Varieties of musical experience

Bharucha, Jamshed J.; Curtis, Meagan; Paroo, Kaivon

doi:10.1016/j.cognition.2005.11.008

Cited by 56 publications

(51 citation statements)

References 125 publications

(199 reference statements)

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“…In addition to addressing a long-standing concern in neuroscience regarding perceptual-neural plasticity, our finding has implications for sensory preference (e.g., why some people adore music other people cannot stand), education (e.g., how training effects experience), and communication (e.g., how different people can hear different things in the same musical piece or sequence of sensory stimuli). In terms of Bharucha et al's musical perception framework of a code transforming acoustic signals to cognitive representation [Bharucha et al, 2006], this study shows that different listening biographies create different codes: multimodal familiarity causes listeners to transform music into experience differently.…”

Section: A Broader Account Of Auditory Expertisementioning

confidence: 78%

“…For example, in speech, combinations of formants (CF) and formant transitions (FM) form certain consonant-vowel sequences, which are arguably represented in the middle and anterior portion of the superior temporal region [Binder et al, 2000;Liebenthal et al, 2005;Scott et al, 2000]. In music, cognition has been framed as the transformation of acoustic input to conscious experience via formal eliciting codes, a process parallel to language cognition in the codes' selection of communicatively relevant aspects of the acoustic stimulus [Bharucha et al, 2006]. For example, combinations of tones form chords and harmonic progressions that can be syntactically appropriate or inappropriate, a distinction registered in Broca's area [Maess et al, 2001].…”

Section: Introductionmentioning

confidence: 99%

“…Given a musician's special set of long-term experiences with listening to and creating a set of sounds (their ''listening biography''), we ask whether neural sensitivity reflects not only IBE combinations that are typically communication-relevant, but also distinct IBE combinations that have become relevant across the course of this extensive history. In the terminology of Bharucha et al [2006], do the special listening biographies of instrumentalists create special formal listening codes? To answer this question, cerebral hemodynamic responses in highlytrained classical violinists and flutists were measured (using fMRI) while they listened to two sets of musical excerpts from the same style and genre (Bach Partitas): one for their instrument of expertise (violin or flute), and one for the other instrument.…”

Section: Introductionmentioning

confidence: 99%

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Selective neurophysiologic responses to music in instrumentalists with different listening biographies

Margulis

Mlsna

Uppunda

et al. 2007

Human Brain Mapping

120

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To appropriately adapt to constant sensory stimulation, neurons in the auditory system are tuned to various acoustic characteristics, such as center frequencies, frequency modulations, and their combinations, particularly those combinations that carry species-specific communicative functions. The present study asks whether such tunings extend beyond acoustic and communicative functions to auditory self-relevance and expertise. More specifically, we examined the role of the listening biographyan individual's long term experience with a particular type of auditory input-on perceptual-neural plasticity. Two groups of expert instrumentalists (violinists and flutists) listened to matched musical excerpts played on the two instruments (J.S. Bach Partitas for solo violin and flute) while their cerebral hemodynamic responses were measured using fMRI. Our experimental design allowed for a comprehensive investigation of the neurophysiology (cerebral hemodynamic responses as measured by fMRI) of auditory expertise (i.e., when violinists listened to violin music and when flutists listened to flute music) and nonexpertise (i.e., when subjects listened to music played on the other instrument). We found an extensive cerebral network of expertise, which implicates increased sensitivity to musical syntax (BA 44), timbre (auditory association cortex), and sound-motor interactions (precentral gyrus) when listening to music played on the instrument of expertise (the instrument for which subjects had a unique listening biography). These findings highlight auditory self-relevance and expertise as a mechanism of perceptual-neural plasticity, and implicate neural tuning that includes and extends beyond

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Section: A Broader Account Of Auditory Expertisementioning

confidence: 78%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Selective neurophysiologic responses to music in instrumentalists with different listening biographies

Margulis

Mlsna

Uppunda

et al. 2007

Human Brain Mapping

120

View full text Add to dashboard Cite

show abstract

“…Attributions of emotional content to music are likely to be based on shared competence of listeners of a 'musical syntax' (Lerdahl and Jackendoff 1983;Jackendoff and Lerdal 2005;Sloboda 1985) or on an (often intuitive) understanding of musical structure (Bharucha et al 2006;Gabrielsson and Lindström 2001). But it would also seem that single intervals can actually differ in meaning in a way that is rather consistent among listeners: In his influential book ''The language of music'', Cooke (1959) claimed that music, and in particularly intervals, have universal emotional effects (e.g., major third = pleasure) and he presented an impressive array of musical examples from classical European music to support this hypothesis.…”

Section: (Arthur Schopenhauer 1818)mentioning

confidence: 99%

The emotional meaning of harmonic intervals

Oelmann

Laeng

2008

Cogn Process

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The present study reexamines the hypothesis that there exist emotional attributions specific to simple musical elements. In Experiment 1, groups of participants, with varying musical expertise, rated the emotional meaning of four natural intervals heard as two harmonic sine waves. In Experiment 2, the higher tone was kept constant at an octave above the low tone used in Experiment 1, while the lower tone was constant. Attributions for each interval were positively correlated from one experimental session to another; despite the intervals differed in terms of their component pitches. Musicians gave the most reliable choices of meaning. In a third experiment, participants rated the emotional meaning of various unfamiliar ethnic melodies with expressions describing the intervals' meaning based on the results of Experiment 1 and 2. There were distinct profiles of emotional meanings for each melody and these coincided with the meaning of intervals that constituted the surface and deep structure of each melody. The intervallic structures (i.e., the main intervals of the tunes) and respective chords for each melody were also presented aurally and participants' ratings showed similar emotional profiles for these when compared to those of the melodies themselves.

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“…In this regard, the psycho-acoustical investigations that aimed at understanding the direct influence of different frequency components on the brain activity (involving cognitive functions) and consciousness have also been carried out (Tufail et al, 2011;Raman et al, 2013;Fukushima et al, 2014;Han-Moi et al, 2014). Such findings help in crafting various desired/influential sound frequencies (that could eISSN 1303-5150 www.neuroquantology.com range over spectrum of frequencies below (infrasonic) and above (ultrasonic) the audible (sonic) range; 20Hz to 20,000Hz) for alternative healing purposes (Rakovic et al, 2004;Bharucha et al, 2006;Dossey, 2008;Huang, 2010;Gaona et al, 2014;Pereira, 2015b). This shows that consciousness is sensitive to certain frequencies or vibrations and understanding in depth as to how it is connected to such a frequency/sound at a fundamental level could give us an idea of its nature and other functional aspects.…”

Section: Discussionmentioning

confidence: 99%

An Essay on ‘Fracto-Resonant’ Nature of Life

Pereira¹,

Reddy²

2016

Neuroquantology

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Fractals are built from patterns generated from immense complexity within the resonant frequencies that connect and tune the universe. Play of such frequencies would result in the exchange of energy and coupling of informational systems at various levels and scales. The present essay serves as a small ride into life's association with such phenomenon. At a fundamental level communication happens via process called 'resonance' (in energy terms), and this in turn manifests at a physical (or material) level as self-replicating and self-resonating patterns called 'fractals.' This could be the reason why at a physical level every structure (associated with both animate and inanimate entities) carries this fractal imprint nature, making it the cosmic signature (as embedded in the spatial grain). The fractal patterns popping out in the natural world surrounding us could be thought of as frozen energy or resonant life patterns. Thus, we hypothesize life could have emerged or appeared as a 'fracto-resonant' phenomenon, resulting from the play of interference between material and non-material aspects. In this regard, we propose frequencies or vibrations to be more fundamental to life and call for scientific studies that aim at understanding the effect of various frequencies and vibrations on life forms and consciousness.

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Varieties of musical experience

Cited by 56 publications

References 125 publications

Selective neurophysiologic responses to music in instrumentalists with different listening biographies

Selective neurophysiologic responses to music in instrumentalists with different listening biographies

The emotional meaning of harmonic intervals

An Essay on ‘Fracto-Resonant’ Nature of Life

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