; composition and improvisation; the role of music in our everyday lives; and music therapy and conceptual frameworks. In each section, authors critically review the literature, highlight current issues, and explore possibilities for the future. The final section examines how in recent years the study of music psychology has broadened to include a range of other scientific disciplines. It considers the way that the research has developed in relation to technological advances, fostering links across the field and providing an overview of the areas where the field needs further development in the future.

AIMS: The study aims to determine the importance of music to adolescents in England, and investigates why they listen to and perform music. SAMPLE: A total of 2465 adolescents (1149 males; 1266 females; 50 participants did not state their sex) between 13 and 14 years of age who were attending Year 9 at one of 22 secondary schools in the North Staffordshire region of England. METHOD: A questionnaire asked participants (a) about their degree of involvement with musical activities; (b) to rate the importance of music relative to other activities; and (c) to rate the importance of several factors that might determine why they and other people of their age and sex might listen to/perform pop and classical music. RESULTS: Responses indicated that i) over 50% of respondents either played an instrument currently or had played regularly before giving up, and the sample listened to music for an average of 2.45 hours per day; ii) listening to music was preferred to other indoor activities but not to outdoor activities; iii) listening to/playing pop music has different perceived benefits to listening to/playing classical music; iv) responses to suggested reasons for listening to music could be grouped into three factors; and v) responses to suggested reasons for playing music could be grouped into four factors. CONCLUSIONS: These results indicate that music is important to adolescents, and that this is because it allows them to (a) portray an 'image' to the outside world and (b) satisfy their emotional needs.

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the "default" mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction.

People around the world and throughout history have used music to express their inner emotions, reach out to the divine, woo lovers, celebrate weddings, inspire political movements, and lull babies to sleep. In Music as Social Life, Thomas Turino explores why it is that music and dance are so often at the center of our most profound personal and social experiences.Turino begins by developing tools to think about the special properties of music and dance that make them fundamental resources for connecting with our own lives, our communities, and the environment. These concepts are then put into practice as he analyzes various musical examples among indigenous Peruvians, rural and urban Zimbabweans, and American old-time musicians and dancers. To examine the divergent ways that music can fuel social and political movements, Turino looks at its use by the Nazi Party and by the American civil rights movement. Wide-ranging, accessible to anyone with an interest in music's role in society, and accompanied by a compact disc, Music as Social Life is an illuminating initiation into the power of music.

The book can be viewed as representing the birth of evolutionary biomusicology. What biological and cognitive forces have shaped humankind's musical behavior and the rich global repertoire of musical structures? What is music for, and why does every human culture have it? What are the universal features of music and musical behavior across cultures? In this groundbreaking book, musicologists, biologists, anthropologists, archaeologists, psychologists, neuroscientists, ethologists, and linguists come together for the first time to examine these and related issues. The book can be viewed as representing the birth of evolutionary biomusicology-the study of which will contribute greatly to our understanding of the evolutionary precursors of human music, the evolution of the hominid vocal tract, localization of brain function, the structure of acoustic-communication signals, symbolic gesture, emotional manipulation through sound, self-expression, creativity, the human affinity for the spiritual, and the human attachment to music itself. Contributors Simha Arom, Derek Bickerton, Steven Brown, Ellen Dissanayake, Dean Falk, David W. Frayer, Walter Freeman, Thomas Geissmann, Marc D. Hauser, Michel Imberty, Harry Jerison, Drago Kunej, Francois-Bernard Mache, Peter Marler, Bjoern Merker, Geoffrey Miller, Jean Molino, Bruno Nettl, Chris Nicolay, Katharine Payne, Bruce Richman, Peter J.B. Slater, Peter Todd, Sandra Trehub, Ivan Turk, Maria Ujhelyi, Nils L. Wallin, Carol Whaling

term sweet anticipation is defined as “the positive feelings that arise from conscious thought about some future event”. As such, the term constitutes a rather strange choice of title for a book that focuses to a large extent on unconscious processes involved in musical expectation. Presumably, the intention was to place emphasis on “positive feelings ” since this account differs from most written by researchers in music cognition in terms of the prominence it gives to music’s ability to invoke pleasure. However, Huron’s approach is distinctive in other ways. The prominence given to psychological theories, mod-els and methods as tools for understanding music will come as no surprise for those familiar with his field of research. But the emphasis on taking subjective musical experience seriously, modeling music perception as a process of (statistical) learning, examining music from wide range of cultures and under-standing cognition in an evolutionary context represent characteristic hallmarks of this work. We shall return to these themes in more detail later on. In a recent review of Daniel J. Levitin’s book This is Your Brain on Music: The Science of a Human Obsession, David Huron notes the advantages brought to a field of study by having a popular champion and laments the fact that, in spite of being in its “golden age”, research in music cognition “has not been communicated beyond a small coterie of professionals ” (Huron, 2006, p. 5). It seems likely that this

The present research examined individual differences in music preferences. A series of 6 studies investigated lay beliefs about music, the structure underlying music preferences, and the links between music preferences and personality. The data indicated that people consider music an important aspect of their lives and listening to music an activity they engaged in frequently. Using multiple samples, methods, and geographic regions, analyses of the music preferences of over 3,500 individuals converged to reveal 4 music-preference dimensions: Reflective and Complex, Intense and Rebellious, Upbeat and Conventional, and Energetic and Rhythmic. Preferences for these music dimensions were related to a wide array of personality dimensions (e.g., Openness), self-views (e.g., political orientation), and cognitive abilities (e.g., verbal IQ).

This work contains almost 30,000 articles containing over 25 million words on musicians, composers, musicologists, instruments, places, genres, terms, performance practice, concepts, acoustics and more. All the articles are written by experts in their subject. There are over 500 biographies of composers, performers and writers on music and over 1,500 articles on styles, terms, and genres. It also includes: over 500 articles on ancient music and church music over 700 articles on regions, countries and cities over 2,000 articles on instruments and their makers and performance practice over 650 articles on printing and publishing over 1,200 articles on world music over 1,000 articles on popular music, light music and jazz over 250 articles on concepts 85 articles on acoustics 126 articles on sources and a one volume index.

The power of music to influence mood, create scenes, routines and occasions is widely recognised and this is reflected in a strand of social theory from Plato to Adorno that portrays music as an influence on character, social structure and action. There have, however, been few attempts to specify this power empirically and to provide theoretically grounded accounts of music's structuring properties in everyday experience. Music in Everyday Life uses a series of ethnographic studies - an aerobics class, karaoke evenings, music therapy sessions and the use of background music in the retail sector - as well as in-depth interviews to show how music is a constitutive feature of human agency. Drawing together concepts from psychology, sociology and socio-linguistics it develops a theory of music's active role in the construction of personal and social life and highlights the aesthetic dimension of social order and organisation in late modern societies.

What is it to be musically educated? skills, knowledge and self-conceptions of popular musicians - the beginnings and the ends learning to play popular music - acquiring skills and knowledge attitudes and values in learning to play popular music popular musicians in traditional music education popular musicians in the new music education the formal and the informal - mutual reciprocity or a contradiction in terms?

From its beginnings in hop culture, the dense rhythms and aggressive lyrics of rap music have made it provocative fixture on the American cultural landscape. In Black Noise: Rap Music and Black Culture in Contemporary America, Tricia Rose, described by the New York Times as hip hop theorist, takes comprehensive look at the lyrics, music, cultures, themes, and styles of this highly rhythmic, rhymed storytelling and grapples with the most salient issues and debates that surround it. Assistant Professor of Africana Studies and History at New York University, Tricia Rose sorts through rap's multiple voices by exploring its underlying urban cultural politics, particularly the influential New York City rap scene, and discusses rap as unique musical form in which traditional African-based oral traditions fuse with cutting-edge music technologies. Next she takes up rap's racial politics, its sharp criticisms of the police and the government, and the responses of those institutions. Finally, she explores the complex sexual politics of rap, including questions of misogyny, sexual domination, and female rappers' critiques of men. But these debates do not overshadow rappers' own words and thoughts. Rose also closely examines the lyrics and videos for songs by artists such as Public Enemy, KRS-One, Salt N' Pepa, MC Lyte, and L. L. Cool J. and draws on candid interviews with Queen Latifah, music producer Eric Vietnam Sadler, dancer Crazy Legs, and others to paint the full range of rap's political and aesthetic spectrum. In the end, Rose observes, rap music remains vibrant force with its own aesthetic, a noisy and powerful element of contemporary American popular culture which continues to draw great deal of attention to itself.

The present study used pleasant and unpleasant music to evoke emotion and functional magnetic resonance imaging (fMRI) to determine neural correlates of emotion processing. Unpleasant (permanently dissonant) music contrasted with pleasant (consonant) music showed activations of amygdala, hippocampus, parahippocampal gyrus, and temporal poles. These structures have previously been implicated in the emotional processing of stimuli with (negative) emotional valence; the present data show that a cerebral network comprising these structures can be activated during the perception of auditory (musical) information. Pleasant (contrasted to unpleasant) music showed activations of the inferior frontal gyrus (IFG, inferior Brodmann's area (BA) 44, BA 45, and BA 46), the anterior superior insula, the ventral striatum, Heschl's gyrus, and the Rolandic operculum. IFG activations appear to reflect processes of music-syntactic analysis and working memory operations. Activations of Rolandic opercular areas possibly reflect the activation of mirror-function mechanisms during the perception of the pleasant tunes. Rolandic operculum, anterior superior insula, and ventral striatum may form a motor-related circuitry that serves the formation of (premotor) representations for vocal sound production during the perception of pleasant auditory information. In all of the mentioned structures, except the hippocampus, activations increased over time during the presentation of the musical stimuli, indicating that the effects of emotion processing have temporal dynamics; the temporal dynamics of emotion have so far mainly been neglected in the functional imaging literature.