A Comparative Study of the Effects of Music on Emotional State in the Normal and High-functioning Autistic Population

It has been assumed that the social deficits inherent in autism imply that individuals with the condition will be unable fully to appreciate the emotional content of music. My aim was to test this assumption, and to explore more widely the similarities and differences between the experience of music in the normal population and those with autism. My first study used musically-induced mood changes and a behavioural measure to show that music does indeed have a more than superficial effect on cognitive processes in a control group. The second study focused on high-functioning adults on the autism spectrum, using semi-structured interviews to investigate the part that music played in their everyday lives, concluding that autism is no bar to full appreciation of the emotional uses of music, though suggesting a degree of impoverishment in the language they used to describe the emotions. The final set of experiments compared control and autism group directly, using physiological (GSR) measures of arousal together with self-report of the emotions evoked by a set of musical items. Standardised questionnaires were used to measure alexithymia (difficulty in identifying and describing feelings) in individuals. Although the autism group experienced comparable levels of physiological arousal to music, they used fewer words than the control group to describe their emotional responses, a difference which correlated strongly with their level of alexithymia. My results are consistent with the hypothesis that in autism, the basic physiological and emotional component of their reactivity to music is functioning normally, but that their ability to translate these reactions into conventional emotional language is reduced, precisely in line with the extent of their alexithymia. These results suggest that the preserved ability of music to generate emotional arousal in autism may lead to clinical applications for the treatment of alexithymia in autism and other conditions

Benjamin Britten: Text Setting as Cultural Custodian in Art Song

Proposing the thesis that, for Benjamin Britten, text-setting analysis is analogous to song analysis; this dissertation cautions that non-engagement in text-setting is to approach song as if it were instrumental music; likewise, to consider inadequately the wide-ranging musical implications of music-text relations is to limit the interpretive possibilities of song. This research approaches the analysis of song through an engagement with songs composed by Britten in the 1930s from texts by W. H. Auden. Blending insights from literary and linguistic studies with rhythmic analysis, this necessarily interdisciplinary research places song analysis in cultural context; text (poetic and musical) requires social context. Setting out with this rationale and these aims, this dissertation offers new perspectives for song interpretation, song classification and the social function of song. Poetic analysis is presented as central to an understanding of Britten’s song text setting. The mimetic possibility of song to present word and mood painting receives widespread support. This dissertation goes beyond this often considered diminutive fundamental capacity of song to represent text, and recognises a more complete representation of poetic form, the effect of individual words and word units and poetic meaning, in song. Musical language is repeatedly and consistently shown to highlight, to reinforce, to accentuate, to stress, to correlate and align with text; essentially song complements or contests verbal language. These musical equivalences are shown to be derivative of text but also become independent of text in song. Text setting is proposed not as one possible component of song analysis; rather text setting is the ultimate consolidating focus of song interpretation

Music therapy: what is it for whom? An ethnography of music therapy in a community mental health resource centre

Music therapy is widely portrayed either as a paramedical practice within which music is a technology applied as a form of treatment or as a form of psychotherapy within which the music plays a primarily symbolic role or acts as a lead in to verbal consideration of the patient’s presenting issues. Music therapy research currently focuses predominantly on demonstrating “evidence of effectiveness” in terms of symptomatic outcome, thus preserving a focus on the individual congruent with the medical model. In contrast, this thesis seeks to examine ethnographically the ways in which music therapy gets accomplished as a situated social practice within a community mental health resource centre in a UK urban area. Drawing both on the observations and experiences of the researcher (a music therapist already working within this setting) and on formal and informal interviews with the centre’s members and staff, it seeks to identify ways in which music therapy gets done and value ascribed to it. Observations are compared with the “norms” portrayed by dominant professional discourse, and reasons for discrepancies considered. Particular attention is paid to self-awareness, intimacy and conviviality as facets of what music therapy has to offer in such a setting, and to social capital theory and Goffman’s dramaturgical approach as broader conceptual frameworks for such affordances. Consideration is also given to the “fit” between the affordances of music itself, and the “craft” required of diverse actors in order that music therapy can be considered to offer an ecology which promotes health and well-being. Finally, the findings are re-addressed towards music therapy itself via the lens of what it means to be “clinical” in order that a sociological “craft” perspective maybe brought to bear within the discipline

Music therapy as discourse and discipline : a study of 'music therapist's dilemma'

This study takes a qualitative research perspective on the question of how music therapists talk about music therapy and how much a metalanguage relates to music therapy as an evolving discipline and profession. I ask whether there is a discourse of music therapy, and what the implications of this might be. Common to music centered approaches to music therapy is a problem I characterize as music therapists dilemma. This concerns having to use words and verbal logic to represent complex musical processes in music therapy (and the therapeutic processes which are seen to occur within these). I investigate how aspects of the New Musciology are discourse theory might shed light on the nature of music therapists dilemma. The data consists of an analysis of the verbal representations of one approach - Nordoff-Robbins Music Therapy. Three analyses examine different occasions where Nordoff-Robbins Music therapists are required to verbalise about music therapy: (i) when making a different commentary on a taped excerpt from a music therapy session, (ii) in a discussion group on general aspects of the work, and (ii) writing texts on practice, theory and research. The overall analytic perspective of critical theory (supplemented by discourse analysis and music semiology) is used to examine the complex interaction between representation, theory and ideology within these various meta linguistic forms. I conclude that any metalanguage of music therapy functions are discourse in the sense that it actively constructs (and does not merely describe) the practices and phenomena it concerns itself with. Music therapists dilemma is seen as an inevitable part of a music-centered music therapy (and as an extension of the problems of talking about music itself). Further, the dilemma is seen as having two aspects: the related challenges of verbally representing and theorizing the complex non-verbal phenomena and processes of music therapy. I suggest that my finding are transferable to music centered approaches to music therapy. A consequence of regarding the discipline and profession of music therapy as constructed by discourse is that the discursive practices of music therapists become of equal importance to their clinical practices - and should therefore be given equal attention on matters of training, theory building and research

Understanding hearing aid sound quality for music-listening

To improve speech intelligibility for individuals with hearing loss, hearing aids amplify speech using gains derived from evidence-based prescriptive methods, in addition to other advanced signal processing mechanisms. While the evidence supports the use of hearing aid signal processing for speech intelligibility, these signal processing adjustments can also be detrimental to hearing aid sound quality, with poor hearing aid sound quality cited as a barrier to device adoption. Poor sound quality is also of concern for music-listening, in which intelligibility is likely not a consideration. A series of electroacoustic and behavioural studies were conducted to study sound quality issues in hearing aids, with a focus on music. An objective sound quality metric was validated for real hearing aid fittings, enabling researchers to predict sound quality impacts of signal processing adjustments. Qualitative interviews with hearing aid user musicians revealed that users’ primary concern was understanding the conductor’s speech during rehearsals, with hearing aid music sound quality issues a secondary concern. However, reported sound quality issues were consistent with music-listening sound quality complaints in the literature. Therefore, follow-up experiments focused on sound quality issues. An examination of different manufacturers’ hearing aids revealed significant music sound quality preferences for some devices over others. Electroacoustic measurements on these devices revealed that bass content varied more between devices than levels in other spectral ranges or nonlinearity, and increased bass levels were most associated with improved sound quality ratings. In a sound quality optimization study, listeners increased the bass and reduced the treble relative to typically-prescribed gains, for both speech and music. However, adjustments were smaller in magnitude for speech compared to music because they were also associated with a decline in speech intelligibility. These findings encourage the increase of bass and reduction of treble to improve hearing aid music sound quality, but only to the degree that speech intelligibility is not compromised. Future research is needed on the prediction of hearing aid music quality, the provision of low-frequency gain in open-fit hearing aids, genre-specific adjustments, hearing aid compression and music, and direct-to-consumer technology

National review of school music education: Augmenting the diminished

This study included a literature review, call for submissions, site visits, national survey and curriculum mapping to determine the current quality and status of music education in Australian schools. It provides an examination of the challenges facing schools in providing music education and highlights opportunities for strengthening music education in schools

Inhomogeneity of visual space, discontinuity of perceptual time and cultural imprinting as exemplified with experiments on visual attention, aesthetic appreciation and temporal processing

Eines der wichtigsten Argumente für einen kognitivistischen Zugang zur Psychologie ist, dass sich die Psychologie nicht grundlegend von der Physik zu unterscheiden scheint; mentale Phänomene sind offenbar unmittelbar auf physikalische Realität bezogen. Beginnend mit der Psychophysik seit dem neunzehnten Jahrhunderts haben Experimente gezeigt, dass dieser Denkansatz nicht nur mit großen Vorteilen, sondern auch mit einigen Fallstricken verbunden sein kann. Auf der Basis des zugrundeliegenden Konzepts, dass mentale Phänomene physikalischen Ereignissen unmittelbar zugeordnet werden können, wird automatisch angenommen, dass die zeitliche Verarbeitung von sensorischen Informationen kontinuierlich sei, wie es das Zeitkonzept in der klassischen Physik nahelegt. Dieses Konzept widerspricht der Möglichkeit einer diskreten zeitlichen Informationsverarbeitung, wie sie in der Tat gilt. Des weiteren wird davon ausgegangen, dass Informationsverarbeitung in einem homogenen visuellen Wahrnehmungsraum eingebettet ist; dies ist jedoch nicht der Fall. Es wird dargestellt, dass mit einfachen sensorischen Reizen oder komplexen ästhetischen Stimuli und deren experimenteller Manipulation ein brauchbares empirisches Paradigma für ein besseres Verständnis von kognitiven Mechanismen bereitsteht, das auf diskrete zeitliche Verarbeitung und einen inhomogenen visuellen Wahrnehmungsraum hinweist. In mehreren Experimenten wird gezeigt, daß die Modulation der Aufmerksamkeit im Gesichtsfeld nicht homogen ist; Reaktionszeitexperimente mit spezifischen Modifikationen stützen die Hypothese, dass funktionell zwei Aufmerksamkeitssysteme im Gesichtsfeld eingebettet sind. Weitere unterstützende Beobachtungen über die Inhomogenität des Gesichtsfeldes kommen aus Experimenten zur ästhetischen Wahrnehmung westlicher und östlicher Kunstwerke. Diese Forschung bestätigt überdies das allgemeine Konzept von anthropologischen Universalien sowie kulturellen oder individuellen Spezifika bei der ästhetischen Wahrnehmung. Im Hinblick auf die zeitliche Wahrnehmung weisen Histogramme der Reaktionszeit auf diskrete zeitliche Informationsverarbeitung hin, was sich auch aus Beobachtungen der zeitlichen Ordnungsschwelle herleiten läßt. Bei der Untersuchung verzögerter Reaktionen wird gezeigt, dass eine präzise zeitliche Kontrolle erst nach einem längeren Intervall erreicht wird. Zusammenfassend kann man aus den verschiedenen Experimenten herleiten, dass mentale Prozesse im räumlichen und zeitlichen Bereich zwar offenkundig nicht direkt zugänglich sind, doch sollte dies nicht als eine undurchdringliche Barriere angesehen werden, um Mechanismen mentaler Prozesse zu entschlüsseln. Mit den klar definierten physikalischen Stimuli und der genauen Beachtung von Stationaritätsbedingungen bei Messungen kann diskrete zeitliche Verarbeitung und Inhomogenität des visuellen Wahrnehmungsraums gezeigt werden.One of the most compelling arguments for a cognitivist approach to psychology is that psychology does not seem to be fundamentally different from physics; mental phenomena appear to be directly related to physical reality. Experimental evidence beginning in the nineteenth century with psychophysics has shown that this approach can offer great benefits, but can suffer from some pitfalls as well. On the basis of the underlying concept that mental phenomena match directly physical events, it is automatically assumed that temporal processing of sensory information is continuous as it is assumed in classical physics neglecting the possibility of discrete temporal information processing, which in fact is the case. Furthermore, it is assumed that information processing is embedded in a homogeneous perceptual visual space; this is not the case. It is shown that the use of simple sensory stimuli or complex aesthetic stimuli and their experimental manipulation provide a useful empirical paradigm for a better understanding of the cognitive mechanisms, i.e., indicating discrete temporal processing and an inhomogeneous perceptual visual space. A number of experiments show that attentional modulation is not homogeneous in the visual field; observations using the reaction time paradigm with specific modifications support the hypothesis that two attention systems are functionally embedded in the visual field. Further supportive findings about the inhomogeneity of the visual field come from experiments on the aesthetic perception of Western and Eastern artworks. This research also confirms in addition the general concept of anthropological universals and cultural or individual specifics in aesthetic appreciation. With regard to temporal perception, reaction time distributions suggest discrete time sampling which can also be derived from observations on temporal order threshold. When testing delayed reactions after stimulus presentation, it is shown that precise temporal control is reached only after a rather long interval. It can be concluded on the basis of the different experiments that even though mental processes in the space and time domain are obviously not directly accessible, this should not be considered as an impenetrable barrier to unravel the mechanism of mental processes. Employing well-defined physical stimuli and strictly observing stationarity conditions in measurements indicate discreteness in temporal processing and inhomogeneity of visual space