情绪音乐影像库的初步编制与评定

音乐表演影像材料的情绪诱发功能有音乐和影像的共同优势,但目前缺乏以音乐表演为内容的情绪音乐影像库。试图建立可供相关研究使用的情绪音乐影像系统。根据前期研究使用过的材料、相关研究结果及音乐专业人士的建议,收集分别表达愤怒、恐惧、悲伤和开心的音乐,包括歌剧、交响乐、民乐等,剪辑为30秒左右的片段,非音乐专业被试对材料的情绪类型和强度进行评定,最终筛选出能有效诱发目标情绪的64条音乐影像材料。未来可在测量指标的客观性和审美性及被试和音乐材料的样本量两方面改进。     

‘Defrosting’ music chills with naltrexone: The role of endogenous opioids for the intensity of musical pleasure

The endogenous opioid system has been implicated during experiences of pleasure (i.e., from food or sex). Music can elicit intense emotional and bodily sensations of pleasure, called ‘Chills’. We investigated the effects of an opioid antagonist (50 mg naltrexone) or placebo (40 μg d3-vitamin) while listening to self-selected music or other ‘control’ music selected by another participant. We used a novel technique of continuous measurement of pleasantness with an eye tracker system, where participants shifted their eyes along a visual analogue scale, in the semblance of a thermometer so that, as the music unfolded, gaze positions indicated the self-reported hedonic experience. Simultaneously, we obtained pupil diameters. Self-reported pleasure remained unchanged by naltrexone, which – however – selectively decreased pupillary diameters during ‘Chills’. Hence, the endogenous μ-opioid signaling is not necessary for subjective enjoyment of music but an opioid blockade dampens pupil responses to peak pleasure, consistent with decreased arousal to the music.     

The effects of contingent music on the intensity of noise in junior high home economics classes

The effects of quiet-contingent music on the general noise levels of four seventh- and eighth-grade classrooms were investigated. Following a baseline procedure, popular radio music was used to reinforce maintenance of noise below an acceptable level of intensity, 70 decibels, in three of the four classes. In the fourth class, a reversal design was used to show that the contingent presentation of the radio music was important to control the noise produced by the students. The teacher was free to engage in instructional activities because data collection and presentation of music were controlled by automatic apparatus.     

Musical groove modulates motor cortex excitability: A TMS investigation

Groove is often described as a musical quality that can induce movement in a listener. This study examines the effects of listening to groove music on corticospinal excitability. Musicians and non-musicians listened to high-groove music, low-groove music, and spectrally matched noise, while receiving single-pulse transcranial magnetic stimulation (TMS) over the primary motor cortex either on-beat or off-beat. We examined changes in the amplitude of the motor-evoked potentials (MEPs), recorded from hand and arm muscles, as an index of activity within the motor system. Musicians and non-musicians rated groove similarly. MEP results showed that high-groove music modulated corticospinal excitability, whereas no difference occurred between low-groove music and noise. More specifically, musicians’ MEPs were larger with high-groove than low-groove music, and this effect was especially pronounced for on-beat compared to off-beat pulses. These results indicate that high-groove music increasingly engages the motor system, and the temporal modulation of corticospinal excitability with the beat could stem from tight auditory–motor links in musicians. Conversely, non-musicians’ MEPs were smaller for high-groove than low-groove music, and there was no effect of on- versus off-beat pulses, potentially stemming from suppression of overt movement. In sum, high-groove music engages the motor system, and previous training modulates how listening to music with a strong groove activates the motor system.     

Why do we listen to music? A uses and gratifications analysis

Four 'uses and gratifications' studies investigated peoples' reasons for listening to music (Study 1); and whether these reasons differ significantly from those associated with other leisure activities (Study 2). In Study 3, an open-ended, qualitative research design was used to investigate why people listen to music. In Study 4, a cross-sectional design was used to investigate the possibility that people of different ages might listen to music for different reasons. Findings showed that there are a number of reasons why participants listen to music, comparison of which indicated that participants listen to music primarily to manage/regulate their moods. Comparison with other leisure activities indicated that for the most part, listening to music was rated better than other leisure activities at serving an individual's different needs. This versatility may explain why music is so important to people. Evidence was also found to suggest that the reasons for listening to music may change as people grow older.     

The effects of unvocalized music on short-term memory

The studies reported here investigated the role of background music in verbal processing. The experiment was a partial replication of Salame and Baddeley (1989), where the effect of music on the recall of digits, was examined, but included an additional key condition where participants heard instrumental music without the words usually associated with it. In this case we used nursery rhymes. In addition, articulatory suppression was manipulated as a tool to look at the role of working memory in the task. The relationship between long-term memory and working memory was further explored by using an implicit memory task to examine verbal memory effects for words associated with the music but not actually heard. The results indicated that background, instrumental music, long-associated with words, significantly impairs concurrent verbal processing. These long-term memory effects on working memory were, however, not associated with implicit memory effects, and no priming was observed.     

The effects of unvocalized music on short-term memory

The studies reported here investigated the role of background music in verbal processing. The experiment was a partial replication of Salame and Baddeley (1989), where the effect of music on the recall of digits, was examined, but included an additional key condition where participants heard instrumental music without the words usually associated with it. In this case we used nursery rhymes. In addition, articulatory suppression was manipulated as a tool to look at the role of working memory in the task. The relationship between long-term memory and working memory was further explored by using an implicit memory task to examine verbal memory effects for words associated with the music but not actually heard. The results indicated that background, instrumental music, long-associated with words, significantly impairs concurrent verbal processing. These long-term memory effects on working memory were, however, not associated with implicit memory effects, and no priming was observed.     

音乐能增强我们的免疫力吗——音乐的心理神经免疫学效应研究的新进展

近十年以来,音乐能够给人类带来健康的研究越来越多。其中,音乐对人免疫系统的影响属于较新的范畴。本文以音乐心理神经免疫学的视角,从内分泌反应、免疫反应以及免疫系统三个方面,探讨音乐是怎样增强人体免疫力的。音乐对于人体的生物学影响已经得到了公认,但是音乐的心理神经免疫学还是需要更多的量化证明,关于此方面的进一步的研究可能影响到我们医疗保健的整体模型。     

Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music

We present the results of a study testing the often-theorized role of musical expectations in inducing listeners’ emotions in a live flute concert experiment with 50 participants. Using an audience response system developed for this purpose, we measured subjective experience and peripheral psychophysiological changes continuously. To confirm the existence of the link between expectation and emotion, we used a threefold approach. (1) On the basis of an information-theoretic cognitive model, melodic pitch expectations were predicted by analyzing the musical stimuli used (six pieces of solo flute music). (2) A continuous rating scale was used by half of the audience to measure their experience of unexpectedness toward the music heard. (3) Emotional reactions were measured using a multicomponent approach: subjective feeling (valence and arousal rated continuously by the other half of the audience members), expressive behavior (facial EMG), and peripheral arousal (the latter two being measured in all 50 participants). Results confirmed the predicted relationship between high-information-content musical events, the violation of musical expectations (in corresponding ratings), and emotional reactions (psychologically and physiologically). Musical structures leading to expectation reactions were manifested in emotional reactions at different emotion component levels (increases in subjective arousal and autonomic nervous system activations). These results emphasize the role of musical structure in emotion induction, leading to a further understanding of the frequently experienced emotional effects of music.     

The cognitive processing of film and musical soundtracks

Previous research has demonstrated that musical soundtracks can influence the interpretation, emotional impact, and remembering of film information. The intent here was to examine how music is encoded into the cognitive system and subsequently represented relative to its accompanying visual action. In Experiment 1, participants viewed a set of music/film clips that were either congruent or incongruent in their emotional affects. Selective attending was also systematically manipulated by instructing viewers to attend to and remember the music, film, or both in tandem. The results from tune recognition, film recall, and paired discrimination tasks collectively revealed that mood-congruent pairs lead to a joint encoding of music/film information as well as an integrated memory code. Incongruent pairs, on the other hand, result in an independent encoding in which a given dimension, music or film, is only remembered well if it was selectively attended to at the time of encoding. Experiment 2 extended these findings by showing that tunes from mood-congruent pairs are better recognized when cued by their original scenes, while those from incongruent pairs are better remembered in the absence of scene information. These findings both support and extend the "Congruence Associationist Model" (A. J. Cohen, 2001), which addresses those cognitive mechanisms involved in the processing of music/film information.     

Effects of listening to music, and of using a handheld and handsfree telephone on cycling behaviour

The effects of listening to music on cycling behaviour were evaluated. Twenty-five participants completed a track on a bicycle while listening to music with two standard earbuds, with one earbud, and with two in-earbuds. Conditions with high tempo music and loud volume were also included in the experiment, as were two mobile phone conditions, one in which participants operated the phone hand held and one handsfree condition.Cycle speed was not affected by listening to music, but was reduced in the telephone conditions. In general the response to auditory signals worsened when participants listened to music, in particular when listening with in-earbuds loud auditory stop signals were missed in 68% of the cases. However, when listening with only one standard earbud performance was not affected. In the conditions when participants listened to high volume and to high tempo music, the auditory stop signal was also heard in significantly fewer cases. Completing a task on the mobile phone, using both handheld and handsfree sets, resulted in increased response time to an auditory stop signal and also reduced overall auditory perception. Furthermore, handsfree operation only had minor advantages opposed to hand held operation, with only response time to an auditory stop signal resulting in faster performance. This is likely to be related to the fact that both hands could be used for braking.It is concluded that listening to music worsens auditory perception, in particular if in-earbuds are used. Furthermore, both handheld and handsfree operation of mobile phones has a negative effect on perception, potentially forming a threat to cyclist traffic safety.     

Metamotivational states displayed using differential digital photoplethysmograms while listening to music and noise

The theory of psychological reversal postulates that individuals switch between paratelic and telic metamotivational states. To observe the paratelic state as an actual phenomenon using a physiological index, a correlation between changes in P-wave amplitudes of differential digital photoplethysmograms (deltaDPG) of 24 undergraduate students while listening to music and changes in mood pre- to postlistening was investigated. Elevation in arousal of the sympathetic nervous system, as indicated by deltaDPG. was related to improvement in mood. It was assumed that the subjects who were aroused more while listening to music enjoyed the high arousal more and were more susceptible to a pleasant state. This was interpreted as a paratelic state. In listening to a noise condition using another 24 undergraduate students, however, the correlation was inverse of that for the music condition. It was assumed that the subjects who spent more effort in identifying stimuli showed more elevation in arousal of the sympathetic nervous system and more aggravation in mood. This was interpreted as a telic state.     

莫扎特音乐对幼儿时空推理能力影响的研究

音乐对幼儿身心发展起重要的促进作用.利用实验法探讨莫扎特“D大调双钢琴奏鸣曲”(K.448)对幼儿时空推理能力的影响,并试图探究“莫扎特效应”产生的机制.采用相同唤醒度和情绪效价但不同结构化和周期性的三首音乐为刺激,共342名大班幼儿参与实验.结果显示:高度结构化、长时程周期性的莫扎特音乐K.448显著提高了女童时空推理能力,而在男童未发现此效应;而不具备高度结构化与周期性的科普兰“猫和老鼠”类似无声静息,对幼儿时空推理能力无显著影响.综上,产生“莫扎特效应”,音乐需具备长时程周期性和高度结构化特点,支持“直接启动说”理论.     

Analysis of the Movement-Inducing Effects of Music through the Fractality of Head Sway during Standstill

Abstract

The links between music and human movement have been shown to provide insight into crucial aspects of human’s perception, cognition, and sensorimotor systems. In this study, we examined the influence of music on movement during standstill, aiming at further characterizing the correspondences between movement, music, and perception, by analyzing head sway fractality. Eighty seven participants were asked to stand as still as possible for 500?seconds while being presented with alternating silence and audio stimuli. The audio stimuli were all rhythmic in nature, ranging from a metronome track to complex electronic dance music. The head position of each participant was captured with an optical motion capture system. Long-range correlations of head movement were estimated by detrended fluctuation analysis (DFA). Results agree with previous work on the movement-inducing effect of music, showing significantly greater head sway and lower head sway fractality during the music stimuli. In addition, patterns across stimuli suggest a two-way adaptation process to the effects of music, with musical stimuli influencing head sway while at the same time fractality modulated movement responses. Results indicate that fluctuations in head movement in both conditions exhibit long-range correlations, suggesting that the effects of music on head movement depended not only on the value of the most recent measured intervals, but also on the values of those intervals at distant times.     

The Contribution of Music to Positive Aging: A Review

Many people value music as an important part of their everyday lives. The published literature reveals that the role of music in life is varied: it can be recreational, educational, social, emotional, therapeutic, and spiritual. The importance and relevance of music depends on the life needs and interests of the individual and the social group within which he/she lives. It is now widely recognized that music for many older people is crucial in supporting a sense of well-being. The article reviews the evidence on the role of music in promoting health and well-being, and how it can produce positive psychological and physiological benefits for individuals. The aim of this article is to increase awareness among health professionals of the importance of music and discuss how it can be used to add to older people's lives.     

Singing in the Brain: Independence of Lyrics and Tunes

Why is vocal music the oldest and still the most popular form of music? Very possibly because vocal music involves an intimate combination of speech and music, two of the most specific, high-level skills of human beings. The issue we address is whether people listening to a song treat the linguistic and musical components separately or integrate them within a single percept. Event-related potentials were recorded while musicians listened to excerpts from operas sung a capella. Excerpts were ended by semantically congruous or incongruous words sung either in or out of key. Results clearly demonstrated the independence of lyrics and tunes, so that an additive model of semantic- and harmonic-violations processing predicted the data extremely well. These results are consistent with a modular organization of the human cognitive system and open new perspectives in the search for the similarities and differences between language and music processing.     

Music during learning of a tactual-spatial task affects later response generalization

Equal numbers of men and women learned a finger maze, with half of the subjects initially using their right hands and the other half using their left hands. To reach criterion, subjects receiving music in the ear ipsilateral to the hand used required more trials than did those receiving no music. Furthermore, when the right hand ran the maze, music played to the ipsilateral ear also delayed learning, compared with music played contralaterally. Binaural music delayed learning when the left hand was used but not when the right hand was used. Possible causes of these effects are suggested. When subjects switched hands and relearned the maze, the number of trials to criterion depended on the group subjects were in during initial learning and not on the group they were in during the hand reversal (response generalization) trials. Although the music condition used determined the effect of music on initial learning and on response generalization, some evidence is presented that indicates that the two effects are not entirely interdependent and that they may even involve different mechanisms.     

Musical preferences during and after relaxation and exercise

Effects of the listening context on responses to music largely have been neglected despite the prevalence of music listening in our everyday lives. This article reports 2 studies in which participants chose music of high or low arousal potential during (Experiment 1) or immediately after (Experiment 2) exercise or relaxation. In Experiment 1, participants preferred appropriate arousal-polarizing music over arousal-moderating music. In Experiment 2, participants preferred arousal-moderating music over arousal-polarizing music, such that their listening times contrasted clearly with those in the first study even though the same music and methods were used. Thus musical preferences interact with the listening situation, and participants' music selections represent an attempt to optimize their responses to that situation. When motivated to maintain a state of polarized arousal, listeners use music to achieve this; when they have no such goal, they use music to moderate arousal.     

墨子音乐美学思想探微

墨子是小手工业者和小生产者的代表,却是一位卓越人物。其博大精深的学术思想、强国谋略、治世之法对后世影响至深,他所提出的以“兼爱、非命”为中心思想体系的学说可与儒家学说“仁义、礼乐”相媲美。墨子的音乐美学思想是其学说中的一个重要部分,也是我国古代音乐宝库中一颗璀璨的明珠,文章从墨子背景谈起,着重论述了墨子的音乐美学思想的内容,以及与“节用”的经济学说和“兼以易别”、“禁恶而劝爱”的政治思想的关系,从而进一步丰富、完善了墨子音乐美学思想的内涵。     

Tunes of religious resistance? Understanding Hamas music in a conflict context

Hamas (Harakat al-Muqawamat al-Islamiyya) was established in 1987 as a resistance organization against Israel and as an alternative to Fatah. One of the resistance tools of Hamas is music, which it produces, performs, records, and uses. Music in the Palestinian context can be seen as creating a political space for expression that the Israelis cannot control; inasmuch as as Hamas was established as a result of the occupation, so also, to a large extent, was its music. Palestinian resistance music has existed ever since the 1948 al-nakba (the catastrophe), and music centers in Cairo and Beirut have been influential factors in its production. Originally, the music was constituted by a wide range of popular music, which included lyrics about the Palestinian struggle. This article scrutinizes how Hamas music is being created, how it is used, and how it is linked to the organization??s resistance struggle against Israel and for a Palestinian homeland in the context of the Israeli?CPalestinian conflict. It concludes that Hamas resistance music is not permeated by the religious affiliation of the organization. Rather, it has as its aim social connection, spreading the messages of the organization, and exhorting resistance against Israel. In addition to resistance music, Hamas produces and uses music of grief and tributes to political and religious leaders, as well as anashid, songs different from the resistance music saturated by a religious character.