The Music Effect: Music Physiology and Clinical Applications
Music is well known to have a significant effect on physiology and is widely used as an effective therapeutic tool in stress and pain management, rehabilitation, and behavior modification, but its effects are not well understood. This book explains what 'music' is, how it is processed by and affects the body, and how it can be applied in a range of physiological and psychological conditions. Rhythm, melody, timbre, harmony, dynamics, and form, and their effects on the body are explored in detail, helping practitioners create effective therapy interventions that complement other treatment systems. Case studies and evidence from research and practice show how music therapy can benefit people with autistic spectrum disorders, Down syndrome, schizophrenia, and sensory difficulties, among other conditions. The Music Effect is an essential resource for music therapists, clinicians, educators and anyone with an interest in holistic therapy.
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Chapter 4 Principles of Physiology and the Elements of Sensory Informationprocessing
What Happens When the Setpoints Go Awry?
Chapter 6 Physiological Entrainment
Chapter 7 Rhythm in Music and Physiology
The Pitch of Human Emotion
Adding Richness and Depth to Rhythm and Melody
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ability acoustic action potentials activity adequate stimulus amygdala anatomical and/or attributes auditory system ball basic basilar membrane beats behavior Berger body’s brain Bucky Bucky’s called cells central nervous system Chapter chord clinical intervention clinical music cochlea cognitive deﬁned derived discussed dissonance drive drum dynamics effective elements of music elements ofmusic embedded emotional entrainment expression fear responses fear spiral fight-or-ﬂight ﬁrst ﬁve ﬂow functional adaptation fundamental fundamental frequency further harmonic hearing homeostatic human body inﬂuence information-processing instinctive instruments kinetic language levels limbic system listener mechanisms melody music therapy nerve nervous system neural networks neurotransmitters ofits ofthe ofthe human ofthese ofthis one’s operating set-points organism pathways patterns perceived perception physical physiological physiological function pitch proprioceptive receptor reﬂective relationship resonate result Rhea rhythm rhythmic Robert Schneck sense sensory systems signals sound energy speciﬁc spectrum stimulation survival synesthesia thalamus therapist timbre tion transduced tune various vibrations words
Page 17 - All truth passes through three stages. First, it is ridiculed. Second, it is violently opposed. Third, it is accepted as being self-evident.
Page 32 - What lovely music!" Naturally, we are speaking only in terms of comparison. But then, comparison is not reason. These natural sounds suggest music to us, but are not yet themselves music. If we take pleasure in these sounds by imagining that on being exposed to them we become musicians and even, momentarily, creative musicians, we must admit that we are fooling ourselves. They are promises of music; it takes a human being to keep them: a human being who is sensitive to nature's many...
Page 29 - From this fact, and from the analogy of other animals, I have been led to infer that the progenitors of man probably uttered musical tones, before they had acquired the power of. articulate speech...
Page 26 - Music is thus by no means like the other arts, the copy of the Ideas, but the copy of the will itself, whose objectivity the Ideas are. This is why the effect of music is so much more powerful and penetrating than that of the other arts, for they speak only of shadows, but it speaks of the thing itself.
Page 32 - I SHALL TAKE the most banal example: that of the pleasure we experience on hearing the murmur of the breeze in the trees, the rippling of a brook, the song of a bird. All this pleases us, diverts us, delights us. We may even say: "What lovely music!
Page 28 - Ideas, is entirely independent of the phenomenal world, ignores it altogether, could to a certain extent exist if there were no world at all, which cannot be said of the other arts.
Page 29 - That the pitch of the voice bears some relation to certain states of feeling is tolerably clear. A person gently complaining of ill-treatment, or slightly suffering, almost always speaks in a high-pitched voice. Dogs, when a little impatient, often make a high piping note through their noses, which at once strikes us as plaintive...