Search Results (14)

Background and Objectives: Music therapy has a long tradition in palliative care, and recent studies have investigated its Neuro-Psycho-Endocrine-Immunological (NPEI) effects in terminally ill patients. Despite numerous published articles, there is a lack of a compendium connecting the physiological basis of music therapy with the specific musical elements most effective in end-of-life settings. This narrative review aims to synthesize current evidence on the physiological mechanisms underlying responses to music, with a focus on terminal patients and implications for nursing practice. Materials and Methods: For quality and possible reproducibility, a narrative review was conducted in accordance with Scale for the Assessment of Narrative Review Articles (SANRA) guidelines. The review targeted articles from the past five years indexed in PubMed, CINAHL, Cochrane Library, Embase, Scopus, Web of Science, and PsycInfo, supplemented by additional relevant references identified through manual searching. The PICOS framework was performed to structure the search strategy and study selection, focusing on studies relevant to the biological effects of music therapy in end-of-life care and their practical implications for nursing care. Results: The neurophysiology of music perception in terminal patients is complex, involving a wide array of clinical and cultural factors. Key musical elements—such as rhythm, melody, harmony, tempo, and mode—can influence physiological and psycho-emotional responses. Music therapy interventions, when tailored to the individual’s preferences and cultural background, may modulate parameters like heart rate, blood pressure, stress hormone levels, and pain perception. Evidence supports the need for individualized approaches and highlights the NPEI rationale for integrating music therapy into end-of-life care. Conclusions: A deeper understanding of the scientific mechanisms discussed in this narrative review can enhance the effectiveness of music therapy interventions in end-of-life settings. Nursing practice can benefit by integrating evidence-based selection of musical pieces and personalizing interventions to the clinical and cultural profile of each patient. Further interdisciplinary research is needed to establish standardized criteria for music therapy in palliative care and to optimize outcomes for terminally ill patients. Full article

This paper reconstructs the sound of 19th-century alphorns based on contemporary written descriptions, which allows for a better understanding of literature and compositions that quoted and imitated the alphorn throughout the 19th century. In the absence of sound recordings, historical documents and literary sources provide valuable insights into the timbre of these traditional Alpine instruments. The research examines descriptions from 19th-century texts, comparing them with modern understandings of musical timbre. By analyzing the language used to describe the alphorn’s sound, the study identifies recurring descriptors and contextualizes them within the broader acoustic environment, including the influence of natural sounds like waterfalls and echoes. Historical sources reveal a complex perception of the alphorn’s timbre, described in terms of its resemblance to muted trumpets and a blend of brass and woodwind qualities. Authors such as Hermann Alexander von Berlepsch and François-Joseph Fétis provided detailed accounts, noting contrasting characteristics like “rough”, “soft”, “sharp”, and “melodious”, which varied with the listener’s distance from the instrument. These descriptions highlight the alphorn’s unique sound profile, distinct from modern perceptions that emphasize a warmer, fuller timbre. The findings underscore the importance of considering ecological and psychoacoustic contexts in the study of historical musical instruments. Full article

Background: This study investigated how different hearing profiles influenced melodic contour identification (MCI) in a real-world concert setting with a live band including drums, bass, and a lead instrument. We aimed to determine the impact of various auditory assistive technologies on music perception in an ecologically valid environment. Methods: The study involved 43 participants with varying hearing capabilities: normal hearing, bilateral hearing aids, bimodal hearing, single-sided cochlear implants, and bilateral cochlear implants. Participants were exposed to melodies played on a piano or accordion, with and without an electric bass as a masker, accompanied by a basic drum rhythm. Bayesian logistic mixed-effects models were utilized to analyze the data. Results: The introduction of an electric bass as a masker did not significantly affect MCI performance for any hearing group when melodies were played on the piano, contrary to its effect on accordion melodies and previous studies. Greater challenges were observed with accordion melodies, especially when accompanied by an electric bass. Conclusions: MCI performance among hearing aid users was comparable to other hearing-impaired profiles, challenging the hypothesis that they would outperform cochlear implant users. A cohort of short melodies inspired by Western music styles was developed for future contour identification tasks. Full article

The most prevalent sensory impairment impacting the elderly is age-related hearing loss (HL), which affects around 65% of individuals over the age of 60 years. This bilateral, symmetrical sensorineural impairment profoundly affects auditory perception, speech discrimination, and the overall understanding of auditory signals. Influenced by diverse factors, age-related HL can substantially influence an individual’s quality of life and mental health and can lead to depression. Cochlear implantation (CI) stands as a standard intervention, yet despite advancements, music perception challenges persist, which can be addressed with individualized music therapy. This case report describes the journey of an 81-year-old musician through profound sensorineural hearing loss, cochlear implantation, and rehabilitative music therapy. Auditory evaluations, musical exercises, and quality of life assessments highlighted meaningful improvements in music perception, auditory skills, and overall satisfaction post-implantation. Music therapy facilitated emotional, functional, and musical levels of engagement, notably enhancing his ability to perceive melody, rhythm, and different instruments. Moreover, subjective assessments and audiograms indicated marked improvements in auditory differentiation, music enjoyment, and overall hearing thresholds. This comprehensive approach integrating bilateral CIs and music therapy showcased audiological and quality of life enhancements in an elderly individual with profound hearing loss, emphasizing the efficacy of this combined treatment approach. Full article

Previous research suggests that musical ability is associated with language processing and foreign language pronunciation. Whether musical ability is associated with the ability to generate intelligible unfamiliar utterances has not been investigated. Furthermore, how unfamiliar languages are perceived has rarely been related to musical ability. We tested 80 healthy adults, with a mean age of 34.05 and a combination of 41 women and 39 men. We used batteries of perceptual and generational music and language measures to assess foreign language intelligibility and musical capacity. Regression analysis revealed that five measures explained the variance in the intelligibility of unfamiliar foreign utterances. These were short-term memory capacity, melodic singing ability, speech perception ability, and how melodic and memorable the utterances sounded to the participants. Correlational analyses revealed that musical aptitude measures are related to melodic perception and how memorable unfamiliar utterances sound, whereas singing aptitude is related to the perceived difficulty level of the language material. These findings provide novel evidence of the link between musical and speech abilities. In particular, intelligibility measures are associated with singing aptitude and how melodic languages appear to be. As impressions on how foreign languages are perceived are also related to musical capacities, perceptual language parameters address a new perspective that facilitates the understanding of the link between music and language in general. Full article

We examined the effects of background music on cognitive task performances using different musical arrangements from an excerpt of Mozart’s Piano Sonata K.448. The participants were 126 university students: 70 music majors and 56 nonmusic majors. Three types of musical arrangements were used as background conditions: rhythm-only, melody, and original music conditions. Participants were asked to perform cognitive tasks in the presence of each music condition. The participants’ percentage of completed items and accuracy on these tasks were compared for music and nonmusic majors, controlling for the effect of perceived level of arousal and their performance during no background music. Whether a participant’s perceptions of background music predicted their cognitive performance was also analyzed. We found that music majors demonstrated decreased task performance for the original background condition, while nonmusic majors demonstrated no significant differences in performance across the arrangements. When pitch or rhythm information was modified, emotional valence and arousal were perceived differently. Perception of the complexity of the background music depending on the arrangement type differed between music majors and nonmusic majors. While the perceived complexity significantly predicted nonmusic majors’ cognitive performance, its predictive effect was not found in music majors. The findings imply that perceptions of musical arrangements in terms of expectancy and complexity can be critical factors in determining how arrangements affect concurrent cognitive activity, while suggesting that music itself is not a facilitating or detrimental factor for cognitive performance. Full article

With the rise in life expectancy and the consequent increase in the elderly population, the use of cochlear implants (CI) in elderly patients with hearing loss is also increasing. The aim of this study was to investigate whether music appreciation in elderly CI users differs from that of non-elderly users. Forty-nine adult CI recipients participated in the study, and the Korean version of the Music Background Questionnaire was utilized preoperatively and postoperatively to evaluate music appreciation. The changes between the preoperative and postoperative values were compared after categorizing the participants into a non-elderly group (<65 years; n = 31) and an elderly group (≥65 years; n = 18). When compared to the non-elderly group, the elderly individuals exhibited a significant decrease in music listening times, without a significant change in the genre of music listened to following CI surgery. Moreover, the elderly group demonstrated significant decreases in music appreciation scores in terms of music quality and music elements, perceiving music as less natural, less clear, and more complex. They also exhibited significant changes in scores with respect to perception of rhythm, melody, timbre, and lyrics. This susceptibility to postoperative changes in music appreciation among elderly CI users should be considered in surgical counseling and music training programs. Full article

The perception of harmonic complexes provides important information for musical and vocal communication. Numerous studies have shown that musical training and expertise are associated with better processing of harmonic complexes, however, it is unclear whether the perceptual improvement associated with musical training is universal to different pitch models. The current study addresses this issue by measuring discrimination thresholds of musicians (n = 20) and non-musicians (n = 18) to diotic (same sound to both ears) and dichotic (different sounds to each ear) sounds of four stimulus types: (1) pure sinusoidal tones, PT; (2) four-harmonic complex tones, CT; (3) iterated rippled noise, IRN; and (4) interaurally correlated broadband noise, called the “Huggins” or “dichotic” pitch, DP. Frequency difference limens (DLF) for each stimulus type were obtained via a three-alternative-forced-choice adaptive task requiring selection of the interval with the highest pitch, yielding the smallest perceptible fundamental frequency (F0) distance (in Hz) between two sounds. Music skill was measured by an online test of musical pitch, melody and timing maintained by the International Laboratory for Brain Music and Sound Research. Musicianship, length of music experience and self-evaluation of musical skill were assessed by questionnaire. Results showed musicians had smaller DLFs in all four conditions with the largest group difference in the dichotic condition. DLF thresholds were related to both subjective and objective musical ability. In addition, subjective self-report of musical ability was shown to be a significant variable in group classification. Taken together, the results suggest that music-related plasticity benefits multiple mechanisms of pitch encoding and that self-evaluation of musicality can be reliably associated with objective measures of perception. Full article

Research has shown that melody not only plays a crucial role in music but also in language acquisition processes. Evidence has been provided that melody helps in retrieving, remembering, and memorizing new language material, while relatively little is known about whether individuals who perceive speech as more melodic than others also benefit in the acquisition of oral languages. In this investigation, we wanted to show which impact the subjective melodic perception of speech has on the pronunciation of unfamiliar foreign languages. We tested 86 participants for how melodic they perceived five unfamiliar languages, for their ability to repeat and pronounce the respective five languages, for their musical abilities, and for their short-term memory (STM). The results revealed that 59 percent of the variance in the language pronunciation tasks could be explained by five predictors: the number of foreign languages spoken, short-term memory capacity, tonal aptitude, melodic singing ability, and how melodic the languages appeared to the participants. Group comparisons showed that individuals who perceived languages as more melodic performed significantly better in all language tasks than those who did not. However, even though we expected musical measures to be related to the melodic perception of foreign languages, we could only detect some correlations to rhythmical and tonal musical aptitude. Overall, the findings of this investigation add a new dimension to language research, which shows that individuals who perceive natural languages to be more melodic than others also retrieve and pronounce utterances more accurately. Full article

In tonal music, musical tension is strongly associated with musical expression, particularly with expectations and emotions. Most listeners are able to perceive musical tension subjectively, yet musical tension is difficult to be measured objectively, as it is connected with musical parameters such as rhythm, dynamics, melody, harmony, and timbre. Musical tension specifically associated with melodic and harmonic motion is called tonal tension. In this article, we are interested in perceived changes of tonal tension over time for chord progressions, dubbed tonal tension profiles. We propose an objective measure capable of capturing tension profile according to different tonal music parameters, namely, tonal distance, dissonance, voice leading, and hierarchical tension. We performed two experiments to validate the proposed model of tonal tension profile and compared against Lerdahl’s model and MorpheuS across 12 chord progressions. Our results show that the considered four tonal parameters contribute differently to the perception of tonal tension. In our model, their relative importance adopts the following weights, summing to unity: dissonance (0.402), hierarchical tension (0.246), tonal distance (0.202), and voice leading (0.193). The assumption that listeners perceive global changes in tonal tension as prototypical profiles is strongly suggested in our results, which outperform the state-of-the-art models. Full article

Sleep inertia is a decline in cognition one may experience upon and following awakening. A recent study revealed that an alarm sound perceived as melodic by participants displayed a significant relationship to reports of reductions in perceived sleep inertia. This current research builds on these findings by testing the effect melody and rhythm exhibit on sleep inertia for subjects awakening in their habitual environments. Two test Groups (A and B; N = 10 each) completed an online psychomotor experiment and questionnaire in two separate test sessions immediately following awakening from nocturnal sleep. Both groups responded to a control stimulus in the first session, while in the second session, Group A experienced a melodic treatment, and Group B a rhythmic treatment. The results show that the melodic treatment significantly decreased attentional lapses, false starts, and had a significantly improved psychomotor vigilance test (PVT) performance score than the control. There was no significant result for reaction time or response speed. Additionally, no significant difference was observed for all PVT metrics between the control–rhythmic conditions. The results from this analysis support melodies’ potential to counteract symptoms of sleep inertia by the observed increase in participant vigilance following waking from nocturnal sleep. Full article

Tonal languages make use of pitch variation for distinguishing lexical semantics, and their melodic richness seems comparable to that of music. The present study investigated a novel priming effect of melody on the pitch processing of Mandarin speech. When a spoken Mandarin utterance is preceded by a musical melody, which mimics the melody of the utterance, the listener is likely to perceive this utterance as song. We used functional magnetic resonance imaging to examine the neural substrates of this speech-to-song transformation. Pitch contours of spoken utterances were modified so that these utterances can be perceived as either speech or song. When modified speech (target) was preceded by a musical melody (prime) that mimics the speech melody, a task of judging the melodic similarity between the target and prime was associated with increased activity in the inferior frontal gyrus (IFG) and superior/middle temporal gyrus (STG/MTG) during target perception. We suggest that the pars triangularis of the right IFG may allocate attentional resources to the multi-modal processing of speech melody, and the STG/MTG may integrate the phonological and musical (melodic) information of this stimulus. These results are discussed in relation to subvocal rehearsal, a speech-to-song illusion, and song perception. Full article

The acoustic cues that guide the assignment of phrase boundaries in music (pauses and pitch movements) overlap with those that are known for speech prosody. Based on this, researchers have focused on highlighting the similarities and neural resources shared between music and speech prosody segmentation. The possibility that music-specific expectations add to acoustic cues in driving the segmentation of music into phrases could weaken this bottom-up view, but it remains underexplored. We tested for domain-specific expectations in music segmentation by comparing the segmentation of the same set of ambiguous stimuli under two different instructions: stimuli were either presented as speech prosody or as music. We measured how segmentation differed, in each instruction group, from a common reference (natural speech); thus, focusing on how instruction affected delexicalization effects (natural speech vs. transformed versions with no phonetic content) on segmentation. We saw interactions between delexicalization and instruction on most segmentation indices, suggesting that there is a music mode, different from a speech prosody mode in segmentation. Our findings highlight the importance of top-down influences in segmentation, and they contribute to rethinking the analogy between music and speech prosody. Full article

A key for earcon design in public environments is to incorporate an individual’s perceived level of cognitive load for better communication. This study aimed to examine the cognitive load changes required to perform a melodic contour identification task (CIT). While healthy college students (N = 16) were presented with five CITs, behavioral (reaction time and accuracy) and cerebral hemodynamic responses were measured using functional near-infrared spectroscopy. Our behavioral findings showed a gradual increase in cognitive load from CIT1 to CIT3 followed by an abrupt increase between CIT4 (i.e., listening to two concurrent melodic contours in an alternating manner and identifying the direction of the target contour, p < 0.001) and CIT5 (i.e., listening to two concurrent melodic contours in a divided manner and identifying the directions of both contours, p < 0.001). Cerebral hemodynamic responses showed a congruent trend with behavioral findings. Specific to the frontopolar area (Brodmann’s area 10), oxygenated hemoglobin increased significantly between CIT4 and CIT5 (p < 0.05) while the level of deoxygenated hemoglobin decreased. Altogether, the findings indicate that the cognitive threshold for young adults (CIT5) and appropriate tuning of the relationship between timbre and pitch contour can lower the perceived cognitive load and, thus, can be an effective design strategy for earcon in a public environment. Full article