Different contra-sound effects between noise and music stimuli seen in N1m and psychophysical responses

Auditory-evoked responses can be affected by the sound presented to the contralateral ear. The different contra-sound effects between noise and music stimuli on N1m responses of auditory-evoked fields and those on psychophysical response were examined in 12 and 15 subjects, respectively. In the magnetoencephalographic study, the stimulus to elicit the N1m response was a tone burst of 500 ms duration at a frequency of 250 Hz, presented at a level of 70 dB, and white noise filtered with high-pass filter at 2000 Hz and music stimuli filtered with high-pass filter at 2000 Hz were used as contralateral noise. The contralateral stimuli (noise or music) were presented in 10 dB steps from 80 dB to 30 dB. Subjects were instructed to focus their attention to the left ear and to press the response button each time they heard burst stimuli presented to the left ear. In the psychophysical study, the effects of contralateral sound presentation on the response time for detection of the probe sound of a 250 Hz tone burst presented at a level of 70 dB were examined for the same contra-noise and contra-music used in the magnetoencephalographic study. The amplitude reduction and latency delay of N1m caused by contra-music stimuli were significantly larger than those by contra-noise stimuli in bilateral hemisphere, even for low level of contra-music near the psychophysical threshold. Moreover, this larger suppressive effect induced by contra-music effects was also observed psychophysically; i.e., the change in response time for detection of the probe sound was significantly longer by adding contralateral music stimuli than by adding contra-noise stimuli. Regarding differences in effect between contra-music and contra-noise, differences in the degree of saliency may be responsible for their different abilities to disturb auditory attention to the probe sound, but further investigation is required to confirm this hypothesis.

On the Therapeutic Applications of Music in Persian Medicine

Music history is as old as human history and it has been used as a way to reduce human suffering. Persian Medicine (PM) scholars as one of the oldest traditional medicines applied music for health and disease management. This study aims to introduce some of the views and recommendations of PM sages about importance and application of music in disease improvement. Definition and applications of music were collected from main PM medical text books and then databases including Science direct, PubMed, Scopus and Google scholar were searched to evaluation the efficacy of PM recommendations in conventional medicine from 1980-Jan-1 to 2020-Nov-1. PM used music and melody with several instruments to calm and soothe mind and body. Great PM scientists like Rhazes (10th), Farabi (10th) and Qutb o Din (14th), were dominant figures in terms of musical knowledge. They used music for treatment of several conditions including nervous system diseases (headache and epilepsy), sleep disorders, heart weakness and palpitation, digestive system disorders (gastrointestinal ulcer and appetite), sexual dysfunction, and also for pain management. Nowadays, some of their suggested applications are examined in research studies and are used in academic healthcare environments against several diseases. According to PM, to achieve the maximum impact of music effects in mind and body, several points should be considered including coordination of rhythm and melody with physical and mental characteristics and temperaments (Mizaj) of the listener and his/her illness. The duration of listening to the music can also be important. Attention to these points in today’s research may lead to interesting results.

Aesthetic Judgments of Live and Recorded Music: Effects of Congruence Between Musical Artist and Piece

The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants (N = 32) made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece (congruent with the army band) and a non-patriotic piece (congruent with the university band). Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible.

Multi-Voiced Music Bypasses Attentional Limitations in the Brain

Attentional limits make it difficult to comprehend concurrent speech streams. However, multiple musical streams are processed comparatively easily. Coherence may be a key difference between music and stimuli like speech, which does not rely on the integration of multiple streams for comprehension. The musical organization between melodies in a composition may provide a cognitive scaffold to overcome attentional limitations when perceiving multiple lines of music concurrently. We investigated how listeners attend to multi–voiced music, examining biological indices associated with processing structured versus unstructured music. We predicted that musical structure provides coherence across distinct musical lines, allowing listeners to attend to simultaneous melodies, and that a lack of organization causes simultaneous melodies to be heard as separate streams. Musician participants attended to melodies in a Coherent music condition featuring flute duets and a Jumbled condition where those duets were manipulated to eliminate coherence between the parts. Auditory–evoked cortical potentials were collected to a tone probe. Analysis focused on the N100 response which is primarily generated within the auditory cortex and is larger for attended versus ignored stimuli. Results suggest that participants did not attend to one line over the other when listening to Coherent music, instead perceptually integrating the streams. Yet, for the Jumbled music, effects indicate that participants attended to one line while ignoring the other, abandoning their integration. Our findings lend support for the theory that musical organization aids attention when perceiving multi–voiced music.

The ukulele experiences: Leisure and positive ageing in Taiwan

In Shuilin Township, Yunlin County, Taiwan a group of older people have a small, well-established, active musical club called ‘Can’t Read the Words’ where they learn and play the ukulele together. This research explored the impact of their ukulele playing experiences and paid special attention to song preferences (songs they have chosen to play or sing). Data collection involved 11 semi-structured, in-depth interviews with individual healthy adults. All participants drew from their experiences in regional community music organizations to explore how music effects their daily lives. Thematic analysis of the data unveiled valuable insights. The study concluded that participants believed that their musical club provided opportunities for individuals to practice and perform before audiences, resulting in a sense of achievement and satisfaction. The aged community should view the ‘Can’t Read the Words’ musical club as an example of the positive effects playing the ukulele can have on their lives.

Music as temporal disruption in Assassin’s Creed

The Assassin’s Creed video game series incorporates real-world historical elements. While some historically derived musical elements are referenced from the time period and geographic setting of the game, in the first game of the series, Assassin’s Creed 1 (2007), these historical snippets are subsumed within a modern musical setting emphasizing digital sound. The effect is a bleeding-over of ancient with modern that mirrors the plot of the game. This new spin on the time travel narrative creates a disconnect for the player and invokes disruption in a number of ways: through plots, visual distortions and sound/music effects. Musically, disruptions invoke a sense of aural discomfort in the player, which mimics aspects of the game narrative such as the protagonist’s physical distress. In order to better understand the interrelationship between these components, this article uses graphic transcriptions to categorize the musical, visual and narrative functions into fiction, interface and hypervisual/hypersonic components.