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Music is an effective means of stress-reduction. However, to date there has been no systematic comparison between musical and language-based means of stress reduction in an ambulatory setting. Furthermore, although the aim for listening to music appears to play a role in its effect, this has not yet been investigated thoroughly. We compared musical means, language-based means like guided relaxation or self-enhancement exercises, and a combination of both with respect to their potential to reduce perceived stress. Furthermore, we investigated whether the aim one wants to achieve by listening to these means had an impact on their effect. We tested 64 participants (age: M = 40.09 years; 18 female) for 3–10 days during their everyday life using an app containing three means: musical means, language-based means, and a combination of both. For the music and the combination conditions participants were asked to select an aim: relaxation or activation. We measured perceived stress, relaxation, activation, and electrical skin resistance (ESR) as a marker of sympathetic nervous system (SNS) activity before and after using the app. Participants were instructed to use the app as often as desired. Overall, perceived stress was reduced after using the app, while perceived relaxation and activation were increased. There were no differences between the three means regarding their effect on perceived stress and relaxation, but music led to a greater increase in ESR and perceived activation compared to the other means. There was a decrease in ESR only for music. Moreover, perceived stress was reduced and perceived relaxation was increased to greater extent if the aim “relaxation” had been selected. Perceived activation, however, showed a larger increase if the aim had been “activation,” which was even more marked in the case of music listening. Our results indicate that all three means reduced perceived stress and promoted feelings of relaxation and activation. For enhancing feelings of activation music seems to be more effective than the other means, which was reflected in increased SNS activity as well. Furthermore, the choice of an aim plays an important role for the reduction of stress, and promotion of relaxation and activation.
A body of research demonstrates convincingly a role for synchronization of auditory cortex to rhythmic structure in sounds including speech and music. Some studies hypothesize that an oscillator in auditory cortex could underlie important temporal processes such as segmentation and prediction. An important critique of these findings raises the plausible concern that what is measured is perhaps not an oscillator but is instead a sequence of evoked responses. The two distinct mechanisms could look very similar in the case of rhythmic input, but an oscillator might better provide the computational roles mentioned above (i.e., segmentation and prediction). We advance an approach to adjudicate between the two models: analyzing the phase lag between stimulus and neural signal across different stimulation rates. We ran numerical simulations of evoked and oscillatory computational models, showing that in the evoked case,phase lag is heavily rate-dependent, while the oscillatory model displays marked phase concentration across stimulation rates. Next, we compared these model predictions with magnetoencephalography data recorded while participants listened to music of varying note rates. Our results show that the phase concentration of the experimental data is more in line with the oscillatory model than with the evoked model. This finding supports an auditory cortical signal that (i) contains components of both bottom-up evoked responses and internal oscillatory synchronization whose strengths are weighted by their appropriateness for particular stimulus types and (ii) cannot be explained by evoked responses alone.
Attractiveness ratings for musicians and non-musicians: An evolutionary-psychology perspective
(2019)
From an evolutionary perspective, musical behavior such as playing an instrument can be considered as part of an individual’s courting behavior. Playing a musical instrument or singing might fulfill a function similar to that of a bird’s colored feathers: attracting attention. Therefore, musicians may be rated as more attractive than non-musicians. In an online survey, 137 volunteers (95 female) with ages ranging from 16 to 39 years rated the attractiveness of fictitious persons of the opposite sex described in short verbal profiles. These profiles differed with respect to whether the described person made music or not. Additionally, the musicians’ profiles varied with regard to whether the described person played music or sang in public or in private only. Results show that musicians’ profiles were not generally rated as more attractive than non-musicians’, but attractiveness did vary according to setting: private musicians were rated as most attractive, followed by non-musicians and public musicians. Furthermore, results indicate that participants who played a musical instrument or sang themselves gave higher ratings to profiles of musicians. But for participants who do not make music themselves, higher attractiveness ratings for musicians playing instruments or sing in private settings were found. These results indicate that the impression of sharing a common interest (making music) and furthermore making music in private instrumental settings seems to make people attractive to other people. No additional support for the sexual selection hypotheses for the evolution of music was provided by the current results. The musical status of the rater affected his or her judgements, with musicians rating other people as more attractive if they share the common interest in making music. Not the display of being a musician seems to be critical for attractiveness ratings but the perceived or imagined similarity by the rater created by information on musicality, fostering the theoretical significance of the communication aspect of music.
European Music Portfolio (EMP) – Maths: 'Sounding ways into mathematics' : teacher’s handbook
(2016)
Music and mathematics share an odd character: many people believe that they are not good at one or the other (or both). However, ‘I cannot sing’ or ‘I never understood mathematics’ will probably not keep them from having successful careers, and nor will it change the opinions others have about them.
The project ‘European Music Portfolio – Sounding Ways into Mathematics’ (EMP-Maths) aims towards a different understanding with regards to this character. Everyone can sing and make music, and everyone can do mathematics. Both topics are integral parts of our life and society. What needs to be improved is our ability to give students opportunities to like them.
This teacher’s handbook presents activities with different mathematical and musical content in order to offer teachers resources, ideas and examples. These activities are designed to be expandable, adaptable to different contexts, and adjustable to the needs of each teacher and their students. Furthermore, these activities are not just planned to be carried out individually; a teaching unit could be used to make sense of them, or they could even be developed in connection with each other.
Apart from this teacher’s handbook, the project provides a continuing professional development (CPD) course, a webpage (http://maths.emportfolio.eu) from which all materials can be downloaded, and an online collaboration platform. A general overview of related literature and research is available in separate documents. Additional teacher booklets provide related materials and a brief overview of the theoretical background, and are the basis for the CPD courses. The project ‘Sounding Ways into Mathematics’ is related to the EMP-Languages project ‘A Creative Way into Languages’ (http://emportfolio.eu/emp/).
Families are central to the social and emotional development of youth, and most families engage in musical activities together, such as listening to music or talking about their favorite songs. However, empirical evidence of the positive effects of musical family rituals on social cohesion and emotional well-being is scarce. Furthermore, the role of culture in the shaping of musical family rituals and their psychological benefits has been neglected entirely. This paper investigates musical rituals in families and in peer groups (as an important secondary socialization context) in two traditional/collectivistic and two secular/individualistic cultures, and across two developmental stages (adolescence vs. young adulthood). Based on cross-sectional data from 760 young people in Kenya, the Philippines, New Zealand, and Germany, our study revealed that across cultures music listening in families and in peer groups contributes to family and peer cohesion, respectively. Furthermore, the direct contribution of music in peer groups on well-being appears across cultural contexts, whereas musical family rituals affect emotional well-being in more traditional/collectivistic contexts. Developmental analyses show that musical family rituals are consistently and strongly related to family cohesion across developmental stages, whereas musical rituals in peer groups appear more dependent on the developmental stage (in interaction with culture). Contributing to developmental as well as cross-cultural psychology, this research elucidated musical rituals and their positive effects on the emotional and social development of young people across cultures. The implications for future research and family interventions are discussed.