‘Seeing’ music from manga: visualizing music with embodied mechanisms of musical experience

2021 ◽  
pp. 147035722097470
Author(s):  
Iju Hsu ◽  
Wen-Yu Chiang
Keyword(s):  
Brain Stem ◽  
Visual Imagery ◽  
Emotional Contagion ◽  
Emotional Memory ◽  
Underlying Structure ◽  
Musical Experience ◽  
Visual Metaphor ◽  
Embodied Experience ◽  
Acoustic Characteristics ◽  
Brain Stem Reflex

This study investigates how music is represented in musical-themed manga by visual components referred to as ‘visualized music’, and how embodied mechanisms of musical experience conceive these visual manifestations. Using Šorm and Steen’s (2018) Visual Metaphor Identification Procedure (VISMIP), the authors discovered four metaphors, and seven metonymies and ‘manpu’ (i.e. iconic signs used in manga) that are widely applied in visualizing music. In addition, they incorporated Juslin and Västfjäll’s (2008) framework and further proposed five major embodied mechanisms of musical experience: (1) brain stem reflex, (2) emotional contagion, (3) visual imagery, (4) emotional memory related to music, and (5) musical expectancy. Their results showed that these embodied mechanisms are the foundations of visualized music. The brain stem reflex, the underlying structure of most metonymies and manpu, triggers us to represent some acoustic characteristics by using sound symbolic components. These include emotional contagion-inducing metaphors representing emotional responses, such as ‘ MUSIC/EMOTION IS WEATHER’, which further entails their acoustic characteristics and visual imagery, the most important mechanism, basing our overall comprehension of music and metaphorical mapping between music and image-schemata. Readers also use emotional simulations to understand the visual imagery that further constructs their impressions toward music, emotional memory grounding manifestations related to music used to build background stories and intensify reader empathy, and lastly, musical expectancy, involving the ability of prediction and consciousness, usually associated with ‘ MUSIC IS LIGHT’. In this way, this study sheds light on our overall understanding of audio-visual cross-modality, musical experience, metaphor and embodied experience.

scholarly journals Emotional Reactions to Music in Dementia Patients and Healthy Controls: Differential Responding Depends on the Mechanism

2021 ◽  
Vol 4 ◽  
pp. 205920432110101
Author(s):  
Gonçalo T. Barradas ◽  
Patrik N. Juslin ◽  
Sergi Bermúdez i Badia
Keyword(s):  
Episodic Memory ◽  
Brain Stem ◽  
Geriatric Depression Scale ◽  
Depression Scale ◽  
Basic Research ◽  
Brain Regions ◽  
Emotional Reactions ◽  
Dementia Patients ◽  
Significant Difference ◽  
Brain Stem Reflex

Music is frequently regarded as a unique way to connect with dementia patients. Yet little is known about how persons with dementia respond emotionally to music. Are their responses different from those of healthy listeners? If so, why? The present study makes a first attempt to tackle these issues in a Portuguese context, with a focus on psychological mechanisms. In Experiment 1, featuring 20 young and healthy adults, we found that musical excerpts which have previously been shown to activate specific emotion induction mechanisms (brain stem reflex, contagion, episodic memory, musical expectancy) in Sweden were valid and yielded predicted emotions also in Portugal, as indexed by self-reported feelings, psychophysiology, and post hoc mechanism indices. In Experiment 2, we used the same stimuli to compare the responses of 20 elderly listeners diagnosed with Alzheimer’s disease (AD) with those of 20 healthy listeners. We controlled for cognitive functioning (Mini-Mental State Examination) and depression (Geriatric Depression Scale). Our predictions about how mechanisms would be differentially affected by decline in brain regions associated with AD received support in that AD patients reported significantly lower levels of (a) sadness in the contagion condition, (b) happiness and nostalgia in the episodic memory condition, and (c) anxiety in the musical expectancy condition. By contrast, no significant difference in reported surprise was found in the brain stem reflex condition. Implications for musical interventions aimed at dementia are discussed, highlighting the key role that basic research may play in developing applications.

Acetylsalicylic acid activates antinociceptive brain-stem reflex activity in headache patients and in healthy subjects

Pain ◽  
1992 ◽  
Vol 48 (2) ◽  
pp. 187-195 ◽  
Author(s):  
Hartmut Göbel ◽  
Meike Ernst ◽  
Jörg Jeschke ◽  
Rainer Keil ◽  
Lars Weigle
Keyword(s):  
Acetylsalicylic Acid ◽  
Brain Stem ◽  
Healthy Subjects ◽  
Reflex Activity ◽  
Brain Stem Reflex ◽  
Headache Patients

scholarly journals Guest Editors' Introduction: Music as Embodied Experience

2020 ◽  
Vol 16 (3) ◽  
pp. 227-232
Author(s):  
Marc R. Thompson ◽  
Jonna K. Vuoskoski
Keyword(s):  
Music Cognition ◽  
The Body ◽  
Thematic Issue ◽  
Musical Experience ◽  
Contemporary Society ◽  
Embodied Experience ◽  
The Way

Technology has impacted music’s role in contemporary society in extraordinary ways. In addition to how people use music for professional and artistic pursuits, technology has opened a wide variety of new avenues for research and application, particularly as a reliable therapeutic and salutogenic tool. Recently, a useful framework for studying this shifting perspective surrounding musical experience has emerged: embodied music cognition, which conceptualizes the body as being at the center of music experiences. The papers in this thematic issue highlight how music technologies have matured to the point where they affect the way music is created, performed, enjoyed, and researched.

PENGKAJIAN PASIEN MENGGUNAKAN FOUR SCORE COMA SCALE DI RUANG PERAWATAN INTENSIVE CARE UNIT (ICU)

2018 ◽  
Vol 14 (1) ◽  
Author(s):  
Barkah Waladani ◽  
Ning Iswati
Keyword(s):  
Intensive Care Unit ◽  
Intensive Care ◽  
Brain Stem ◽  
Motor Response ◽  
Verbal Response ◽  
Respiratory Pattern ◽  
Average Score ◽  
Coma Scale ◽  
Four Score ◽  
Brain Stem Reflex

Patients with poor conditions or decreased awareness need appropriate assessment to determine the management to be given. Awareness assessments can be done using FOUR (Full Outline of Response) scores with a range of scores from 0 to 16, consisting of eye response, motor response, brain stem reflex and respiration pattern FOUR score is used by nurses in the intensive care unit (Intensive Care Unit). ICU). The method of this study was descriptive analytical and numerator testing between oberserver prospectively to evaluate FOUR score to 100 patients in the ICU from October to December 2017. This study compared FOUR score with the GCS (Glasgow Coma Scale). Each patient was assessed using FOUR score and GCS by nurses. The average score is calculated based on the results obtained in both scoring. The results showed that the numerator test for FOUR score was very good (eye response 0.94, motor response 0.95, brain stem reflex 0.96 and respiratory pattern 1.00) and for GCS it was also very good (eye response 0.94, motoric response 0.95, verbal response 0.97). In predictive terms, GCS is better than FOUR score (characteristic curve value 0.01 difference; GCS 0.76 and FOUR score 0.75). The mortality rate of patients with FOUR scale was the lowest 0 (87%) compared with the lowest GCS score of 3 (70%). FOUR score has an excellent interpersonal and intensivisional level. In contrast to GCS, all components in FOUR score can be assessed even when the patient is installed intubation.

Failure of Naloxone to Reverse the Nitrous Oxide—Induced Depression of a Brain Stem Reflex

1985 ◽  
Vol 63 (5) ◽  
pp. 467-472 ◽  
Author(s):  
Jean-Claude Willer ◽  
Sabine Bergeret ◽  
Jean-Henri Gaudy ◽  
Claude Dauthier
Keyword(s):  
Nitrous Oxide ◽  
Brain Stem ◽  
Brain Stem Reflex

scholarly journals Somatosensory and acoustic brain stem reflex myoclonus.

1988 ◽  
Vol 51 (4) ◽  
pp. 572-575 ◽  
Author(s):  
H Shibasaki ◽  
R Kakigi ◽  
K Oda ◽  
S Masukawa
Keyword(s):  
Brain Stem ◽  
Brain Stem Reflex

Emotional reactions to music in depressed individuals

2017 ◽  
Vol 46 (6) ◽  
pp. 862-880 ◽  
Author(s):  
Laura S. Sakka ◽  
Patrik N. Juslin
Keyword(s):  
Brain Stem ◽  
Cognitive Processes ◽  
Cognitive Bias ◽  
Emotional Reactions ◽  
Memory Condition ◽  
Memory And Attention ◽  
Psychological Mechanisms ◽  
Specific Induction ◽  
The Brain ◽  
Brain Stem Reflex

Music is often used to alleviate depression, an affective disorder. Yet, little is known about how listeners suffering from depression respond emotionally to music. The goal of this study was to investigate whether listeners show different patterns of emotional reactions to music depending on level of depression. In previous research, depression has been linked with negative biases in cognitive processes such as memory and attention. Here we indirectly investigated whether such biases may also influence psychological mechanisms involved in the arousal of emotions during musical experiences. Seventy-seven listeners (19–65 years old) took part in an experiment which compared depressed individuals with non-depressed controls. The participants listened to music stimuli designed to target specific induction mechanisms (brain stem reflex, contagion, episodic memory), and were asked to rate felt emotions. Based on previous studies on cognitive bias, we made predictions about how depression would affect reactions to each stimulus. The predictions received partial support: depressed listeners reported significantly lower levels of happiness in the memory condition and non-significantly higher levels of anxiety in the brain stem condition, than did controls. Conversely, no difference in reported sadness was found in the contagion condition. Observed differences were mainly attributable to the severely depressed listeners.

scholarly journals Ultrasonic Vocalizations Emission across Development in Rats: Coordination with Respiration and Impact on Brain Neural Dynamics

2021 ◽  
Vol 11 (5) ◽  
pp. 616
Author(s):  
Julie Boulanger-Bertolus ◽  
Anne-Marie Mouly
Keyword(s):  
Cognitive Functions ◽  
Brain Activity ◽  
Respiratory Rhythm ◽  
Emotional Memory ◽  
Ultrasonic Vocalizations ◽  
Neural Dynamics ◽  
Adult Rats ◽  
Acoustic Characteristics ◽  
Memory Processes

Rats communicate using ultrasonic vocalizations (USV) throughout their life when confronted with emotionally stimulating situations, either negative or positive. The context of USV emission and the psychoacoustic characteristics of the vocalizations change greatly between infancy and adulthood. Importantly, the production of USV is tightly coordinated with respiration, and respiratory rhythm is known to influence brain activity and cognitive functions. This review goes through the acoustic characteristics and mechanisms of production of USV both in infant and adult rats and emphasizes the tight relationships that exist between USV emission and respiration throughout the rat’s development. It further describes how USV emission and respiration collectively affect brain oscillatory activities. We discuss the possible association of USV emission with emotional memory processes and point out several avenues of research on USV that are currently overlooked and could fill gaps in our knowledge.

The Mimetic Hypothesis and Embodied Musical Meaning

2001 ◽  
Vol 5 (2) ◽  
pp. 195-212 ◽  
Author(s):  
Arnie Cox
Keyword(s):  
Sound Production ◽  
Musical Experience ◽  
Aural Skills ◽  
Embodied Experience ◽  
Musical Meaning ◽  
Musical Imagery ◽  
Cross Domain ◽  
Musical Concepts ◽  
And Gender ◽  
Music And Gender

Research into the bodily basis of musical meaning has focused on conceptual metaphor and image schemata, but the processes whereby embodied experience becomes relevant to music conceptualization remains largely unexplained. This paper offers an account of music conceptualization that helps explain how embodied experience motivates and constrains the formation of basic musical meaning. The core of the “mimetic hypothesis” holds that 1) we understand sounds in comparison to sounds we have made ourselves, and that 2) this process of comparison involves tacit imitation, or mimetic participation, which in turn draws on the prior embodied experience of sound production. Evidence for the hypothesis comes from developmental and neuropsychological studies, and from speech imagery, motor imagery, and musical imagery studies. The embodied experience activated during mimetic participation motivates and constrains the cross-domain mappings on which so many musical concepts depend. For example, the metaphoric concept of musical verticality cannot be accounted for without acknowledging the role of mimetic participation. If this participation is as fundamental to musical experience as the hypothesis suggests, not only will it allow us to account for music's most fundamental concepts, but it will also help account for the affective features of musical experience and meaning. Furthermore, the proposed view of mimetic participation helps establish a physical grounding for theories of musical gesture, semiotics, music and gender, music and drama, aural skills pedagogy, music and society, music and dance, and music therapy.

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