Search This Blog

Friday, May 24, 2019

Oliver Sacks

From Wikipedia, the free encyclopedia

Oliver Sacks

A grey-haired Oliver Sacks with glasses, a beard and a blue shirt with three people in the background
Sacks at the 2009 Brooklyn Book Festival
Born
Oliver Wolf Sacks

9 July 1933
Cricklewood, London, England
Died30 August 2015 (aged 82)
EducationThe Queen's College, Oxford
Known forA series of non-fictional books on particularly interesting cases among his psychiatric and neurological patients
Medical career
ProfessionPhysician, professor, author, neurologist
InstitutionsNew York University
Columbia University
Albert Einstein College of Medicine
University of Warwick
Little Sisters of the Poor

Oliver Wolf Sacks, CBE FRCP (9 July 1933 – 30 August 2015) was a British neurologist, naturalist, historian of science, and author. Born in Britain, and mostly educated there, he spent his career in the United States. He believed that the brain is the "most incredible thing in the universe." He became widely known for writing best-selling case histories about both his patients' and his own disorders and unusual experiences, with some of his books adapted for plays by major playwrights, feature films, animated short films, opera, dance, fine art, and musical works in the classical genre.

After Sacks received his medical degree from The Queen's College, Oxford in 1960, he interned at Middlesex Hospital (part of University College, London) before moving to the US. He then interned at Mount Zion Hospital in San Francisco and completed his residency in neurology and neuropathology at the University of California, Los Angeles (UCLA). He relocated to New York in 1965, where he first worked under a paid fellowship in neurochemistry and neuropathology at the Albert Einstein College of Medicine. Upon realising that the neuro-research career he envisioned for himself would be a poor fit, in 1966 he began serving as neurologist at Beth Abraham Hospital's chronic-care facility in the Bronx. While there, he worked with a group of survivors of the 1920s sleeping sickness encephalitis lethargica, who had been unable to move on their own for decades. His treatment of those patients became the basis of his book Awakenings. In the period from 1966 to 1991 he was a neurological consultant to various New York City-area nursing homes (especially those operated by Little Sisters of the Poor), hospitals, and at the Bronx Psychiatric Center.

Sacks was the author of numerous best-selling books, mostly collections of case studies of people, including himself, with neurological disorders. He also published hundreds of articles (both peer-reviewed scientific articles as well as articles for a general audience), not only articles about neurological disorders, but also insightful book reviews and articles about the history of science, natural history, and nature. His writings have been featured in a wide range of media; the New York Times called him a "poet laureate of contemporary medicine", and "one of the great clinical writers of the 20th century". His books include a wealth of narrative detail about his experiences with his patients and his own experiences, and how each coped with their condition, often illuminating how the normal brain deals with perception, memory and individuality. In addition to the information content, the beauty of his writing style is especially treasured by many of his readers.

Awakenings (1973) was adapted into an Academy Award-nominated film in 1990, starring Robin Williams and Robert De Niro. He and his book Musicophilia: Tales of Music and the Brain were the subject of "Musical Minds", an episode of the PBS series Nova. Sacks was awarded a CBE for services to medicine in the 2008 Birthday Honours.

Early life

Sacks was born in Cricklewood, London, England, the youngest of four children born to Jewish parents: Samuel Sacks, a Lithuanian Jewish doctor (died June 1990), and Muriel Elsie Landau, one of the first female surgeons in England (died 1972), who was one of 18 siblings. Sacks had an extremely large extended family of eminent scientists, physicians and other notable individuals, including the director and writer Jonathan Lynn and first cousins, the Israeli statesman Abba Eban and the Nobel Laureate Robert Aumann.

In December 1939 when Sacks was six years old, he and his older brother Michael were evacuated from London to escape the Blitz, and sent to a boarding school in the Midlands where he remained until 1943. Unknown to his family, at the school, he and his brother Michael "... subsisted on meager rations of turnips and beetroot and suffered cruel punishments at the hands of a sadistic headmaster". This is detailed in his first autobiography, Uncle Tungsten: Memories of a Chemical Boyhood. Beginning at his return home at the age of 10 from the cruel and devastating boarding school experience, under his Uncle Dave's tutelage he became an intensely focused amateur chemist, as recalled in Uncle Tungsten. Later, he attended St Paul's School in London, where he developed critically important lifelong friendships with Jonathan Miller and Eric Korn. During adolescence he shared an intense interest in biology with these friends, and later came to share his parents' enthusiasm for medicine. He entered The Queen's College, Oxford in 1951, obtaining a BA degree in physiology and biology in 1956.

Although not required, Sacks chose to stay on for an additional year to undertake research, after he had taken a course by Hugh Macdonald Sinclair. Sacks recalls, "I had been seduced by a series of vivid lectures on the history of medicine" and nutrition, given by Sinclair. Sacks adds, "And now, in Sinclair's lectures, it was the history of physiology, the ideas and personalities of physiologists, which came to life." Sacks then became involved with the school's Laboratory of Human Nutrition under Sinclair. Sacks focused his research on Jamaica ginger, a toxic and commonly abused drug known to cause irreversible nerve damage. After devoting months to research, he was disappointed by the lack of help and guidance he received from Sinclair. Sacks wrote up an account of his research findings but stopped working on the subject. As a result he became depressed: "I felt myself sinking into a state of quiet but in some ways agitated despair." His tutor at Queen's and his parents, seeing his lowered emotional state, suggested he extricate himself from academic studies for a period. His parents then suggested he spend the summer of 1955 living on Israeli kibbutz Ein HaShofet, where the physical labour would help him.

Sacks would later describe his experience on the kibbutz as an "anodyne to the lonely, torturing months in Sinclair's lab". He said he lost 60 pounds (27 kg) from his previously overweight body, as a result of the healthy, hard physical labour he performed there. He spent time travelling around the country, with time scuba diving at the Red Sea port city of Eilat, and began to reconsider his future: "I wondered again, as I had wondered when I first went to Oxford, whether I really wanted to become a doctor. I had become very interested in neurophysiology, but I also loved marine biology; . . . But I was 'cured' now; it was time to return to medicine, to start clinical work, seeing patients in London."

Medical school

My pre-med studies in anatomy and physiology at Oxford had not prepared me in the least for real medicine. Seeing patients, listening to them, trying to enter (or at least imagine) their experiences and predicaments, feeling concerned for them, taking responsibility for them, was quite new to me ... It was not just a question of diagnosis and treatment; much graver questions could present themselves—questions about the quality of life and whether life was even worth living in some circumstances. — Oliver Sacks
Sacks began medical school at Oxford University in 1956 and for the next two and a half years, he took courses in medicine, surgery, orthopaedics, paediatrics, neurology, psychiatry, dermatology, infectious diseases, obstetrics, and various other disciplines. During his years as a student, he helped home-deliver a number of babies. He received an MA degree and BM BCh degree in 1958. He qualified for his internship that December, which would begin at Middlesex Hospital the following month. "My eldest brother, Marcus, had trained at the Middlesex," he said, "and now I was following his footsteps."

Before beginning his internship, he said he first wanted some actual hospital experience to gain more confidence and he took a job at a hospital in St Albans, where his mother had worked as an emergency surgeon during the war. He then did his six-month internship at Middlesex Hospital's medical unit, followed by another six months in its neurological unit. He completed his internship in June 1960, but was uncertain about his future.

Sacks left Britain and flew to Montreal, Canada on 9 July 1960, his 27th birthday. He visited the Montreal Neurological Institute and the Royal Canadian Air Force (RCAF), telling them that he wanted to be a pilot. After some interviews and checking his background, they told him he would be best in medical research. Dr. Taylor, the head medical officer, told him, "You are clearly talented and we would love to have you, but I am not sure about your motives for joining." He was told to travel for a few months and reconsider. He used the next three months to travel across Canada and deep into the Canadian Rockies, which he described in his personal journal, later published as Canada: Pause, 1960.

He then made his way to the United States, completing a residency in Neurology at Mt. Zion Hospital in San Francisco, and fellowships in Neurology and Psychiatry at UCLA. While there, Sacks became a lifelong close friend of poet Thom Gunn, saying he loved his wild imagination, his strict control, and perfect poetic form. During much of his time at UCLA, he lived in a rented house in Topanga Canyon and experimented with various recreational drugs. He described some of his experiences in a 2012 New Yorker article, and in his book Hallucinations. During his early career in California and New York City he indulged in
staggering bouts of pharmacological experimentation, underwent a fierce regimen of bodybuilding at Muscle Beach (for a time he held a California record, after he performed a full squat with 600 pounds across his shoulders), and racked up more than 100,000 leather-clad miles on his motorcycle. And then one day he gave it all up—the drugs, the sex, the motorcycles, the bodybuilding.
He wrote that after moving to New York City, an amphetamine-facilitated epiphany that came as he read a book by the 19th century migraine doctor Edward Liveing inspired him to chronicle his observations on neurological diseases and oddities; to become the "Liveing of our Time".

Career

Sacks served as an instructor and later clinical professor of neurology at Yeshiva University's Albert Einstein College of Medicine from 1966 to 2007, and also held an appointment at the New York University School of Medicine from 1992 to 2007. In July 2007, he joined the faculty of Columbia University Medical Center as a professor of neurology and psychiatry. At the same time, he was appointed Columbia University's first "Columbia University Artist" at the university's Morningside Heights campus, recognising the role of his work in bridging the arts and sciences. He was also a visiting professor at the University of Warwick in the UK. He returned to New York University School of Medicine in 2012, serving as a professor of neurology and consulting neurologist in the school's epilepsy centre.

Sacks's work at Beth Abraham Hospital helped provide the foundation on which the Institute for Music and Neurologic Function (IMNF) is built; Sacks was an honorary medical advisor. The Institute honoured Sacks in 2000 with its first Music Has Power Award. The IMNF again bestowed a Music Has Power Award on him in 2006 to commemorate "his 40 years at Beth Abraham and honour his outstanding contributions in support of music therapy and the effect of music on the human brain and mind".

Sacks maintained a busy hospital-based practice in New York City. He accepted a very limited number of private patients, in spite of being in great demand for such consultations. He served on the boards of the Neurosciences Institute and the New York Botanical Garden where he had been an extremely frequent visitor since he first moved to New York City, as well as a very active member of The Fern Society, which meets there.

Writing

In 1967, Sacks first began to write of his experiences with some of his neurological patients. His first such book, Ward 23, was burned by Sacks during an episode of self-doubt. His books have been translated into over 25 languages. In addition, Sacks was a regular contributor to The New Yorker, the New York Review of Books, The New York Times, London Review of Books and numerous other medical, scientific and general publications. He was awarded the Lewis Thomas Prize for Writing about Science in 2001.

Sacks's work is featured in a "broader range of media than those of any other contemporary medical author" and in 1990, the New York Times wrote he "has become a kind of poet laureate of contemporary medicine".

Sacks considered his literary style to have grown out of the tradition of 19th century "clinical anecdotes", a literary style that included detailed narrative case histories, which he termed novelistic. He also counted among his inspirations the case histories of the Russian neuropsychologist A. R. Luria, who became a close friend through correspondence between 1973 and 1977, until Dr. Luria died. After the publication of his first book Migraine in 1970, a review by his close friend W. H. Auden encouraged Sacks to adapt his writing style to "be metaphorical, be mythical, be whatever you need".

Sacks described his cases with a wealth of narrative detail, concentrating on the experiences of the patient (in the case of his A Leg to Stand On, the patient was himself). The patients he described were often able to adapt to their situation in different ways despite the fact that their neurological conditions were usually considered incurable. His book Awakenings, upon which the 1990 feature film of the same name is based, describes his experiences using the new drug levodopa on Beth Abraham Hospital post-encephalitic patients. Awakenings was also the subject of the first documentary made (in 1974) for the British television series Discovery.

In his book A Leg to Stand On he wrote about the consequences of a near-fatal accident he had at age 41 in 1974, a year after the publication of Awakenings, when he fell off a cliff and severely injured his left leg while mountaineering alone above Hardangerfjord, Norway.

In some of his other books, he describes cases of Tourette syndrome and various effects of Parkinson's disease. The title article of The Man Who Mistook His Wife for a Hat is about a man with visual agnosia and was the subject of a 1986 opera by Michael Nyman. The title article of his book, An Anthropologist on Mars, which won a Polk Award for magazine reporting, is about Temple Grandin, an autistic professor. He writes in the book's preface that neurological conditions such as autism "can play a paradoxical role, by bringing out latent powers, developments, evolutions, forms of life that might never be seen, or even be imaginable, in their absence." Seeing Voices, Sacks's 1989 book, covers a variety of topics in deaf studies

In his book The Island of the Colorblind Sacks wrote about an island where many people have achromatopsia (total colourblindness, very low visual acuity and high photophobia). The second section of this book, entitled Cycad Island, describes the Chamorro people of Guam, who have a high incidence of a neurodegenerative disease locally known as Lytico-Bodig disease (a devastating combination of ALS, dementia and parkinsonism). Later, along with Paul Alan Cox, Sacks published papers suggesting a possible environmental cause for the disease, namely the toxin beta-methylamino L-alanine (BMAA) from the cycad nut accumulating by biomagnification in the flying fox bat.

In November 2012 Sacks's book Hallucinations was published. In it he examined why ordinary people can sometimes experience hallucinations and challenges the stigma associated with the word. He explained: "Hallucinations don't belong wholly to the insane. Much more commonly, they are linked to sensory deprivation, intoxication, illness or injury." He also considers the less well known Charles Bonnet syndrome, sometimes found in people who have lost their eyesight. The book was described by Entertainment Weekly as: "Elegant... An absorbing plunge into a mystery of the mind."

Sacks sometimes faced criticism in the medical and disability studies communities. Arthur K. Shapiro for instance, an expert on Tourette syndrome, said Sacks's work was "idiosyncratic" and relied too much on anecdotal evidence in his writings. Researcher Makoto Yamaguchi thought Sacks's mathematical explanations, in his study of the numerically gifted savant twins (in The Man Who Mistook His Wife for a Hat), are irrelevant. Although Sacks has been characterised as a "compassionate" writer and doctor, others have felt that he exploited his subjects. Sacks was called "the man who mistook his patients for a literary career" by British academic and disability rights activist Tom Shakespeare, and one critic called his work "a high-brow freak show". Sacks responded, "I would hope that a reading of what I write shows respect and appreciation, not any wish to expose or exhibit for the thrill ... but it's a delicate business."

He is also the author of The Mind's Eye, Oaxaca Journal, On the Move (his second autobiography), and many articles in The New Yorker and The New York Review of Books

Before his death in 2015, Sacks founded the Oliver Sacks Foundation, a nonprofit organization established to increase understanding of the brain through using narrative nonfiction and case histories, with goals that include publishing some of Sacks's unpublished writings, and making his vast amount of unpublished writings available for scholarly study. His first posthumous book, "River of Consciousness", an anthology of his essays, was published in October 2017. Most of the essays in "River of Consciousness" he had previously published in various periodicals or in science-essay-anthology books where he was one of many authors, and are no longer readily obtainable. Sacks specified the order of his essays in "River of Consciousness" prior to his death. Some of the essays focus on repressed memories and other tricks the mind plays on itself. His next posthumous book will be a collection of some of his letters. Sacks was a prolific handwritten-letter correspondent, and he never communicated by e-mail.

Honours

In 1996, Sacks became a member of the American Academy of Arts and Letters (Literature). He was named a Fellow of the New York Academy of Sciences in 1999. Also in 1999, he became an Honorary Fellow at the Queen's College, Oxford. In 2002 he became Fellow of the American Academy of Arts and Sciences (Class IV—Humanities and Arts, Section 4—Literature) and he was awarded the 2001 Lewis Thomas Prize by Rockefeller University. Sacks was also a Fellow of the Royal College of Physicians (FRCP).


Oxford University awarded him an honorary Doctor of Civil Law degree in June 2005.

Sacks received the position "Columbia Artist" from Columbia University in 2007, a post that was created specifically for him and that gave him unconstrained access to the university, regardless of department or discipline.

In 2008 Sacks was appointed Commander of the Order of the British Empire (CBE), for services to medicine, in the Queen's Birthday Honours.

The minor planet 84928 Oliversacks, discovered in 2003, was named in his honour.

In February 2010, Sacks was named as one of the Freedom From Religion Foundation's Honorary Board of distinguished achievers. He described himself as "an old Jewish atheist," a phrase borrowed from his friend Jonathan Miller.

Personal life

Sacks never married and lived alone for most of his life. He declined to share personal details until late in his life. He addressed his homosexuality for the first time in his 2015 autobiography On the Move: A Life. Celibate for about 35 years since his forties, in 2008 he began a friendship with writer and New York Times contributor Bill Hayes. Their friendship slowly evolved into a committed long-term partnership that lasted until Sacks's death; Hayes wrote about it in the 2017 memoir Insomniac City: New York, Oliver Sacks, and Me. 

Sacks noted in a 2001 interview that severe shyness—which he described as "a disease"—had been a lifelong impediment to his personal interactions. He believed his shyness stemmed from his prosopagnosia, popularly known as "face blindness", a condition that he studied in some of his patients, including the titular man from his work The Man Who Mistook His Wife for a Hat. This neurological disability of his, whose severity and life-impacts Sacks did not fully grasp until he reached middle age, even prevented him from recognising his own reflection in mirrors. Sacks' eldest brother Marcus also had prosopagnosia. 

Sacks swam almost daily for most of his life, beginning when his swimming-champion father started him swimming as an infant. He especially became publicly well known for swimming when he lived in the City Island section of the Bronx, as he would routinely swim around the entire island, or swim vast distances away from the island and back.

Illness and death

Sacks underwent radiation therapy in 2006 for a uveal melanoma in his right eye. He discussed his loss of stereoscopic vision caused by the treatment, which eventually resulted in right-eye blindness, in an article and later in his book The Mind's Eye

In January 2015 metastases from the ocular tumour were discovered in his liver. Sacks announced this development in a February 2015 New York Times op-ed piece and estimated his remaining time in "months". He expressed his intent to "live in the richest, deepest, most productive way I can". He added: "I want and hope in the time that remains to deepen my friendships, to say farewell to those I love, to write more, to travel if I have the strength, to achieve new levels of understanding and insight."

Sacks died from the disease on 30 August 2015 at his home in Manhattan at the age of 82, surrounded by his closest friends.

Works

Music psychology

From Wikipedia, the free encyclopedia

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. Musicology is the study of music. ("Musicology" Britannic Academic,2013). Music is everywhere: in movies, radio, advertisement, stores, and on your phones; therefore, a lot of people get curious about the effects of music and the musical experience on people. There is a variety of study involving music; adolescent influence, culture, personal psychology, etc. (Schafer, 2013, pg1) 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.

History

Early history (pre-1860)

The study of sound and musical phenomenon prior to the 19th century was focused primarily on the mathematical modelling of pitch and tone. The earliest recorded experiments date from the 6th century BCE, most notably in the work of Pythagoras and his establishment of the simple string length ratios that formed the consonances of the octave. This view that sound and music could be understood from a purely physical standpoint was echoed by such theorists as Anaxagoras and Boethius. An important early dissenter was Aristoxenus, who foreshadowed modern music psychology in his view that music could only be understood through human perception and its relation to human memory. Despite his views, the majority of musical education through the Middle Ages and Renaissance remained rooted in the Pythagorean tradition, particularly through the quadrivium of astronomy, geometry, arithmetic, and music.

Research by Vincenzo Galilei (father of Galileo) demonstrated that, when string length was held constant, varying its tension, thickness, or composition could alter perceived pitch. From this he argued that simple ratios were not enough to account for musical phenomenon and that a perceptual approach was necessary. He also claimed that the differences between various tuning systems were not perceivable, thus the disputes were unnecessary. Study of topics including vibration, consonance, the harmonic series, and resonance were furthered through the scientific revolution, including work by Galileo, Kepler, Mersenne, and Descartes. This included further speculation concerning the nature of the sense organs and higher-order processes, particularly by Savart, Helmholtz, and Koenig.

Rise of empirical (1860–1960)

A brass, spherical Helmholtz resonator based on his original design, circa 1890-1900.
 
The latter 19th century saw the development of modern music psychology alongside the emergence of a general empirical psychology, one which passed through similar stages of development. The first was structuralist psychology, led by Wilhelm Wundt, which sought to break down experience into its smallest definable parts. This expanded upon previous centuries of acoustic study, and included Helmholtz developing the resonator to isolate and understand pure and complex tones and their perception, the philosopher Carl Stumpf using church organs and his own musical experience to explore timbre and absolute pitch, and Wundt himself associating the experience of rhythm with kinesthetic tension and relaxation.

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. In Europe Géza Révész and Albert Wellek developed a more complex understanding of musical pitch, and in the US the focus shifted to that of music education and the training and development of musical skill. Carl Seashore led this work, producing his The Measurement of Musical Talents and The Psychology of Musical Talent. Seashore used bespoke equipment and standardized tests to measure how performance deviated from indicated markings and how musical aptitude differed between students. 

In 1963 F. Chrysler was the first one to used the term " science of music" when he was working on his "year book for musical" knowledge. European musicology was found in Greek. They were focus on the philosophy, and the concepts of any relations with music. Greek's several theories rose later on to Arab and the Christians Theories. Although their theories survived, they were also corrupted along the way, in the Middle Ages of Europe.

Modern (1960–present)

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.

This period has also seen the founding of music psychology-specific journals, societies, conferences, research groups, centers, and degrees, a trend that has brought research toward specific applications for music education, performance, and therapy. 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.

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.

Research areas

Perception and cognition

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.

Affective response

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. This includes isolating which specific features of a musical work or performance convey or elicit certain reactions, the nature of the reactions themselves, and how characteristics of the listener may determine which emotions are felt. The field draws upon and has significant implications for such areas as philosophy, musicology, and aesthetics, as well the acts of musical composition and performance. The implications for casual listeners are also great; research has shown that the pleasurable feelings associated with emotional music are the result of dopamine release in the striatum—the same anatomical areas that underpin the anticipatory and rewarding aspects of drug addiction.

Neuropsychology

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.

Processing pitch

The primary auditory cortex is one of the main areas associated with superior pitch resolution.
 
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. Neurons lateral to A1 in marmoset monkeys were found to be sensitive specifically to the fundamental frequency of a complex tone, 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. The importance of cortical regions lateral to A1 for pitch coding is also supported by studies of human cortical lesions and functional magnetic resonance imaging (fMRI) of the brain. These data suggest a hierarchical system for pitch processing, with more abstract properties of sound stimulus processed further along the processing pathways.
Absolute pitch
Absolute pitch (AP) is defined as 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.

Processing rhythm

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. The analysis of rhythm may depend on interactions between the auditory and motor systems.

Neural correlates of musical training

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. Some neuroimaging studies have observed that musicians show lower levels of activity in motor regions than non-musicians during the performance of simple motor tasks, which may suggest a more efficient pattern of neural recruitment.

Motor imagery

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.

Deutsch's scale illusion: an auditory illusion in which two scales are presented with successive tones alternating between each ear but are perceived as simultaneous, unbroken scales.

Psychoacoustics

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

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

Evolutionary musicology concerns the "origins 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.

Cultural differences

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.

Applied research areas

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:

Music in society

Including:

Musical preference

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.

Background music

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.

Music in marketing

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, TV ads, and physical retail settings.

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.

Music and productivity

Several studies have recognized that listening to music while working affects the productivity of people performing complex cognitive tasks. 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.

Music education

A primary focus of music psychology research concerns how best to teach music and the effects this has on childhood development.

Including:

Musical aptitude

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.

It is an issue closely related to that of intelligence and IQ, and was pioneered by the work of Carl Seashore. While early tests of aptitude, such as Seashore's The Measurement of Musical Talent, sought to measure innate musical talent through discrimination tests of pitch, interval, rhythm, consonance, memory, etc., later research found these approaches to have little predictive power and to be influenced greatly by the test-taker's mood, motivation, confidence, fatigue, and boredom when taking the test.

Music performance

Including:
In 1997 Karageorhis, Costas and Terry, Peter C. did a review over the effects of music in sports.
They found out that music, energies people to do more exercise. They also found out that you accomplish more in your exercise than without music.

Music and health

Including:

Journals

Music psychology journals include:
Music psychologists also publish in a wide range of mainstream musicology, computational musicology, music theory/analysis, psychology, music education, music therapy, music medicine, and systematic musicology journals. The latter include for example:

Societies

Lie point symmetry

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Lie_point_symmetry     ...