Prenatal Exposure to Classical Music Improves Learning and Memory in Adult Rats

Background: Exposure to music during pregnancy enhances brain development and improves learning in neonatal rats. Methods: In these experiments, we examined the effects of exposure to silence, hard rock, classical, and rap music in utero plus 60 days postpartum on learning and memory in adult Wistar rats. Passive avoidance learning (PAL) was assessed at age 60 days, and a retention test was done 24 hours after training. Elevated plus maze (EPM) was also used as a standard behavioral task for assessing the effects of music therapy on anxiety. Furthermore, we measured serum corticosterone levels and adrenal weight at the end of experiments to show the possible effect of stress on the rats’ behavior. Results: Hard rock music impaired acquisition, increasing the number of trials to acquisition in PAL task. Hard rock music also impaired the retrieval process by decreasing step-through latency and increasing time spent in the dark compartment during the retention trial. Further, in the hard rock group, there were increases in serum corticosterone and adrenal weight of rats. Classical music, in turn, improved acquisition learning and retention memory and decreased serum corticosterone levels compared to the silence group. Rats’ exposure to rap music did not show any significant change in acquisition and retrieval processes compared to the silence group. In the EPM task, classical music exposure had anxiolytic-like effects revealed in an increase in the number of entries into open arms and time spent in the open arms. However, in this task, hard rock music induced an anxiogenic effect. Conclusions: Prenatal and postnatal exposure to music improves PAL and memory in adult rats. The effects of music therapy with classical music might be related to stress reduction by lowering corticosterone as a stress biomarker or anxiolytic effects; this deserves further examination.

Explorative Visual Analysis of Rap Music

Detecting references and similarities in music lyrics can be a difficult task. Crowdsourced knowledge platforms such as Genius. can help in this process through user-annotated information about the artist and the song but fail to include visualizations to help users find similarities and structures on a higher and more abstract level. We propose a prototype to compute similarities between rap artists based on word embedding of their lyrics crawled from Genius. Furthermore, the artists and their lyrics can be analyzed using an explorative visualization system applying multiple visualization methods to support domain-specific tasks.

Women Hip-Hop Artists and Womanist Theology

Hip-Hop is a cultural phenomenon steeped in the conservative ideologies of individualism and capitalism. It sells a lifestyle and its most recent surge of rap music and popular culture spotlights Black women more than ever before. Although Black women have always been significant piece in Hip-Hop culture, their artistry has jolted its systemic capitalism and patriarchy to engage intersectionality through a discourse of classism, sexual orientation, and racism while upending White supremacy’s either:or binary. Applying the principles of Womanism, Black female Hip-Hop artists negotiate cultural identity politics as activists to innovatively expand thought on gender performance and produce a fusion of contemporary Blackness for the 21st century. Their artivism builds a safe environment of differences within society using conscious thought, language, and performative methods to defy the White American ethos of sexism, misogyny, and materialism. By garnering a better knowledge of their existence through Indigenous African spirituality, Black women reclaim ownership of their bodies from Western European standards, including race, and gender to challenge Christianity’s meaning of martyrdom. This act of reclamation provides a reformative tool of inclusion and being fluidity through Hip-Hop music and its culture.

“We Don’t Have Those American Problems”: Anti-Black Practices in Canada’s Rap Music Marketplace, 1985–2020

Beginning in the early to mid 1980s, Hip Hop culture appeared on Canadian stages and in homes, even as it was limited in supply on commercial radio and television. Unlike their American counterparts, mainstream Canadian emcees (many of whom were racialized as Black and identified with the city of Toronto) were notably dependent upon personal finances, under-resourced independent record labels, distribution deals, and state and not-for-profit grant monies to subsidize the conceptualization, production, and promotion of their art. Labelled “urban music” in an attempt to spatialize and covertly reference Blackness, Hip Hop in Canada, from the outset, was mapped against, in conflict with, and outside of the national imaginary. While building local scenes, an independent label system, and a cross-Canada college radio, television, and live music infrastructure and audience, Hip Hop artists developed spaces of resistance, circumvented industry-generated obstacles, and defined success on their own terms — all of which suggested that they were not solely at the will of the dominant white music industry. And yet artists simultaneously encountered anti-Black practices that constrained the creation and sustenance of a nationwide Hip Hop infrastructure and denoted an inequitable structuring of support for the arts in Canada. By examining the interface of Blackness, art, and the racial economy of Canada’s creative industries, this article will outline instances of Canada’s anti-Black racism as well as the challenges Hip Hop artists and industry professionals have faced in the areas of recording and label relations, music sales, broadcasting regulations, and the accolade system. These social relations — many of which are rooted in longer histories of race relations and anti-Blackness in Canada — resulted in industry-wide policies, practices, norms, and ideologies that unfairly disadvantaged Black artists and undermined the realization and marketplace potential of a Hip Hop infrastructure within and beyond Canada.

Hip-Hop Music and Social Identity - An Analysis on the Construction of Jim Smith in the Movie ‘8 Mile’

When it comes to American hip-hop music and rap music, people always think of the African American singers in loose clothes, the flashing lights on the dirty stage, all kinds of alcohol and cigarettes, as well as many drunken scenes. However, such a familiar scene is indeed an authentic portrayal of the United States. If you have heard about hip hop music, it is not difficult to find that many hip-hop lyrics are often full of dirty abuse, cold ridicule and sharp criticism. In a sense, hip hop music and rap music can be considered a kind of 'voice resistance' from the lower class of American society. However, it has not changed their current situation, and hip hop music and rap music are still regarded as inappropriate for children and teenagers. It is noteworthy that in recent years, with the popularity of hip-hop music, people from all over the world have gradually paid attention to this unique music style. At the same time, more and more people from the lower class of the United States are also be concerned by the U.S. government.

Poetic resistance: Karen long-distance nationalism, rap music, and YouTube

This article investigates a concern among encamped elder Karen refugees (an ethnic minority from Myanmar) living along the Thai–Myanmar border that the youth are disconnected politically and culturally. I argue that Karen youth are creative, active participants, reimagining and revitalising Karen politics and culture in their image. I explore how displaced youths have found a voice in Karen rap and how they express this voice in the digitally mediated lived space of YouTube. I consider YouTube as a lived space where citizenship is reimagined and long-distance nationalism is articulated. Finally, I contend that YouTube is transforming Karen youths’ political experiences and mobility and that they are actively political – just not in the way the elders expect.

Voicing sentiments of resilience: A corpus approach to 1980s conscious rappers in South Africa

The study of people’s response to adversity acquires substantially different connotations in the South African context because of the heavy legacy of apartheid. This article explores the construction of the notion of resilience through the oral narrative production of the most prominent conscious rappers that emerged in the 1980s in South Africa, namely Prophets of Da City and Black Noise. By means of a corpus approach, our analysis with AntConc revealed that resilience is intrinsically connected to the historical sociopolitical struggle of the black group. In building this notion, results show how the parallel emergence of an oppressive other, the white group, plays a fundamental role. Relevant to our study, the affirmation of their black identity appears to act as an effective way of underpinning their possibility of resurgence. Furthermore, the objective analysis of rappers’ linguistic choices in their lyrics underlines their strategic use of personal pronouns, ethnic labels and other contextual-loaded terms whilst conveying their messages and communicating with their audience. These results both demonstrate the contribution of rap music in construction of a specific notion of resilience and highlight the effectiveness of this methodological approach, opening the floor to comparative studies.

Anatomical Harmonics Basis based Brain Source Localization with Application to Epilepsy

Brain Source Localization (BSL) using Electroencephalogram (EEG) has been a useful noninvasive modality for the diagnosis of epileptogenic zones, study of evoked related potentials, and brain disorders. The inverse solution of BSL is limited by high computational cost and localization error. The performance is additionally limited by head shape assumption and the corresponding harmonics basis function. In this work, an anatomical harmonics basis (Spherical Harmonics (SH), and more particularly Head Harmonics (H2)) based BSL is presented. The spatio-temporal four shell head model is formulated in SH domain. The performance of spatial subspace based Multiple Signal Classification (MUSIC) and Recursively Applied and Projected (RAP)-MUSIC method is compared with the proposed SH and H2 counterparts on simulated data. SH and H2 domain processing effectively resolves the problem of high computational cost without sacrificing the inverse source localization accuracy. The proposed H2 MUSIC was additionally validated for epileptogenic zone localization on clinical EEG data. The proposed framework offers an effective solution to clinicians in automated and time efficient seizure localization.

Does music help regulate depressive symptoms for fans of violently themed music?

Fans of extreme metal and rap music with violent themes, hereafter termed “violently themed music,” predominantly experience positive emotional and psychosocial outcomes in response to this music. However, negative emotional responses to preferred music are reported to a greater extent by such fans than by fans of non-violently themed music. We investigated negative emotional responses to violently themed music among fans by assessing their experience of depressive symptoms, and whether violently themed music functions to regulate negative moods through two common mood regulation strategies: discharge and diversion. Fans of violent rap ( n = 49), violent extreme metal ( n = 46), and non-violent classical music ( n = 50) reported depressive symptoms and use of music to regulate moods. Participants listened to four one-minute excerpts of music in their preferred genres and rated negative emotional responses to each excerpt (sadness, tension, anger, fear). There were no significant differences between ratings of depression between groups, but depressive symptoms predicted negative emotional responses to music across all groups. Furthermore, depression ratings predicted the use of the mood regulation strategy of discharge in all groups. The discharge strategy did not reduce (or exacerbate) fans’ negative emotional responses, but may nevertheless confer other benefits. We discuss implications for the psychosocial well-being of fans of violently themed music.