ライフサイエンスコーパス: musical

1 Musical abilities are known to be associated with factor

2 rts to characterize the different aspects of musical abilities in humans, many elements of this compl

3 r cortical cooling studies have investigated musical abilities related to reading music scores [13, 1

4 Future genetic studies of musical abilities should involve large sample sizes and

5 -verbal intelligence, executive functioning, musical ability and prior foreign language experience pr

6 Participants might be expected to possess musical ability and share some behavioural characteristi

7 , RS1 and AVR, polymorphisms associated with musical ability by other authors, suggest that choir mem

8 tly better than controls matched for age and musical ability on a psychophysical task simulating acti

9 In contrast, effects of musical ability on non-native speech-sound processing an

10 ch intelligibility, emotion recognition, and musical ability were all comparable to controls.

11 ship may depend partly on factors other than musical ability.

12 of coordination, both at the level of their musical actions (i.e., their individual decisions to pla

13 y, more therapist direction, flexible use of musical activities, predictable musical structures, and

14 ose not regularly participating in organised musical activity (non-musicians).

15 ved exertion during workout, indicating that musical agency may actually facilitate physically strenu

16 suggests that the down-modulating effect of musical agency on perceived exertion may be a previously

17 Results showed that musical agency significantly decreased perceived exertio

18 ion during physical workout with and without musical agency while simultaneously acquiring metabolic

19 during a physically strenuous task, varying musical agency, a task that relies on the experience of

20 out-of-key or unexpected notes may elicit a musical analogue of language N400 effects, but only for

21 ypically approached regarding its profile of musical and pitch difficulties.

22 Thus, our results suggest that specific musical anhedonia may be associated with a reduction in

23 The study of these individuals with specific musical anhedonia may be crucial to understand better th

24 Such 'musical anhedonia' implies the existence of music-specif

25 A genetic contribution to these skills of musical aptitude has long been suggested.

26 the importance of auditory pathway genes in musical aptitude.

27 f the intensity of instrumental practice and musical aptitude.

28 ssion are associated with both behaviour and musical aptitude.

29 heads or lift their feet in synchrony with a musical beat [2,3], but humans move to music using a wid

30 s this association, in that entrainment to a musical beat is almost exclusively observed in animals c

31 An external sound/musical beat may have been initially uninvolved.

32 y emphasis on synchronization of movement to musical beats may improve auditory neural synchrony, pot

33 We built a corpus of ethnographic text on musical behavior from a representative sample of the wor

34 yielding the diversity of musical forms and musical behaviors found worldwide.

35 ene-culture coevolution, through which proto-musical behaviors that initially arose and spread as cul

36 apparatus that gave instrumental control of musical choice (Miles Davis vs. Beethoven) to the rats t

37 ssion in text(4), these results suggest that musical choice both shapes and reflects mood.

38 ios are played simultaneously, the resulting musical chord is pleasing and evokes a sense of resoluti

39 esponsible for the perceived pleasantness of musical chords and affective voices and that, for listen

40 Musical chords are combinations of two or more tones pla

41 We assessed amusics' preferences for musical chords as well as for the isolated acoustic prop

42 lunteers suggests that surgeons with greater musical commitment, measured by the MEQ, perform worse u

43 a keyboard (notes were of similar motor and musical complexity across melodies).

44 to systematically measure two key aspects of musical complexity: predictability (operationalized as i

45 ision and hearing loss on great painters and musical composers.

46 auditory, the transcription of both art and musical composition is visual.

47 ts, we investigated associative knowledge of musical compositions (musical objects), musical emotions

48 a showed relatively preserved recognition of musical compositions and musical symbols despite severel

49 mmunication research can benefit from adding musical concepts to the analysis toolbox.

50 l for a reevaluation of existing theories of musical consonance based on specific human vocal charact

51 The basis of musical consonance has been debated for centuries withou

52 A recent study suggests that musical consonance is based on harmonicity, a preference

53 To tease apart theories of musical consonance, we tested sound preferences in indiv

54 in natural music and enhances processing of musical content.

55 xternally manipulated through changes in the musical context, which induced a systematic bias in subj

56 consistent with other evidence showing that musical contextual cues can reinstate drug-seeking behav

57 l as well as auditory information is used in musical coordination.

58 nvestigated the specific effects of training musical creativity.

59 ithin associative networks of importance for musical creativity.

60 support the view of preserved processing of musical cues in ASD individuals, with a corresponding pr

61 n, which is illustrated numerically and with musical data.

62 ality is disordered, which results in severe musical deficits.

63 owever, expectancy violations along multiple musical dimensions (e.g., harmony and melody) have faile

64 expertise may serve to individuate how these musical dimensions are apprehended.

65 iment in which separating short fragments of musical discourse by vertical white gaps in the notation

66 By combining a musical duet task with a real-time repetitive transcrani

67 listeners' hearing also play a major role in musical dynamics.

68 e chord as coupled measures, suggesting that musical education and expertise may serve to individuate

69 f musical processing, impacts sensitivity to musical emotion elicited by timbre and tonal system info

70 ols despite severely impaired recognition of musical emotions and musical instruments from sound.

71 ancy and empathy, which are seen as inducing musical emotions, are enjoying ever-increasing investiga

72 e of musical compositions (musical objects), musical emotions, musical instruments (musical sources)

73 hem focussing on the correlates of so-called musical emotions.

74 of the beautiful, cognitive dissonances, and musical emotions.

75 e listener's uncertainty when anticipating a musical event, and the surprise it evokes when it deviat

76 ctations-to pleasurable music and surprising musical events [4-8].

77 se factors modulate how listeners anticipate musical events, a process inducing instantaneous neural

78 he difference between expected and perceived musical events, but this hypothesis has not been directl

79 itical for many complex behaviors, including musical execution, speech articulation, and sports; howe

80 Whether changes in musical expectancy elicit pleasure has thus remained elu

81 al listeners, the tonal rules of music guide musical expectancy.

82 as being shaped by acoustic, linguistic, and musical experience and training.

83 bility is supported by closer attention to a musical experience as well as cases of affective reversa

84 Musical experience provides an ideal case for examining

85 Performance was correlated to the brief Musical Experience Questionnaire (MEQ).

86 or our understanding of the unique nature of musical experience.

87 hed in education, socio-economic status, and musical experience.

88 n can clarify the relationship of emotion to musical experience.

89 d retrospective states of expectation in the musical experience.

90 that the response is not a function of their musical experiences, which are limited relative to those

91 ely high correlations with Consonance across musical expertise and cultural familiarity levels, makin

92 sults a control for cultural familiarity and musical expertise is recommended for all studies investi

93 se to sound is shaped by experience, such as musical expertise, and implications for the treatment of

94 These findings suggest that domain-specific musical expertise, default-mode cognitive processing sty

95 ion in human subjects with various levels of musical expertise: expert drummers, string musicians, an

96 ion illusions in typical listeners, but that musical experts are not susceptible to this effect of rh

97 of movement synchrony on social bonding than musical familiarity.

98 ies as infant-directed on the basis of their musical features alone.

99 its actual domain, yielding the diversity of musical forms and musical behaviors found worldwide.

100 ment) and the effects of adaptations for non-musical functions (e.g., auditory scene analysis).

101 is influenced by multiple factors, including musical genre, musician skill, and individual interpreta

102 to further delineate an association between musical hallucinations and neurodegenerative disease.

103 to review the demographics of subjects with musical hallucinations and to determine the prevalence o

104 This case series shows that musical hallucinations can occur in association with a w

105 Musical hallucinations have been linked to multiple asso

106 Structural lesions associated with musical hallucinations involved both hemispheres with a

107 h the Mayo medical record, 393 subjects with musical hallucinations were identified and divided into

108 The phenomenon of musical hallucinations, in which individuals perceive mu

109 id conditions that have been associated with musical hallucinations: neurological, psychiatric, struc

110 Musical imagery and musical perception resulted in overl

111 Musical imagery is the human experience of imagining mus

112 ant role of Wernicke's area in forming vivid musical imagery through bilateral and anti-correlated ne

113 The activations and networks evoked by musical imagery were compared with those elicited by the

114 nvolved in much more complex networks during musical imagery, showing positive correlations with the

115 ns capable of engaging in accurate and vivid musical imagery.

116 ontal cortices are important for maintaining musical information in working memory and for the recogn

117 Playing a musical instrument changes the anatomy and function of t

118 for frequency also correlated with years of musical instrument experience suggesting that the former

119 Playing a musical instrument is associated with numerous neural pr

120 The Sonic Kayak is a musical instrument used to investigate nature and develo

121 d here through the use of a membranophone: a musical instrument where a player's voice flares a membr

122 rained for 8 weeks on a CL game that, like a musical instrument, challenged them to monitor subtle de

123 ds, such as talking and singing or playing a musical instrument.

124 of human actions, from grasping to playing a musical instrument.

125 in children who spent more time practicing a musical instrument.

126 ng the next ring of a telephone or playing a musical instrument.

127 e the sounds instead of learning to play the musical instrument.

128 sitions (musical objects), musical emotions, musical instruments (musical sources) and music notation

129 sound sources, such as individual people and musical instruments [5-7].

130 t coincides with the highest notes on modern musical instruments and is widely believed to reflect th

131 d quality-allows us to distinguish different musical instruments and speech sounds.

132 impaired recognition of musical emotions and musical instruments from sound.

133 es that pulsate rhythmically, very much like musical instruments in an orchestra.

134 stimuli were contrasted with single notes of musical instruments with balanced harmonic-to-noise rati

135 (e.g., graspable objects, "act-on" objects, musical instruments).

136 r interfaces, such as action video games and musical instruments, can impart a broad spectrum of perc

137 uch as those produced by the human voice and musical instruments, in melody recognition and pitch-mat

138 Whenever we move, speak, or play musical instruments, our actions generate auditory senso

139 y human listeners, as well as recognition of musical instruments.

140 familiar song when it is played on different musical instruments.

141 However, in order to fully account for human musical intelligence, Clark needs to further consider th

142 Musical interaction is a unique model for understanding

143 hmic synchronization is at the foundation of musical interaction.

144 g on art in surgical patients: 47 studies on musical intervention and 1 on sunlight.

145 A "plasmonic musical keyboard" comprising of 8 basic musical notes is

146 knowledge is fractionated, and superordinate musical knowledge is relatively more robust than knowled

147 igated the auditory and neural plasticity of musical learning in 111 young children (aged 7-9 y) as a

148 for our understanding of the acquisition of musical literacy and for the design of musical scores, a

149 Pitch governs our perception of musical melodies and harmonies, and conveys both prosodi

150 Humans' ability to recognize musical melodies is generally limited to pure-tone frequ

151 Humans easily recognize "transposed" musical melodies shifted up or down in log frequency.

152 e approach on a simple example of acquiring "musical memory" and show how the concept of musical note

153 nts listened to metronome beats and imagined musical meters such as a march and waltz.

154 Hallucinations of musical notation may occur in a variety of conditions, i

155 We measured the extent to which concurrent musical notes are misperceived as a single sound, testin

156 equally spaced points in time, within which musical notes are temporally organized.

157 "musical memory" and show how the concept of musical notes can emerge.

158 onic musical keyboard" comprising of 8 basic musical notes is constructed and used to play a short so

159 Some combinations of musical notes sound pleasing and are termed "consonant,"

160 When two musical notes with simple frequency ratios are played si

161 He considered the ability to produce musical notes without direct use the most mysterious end

162 In Experiment 1 twenty musical novices judged the perceived emotion and rated t

163 ased on silent video recordings, but neither musical novices nor professional musicians were able to

164 sociative knowledge of musical compositions (musical objects), musical emotions, musical instruments

165 , and that preferences shift toward expected musical outcomes in more uncertain contexts.

166 significant positive effects all used active musical participation with a degree of structure and wer

167 he recognition of structural regularities in musical patterns, which then lead to expectancies.

168 Musical imagery and musical perception resulted in overlapping activations a

169 within the intrinsic auditory network during musical perception, it was involved in much more complex

170 ew possibilities for data-driven analysis of musical perception.

171 teady beat is a fundamental skill underlying musical performance and has been studied for decades as

172 f evenness regardless of speed, a feature of musical performance that may be driven by practice with

173 her these differences are robustly linked to musical performance.

174 al neural correlate for specific features of musical performance.

175 with culture-specific influences to produce musical phenomena such as consonance.

176 ch-shaped and descending melodic contours in musical phrases, a tendency for phrase-final notes to be

177 ic-CPS for both groups during pauses between musical phrases.

178 steners towards a memorable highpoint of the musical piece.

179 The results suggest that the perception of musical pitch at high frequencies is not constrained by

180 Musical pitch fluctuations follow a 1/f power law that p

181 tory prosthesis, which in turn might improve musical pitch perception and speech reception in noise.

182 Musical pitch perception is argued to result from nonmus

183 ly four centuries demonstrates that, as with musical pitch, musical rhythms also exhibit a balance of

184 Findings suggest that the two dimensions of musical pitch, pitch class and pitch height, are mapped

185 orm into the complex perceptual structure of musical pitch.

186 his study shows a causal role of dopamine in musical pleasure and indicates that dopaminergic transmi

187 idone led to opposite effects in measures of musical pleasure and motivation: while the dopamine prec

188 Recent research suggests that musical pleasure comes from positive reward prediction e

189 l zones of predictability and uncertainty in musical pleasure with formal modeling, relating the plea

190 grative, and reward systems is important for musical pleasure, and that individual differences in the

191 for encoding timing explains the widespread musical practice of carrying rhythm in bass-ranged instr

192 rk mainly focused on the benefits induced by musical practice on the processing of native language or

193 oned stimulus, significantly increasing both musical preference and locomotor activity after repeated

194 After determining baseline musical preference, animals were conditioned with cocain

195 termine what effect this conditioning had on musical preference.

196 1, we evaluated how these properties affect musical preferences in 43 male and female participants;

197 Individual musical preferences might be more relevant for the influ

198 lated by cultural familiarity and individual musical preferences remain open questions.

199 rative motifs on potsherds to baby names and musical preferences.

200 stigate the critical neural architectures of musical processing in the brain.

201 er congenital amusia, a lifelong disorder of musical processing, impacts sensitivity to musical emoti

202 In a related musical project involving one participating choir, a new

203 he position of the circle"-was comparable to musical reading.

204 tand better the neural correlates underlying musical reward.

205 areas increases as a function of increasing musical reward.

206 individual differences in the sensitivity to musical reward.

207 ence suggests that this activity arises from musical "reward prediction errors" (RPEs) that signal th

208 eger ratios, but they suggest that priors on musical rhythm are substantially modulated by experience

209 Man, Darwin speculated that our capacity for musical rhythm reflects basic aspects of brain function

210 Although we can detect slight changes in musical rhythm, the underlying neural mechanism remains

211 es demonstrates that, as with musical pitch, musical rhythms also exhibit a balance of predictability

212 possible ways of organizing events in time, musical rhythms are almost always distributed categorica

213 Taken together, these results suggest that musical rhythms constitute a unique context to gain insi

214 Are musical rhythms indeed entirely predictable and how do t

215 Musical rhythms, especially those of Western classical m

216 ally, determining musical structures such as musical scale, harmony, and sequential rules in chord pr

217 erception of how high or low a sound is on a musical scale, is a fundamental perceptual attribute of

218 s that underlie Western and many non-Western musical scales, demonstrating surprising convergence bet

219 Many human musical scales, including the diatonic major scale preva

220 rogate means of "hearing" music, through the musical score, which allows composers to write and edit

221 e hypothesize that visual separation cues in musical scores should facilitate music reading.

222 on of musical literacy and for the design of musical scores, and for our knowledge of the sense-makin

223 ty to extract a periodic beat from a complex musical segment is remarkable, as it requires abstractio

224 Indeed, we found that levels of musical sophistication negatively predicted listeners' t

225 acoustical features of the chords as well as musical sophistication of the raters.

226 e purpose of this study was to (a) apply the musical sound quality assessment method, Cochlear Implan

227 eference and Anchor (CI-MUSHRA), to quantify musical sound quality deficits in CI (cochlear implant)

228 any different acoustic parameters related to musical sound quality in the future.

229 arameter contributing to overall CI-mediated musical sound quality limitations.

230 ween CI-MUSHRA performance and self-reported musical sound quality, as assessed by more traditional r

231 rameter did not correlate to measurements of musical sound quality, as assessed by VAS.

232 MUSHRA provided a quantitative assessment of musical sound quality.

233 four Visual Analogue Scales (VAS) to assess musical sound quality.

234 tues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion

235 uring mental control of the actions by which musical sounds are produced.

236 lso strongly related to the actions by which musical sounds are produced.

237 tronic music-boxes, producing two streams of musical sounds that were meant to be played synchronousl

238 early childhood show enhanced processing of musical sounds, an effect that generalizes to speech pro

239 cts), musical emotions, musical instruments (musical sources) and music notation (musical symbols).

240 demonstrate cortical entrainment that tracks musical stimuli over a typical range of tempi, but not a

241 Five versions of real-world musical stimuli were created: 8-,4-, and 2-kHz low-pass-

242 A total of 25 musical stimuli were tested.

243 o discriminate between unaltered and altered musical stimuli with variable amounts of high-frequency

244 ds to be highly repetitive, both in terms of musical structure and in terms of listening behavior, ye

245 ch were extracted from a predictive model of musical structure based on Markov chains.

246 both spectrally and temporally, determining musical structures such as musical scale, harmony, and s

247 xible use of musical activities, predictable musical structures, and clear realistic goals.

248 of the harmonic language of three different musical styles (classical, jazz and avant-garde music),

249 sures of familiar music, but that unfamiliar musical styles can sustain an audience's interest, in pa

250 Western musical styles use a large variety of chords and vertica

251 of temporal sequences and classification of musical styles.

252 rved recognition of musical compositions and musical symbols despite severely impaired recognition of

253 uments (musical sources) and music notation (musical symbols).

254 fects), which previous work has connected to musical syntax, along with the music N400, were together

255 Taking Western tonal harmony as a model of musical syntax, we used a machine-learning model [13] to

256 r current debates about the origins of human musical systems and may call for a reevaluation of exist

257 help explain cross-cultural regularities in musical systems, but indicate that these mechanisms inte

258 we communicate using complex linguistic and musical systems, yet these modern systems are the produc

259 that develop from experience with particular musical systems.

260 mechanism for the emergence of new traits in musical systems.

261 cultural transmission and regularization of musical systems.

262 Tasks required participants to sing musical target intervals under normal conditions and aft

263 usic occurring within the frequency range of musical tempo.

264 controls, amusics used timbre cues to judge musical tension in Western and Indian melodies.

265 In musical terms, such a pattern can be described as a cres

266 Studies based on psychophysical judgments of musical timbre, ecological analyses of sound's physical

267 ere, we explored the neural underpinnings of musical timbre.

268 e hypothesis that the relative attraction of musical tone combinations is due, at least in part, to t

269 ome musicians to precisely identify and name musical tones in isolation, is associated with a number

270 ome musicians to precisely identify and name musical tones in isolation, is associated with a number

271 eural entrainment is tightly coupled to both musical training and task performance, further supportin

272 nses in older adults with and without modest musical training as they classified speech sounds along

273 Second, improvisational musical training can influence functional brain properti

274 lts suggest that neural changes accompanying musical training during childhood are retained in adulth

275 Moreover, results revealed that long-term musical training generates plastic changes in frontal, t

276 It remains unclear whether musical training is associated with improved speech unde

277 ply that robust neuroplasticity conferred by musical training is not restricted by age and may serve

278 Musical training is thought to improve nervous system fu

279 e results do not support the hypothesis that musical training leads to improved speech intelligibilit

280 om those of native speakers, suggesting that musical training may compensate for the lack of language

281 Also, these results suggest that musical training might improve rhythmic clocking in CI u

282 Here, we show that musical training offsets declines in auditory brain proc

283 arallel, plasticity effects due to long-term musical training on this response were investigated by c

284 Listeners with or without musical training performed a duration discrimination tas

285 Participants with formal musical training showed more inter-subject correlation,

286 onses recorded in individuals with extensive musical training versus those recorded in nonmusicians.

287 ization of this network related to long-term musical training was investigated by comparing musicians

288 Thus, musical training with a heavy emphasis on synchronizatio

289 These data provide evidence for musical training's impact on biological processes and su

290 g for the others, with general intelligence, musical training, and male sex having the biggest impact

291 Comparatively, musical training, another type of sensory enrichment, tr

292 how that entrainment is enhanced by years of musical training, at all presented tempi.

293 also correlated with the number of years of musical training.

294 ng human adults with varying amounts of past musical training.

295 ians with or without AP and controls without musical training.

296 rest, in particular in individuals with some musical training.

297 Here we show, for a standard musical tuning fundamental frequency of 440 Hz, that the

298 Using a musical turn-taking task, we show that pianists call on

299 nses to music investigating the influence of musical valence (pleasantness/unpleasantness) comparing

300 posers, performers, and consumers favor some musical variants over others.