Music therapy enhances preterm infant’s signs of engagement and sustains maternal singing in the NICU

Hospitalized preterm infants are exposed to stressful stimuli and early parental separation, which can undermine their long-term development and mother-infant bonding. Family-centered music therapy can enable positive mother-infant interactions, mediated by maternal infant-directed singing. This study aimed to investigate the effects of music therapy on preterm infant’s signs of engagement, namely Eye Opening (EO) and Smiling (SM), and maternal vocalizations. Participants were 30 mother-preterm infant dyads in a Brazilian Neonatal Intensive Care Unit (NICU), divided into a Music Therapy Group (MTG) and a Comparison Group (CG). The MTG participated in 6 sessions of the Music Therapy Intervention for the Mother-Preterm Infant Dyad (MUSIP), with the aim of supporting maternal singing with the infant. Prior to discharge, all mothers were filmed during a Non-singing (NS) and Singing (S) interactional condition; in the S condition, mothers were explicitly asked to address their infants by singing. Results of video and audio analysis showed that infants in the MTG displayed greater Eye Opening (EO) frequency compared to CG, but only when they were in an initial awake state at test, suggesting that music therapy can potentialize infants’ alertness, by increasing their disposition and chances of being engaged in the interaction with the mother. Non-religious mothers appeared to sing significantly more in the MTG than in the CG. These preliminary findings indicate that music therapy in the NICU could promote infant’s signs of engagement during interactions and can sustain maternal singing, especially with non-religious mothers in Brazil.     

Liking, Arousal Potential, and the Emotions Expressed by Music

Previous research indicates that the specific emotions expressed by stimuli may be closely associated with their pleasing and arousing qualities, and this parallels psychomusicological research on the relationship between these two stimulus qualities. In light of this, the present research contends that the emotions expressed by musical stimuli are associated with their pleasing and arousing qualities. Sixty subjects rated 32 musical excerpts on 11-point scales representing the expression of eight specific emotions. Statistical analyses showed that these emotion ratings were predictable on the basis of 60 additional subjects' ratings of each excerpt in terms of 'liking' and 'arousal potential'. This indicates that ratings of liking and arousal potential are essentially similar to ratings of the specific emotions expressed by musical stimuli. These results are discussed in terms of the relationship between liking and arousal potential, and the implications that this may have for research on affective processes.     

Music and driving game performance

This study investigated the effects of the nature of music and a concurrent task on measures of task performance and musical preference. Subjects completed 5 laps of a computer motor racing game whilst listening to either arousing or relatively unarousing music in either the presence or absence of a backward-counting task. Both these manipulations affected performance on the game with arousing music and backward-counting leading to slower lap times than relatively unarousing music and the absence of the backward-counting task. Backward-counting led to lower liking for the music than did the absence of this task. These results support the idea that music and the concurrent task competed for a limited processing resource. The results also indicated that liking for the music was positively related to task performance, and in conjunction these findings seem to suggest a direct link between music and the listening context.     

Cross-cultural perspectives on pitch memory

We examined effects of age and culture on children's memory for the pitch level of familiar music. Canadian 9- and 10-year-olds distinguished the original pitch level of familiar television theme songs from foils that were pitch-shifted by one semitone, whereas 5- to 8-year-olds failed to do so (Experiment 1). In contrast, Japanese 5- and 6-year-olds distinguished the pitch-shifted foils from the originals, performing significantly better than same-age Canadian children (Experiment 2). Moreover, Japanese 6-year-olds were more accurate than their 5-year-old counterparts. These findings challenge the prevailing view of enhanced pitch memory during early life. We consider factors that may account for Japanese children's superior performance such as their use of a pitch accent language (Japanese) rather than a stress accent language (English) and their experience with musical pitch labels.     

Are consonant intervals music to their ears? Spontaneous acoustic preferences in a nonhuman primate

Humans find some sounds more pleasing than others; such preferences may underlie our enjoyment of music. To gain insight into the evolutionary origins of these preferences, we explored whether they are present in other animals. We designed a novel method to measure the spontaneous sound preferences of cotton-top tamarins, a species that has been extensively tested for other perceptual abilities. Animals were placed in a V-shaped maze, and their position within the maze controlled their auditory environment. One sound was played when they were in one branch of the maze, and a different sound for the opposite branch; no food was delivered during testing. We used the proportion of time spent in each branch as a measure of preference. The first two experiments were designed as tests of our method. In Experiment 1, we used loud and soft white noise as stimuli; all animals spent most of their time on the side with soft noise. In Experiment 2, tamarins spent more time on the side playing species-specific feeding chirps than on the side playing species-specific distress calls. Together, these two experiments suggest that the method is effective, providing a spontaneous measure of preference. In Experiment 3, however, subjects showed no preference for consonant over dissonant intervals. Finally, tamarins showed no preference in Experiment 4 for a screeching sound (comparable to fingernails on a blackboard) over amplitude-matched white noise. In contrast, humans showed clear preferences for the consonant intervals of Experiment 3 and the white noise of Experiment 4 using the same stimuli and a similar method. We conclude that tamarins' preferences differ qualitatively from those of humans. The preferences that support our capacity for music may, therefore, be unique among the primates, and could be music-specific adaptations.     

Hearing a melody in different ways: multistability of metrical interpretation, reflected in rate limits of sensorimotor synchronization

Music commonly induces the feeling of a regular beat (i.e., a metrical structure) in listeners. However, musicians can also intentionally impose a beat (i.e., a metrical interpretation) on a metrically ambiguous passage. The present study aimed to provide objective evidence for this little-studied mental ability. Participants were prompted with musical notation to adopt different metrical interpretations of a cyclically repeated isochronous 12-note melody while tapping in synchrony with specified target tones in the melody. The target tones either coincided with the imposed beat (on-beat tapping) or did not (off-beat tapping). An adaptive staircase method was employed to determine the fastest tempo at which each synchronization task could be performed. For each metrical interpretation, a significant advantage for on-beat over off-beat tapping was obtained - except in a condition in which participants, instead of synchronizing, were in control of the target tones. By showing that a self-imposed beat can affect sensorimotor synchronization, the present results provide objective evidence for endogenous perceptual organization of metrical sequences. It is hypothesized that metrical interpretation rests upon covert rhythmic action.