The dental anxiety scale and effects of dental fear on salivary cortisol

Only a few studies have investigated use of the Dental Anxiety Scale in dental fear-induced neuroendocrine changes. The present study examined 19 female patients, each at two timepoints across an educational and a treatment session within periodontitis therapy. Subjective measures included a visual analogue scale, the STAI State scale, and the Dental Anxiety Scale. Salivary cortisol was measured in parallel across all four timepoints. Although patients were significantly more aroused and anxious prior to the treatment session, salivary cortisol remained unchanged. However, patients with high Dental Anxiety were significantly more aroused and anxious and showed significantly higher salivary cortisol during the educational session than those with low scores on Dental Anxiety. In conclusion, the Dental Anxiety Scale differentiated mean neuroendocrine change between patients scoring low and high for Dental Anxiety and its use as an accurate tool to identify patients with high dental anxiety should be further studied predictively.     

Shared structural and temporal integration resources for music and arithmetic processing

While previous research has investigated the relationship either between language and music processing or between language and arithmetic processing, the present study investigated the relationship between music and arithmetic processing. Rule-governed number series, with the final number being a correct or incorrect series ending, were visually presented in synchrony with musical sequences, with the final chord functioning as the expected tonic or the less-expected subdominant chord (i.e., tonal function manipulation). Participants were asked to judge the correctness of the final number as quickly and accurately as possible. The results revealed an interaction between the processing of series ending and the processing of the task-irrelevant chords' tonal function, thus suggesting that music and arithmetic processing share cognitive resources. These findings are discussed in terms of general temporal and structural integration resources for linguistic and non-linguistic rule-governed sequences.     

Judging familiarity and emotion from very brief musical excerpts

In the present study, the gating paradigm was used to measure how much perceptual information that was extracted from musical excerpts needs to be heard to provide judgments of familiarity and of emotionality. Nonmusicians heard segments of increasing duration (250, 500, 1,000 msec, etc.). The stimuli were segments from familiar and unfamiliar musical excerpts in Experiment 1 and from very moving and emotionally neutral musical excerpts in Experiment 2. Participants judged how familiar (Experiment 1) or how moving (Experiment 2) the excerpt was to them. Results show that a feeling of familiarity can be triggered by 500-msec segments, and that the distinction between moving and neutral can be made for 250-msec segments. This finding extends the observation of fast-acting cognitive and emotional processes from face and voice perception to music perception.     

Implicit learning of tonality: a self-organizing approach

Tonal music is a highly structured system that is ubiquitous in our cultural environment. We demonstrate the acquisition of implicit knowledge of tonal structure through neural self-organization resulting from mere exposure to simultaneous and sequential combinations of tones. In the process of learning, a network with fundamental neural constraints comes to internalize the essential correlational structure of tonal music. After learning, the network was run through a range of experiments from the literature. The model provides a parsimonious account of a variety of empirical findings dealing with the processing of tone, chord, and key relationships, including relatedness judgments, memory judgments, and expectancies. It also illustrates the plausibility of activation being a unifying mechanism underlying a range of cognitive tasks.     

Further investigation of harmonic priming in long contexts using musical timbre as surface marker to control for temporal effects

Harmonic priming studies have reported facilitated processing for chords that are harmonically related to the prime context. Responses to the target (the last chord of an 8-chord sequence) were faster and more accurate when the target was strongly related, i.e., a tonic chord, to the preceding prime context than when it was less related, i.e., a subdominant chord. Results have been interpreted in terms of musical expectations and processing speed: the prime allows listeners to develop expectations for future events which lead to facilitated processing of the most strongly expected event. The present experiment investigated an alternative hypothesis suggesting that the harmonic structure of the prime context might create an ambiguity about "when" to respond that is stronger in contexts ending on less related targets than in contexts ending on strongly related targets. A change of musical timbre was used as surface marker indicating without ambiguity the temporal occurrence of the target. Participants made speeded intonation judgments of the target, i.e., judging whether targets are acoustically consonant or dissonant. The findings replicate the previously reported priming effect and rule out that processing differences are solely due to ambiguities about when in time the target will occur.     

Delusions and Hallucinations as a Reflection of the Subcultural Milieu Among Psychotic Patients of the 1930s and 1980s

Delusions and hallucinations reported in the social histories of 150 patients admitted to an East Texas state hospital during the 1930s and of 150 patients admitted during the 1980s were examined for content that would characterize and contrast the patient subcultural milieu of the two time periods. Patients admitted during the 1930s tended to reflect the material deprivation and personal powerlessness of the great depression in delusions of great wealth and positive “special powers.” The hallucinatory visions and voices of the 1980s patients reflected a more threatening and negative subcultural milieu, with more visions of blood, snakes, and dead people or animals. Command hallucinations to hurt, to kill, or to do “perverse things” would also suggest that the subculture milieu of the 1980s had become more dangerous.     

Listening to polyphonic music recruits domain-general attention and working memory circuits

Polyphonic music combines multiple auditory streams to create complex auditory scenes, thus providing a tool for investigating the neural mechanisms that orient attention in natural auditory contexts. Across two fMRI experiments, we varied stimuli and task demands in order to identify the cortical areas that are activated during attentive listening to real music. In individual experiments and in a conjunction analysis of the two experiments, we found bilateral blood oxygen level dependent (BOLD) signal increases in temporal (the superior temporal gyrus), parietal (the intraparietal sulcus), and frontal (the precentral sulcus, the inferior frontal sulcus and gyrus, and the frontal operculum) areas during selective and global listening, as compared with passive rest without musical stimulation. Direct comparisons of the listening conditions showed significant differences between attending to single timbres (instruments) and attending across multiple instruments, although the patterns that were observed depended on the relative demands of the tasks being compared. The overall pattern of BOLD signal increases indicated that attentive listening to music recruits neural circuits underlying multiple forms of working memory, attention, semantic processing, target detection, and motor imagery. Thus, attentive listening to music appears to be enabled by areas that serve general functions, rather than by music-specific cortical modules.     

Local versus global processing of harmonic cadences in the solution of musical puzzles

The structure of Western musical pieces is delineated by several kinds of cadence. Half cadences in the main key indicate temporary endings; authentic cadences in the main key indicate definitive endings. Authentic cadences in the dominant key are of cognitive interest, since they mark a definitive ending at a local level but a temporary ending at a global level. This study investigated the local versus global processing of these cadences. Participants were presented with sections of 16-bar minuets displayed on a computer screen in the form of a musical jigsaw puzzle. The sections consisted of either the first or the second half of the minuet (8 bars each). The first section ended with either a half cadence in the main key (all experiments), an authentic cadence in the dominant key (all experiments), or an authentic cadence in the main key (Exp. 4). The second section always ended in an authentic cadence in the main key. Participants were asked either to join the two sections of each minuet in the most coherent order (Exps. 1, 2, 4) or to rate the perceived completion of each section (Exps. 3, 4). Numerous inversion errors were observed when the first section of the minuets ended with an authentic cadence in the dominant key. Completion judgments indicated that these cadences were perceived as marking a definitive ending. Both facts suggest that local processing of harmonic cadences prevails over global processing. This finding concurs with recent studies showing that listeners had great difficulties in perceiving the higher-order organization of musical form. Received: 30 September 1996 / Accepted: 20 August 1997