scholarly journals One-week exposure to South Indian Classical music clip having incremental variation in tempo and octave promotes better anxiety reduction among medical students – an EEG based study

2019 ◽  
Author(s):  
Sushma Sharma ◽  
Arun Sasidharan ◽  
Vrinda Marigowda ◽  
Mohini Vijay ◽  
Sumit Sharma ◽  
...  

1.ABSTRACTSeveral scientific studies using Western classical music and some using Indian classical music have reported benefits of listening to musical pieces of specific ‘genre’ or ’Raga’, in terms of stress reduction and mental well-being. Within the realm of a Raga, presentation of musical pieces varies in terms of low-level musical components (like tempo, octave, timbre, etc.), and yet there is hardly any research on their effect. A commonly preferred musical pattern in Carnatic classical music is to have incremental modulations in tempo and octave (‘Ragam-Tanam-Pallavi’), and we wanted to examine whether this could have better anxiolytic effect than music without such modulations.Accordingly, in the current study, we exposed 21 male undergraduate medical students to a custom recorded South Indian classical music clip for 1 week (8 minutes clip; Raaga ‘Kaapi’; only two instruments – ‘Violin’ and ‘Mridangam’; listened thrice daily for 6 days). One set of the participants (Varying Music; n=11) listened to a version that had the incremental variations, whereas the other set (Stable Music; n=10) listened to a version without such variations. On all 6 days, one of the music listening sessions was conducted in the lab while collecting electroencephalography (EEG; 32 channels) and electrocardiography (ECG; 1 channel) data. Psychological assessment for anxiety (State-Trait Anxiety Inventory - STAI and Beck Anxiety Inventory - BAI) was conducted before (day 1) and after (day 6) the intervention. Physiological parameters studied included power spectrum across the scalp in delta, alpha, beta, theta and gamma bands from EEG and heart rate variability (HRV) from ECG, during the baseline recordings of day 1 and day 6 of intervention.Our results show that participants when exposed to varying music showed significant reduction in anxiety, in contrast to stable music or silence intervention. A global examination of power spectral changes showed a stark contrast between stable and varying music intervention in comparison to silence - former showing greater increase in higher frequencies whereas latter showing prominent decrease especially in lower frequencies, both in bilateral temporo-parieto-occipital regions. A more detailed spectral analysis in frontal region revealed that both music intervention showed greater left-dominant alpha/beta asymmetry (i.e., greater right brain activation) and decrease in overall midline power (i.e., lower default mode network or DMN activity), when compared to silence intervention. Interestingly, stable music resulted in more left asymmetry, whereas, varying music showed more midline power reduction. Both music intervention also didn’t show the reduction in HRV parameters that was associated with silence intervention.We speculate that, the enhancement in ‘mind calming effect’ of Kaapi raaga when presented with incremental variations, could be brought about by a balanced switching between a heightened mind wandering state with ‘attention to self’ during the lower-slower portions and a reduced mind wandering state with ‘attention to music’ during the higher-faster portions of the music. Such a ‘dynamic mind wandering’ exercise would allow training one’s creative thinking as well as sustained attention, during the respective high and low mind wandering states - both helping prevent ruminating thoughts. Therefore, musical properties such as tempo and octave have non-trivial influence on the various neurological and psychological mechanisms underlying stress management. Considering the impact of this finding in selection of music clips for music therapy, further studies with larger sample size is warranted.

2021 ◽  
Vol 2 (2) ◽  
pp. 63-78
Author(s):  
Roan Mukherjee

Background: Reports show that mental wellbeing may be negatively affected by the COVID-19 pandemic. The ragas of Indian classical music are believed to have therapeutic effects. This study was done to investigate the impact of an Indian raga on mental wellbeing during the COVID-19  pandemic. Materials and Methods: It was a one-group before-after design study. A total of 45 adult subjects of Kolkata, recruited online, using convenience sampling during the lockdown, underwent a pre-test via Google forms using Warwick-Edinburg Mental Wellbeing Scale (WEMWBS) to evaluate mental wellbeing before the administration of music intervention. After two weeks of music intervention, that consisted of passively listening to raga Hamsadhwani, a post-test using the same scale and the same medium was done. Results: The results showed that the post-test mean of the total score 51.1 (SD = 3.9) of WEMWBS was significantly (p< 0.001) higher than the pre-test mean of the total score 30.9 (SD = 4.6). The same trend was reflected by the mean difference pertaining to all of the components of WEMWBS. Conclusion: It was concluded that raga Hamsadhwani may be effective in improving mental wellbeing in a pandemic situation. There is a need to do more work by improvising the research design employed in the present study. This will help to interpret more accurately and more meaningfully the effects of Indian raga music on mental wellbeing.


Notes ◽  
2000 ◽  
Vol 57 (1) ◽  
pp. 107-108
Author(s):  
Gordon Ross Thompson

Author(s):  
Richard K. Wolf

This book explores drumming and other instrumental traditions that are interconnected over vast regions of South and West Asia. The traditions considered here qualify broadly as functional music rather than concert music and include the public instrumental music of weddings, funerals, and religious holidays. The book examines patterns that pervade functional music of South Asia and to some extent North and South Indian classical music and how performed texts are related to their verbal or vocal models. It also considers what it means in particular contexts for musical instruments to be voicelike and carry textual messages. This chapter discusses the broad historical context in which voices and instruments have been co-constructed in the history of the Indian subcontinent and regions west. Many examples from South India are included to help create a picture that transcends the bounds of Muharram Ali's travels.


2021 ◽  
Vol 2 (2) ◽  
pp. 83-92
Author(s):  
Utpala Karanth ◽  
Dr. R Rangan

Musicology is the study of scientific and intellectually handling of music. This is a colossal subject of music and inquest into the History and phenomenon of music including; life and works of Composers and performers, music theory like melody, rhythm, harmony, modes, aesthetics, form etc. The Historical evidences of Indian Classical music have been discussed in several ancient texts like Veda’s, Upanishads, epics way back 2000 years ago. The Rigveda, Yajurveda, Samaveda and Atharvaveda contains ritual hymns and incantations (vedic chants) , praising the specific dieties during the Sacrificial rituals. The South Indian music has a phlegmatic and pedagogic nature when compared with the music of other unconsecrated Hindustani traditions. This paper highlights the proficiency of Dikshitar’s knowledge of Musicology bequeathed from his father Ramaswami Dikshitar, a scholar, musician, learned musicologist, and recipient of many honours and emoluments in the knowledge of music gained sufficient knowledge in musicology who had settled down at Tiruvarur where Dikshitar was born. Tiruvarur then was a seat of learning of Sanskrit and Vedanta. Dikshitar’s compositions reflect his deep and thorough knowledge widely through the interpretation of their literature as seen in famous compositions like ‘Vatapi Ganapatim Bhaje’, ‘Amrutavarshini’ and others will be discussed with the various rasas created through the ragas as enunciated in the Natyashastra of Bharat Muni.


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