Музыка және психология: ғылымдар тоғысығы

Branch of both psychology and musicology

Music psychology, or the psychology of music, may be regarded as a branch of both psychology and musicology. It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life. Modern music psychology is primarily empirical; its knowledge tends to advance on the basis of interpretations of data collected by systematic observation of and interaction with human participants. Music psychology is a field of research with practical relevance for many areas, including music performance, composition, education, criticism, and therapy, as well as investigations of human attitude, skill, performance, intelligence, creativity, and social behavior. Music psychology can shed light on non psychological aspects of musicology and musical practice. For example, it contributes to music theory through investigations of the perception and computational modelling of musical structures such as melody, harmony, tonality, rhythm, meter, and form. Research in music history can benefit from systematic study of the history of musical syntax, or from psychological analyses of composers and compositions in relation to perceptual, affective, and social responses to their music.

The study of sound and musical phenomena prior to the 19th century was focused primarily on the mathematical modelling of pitch and tone. As structuralism gave way to Gestalt psychology and behaviorism at the turn of the century, music psychology moved beyond the study of isolated tones and elements to the perception of their inter relationships and human reactions to them, though work languished behind that of visual perception.

Music psychology in the second half of the 20th century has expanded to cover a wide array of theoretical and applied areas. From the 1960s the field grew along with cognitive science, including such research areas as music perception (particularly of pitch, rhythm, harmony, and melody), musical development and aptitude, music performance, and affective responses to music. While the techniques of cognitive psychology allowed for more objective examinations of musical behavior and experience, the theoretical and technological advancements of neuroscience have greatly shaped the direction of music psychology into the 21st century. With the growth of music psychology throughout the 20th and 21st centuries, literature surrounding the field lacks proper forms of feedback. This is due in part to a lack of rigor within the testing process. More empirically robust studies would help to further the field. While the majority of music psychology research has focused on music in a Western context, the field has expanded along with ethnomusicology to examine how the perception and practice of music differs between cultures. It has also emerged into the public sphere. In recent years several bestselling popular science books have helped bring the field into public discussion, notably Daniel Levitin's This Is Your Brain On Music (2006) and The World in Six Songs (2008), Oliver Sacks' Musicophilia (2007), and Gary Marcus' Guitar Zero (2012). In addition, the controversial "Mozart effect" sparked lengthy debate among researchers, educators, politicians, and the public regarding the relationship between classical music listening, education, and intelligence.

Much work within music psychology seeks to understand the cognitive processes that support musical behaviors, including perception, comprehension, memory, attention, and performance. Originally arising in fields of psychoacoustics and sensation, cognitive theories of how people understand music more recently encompass neuroscience, cognitive science, music theory, music therapy, computer science, psychology, philosophy, and linguistics.

Music has been shown to consistently elicit emotional responses in its listeners, and this relationship between human affect and music has been studied in depth. According to research, listening to music has been found to affect the mood of an individual. The main factors in whether it will affect that individual positively or negatively are based on the musics tempo and style. In addition, listening to music also increases cognitive functions, creativity, and decreases feelings of fatigue. All of these factors lead to better workflow and a more optimal result in the activity done while listening to music. This leads to the conclusion that listening to music while performing an activity is an excellent way of increasing productivity and the overall experience. It has been proposed that the ability to understand the emotional meaning of music might rely on the existence of a common neural system for processing the affective meaning of voices/vocalizations and musical sounds. In addition to emotional responses, music has influenced the lifestyles of individuals and changed people's perceptions of what "sexy" is. Although music cannot resolve all human beings needs, it is heavily relied on to alter the feelings and emotions.

A significant amount of research concerns brain based mechanisms involved in the cognitive processes underlying music perception and performance. These behaviours include music listening, performing, composing, reading, writing, and ancillary activities. It also is increasingly concerned with the brain basis for musical aesthetics and musical emotion. Scientists working in this field may have training in cognitive neuroscience, neurology, neuroanatomy, psychology, music theory, computer science, and other allied fields, and use such techniques as functional magnetic resonance imaging (fMRI), transcranial magnetic stimulation (TMS), magnetoencephalography (MEG), electroencephalography (EEG), and positron emission tomography (PET). The cognitive process of performing music requires the interaction of neural mechanisms in both motor and auditory systems. Since every action expressed in a performance produces a sound that influences subsequent expression, this leads to impressive sensorimotor interplay.

Perceived pitch typically depends on the fundamental frequency, though the dependence could be mediated solely by the presence of harmonics corresponding to that fundamental frequency. The perception of a pitch without the corresponding fundamental frequency in the physical stimulus is called the pitch of the missing fundamental. suggesting that pitch constancy may be enabled by such a neural mechanism. Pitch constancy refers to the ability to perceive pitch identity across changes in acoustical properties, such as loudness, temporal envelope, or timbre. These data suggest a hierarchical system for pitch processing, with more abstract properties of sound stimulus processed further along the processing pathways.

Absolute pitch (AP) is the ability to identify the pitch of a musical tone or to produce a musical tone at a given pitch without the use of an external reference pitch. Researchers estimate the occurrence of AP to be 1 in 10,000 people. The extent to which this ability is innate or learned is debated, with evidence for both a genetic basis and for a "critical period" in which the ability can be learned, especially in conjunction with early musical training.

Behavioural studies demonstrate that rhythm and pitch can be perceived separately, but that they also interact in creating a musical perception. Studies of auditory rhythm discrimination and reproduction in patients with brain injury have linked these functions to the auditory regions of the temporal lobe, but have shown no consistent localization or lateralization. Neuropsychological and neuroimaging studies have shown that the motor regions of the brain contribute to both perception and production of rhythms. Even in studies where subjects only listen to rhythms, the basal ganglia, cerebellum, dorsal premotor cortex (dPMC) and supplementary motor area (SMA) are often implicated. Music at a lower volume can reduce anxiety and blood pressure while improving mood, alertness, and memory. Listening to music at a moderate volume can maximize the benefits of listening to music. This happens because you receive all of the positive benefits of listening to music, without the risk of permanently damaging the delicate aspects of the ear.

Although auditory–motor interactions can be observed in people without formal musical training, musicians are an excellent population to study because of their long established and rich associations between auditory and motor systems. Musicians have been shown to have anatomical adaptations that correlate with their training. Other studies have shown that early musical training may positively affect word reading, by promoting the specialization of an extra right sided "note visual area" to process spatially relevant visual information (i. e., pentagram, bars, etc.) This neuroplastic effect might help prevent surface dyslexia. Music learning also involves the formation of novel audio visuomotor associations, which results in the ability to detect an incorrect association between sounds and the corresponding musical gestures, also allowing to learn how to play a musical instrument.

Previous neuroimaging studies have consistently reported activity in the SMA and premotor areas, as well as in auditory cortices, when non musicians imagine hearing musical excerpts. Recruitment of the SMA and premotor areas is also reported when musicians are asked to imagine performing.

Psychoacoustics is the scientific study of sound perception. More specifically, it is the branch of science studying the psychological and physiological responses associated with sound (including speech and music). Topics of study include perception of the pitch, timbre, loudness and duration of musical sounds and the relevance of such studies for music cognition or the perceived structure of music; and auditory illusions and how humans localize sound, which can have relevance for musical composition and the design of venues for music performance. Psychoacoustics is a branch of psychophysics.

Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical knowledge with the goal of understanding both music and cognition. Cognitive musicology can be differentiated from the fields of music cognition and cognitive neuroscience of music by a difference in methodological emphasis. Cognitive musicology uses computer modeling to study music related knowledge representation and has roots in artificial intelligence and cognitive science. The use of computer models provides an exacting, interactive medium in which to formulate and test theories. This interdisciplinary field investigates topics such as the parallels between language and music in the brain. Biologically inspired models of computation are often included in research, such as neural networks and evolutionary programs. This field seeks to model how musical knowledge is represented, stored, perceived, performed, and generated. By using a well structured computer environment, the systematic structures of these cognitive phenomena can be investigated.

Evolutionary musicology concerns the "origin of music, the question of animal song, selection pressures underlying music evolution", and "music evolution and human evolution". It seeks to understand music perception and activity in the context of evolutionary theory. Charles Darwin speculated that music may have held an adaptive advantage and functioned as a protolanguage, a view which has spawned several competing theories of music evolution. An alternate view sees music as a by product of linguistic evolution; a type of "auditory cheesecake" that pleases the senses without providing any adaptive function. This view has been directly countered by numerous music researchers.

An individual's culture or ethnicity plays a role in their music cognition, including their preferences, emotional reaction, and musical memory. Musical preferences are biased toward culturally familiar musical traditions beginning in infancy, and adults' classification of the emotion of a musical piece depends on both culturally specific and universal structural features. Additionally, individuals' musical memory abilities are greater for culturally familiar music than for culturally unfamiliar music.

Many areas of music psychology research focus on the application of music in everyday life as well as the practices and experiences of the amateur and professional musician. Each topic may utilize knowledge and techniques derived from one or more of the areas described above. Such areas include:

Consumers' choices in music have been studied as they relate to the Big Five personality traits: openness to experience, agreeableness, extraversion, neuroticism, and conscientiousness. In general, the plasticity traits (openness to experience and extraversion) affect music preference more than the stability traits (agreeableness, neuroticism, and conscientiousness). Gender has been shown to influence preference, with men choosing music for primarily cognitive reasons and women for emotional reasons. Relationships with music preference have also been found with mood and nostalgic association.

The study of background music focuses on the impact of music with non musical tasks, including changes in behavior in the presence of different types, settings, or styles of music. In laboratory settings, music can affect performance on cognitive tasks (memory, attention, and comprehension), both positively and negatively. Used extensively as an advertising aid, music may also affect marketing strategies, ad comprehension, and consumer choices. Background music can influence learning, working memory and recall, performance while working on tests, and attention in cognitive monitoring tasks. Background music can also be used as a way to relieve boredom, create positive moods, and maintain a private space. Background music has been shown to put a restless mind at ease by presenting the listener with various melodies and tones. For example, listening to atonal music might result in reduced heart rate (fear bradycardia) and increased blood pressure (both diastolic and systolic), possibly reflecting an increase in alertness and attention, psychological tension, and anxiety.

In both radio and television advertisements, music plays an integral role in content recall, intentions to buy the product, and attitudes toward the advertisement and brand itself. Music's effect on marketing has been studied in radio ads,

One of the most important aspects of an advertisement's music is the "musical fit", or the degree of congruity between cues in the ad and song content. Advertisements and music can be congruous or incongruous for both lyrical and instrumental music. The timbre, tempo, lyrics, genre, mood, as well as any positive or negative associations elicited by certain music should fit the nature of the advertisement and product. One study suggested that listening to one's preferred genre of music can enhance productivity in the workplace, though other research has found that listening to music while working can be a source of distraction, with loudness and lyrical content possibly playing a role. Other factors proposed to affect the relationship between music listening and productivity include musical structure, task complexity, and degree of control over the choice and use of music.

Musical aptitude refers to a person's innate ability to acquire skills and knowledge required for musical activity, and may influence the speed at which learning can take place and the level that may be achieved. Study in this area focuses on whether aptitude can be broken into subsets or represented as a single construct, whether aptitude can be measured prior to significant achievement, whether high aptitude can predict achievement, to what extent aptitude is inherited, and what implications questions of aptitude have on educational principles.

Scientific studies suggest that singing can have positive effects on people's health. A preliminary study based on self reported data from a survey of students participating in choral singing found perceived benefits including increased lung capacity, improved mood, stress reduction, as well as perceived social and spiritual benefits. However, one much older study of lung capacity compared those with professional vocal training to those without, and failed to back up the claims of increased lung capacity. Singing may positively influence the immune system through the reduction of stress. One study found that both singing and listening to choral music reduces the level of stress hormones and increases immune function. A multinational collaboration to study the connection between singing and health was established in 2009, called Advancing Interdisciplinary Research in Singing (AIRS). Singing provides physical, cognitive, and emotional benefits to participants. When they step on stage, many singers forget their worries and focus solely on the song. Singing is becoming a more widely known method of increasing an individual's overall health and wellness, in turn helping them to battle diseases such as cancer more effectively due to decreased stress, releasing of endorphins, and increased lung capacity.

John Daniel Scott, among others, have cited that "people who sing are more likely to be happy". This is because "singing elevates the levels of neurotransmitters which are associated with pleasure and well being". Humans have a long prehistory of music, especially singing; it is speculated that music was even used as an early form of social bonding. As stated by Savage et al. (2020), Songs were also used to identify a socio cultural connection between individuals, as songs typically vary. If two people knew the same song, they likely had a connection from previous generations (7), because song is often more memorable. Savage et al. continues by presenting evidence that music or singing may have evolved in humans even before language. Furthermore, Levitin, in his This is Your Brain on Music, argues that "music may be the activity that prepared our pre human ancestors for speech communication" and that "singing might have helped our species to refine motor skills, paving the way for the development of the exquisitely fine muscle control required for vocal speech" (260). On the other hand, he cites Pinker, who "argued that language is an adaptation and music is its Spandrel an evolutionary accident piggybacking on language" (248).

A recent study by Tenovus Cancer Care found that singing in a choir for just one hour boosts levels of immune proteins in cancer patients and has a positive overall effect on the health of patients. The study explores the possibility that singing could help put patients in the best mental and physical shape to receive the treatment they need, by reducing stress hormones, and increasing quantities of cytokines—proteins of the immune system that can increase the body's ability to fight disease. "Singing gives you physical benefits like breath control and muscle movement and enunciation, as well as the learning benefits of processing information" says a musical director and accompanist in the study. The enunciation and speech benefits tie into the language benefits detailed below. Some have advocated, as in a 2011 article in the Toronto Star, that everyone sing, even if they are not musically talented, because of its health benefits. Singing lowers blood pressure by releasing pent up emotions, boosting relaxation, and reminding them of happy times. It also allows singers to breathe more easily. Patients with lung disease and chronic pulmonary disease experience relief from their symptoms from singing just two times a week. In addition to breathing related illness, singing also has numerous benefits for stroke victims when it comes to relearning the ability to speak and communicate by singing their thoughts. Singing activates the right side of the brain when the left side cannot function (the left side is the area of the brain responsible for speech), so it is easy to see how singing can be an excellent alternative to speech while the victim heals.

Palmer, Caroline & Melissa K. Jungers (2003): Music Cognition. In: Lynn Nadel: Encyclopedia of Cognitive Science, Vol. 3, London: Nature Publishing Group, pp. 155–158. Deutsch, Diana (2013): Music. In Oxford Bibliographies in Music. Edited by Dunn, D. S. New York: Oxford University Press. 2013, Web Link
Thompson, William Forde (2014): "Music in the Social and Behavioral Sciences, An Encyclopedia". Sage Publications Inc., New York.

Day, Kingsley (October 21, 2004). "Music and the Mind: Turning the Cognition Key". Observer online. Jourdain, Robert (1997). Music, the Brain, and Ecstasy: How Music Captures Our Imagination. New York: William Morrow and Company. Honing, Henkjan (2013). "Musical Cognition. A Science of Listening (2nd edition)." New Brunswick, N. J.: Transaction Publishers. Levitin, D. J. (2006). "This Is Your Brain on Music: The Science of a Human Obsession." New York: Dutton. Margulis, Elizabeth Hellmuth. (2018). The Psychology of Music: A Very Short Introduction. New York, NY: Oxford University Press. Margulis, Elizabeth Hellmuth. (2013). On Repeat: How Music Plays the Mind. New York, NY: Oxford University Press. Snyder, Bob (2000). "Music and Memory: an introduction" The MIT Press. J. P. E. Harper Scott and Jim Samson 'An Introduction to Music Studies', Chapter 4: John Rink,The Psychology of Music, (Cambridge University Press, 2009), pp. 60.

Deutsch, D. (Ed.) (1982). The Psychology of Music, 1st Edition. New York: Academic Press. Deutsch, D. (Ed.) (1999). The Psychology of Music, 2nd Edition. San Diego: Academic Press. Deutsch, D. (Ed.) (2013). The Psychology of Music, 3rd Edition. San Diego: Academic Press. Dowling, W. Jay and Harwood, Dane L. (1986). Music Cognition. San Diego: Academic Press. Hallam, Cross, & Thaut, (eds.) (2008). The Oxford Handbook of Music Psychology. Oxford: Oxford University Press. Krumhansl, Carol L. (2001). Cognitive Foundations of Musical Pitch. Oxford: Oxford University Press. Patel, Anirrudh D. (2010). Music, language, and the brain. New York: Oxford University Press. Parncutt, R. (1989). Harmony: A Psychoacoustical Approach. Berlin: Springer. Proverbio, A. M. (2019). Neuroscienze Cognitive della Musica: Il cervello musicale tra Arte e Scienza, Zanichelli, Bologna. Sloboda, John A. (1985). The Musical Mind: The Cognitive Psychology of Music. Oxford: Oxford University Press. Lerdahl, F. and Jackendoff, R. (21996) A Generative Theory of Tonal Music. The MIT Press. Jackendoff, Ray (1987): Consciousness and the Computational Mind. Cambridge: MIT Press. Chapter 11: "Levels of Musical Structure", section 11.1: "What is Musical Cognition?" Temperley, D. (2004). The Cognition of Basic Musical Structures. The MIT Press. Thompson, W. F. (2009). Music, Thought, and Feeling: Understanding the Psychology of Music New York: Oxford University Press. Zbikowski, Lawrence M. (2004). Conceptualizing Music: Cognitive Structure, Theory, and Analysis. Oxford University Press, USA. North, A. C. & Hargreaves, D. J. (2008). The Social and Applied Psychology of Music. Oxford: Oxford University Press. .