Musical group interaction (MGI) is a complex social setting requiring certain cognitive skills that may also elicit shared psychological states. We argue that many MGI-specific features may also be important for emotional empathy, the ability to experience another person's emotional state. We thus hypothesized that long-term repeated participation in MGI could help enhance a capacity for emotional empathy even outside of the musical context, through a familiarization with and refinement of MGI empathy-promoting musical components (EPMCs). We tested this hypothesis by designing an MGI programme for primary school children consisting of interactive musical games implementing various EPMCs. We ran the programme for an entire school year and compared the emotional empathy of MGI children to control children using existing and novel measures of empathy before and after the programme. Our results support our hypothesis: MGI children showed higher emotional empathy scores after the study compared to its beginning, and higher scores than control children at the end of the study. These findings shed new light on the emotional processes involved in musical interaction and highlight the remarkable potential of MGI for promoting positive social-emotional capacities such as empathy.

We seem able to define the biological foundations for our musicality within a clear and unitary framework, yet music itself does not appear so clearly definable. Music is different things and does different things in different cultures; the bundles of elements and functions that are music for any given culture may overlap minimally with those of another culture, even for those cultures where “music” constitutes a discrete and identifiable category of human activity in its own right. The dynamics of culture, of music as cultural praxis, are neither necessarily reducible, nor easily relatable, to the dynamics of our biologies. Yet music appears to be a universal human competence. Recent evolutionary theory, however, affords a means for exploring things biological and cultural within a framework in which they are at least commensurable. The adoption of this perspective shifts the focus of the search for the foundations of music away from the mature and particular expression of music within a specific culture or situation and on to the human capacity for musicality. This paper will survey recent research that examines that capacity and its evolutionary origins in the light of a definition of music that embraces music's multifariousness. It will be suggested that music, like speech, is a product of both our biologies and our social interactions; that music is a necessary and integral dimension of human development; and that music may have played a central role in the evolution of the modern human mind.

Background and Purpose— The practicalities of doing ambulance-based trials where paramedics perform all aspects of a clinical trial involving patients with ultra-acute stroke have not been assessed. Methods— We performed a randomized controlled trial with screening, consent, randomization, and treatment performed by paramedics prior to hospitalization. Patients with probable ultra-acute stroke (<4 hours) and systolic blood pressure (SBP) >140 mm Hg were randomized to transdermal glyceryl trinitrate (GTN; 5 mg/24 hours) or none (blinding under gauze dressing) for 7 days with the first dose given by paramedics. The primary outcome was SBP at 2 hours. Results— Of a planned 80 patients, 41 (25 GTN, 16 no GTN) were enrolled >22 months with median age [interquartile range] 79 [16] years; men 22 (54%); SBP 168 [46]; final diagnosis: stroke 33 (80%) and transient ischemic attack 3 (7%). Time to randomization was 55 [75] minutes. After treatment with GTN versus no GTN, SBP at 2 hours was 153 [31] versus 174 [27] mm Hg, respectively, with difference −18 [30] mm Hg ( P =0.030). GTN improved functional outcome with a shift in the modified Rankin Scale by 1 [3] point ( P =0.040). The rates of death, 4 (16%) versus 6 (38%; P =0.15), and serious adverse events, 14 (56%) versus 10 (63%; P =0.75), did not differ between GTN and no GTN. Conclusions— Paramedics can successfully enroll patients with ultra-acute stroke into an ambulance-based trial. GTN reduces SBP at 2 hours and seems to be safe in ultra-acute stroke. A larger trial is needed to assess whether GTN improves functional outcome. Clinical Trial Registration— URL: http://www.controlled-trials.com/ISRCTN66434824/66434824 . Unique identifier: 66434824.

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There is a general consensus that music is both universal and communicative, and musical dialogue is a key element in much musictherapeutic practice. However, the idea that music is a communicative medium has, to date, received little attention within the cognitive sciences, and the limited amount of research that addresses how and what music communicates has resulted in findings that appear to be of limited relevance to music therapy. This paper will draw on ethnomusicological evidence and an understanding of communication derived from the study of speech to sketch a framework within which to situate and understand music as communicative practice. It will outline some key features of music as an interactive participatory medium-including entrainment and floating intentionality-that can help underpin an understanding of music as communicative, and that may help guide experimental approaches in the cognitive science of music to shed light on the processes involved in musical communication and on the consequences of engagement in communication through music for interacting individuals. It will suggest that the development of such approaches may enable the cognitive sciences to provide a more comprehensive, predictive understanding of music in interaction that could be of direct benefit to music therapy.