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 Distinctive auditory features include musical ability, heightened sound sensitivity, and speci

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

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 ypically approached regarding its profile of musical and pitch difficulties.

21 Infants were exposed to various excerpts of musical and rhythmic stimuli, including isochronous drum

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 Our findings regarding musical anticipation and sound sequence learning are hig

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

27 f the intensity of instrumental practice and musical aptitude.

28 ssion are associated with both behaviour and musical aptitude.

29 the importance of auditory pathway genes in musical aptitude.

30 endency to move in rhythmic synchrony with a musical beat (e.g., via head bobbing, foot tapping, or d

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

32 findings indicate that synchronization to a musical beat is not uniquely human and suggest that anim

33 ronization" hypothesis [3], entrainment to a musical beat relies on the neural circuitry for complex

34 are capable of synchronizing movements to a musical beat.

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

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

37 A musical chord can be represented as a point in a geometr

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 We measured preferences for musical chords as well as nonmusical sounds that isolate

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

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

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

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

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

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

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

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

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

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

53 in natural music and enhances processing of musical content.

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

55 to perceive rhythmic distinctions in foreign musical contexts.

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 c, but not text, in the absence of any other musical deficit.

63 amusia makes a controversial claim that such musical deficits may be understood in terms of a problem

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

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

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

67 est-known work, 'Bolero', by translating its musical elements into visual form.

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

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

70 f musical symbols, but normal 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 of the beautiful, cognitive dissonances, and musical emotions.

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

75 ysical sources and the knowledge of abstract musical entities.

76 somewhat better recognition of composer and musical era, and impaired comprehension of musical symbo

77 By manipulating the tempo of a musical excerpt across a wide range, we show that the an

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

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

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

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

82 These findings suggest that musical experience limits the negative effects of compet

83 To investigate the effect of musical experience on the neural representation of speec

84 Musical experience provides an ideal case for examining

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

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

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

88 pertains to neural mechanisms that underlie musical experience.

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

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

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

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

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

94 First, musical exposure can be controlled and manipulated to an

95 A substantial degree of recovery of musical function occurred within 6 months and of the oth

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

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

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

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

100 Musical hallucinations have been linked to multiple asso

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

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

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

104 , and to aberrant listening in patients with musical hallucinations.

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

106 envelope, which underlies the perception of musical harmony, was also more precise in musicians than

107 Musical imagery and musical perception resulted in overl

108 Musical imagery is the human experience of imagining mus

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

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

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

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

113 idence from individuals born with a profound musical impairment suggests that the ability to process

114 es for harmonic frequencies because of their musical importance.

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

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

117 tly and objectively as measured with a MIDI (musical instrument digital interface) piano, and the amo

118 Playing a musical instrument is associated with numerous neural pr

119 Playing a musical instrument requires efficient auditory and motor

120 egions, consisting of clusters selective for musical instrument sounds and for human speech.

121 ain processes complex sounds, like voices or musical instrument sounds, is currently not well underst

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

123 esonant sound (human voice, animal call, and musical instrument).

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

125 number of years subjects had spent playing a musical instrument, suggesting that exposure to music am

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

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

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

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

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

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

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

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

134 ted among sounds related to various animals, musical instruments and objects.

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

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

137 t normal recognition of musical emotions and musical instruments from sound.

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

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

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

141 ities, reading, playing board games, playing musical instruments, and dancing were associated with a

142 t classes of inanimate objects (e.g., tools, musical instruments, and houses).

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

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

145 h as human speech, animal vocalizations, and musical instruments, is a fundamental attribute of heari

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

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

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

149 hmic synchronization is at the foundation of musical interaction.

150 vowel phones to examine the hypothesis that musical intervals arise from the relationships of the fo

151 the ordering of neural pitch salience across musical intervals followed the hierarchical arrangement

152 esponse to the dichotic presentation of nine musical intervals that varied in their degree of consona

153 uring the auditory brainstem response to two musical intervals, the major sixth (E3 and G2) and the m

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

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

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

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

158 Both the bases for normal musical listening and the clinical assessment of disorde

159 The study of the brain bases for normal musical listening has advanced greatly in the last 30 ye

160 lop an approach for understanding disordered musical listening that is based on the systematic assess

161 both to acquired and congenital deficits of musical listening, and to aberrant listening in patients

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

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

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

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

166 on to musical perceptual abilities and extra-musical neuropsychological functions.

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

168 neously recognize and label tones with their musical note names without using a reference pitch for c

169 earning a piano sonata requires learning the musical notes and being able to implement this goal by l

170 Some combinations of musical notes are consonant (pleasant), whereas others a

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

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

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

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

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

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

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

178 In Experiment 2 a further sixteen musical novices were asked to either pay attention to th

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

180 that deficits in amusia are specific to the musical or even the auditory domain.

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

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

183 Musical imagery and musical perception resulted in overlapping activations a

184 al amusia, a neuro-developmental disorder of musical perception, also has implications for speech int

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

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

187 music knowledge were assessed in relation to musical perceptual abilities and extra-musical neuropsyc

188 t development of the sight-reading skills of musical performance alters brain circuit organization wh

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

190 and motor-sequence organization underpinning musical performance, to subserve 3DMR in musicians.

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

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

193 steners towards a memorable highpoint of the musical piece.

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

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

196 nvironmental contributions to differences in musical pitch perception abilities in humans.

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

198 This suggests that variation in musical pitch recognition is primarily due to highly her

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

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

201 he data are consistent with a model in which musical practice in healthy musicians leads to beneficia

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

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

204 es within the motor area caused by long-term musical practice.

205 cians and strongly correlated with length of musical practice.

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

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

208 termine what effect this conditioning had on musical preference.

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

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

211 dow onto the neuro-cognitive architecture of musical processing, and the possible etiologies of disor

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

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

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

215 sing show preferential encoding of consonant musical relationships and, furthermore, preserve the hie

216 areas increases as a function of increasing musical reward.

217 tand better the neural correlates underlying musical reward.

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

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

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

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

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

223 Are musical rhythms indeed entirely predictable and how do t

224 Musical rhythms, especially those of Western classical m

225 e, culture-specific pattern of responding to musical rhythms, in contrast to the culture-general resp

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

227 The similarity of musical scales and consonance judgments across human pop

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

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

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

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

232 roundwork for understanding how more complex musical sequences are represented and produced by the br

233 phasize skills primarily, and stress art and musical skill at the expense of language and mathematics

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

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

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

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

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

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

240 MUSHRA provided a quantitative assessment of musical sound quality.

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

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

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

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

245 shown that, as we learn to discriminate the musical sounds in our own environment, we become less se

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

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

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

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

250 A total of 25 musical stimuli were tested.

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

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

253 of temporal sequences and classification of musical styles.

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

255 (e.g., the translation of visually perceived musical symbols into motor commands with simultaneous au

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

257 d musical era, and impaired comprehension of musical symbols, but normal recognition of musical emoti

258 ral dynamics of event segmentation in entire musical symphonies under natural listening conditions.

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

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

261 ferent from 2:1 frequency ratios in existing 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 eural entrainment is tightly coupled to both musical training and task performance, further supportin

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

271 Second, improvisational musical training can influence functional brain properti

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

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

274 Musical training is known to modify cortical organizatio

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

276 Musical training is thought to improve nervous system fu

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

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

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

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

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

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

283 Here, we examine whether musical training provides resilience to the degradative

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

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

286 Thus, musical training with a heavy emphasis on synchronizatio

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

288 the effects of auditory training (including musical training) on brain organization for language.

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

290 ments were strongly correlated with years of musical training, and our findings, therefore, underscor

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 ng human adults with varying amounts of past musical training.

294 n music, even for individuals without formal musical training.

295 for physiological adaptation of the brain to musical training.

296 equences by disregarding the effects of five musical transformations: octave shift, permutation, tran

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 ferent near-symmetries and suggest different musical uses.

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