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本帖最后由 gdreamer9 于 2009-7-13 09:09 编辑
Why Music Moves Us section 2
Universal Language
Music’s simultaneous activation of diverse brain circuits seems to produce some remarkable effects. Instead of facilitating a largely semantic dialogue, as language does, melody seems to mediate an emotional one. When a composer writes a lamentation or a toddler exuberantly bangs out a rhythm on a pot, that person is not only revealing his or her own emotional state but also causing listeners to share those feelings. Several pieces of research indicate that music reliably conveys the intended emotion in all people who hear it. In the late 1990s neuroscientist Isabelle Peretz and her colleagues at the University of Montreal found that Western listeners universally agree on whether a song using Western tonal elements is happy, sad, scary or peaceful.
Music’s emotional content may even be culturally transparent. This past April neuroscientist Tom Fritz of the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig, Germany, and his colleagues exposed members of the Mafa ethnic group in Cameroon who had never heard Western music to excerpts of classical piano music. The researchers found that the adults who listened to the excerpts consistently identified them as happy, sad or scary just as Western listeners would. Thus, the ability of a song to elicit a particular emotion does not necessarily depend on cultural background.
The musical tongue may also transcend more fundamental communication barriers. In studies conducted over the past decade, cognitive psychologist Pam Heaton of Goldsmiths, University of London, and her research team played music for both autistic and nonautistic children, comparing those with similar language skills, and asked the kids to match the music to emotions. In the initial studies, the kids simply chose between happy and sad. In later studies, Heaton and her colleagues introduced a range of complex emotions, such as triumph, contentment and anger, and found that the kids’ ability to recognize these feelings in music did not depend on their diagnosis. Autistic and typical children with similar verbal skills performed equally well, indicating that music can reliably convey feelings even in people whose ability to pick up emotion-laden不知道是什么意思 social cues, such as facial expressions or tone of voice, is severely compromised.
Recently, in a clever experiment, acoustics scientist Roberto Bresin and his co-workers at the Royal Institute of Technology in Stockholm garnered quantitative support for the idea that music is a universal language. Instead of asking volunteers to make subjective judgments about a piece of music, scientists asked them to manipulate the song—in particular, its tempo, volume and phrasing—to maximize a given emotion. For a happy song, for instance, a participant was supposed to manipulate these variables by adjusting sliders so that the song sounded as cheerful as possible; then as sad as possible; then scary, peaceful and neutral.
The researchers found that the participants—expert musicians and, in another study, seven-year-old children—all landed on the same tempo for each song to bring out its intended emotion, be it happiness, sadness, fear or tranquility. These findings, which Bresin reported at the 2008 Neuromusic III conference in Montreal, bolster the idea that music contains information that elicits a specific emotional response in the brain regardless of personality, taste or training. As such, music may constitute a unique form of communication.
Choral Bonding
Music’s ability to convey feelings may underlie one of its most important benefits. In most cultures, music is almost always a communal event: everyone gets together to sing, dance, and play instruments. Even in Western societies, which uniquely differentiate musical performers from listeners, people enjoy music together in a wide variety of settings: dancing at a wedding or a nightclub, singing hymns in church, crooning with their kids, Christmas caroling and singing “Happy Birthday” at a party. The popularity of such rituals suggests that music confers social cohesiveness, perhaps by creating empathetic connections among members of a group.
But empathy may not be the only means by which music facilitates unity. Studies show that when people listen to music, the motor regions of the brain are also active—probably for the purpose of processing rhythm. These include premotor areas, which prepare a person for action, and the cerebellum, which coordinates physical movement. Some researchers have a hunch that part of music’s power stems from its tendency to echo and synchronize our activities. “I can see how rhythm and physical action would have mutual resonance in the nervous system,” speculates neuropsychologist Robert Zatorre of McGill University. “All sound is produced by movement. When you hear a sound, it’s because something has moved.”
Then it is a small step from walking, breathing, and hearing a heartbeat—natural rhythmic sounds that are not intrinsically musical—to purposely keeping time or matching another’s gait. “Part of the reason music works is that when you hear a pattern, you can join in. You know how to organize your muscles to produce the sound you are hearing,” Zatorre explains. In this way, the rhythm of a song could also serve as social glue by promoting a kind of physical bonding.
The idea that music may promote a type of nonverbal togetherness gains additional support from a 2008 study by neuroscientists Nikolaus Steinbeis of the Max Plank Institute for Human Cognitive and Brain Sciences and Stefan Koelsch of the University of Sussex in England. Steinbeis and Koelsch used functional magnetic resonance imaging to pinpoint a brain area that responded to chords but not to words, in a task in which volunteers listened to both. The responsive region turned out to be the superior temporal sulcus, a part of the brain’s surface near the ears that responds to nonverbal social cues such as nonspeech vocal utterances, eye movements and body movements. The activation of this region hints that music may indeed be helping to forge social ties.
Whatever its origin, such cohesiveness is extremely valuable to a communal animal such as ourselves; traits that enhance such unity tend to persist. “Music is usually a social activity,” Koelsch explains. “While people make music, they communicate and cooperate with one another. In a way, they practice social activity and social functions. This social behavior is highly important for the human species.”
Musical Medicine
Music also bestows advantages on us as individuals. Underlying our conscious impressions of a tune are physiological effects that can improve our mental and physical well-being. Studies show that upbeat, tense or exciting music can physically excite the listener, triggering the body’s fight-or-flight response: heart and breathing rates increase, a person may break out in a sweat, and adrenaline enters the bloodstream. This “pumping up” effect explains why so many people enjoy listening to rock or hip-hop while they work out—the music primes the physiological systems needed for high-energy movement. The psychological effect is important, too; music is a welcome distraction, making exercising more fun. Energizing melodies tend to boost mood in general, waking us up if we are feeling tired and creating a sense of excitement in any situation.
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