| Schneck & Berger; Music Effect | |||||
| Book | Page | Topic | |||
| Schneck & Berger; Music Effect | 27 | Music has power. It can change attitudes, relax or energize the body, animate the spirit, influence cognitive development, enhance the body's self-healing mechanisms. | |||
| Schneck & Berger; Music Effect | 27 | Anatomical systems and physiological processes that comprise the 'me' of what is inherently human function are reflected within the content and systems of music. | 0 | ||
| Schneck & Berger; Music Effect | 27 | Although all the arts (poetry, painting, drama, dance, etc.) generally affect us in the same way as music does, the effect of music is stronger, swifter, more compelling and infallible. | 0 | ||
| Schneck & Berger; Music Effect | 28 | Humans create music; it is a metaphor for human experience, encompassing the entire spectrum of human emotions. | 1 | ||
| Schneck & Berger; Music Effect | 28 | Music is the abstraction and transformation of human emotional and physical energies into acoustic energies that reflect, parallel, and resume in synchrony with the physiological system. | 0 | ||
| Schneck & Berger; Music Effect | 28 | Music is the mirror of human physical and emotional energy, transformed into sound. | 0 | ||
| Schneck & Berger; Music Effect | 28 | Music exists wherever there is humanity on this planet. | 0 | ||
| Schneck & Berger; Music Effect | 29 | Why is "Happy Birthday" sung rather than recited? It is because words alone do not adequately convey the emotional energy behind the thought. | 1 | ||
| Schneck & Berger; Music Effect | 29 | In evolutionary time, the voice was perhaps the first instrument to express human conditions such as needs, desires, fears, pain, joy, excitement etc. | 0 | ||
| Schneck & Berger; Music Effect | 29 | Primitive percussive and blowing implements were the original instruments -- hollow bones or plant stalks, sticks and tree limbs, hollow or skin-covered logs, bells, rattles, and rituals. | 0 | ||
| Schneck & Berger; Music Effect | 29 | Evolution of rhythmic, tone-linked, purposefully and systematized incantations, expressing human needs and feelings. | 0 | ||
| Schneck & Berger; Music Effect | 29 | Did musical form of expression predate the formalization of language communication? | 0 | ||
| Schneck & Berger; Music Effect | 29 | Vocal chanting was abbreviated and contracted into short rhythmic spurts of localized grunts and calls that evolve into speech. | 0 | ||
| Schneck & Berger; Music Effect | 30 | Music as a noncognitive form of communication. A person needs to know absolutely nothing about music to instantly respond to and benefit from it. | 1 | ||
| Schneck & Berger; Music Effect | 30 | Music requires no semantic interpretations of its syntax. It is immediately understood. | 0 | ||
| Schneck & Berger; Music Effect | 30 | Music is a human-made event. It is the single most abstract form of self-expression, speaking the emotional language of the human "me". | 0 | ||
| Schneck & Berger; Music Effect | 30 | Music makes immediate sense, reaching directly into the emotional brain to convey or echo moves, sensations, and feelings. | 0 | ||
| Schneck & Berger; Music Effect | 30 | Music is a human being's first language. Words are inadequate to describe the musical experience. It can only be experienced. | 0 | ||
| Schneck & Berger; Music Effect | 30 | Music is the universal language of all humanity. | 0 | ||
| Schneck & Berger; Music Effect | 31 | Six elements of music -- rhythm, melody, harmony, timbre, dynamics, form. | 1 | ||
| Schneck & Berger; Music Effect | 34 | Rhythm -- periodicity; tendency of an event to occur at regular intervals. | 3 | ||
| Schneck & Berger; Music Effect | 34 | Melody -- linking of one pitch to another in a curvilinear relationship. | 0 | ||
| Schneck & Berger; Music Effect | 34 | Harmony -- simultaneous compounding of pitches one on top of another, sounded at the same time to resonate together. | 0 | ||
| Schneck & Berger; Music Effect | 35 | Dynamics -- energy inherent in sound, embedded in the amplitude of the sound wave. | 1 | ||
| Schneck & Berger; Music Effect | 35 | Timbre -- texture to a sound, differentiate between various instrumental and vocal qualities. | 0 | ||
| Schneck & Berger; Music Effect | 35 | Form -- and overall, operational, systematic, structural configuration. | 0 | ||
| Schneck & Berger; Music Effect | 52 | Sound power level, db | 17 | ||
| Schneck & Berger; Music Effect | 54 | Resonance | 2 | ||
| Schneck & Berger; Music Effect | 55 | Sympathetic vibrations -- physiological sympathetic vibrations to music. | 1 | ||
| Schneck & Berger; Music Effect | 57 | Human ear is able to discriminate some 400,000 sounds that involve different combinations of pitch, loudness, and timbre. | 2 | ||
| Schneck & Berger; Music Effect | 77 | Endocrine system starts mainly in the brain, where the pineal gland and the hypothalamus are located, then works its way down through the pituitary gland (hypophysis),thyroid and four parathyroids, two adrenal glands, etc.. | 20 | ||
| Schneck & Berger; Music Effect | 78 | Several of the neurotransmitters, hormones, and antibodies have been shown to be secreted in response to certain types of musical stimulation. | 1 | ||
| Schneck & Berger; Music Effect | 79 | Corresponding to the gene in the biological realm, there is the meme and the socio-cultural dimension. | 1 | ||
| Schneck & Berger; Music Effect | 80 | Five basic Gestalt laws of perceptual organization of sensory information. | 1 | ||
| Schneck & Berger; Music Effect | 80 | Gestalt law of proximity. | 0 | ||
| Schneck & Berger; Music Effect | 81 | Gestalt law of directionality. | 1 | ||
| Schneck & Berger; Music Effect | 81 | Gestalt law of similarity. | 0 | ||
| Schneck & Berger; Music Effect | 81 | Gestalt law of closure. | 0 | ||
| Schneck & Berger; Music Effect | 81 | Gestalt law of Pragnanz. | 0 | ||
| Schneck & Berger; Music Effect | 82 | Constraint limitations in processing sensory information. | 1 | ||
| Schneck & Berger; Music Effect | 82 | Frequencies between 20 Hz and 20 kHz. | 0 | ||
| Schneck & Berger; Music Effect | 82 | Sound pressure level between 0 and 120 db. | 0 | ||
| Schneck & Berger; Music Effect | 82 | Harmonic dissonance and consonance. | 0 | ||
| Schneck & Berger; Music Effect | 82 | Dissonance derives from interference patterns (sonic beats) that originate when two tones close in frequency, but not identical, are sounded together. | 0 | ||
| Schneck & Berger; Music Effect | 82 | Dissonance, peaking at beat frequencies around 24 Hz (comparable to the "flicker speed" for vision) is unpleasant to the typical listener, consonance being much more agreeable to the auditory system. | 0 | ||
| Schneck & Berger; Music Effect | 82 | Tempering of the musical scale has evolved as a way of minimizing the unpleasant phenomenon of dissonance. | 0 | ||
| Schneck & Berger; Music Effect | 82 | The current 12 tone chromatic scale contains the maximum number of equally spaced notes containing the minimum number of this in a frequency ratios between any two of these notes. | 0 | ||
| Schneck & Berger; Music Effect | 83 | The number of dissonant intervals, expressed as a percentage of the total number of intervals in the scale, is the least possible. | 1 | ||
| Schneck & Berger; Music Effect | 83 | The actual note-to-note subdivisions of the musical scale are constrained by the resolution capabilities of the human auditory system (Gestalt law of proximity). | 0 | ||
| Schneck & Berger; Music Effect | 83 | The equal spacing of the notes of the musical scale is designed to make it convenient to transpose and modulate from one key to another. | 0 | ||
| Schneck & Berger; Music Effect | 83 | All sensory perception is constrained by the ability of the corresponding sensory modality to resolve the adequate stimuli. | 0 | ||
| Schneck & Berger; Music Effect | 83 | Information transmission and processing rates | 0 | ||
| Schneck & Berger; Music Effect | 83 | Most neurons fire at maximum rates of about 400 impulses per second. | 0 | ||
| Schneck & Berger; Music Effect | 83 | A single nerve trunk (e.g. the auditory nerve) contains about 30,000 total sensory nerve fibers. | 0 | ||
| Schneck & Berger; Music Effect | 83 | At 400 hundred impulses per second a 30 thousand nerve-fiber trunk would produce an information flow into the CNS of about 12 million bits per second. | 0 | ||
| Schneck & Berger; Music Effect | 84 | Interneurons of the reticular activating system (RAS) are very short; this allows it to function as a sieve, continuously sifting through a wealth of incoming data. | 1 | ||
| Schneck & Berger; Music Effect | 84 | Only those sensory inputs that the RAS deems to be essential, unusual, perceived-to-be-dangerous, and/or in some sense 'action provoking' are selected as appropriate for further processing and forwarding to the higher levels of the brain. | 0 | ||
| Schneck & Berger; Music Effect | 84 | Filtered by the RAS, only a few hundred stimuli, at most, actually make it through to cerebral regions above the brainstem. | 0 | ||
| Schneck & Berger; Music Effect | 85 | Autistic children -- 'slow learners', information comes in faster than they can process it; state of confusion may result. In engineering signal theory, these are called dropouts or aliasing errors; sampling rate too low for a rapidly-changing incident stimulus. | 1 | ||
| Schneck & Berger; Music Effect | 86 | Hierarchy of three pathways in series through which the information passes on its afferent journey through the CNS. | 1 | ||
| Schneck & Berger; Music Effect | 86 | Reticular formation -- first level of information processing. | 0 | ||
| Schneck & Berger; Music Effect | 86 | Primary function of the reticular formation is to prevent information overload by acting as a preliminary coarse sieve or filter that serves to avoid innundating the brain with information. | 0 | ||
| Schneck & Berger; Music Effect | 86 | Thalamus -- sensory reception center; evaluates incoming information; once classified, immediately dispatched to two generic places: (1) sensory regions of the cerebral cortex, (2) the limbic system, where it undergoes immediate, subconscious perception to effect instantaneous responses to potential threats. | 0 | ||
| Schneck & Berger; Music Effect | 87 | Sensory data the thalamus has classified as potential threats passes in series pathways first through the amygdala and second through the hippocampus. | 1 | ||
| Schneck & Berger; Music Effect | 88 | If the amygdala signifies that all is well, information filtered by the RAS, classified by the thalamus, and evaluated and prioritized by the limbic system passes on through the hippocampus to the cognitive regions of the cerebral cortex. | 1 | ||
| Schneck & Berger; Music Effect | 89 | Brain attempts to economize on the utilization of space for storage: (1) it stores ingredients, not products, (2) it draws upon fractal principles to create complicated geometric shapes and configurations, (3) it discards any and all information for which it has no perceived need. | 1 | ||
| Schneck & Berger; Music Effect | 98 | All animal behavior is driven by emotion. Humans instinctively react first, and think later. | 9 | ||
| Schneck & Berger; Music Effect | 98 | Survival instinct is pervasive in all living creatures, and is the most fundamental of all human drives. | 0 | ||
| Schneck & Berger; Music Effect | 105 | Physiological process called 'facilitation', or "memory of sensation". | 7 | ||
| Schneck & Berger; Music Effect | 105 | Anatomical remodeling capability known as plasticity. | 0 | ||
| Schneck & Berger; Music Effect | 105 | Conditioned reflex network. | 0 | ||
| Schneck & Berger; Music Effect | 105 | Habit | 0 | ||
| Schneck & Berger; Music Effect | 109 | Humans initially respond sub-cognitively, intuitively, and spontaneously to sensory stimulation, by means of genetically inscribed, emotionally driven instincts. | 4 | ||
| Schneck & Berger; Music Effect | 109 | Instinct to survive in the face of perceived threats is the engine that propels physiological function. | 0 | ||
| Schneck & Berger; Music Effect | 109 | Thought (based on the cognitive awareness of internal and external events) is a luxury afforded as an "after"-thought, where the events enter consciousness long after (as much as 500 ms) a response to the event has already taken place instinctively. | 0 | ||
| Schneck & Berger; Music Effect | 109 | Any given event might never enter (via the hippocampus) the conscious arena, but rather remain in the subconscious memory of the amygdala permanently. | 0 | ||
| Schneck & Berger; Music Effect | 109 | Fear derived from a perceived threat to survival is the underlying emotion driving human behavior. | 0 | ||
| Schneck & Berger; Music Effect | 109 | The human system can be thrust into a perpetual state of fear, and survival behaviors will be manifest as norms. Such systems will routinely operate in fight-or-flight mode, characterized by an internal hyperactivity. | 0 | ||
| Schneck & Berger; Music Effect | 111 | Pathological fear -- once fear takes hold, it can escalate, become automatic, and even spiral out of control in response to similar or related situations. (Diagram) | 2 | ||
| Schneck & Berger; Music Effect | 113 | Schematic representation of fear spiral. (diagram) | 2 | ||
| Schneck & Berger; Music Effect | 117 | Physiological entrainment | 4 | ||
| Schneck & Berger; Music Effect | 118 | Entrainment -- body becomes synchronized with the forcing function, allowing itself to be driven consciously or subconsciously. | 1 | ||
| Schneck & Berger; Music Effect | 120 | A most natural response of the human body to music is a synchronization of anatomical movements and other physiological/psychological functions with musical rhythms. | 2 | ||
| Schneck & Berger; Music Effect | 121 | When people listen to music, various aspects of their body rhythms display a dynamic embodiment of the temporal structure inherent in the musical rhythms. | 1 | ||
| Schneck & Berger; Music Effect | 121 | Studies of the electrical activity of muscle function show that auditory cues (driving functions) can arouse and raise the excitability of spinal motor neurons. This excitability is mediated by auditory-motor neural circuitry at the reticulospinal level. | 0 | ||
| Schneck & Berger; Music Effect | 121 | Auditory cues can capture one's attention. Such attentiveness results in brain waves becoming synchronized with the beat frequency. This synchronized brain activity seems to establish a "pleasing resonance" that catches the entire range of human emotions. | 0 | ||
| Schneck & Berger; Music Effect | 121 | Researchers have discovered that synchronous firing of neurons in the brain followed a subject's making a deliberate effort to pay attention to a particular sensory stimulus, while ignoring all other distractions. | 0 | ||
| Schneck & Berger; Music Effect | 121 | Resonance phenomenon following entrainment could be the brain's way of amplifying the volume of brain signals representing behaviorally relevant stimuli. Such amplification would boost the intensity of these particular stimuli above the level of surrounding 'noise'. | 0 | ||
| Schneck & Berger; Music Effect | 121 | Entrainment, leading to brain-wave synchronization, leading to resonance, leading to amplification, might be the brain's way of paying attention to a particular stimulus, over and above surrounding distractions. | 0 | ||
| Schneck & Berger; Music Effect | 122 | Cerebral neurons excited by specific attributes of attended stimuli can conspicuously synchronize their activity in the gamma (40-90 Hz) range of the EEG, indicating extremely strong brain activity. | 1 | ||
| Schneck & Berger; Music Effect | 122 | If music is familiar, preferred tempi seem to have a simple harmonic relationship to the individual's normal heart rate (70-100 cycles per minute). | 0 | ||
| Schneck & Berger; Music Effect | 131 | Performance anxiety or "stage fright". | 9 | ||
| Schneck & Berger; Music Effect | 131 | Reticular activating system (RAS) can be biased, like controlling the mesh size of a sieve, to selectively determine what information gets passed on to the brain for further processing. | 0 | ||
| Schneck & Berger; Music Effect | 131 | Many of the effects of the RAS can be attributed to music's effect on how sensory inputs are handled by the reticular activating system and the brain. | 0 | ||
| Schneck & Berger; Music Effect | 131 | In acting like a sieve, the RAS is biased to allow to pass through it information that is perceived to be threatening and/or which is perceived to be otherwise of some interest to the central nervous system. | 0 | ||
| Schneck & Berger; Music Effect | 132 | By regulating the sieve size, the RAS can be biased to control its sensitivity to various threshold stimuli. | 1 | ||
| Schneck & Berger; Music Effect | 132 | Exercises such as meditation, praying, chanting, guided imagery, and music therapy, acting through mechanisms of entrainment, can bias the RAS, shifting its threshold sensitivities one way or the other, to let more or less information pass through to higher centers. | 0 | ||
| Schneck & Berger; Music Effect | 132 | Different states of one's awareness about the world could result from the hierarchy of levels at which sensory information is filtered out. | 0 | ||
| Schneck & Berger; Music Effect | 132 | In scientific studies, music that elicits pleasant emotions causes the listener to display increased cerebral alpha-rhythm (8-12 Hz, at about 50 µv on the EEG) that is associated with a relaxed state of physiological tranquility. | 0 | ||
| Schneck & Berger; Music Effect | 132 | Power spectral analysis of brain wave activity of infants shows increased activity in the delta wave (1-5 Hz, at 20-200 µv) and theta-wave (4-7 Hz) regions when processing music as opposed to verbal inputs. Delta wave activity is associated with deep sleep, theta waves with various states of drowsiness. | 0 | ||
| Schneck & Berger; Music Effect | 133 | Music has a profound influence on how information tracks through the brain. | 1 | ||
| Schneck & Berger; Music Effect | 133 | Music is able to alter the information route through the brain, from amygdala-centered neural networks associated with emotional fear responses, to hippocampus-centered networks associated with more rational, cognitive responses. | 0 | ||
| Schneck & Berger; Music Effect | 133 | Through mechanisms of entrainment that involve biasing of neural networks, music can affect processes of sensory integration. | 0 | ||
| Schneck & Berger; Music Effect | 133 | Music's effect on sensory integration refers to how the brain organizes and interprets (in accordance with the Gestalt laws) inputs arriving simultaneously from multiple sensory modalities, such as sight, sound, smell, taste, touch, heat, pain (nociceptive), etc.. | 0 | ||
| Schneck & Berger; Music Effect | 136 | Music as therapeutic is distinctly different from music as therapy. | 3 | ||
| Schneck & Berger; Music Effect | 136 | Therapeutic music is a diversionary therapeutic succour, for temporary physical and psychological reasons. | 0 | ||
| Schneck & Berger; Music Effect | 136 | Music therapy is aimed at accomplishing long-lasting, specific anatomical and physiological changes; reparation of particular human conditions. | 0 | ||
| Schneck & Berger; Music Effect | 137 | Cytokines for the immune system -- hormones for the endocrine system -- neurotransmitters for the nervous system. | 1 | ||
| Schneck & Berger; Music Effect | 140 | Neuroscientists Rodolfo Llinas produced an actual humming (background signal) of constant electrical impulses, which fire rhythmically across synapses in the brain, mostly at about 40 Hz in the gamma range of the EEG. | 3 | ||
| Schneck & Berger; Music Effect | 140 | Neurons entrain to each other's rhythms via synchronized action potentials as they communicate with one another. | 0 | ||
| Schneck & Berger; Music Effect | 140 | Neuronal activities appear to be contingent upon coherent rhythmicity and resonance. | 0 | ||
| Schneck & Berger; Music Effect | 140 | Oscillation in the gamma range of 40 Hz of neuronal rhythms in the brain, when amplified in the laboratory, actually admitted hum-drone audible sounds. | 0 | ||
| Schneck & Berger; Music Effect | 154 | Although the exact mechanisms by which the body entrains various rhythms, rhythmic patterns play an important role in maintaining the brain's attention to acoustic information. | 14 | ||
| Schneck & Berger; Music Effect | 161 | Speech inflection is a form of emotional vocal communication. | 7 | ||
| Schneck & Berger; Music Effect | 161 | In spoken language, vocal intensities change, attitudes permeate within inflection, pitches rise and fall, and one intuitively seems to comprehend meanings, regardless of whether or not words are recognized ("reading between the lines", so to speak) | 0 | ||
| Schneck & Berger; Music Effect | 161 | Changes in tonality, volume, and phrasing constitute prosodic features that are often produced without conscious intention. | 0 | ||
| Schneck & Berger; Music Effect | 161 | Prosody and inflection might be instinctive and culturally dependent. | 0 | ||
| Schneck & Berger; Music Effect | 161 | In an evolutionary sense, human calls developed as symbolic communicators of emotion and feelings. | 0 | ||
| Schneck & Berger; Music Effect | 162 | Extended vocal incantations as pre-language -- humans first language. | 1 | ||
| Schneck & Berger; Music Effect | 162 | Vocalizations became extended and amplified through various instruments, such as hollow reed flutes, animal horns, and other vibration-producing wind and percussion instruments. | 0 | ||
| Schneck & Berger; Music Effect | 162 | Cerebral information processing, including the Gestalt laws. | 0 | ||
| Schneck & Berger; Music Effect | 162 | Two of the basic human calls -- laughter and sobbing. | 0 | ||
| Schneck & Berger; Music Effect | 163 | Human calls include: screaming with fright; groaning in disapproval; sighing as an expression of sadness, weariness, fatigue, or relief; crying with pain, fear, and/or remorse. | 1 | ||
| Schneck & Berger; Music Effect | 163 | Severe damage to the amygdala impairs a victim's ability to react emotionally. | 0 | ||