Academia.eduAcademia.edu

Outline

Title
Abstract
Introduction
Conclusions
References
All Topics
Medicine and Health Sciences
Speech and Hearing

Music and Noise: Same or Different? What Our Body Tells Us

Profile image of Mark ReybrouckMark Reybrouck

2019, Frontiers in Psychology

https://doi.org/10.3389/FPSYG.2019.01153
visibility

…

description

13 pages

link

1 file

Abstract

In this article, we consider music and noise in terms of vibrational and transferable energy as well as from the evolutionary significance of the hearing system of Homo sapiens. Music and sound impinge upon our body and our mind and we can react to both either positively or negatively. Much depends, in this regard, on the frequency spectrum and the level of the sound stimuli, which may sometimes make it possible to set music apart from noise. There are, however, two levels of description: the physical-acoustic description of the sound and the subjective-psychological reactions by the listeners. Starting from a vibrational approach to sound and music, we first investigate how sound may activate the sense of touch and the vestibular system of the inner ear besides the sense of hearing. We then touch upon distinct issues such as the relation between low-frequency sounds and annoyance, the harmful effect of loud sound and noise, the direct effects of overstimulation with sound, the indirect effects of unwanted sounds as related to auditory neurology, and the widespread phenomenon of liking loud sound and music, both from the point of view of behavioral and psychological aspects.

Related papers

Affective and physiological responses to environmental noises and music
Patrick Gomez

International Journal of Psychophysiology, 2004

Research suggests that respiratory patterns may reflect general dimensions of emotional response. In this study, we investigated the relationships between judgments of affective valence (pleasantness) and arousal and respiratory responses to acoustic stimuli. Sixteen environmental noises and 16 musical fragments of 30 s duration were presented to 31 participants, while respiration, skin conductance level and heart rate were recorded. Judgments of valence and arousal were registered using the 9-point Self-Assessment Manikin. For noises, breathing accelerated and minute ventilation augmented with decreases in pleasantness for low-arousal stimuli and with increases in arousal for positive stimuli. For music, breathing accelerated and minute ventilation augmented with increases both in rated valence and arousal. Skin conductance level increased with arousal ratings for music but not for noises, whereas mean heart rate increased with rated arousal for noises but not for music. Although both noises and music are sound-vibrations, differences in the relationships between affective judgments and physiological responses were found suggesting differences in the processing of the two types of acoustic stimuli. D

View PDFchevron_right
The Body-Image Theory of Sound: An Ecological Approach to Speech and Music
Akpan Essien

The definition of sound in physics as vibrations in an elastic medium establishes a link between the sound source and the organism. Thus, it satisfies an essential psychophysical prerequisite for a theory of perception. However, over the past 170 years since Ohm's law (1843), and some 137 years since Helmholtz's resonance theory (1877), psychoacoustic procedures founded on air vibration have shrouded music and speech in mystery. Ecological theories have fallen short, not only of Gestalt invariance, but also of the link between the distal object and the organism. This paper approaches auditory analysis from the standpoint of sound production. It argues that although air vibration produces sound, sound is not air vibration; and that exploitation of features of air vibration can hardly (if ever) lead to accurate understanding of the principle of the auditory mechanism in speech or music perception. Evidence is provided in support of the definition of sound as the vibratory imag...

View PDFchevron_right
A review of human reactions to environmental sounds
Katarina Paunovic

Srpski medicinski casopis Lekarske komore, 2020

Soundscape is defined as the entire acoustic environment and the human responses to it. This review summarizes different human reactions to sound exposure, their development, prevalence, symptoms, comorbidities, methods for their assessment, and possible origins. The interpretation of sounds from the environment depends, not only on the characteristics of the sound itself, but also on the characteristics of the listener, their judgments, preferences, motivations, and emotional reactions to the sound or its source. Typical sound-related reactions are presented from two standpoints: population reactions, from the community perspective, and individual reactions, from the clinical perspective. Noise annoyance is a specific, unique, and typical psychological and physiological reaction to noise, which is assessed from the community perspective. Noise sensitivity, a stable personality trait, is at the basis of noise annoyance. Both noise annoyance and noise sensitivity play important roles in the development of other noise-related health disturbances. From the clinical perspective, hyperacusis and misophonia are the most distinctive individual responses to specific sounds. They may become so pronounced that they disturb one's physical and mental health, behavior, and functioning. Human reactions to sounds in the environment are widespread and well-investigated. This review goes beyond merely defining terminology in the domain of psychoacoustics; it may help health professionals understand human reactions to sound better. Further studies need to be directed towards developing methods for alleviating or treating the described reactions, but also towards creating a more pleasant acoustic environment for the purpose of protecting public health.

View PDFchevron_right
Introduction: Music, sound, noise, and health
Klaus Laczika

A large and growing body of empirical research now demonstrates the positive impact that music and other auditory stimuli, such as nature soundscapes, can have across the entire spectrum of the healthcare ecosystem: From the point of entry and onward to the operating room, in the perioperative environment, patient wards, and medical waiting rooms, music affects those who hear it: Patients, their families, surgeons, caregivers, and hospital staff alike. In the age of the "experience economy," where patients are considered as both guests and consumers, private healthcare is increasingly starting to focus on customer satisfaction, and its impact on both financial performance and (not unrelated) health outcomes. In this review, we summarize the latest evidence concerning the impact of music, soundscapes, and noise, on medical outcomes and healthcare provision. We highlight the importance of the auditory (and, ultimately, the multisensory) environment on health and well-being. We also look at the role that music plays in improving patient satisfaction and potentially reducing the costs associated with healthcare provision

View PDFchevron_right
Noise as a Vibrational Force
Dominic Stephens
View PDFchevron_right
Reybrouck, M. (2015). Music as environment: An ecological and biosemiotic approach. Behavioral Sciences, 5, 1-26.
Mind Music and Language Journal, Mark Reybrouck

This paper provides an attempt to conceive of music in terms of a sounding environment. Starting from a definition of music as a collection of vibrational events, it introduces the distinction between discrete-symbolic representations as against analog-continuous representations of the sounds. The former makes it possible to conceive of music in terms of a Humboldt system, the latter in terms of an experiential approach. Both approaches, further, are not opposed to each other, but are complementary to some extent. There is, however, a distinction to be drawn between the bottom-up approach to auditory processing of environmental sounds and music, which is continuous and proceeding in real time, as against the top-down approach, which is proceeding at a level of mental representation by applying discrete symbolic labels to vibrational events. The distinction is discussed against the background of phylogenetic and ontogenetic claims, with a major focus on the innate auditory capabilities of the fetus and neonate and the gradual evolution from mere sensory perception of sound to sense-making and musical meaning. The latter, finally, is elaborated on the basis of the operational concepts of affordance and functional tone, thus bringing together some older contributions from ecology and biosemiotics.

View PDFchevron_right
Network Science and the Effects of Music on the Human Brain
Robin W Wilkins

Network Science and The Effects of Music on the Human Brain, 2015

View PDFchevron_right
Taking Sound Seriously - an inquiry into sound and its influence on the human experience and world-view
Tomas Lindstrom
View PDFchevron_right
Noise as Music: Effects of Physical and Digital Noise in One’s Life
Juliana Bigelow

2021

View PDFchevron_right
Elemental Resonance, Noisy Humans, and Music Education
LeAnn M Holland

Philosophy of Education, 2022

View PDFchevron_right

References (123)

  1. Abbate, C. (2004). Music-drastic or gnostic? Crit. Inq. 30, 505-536. doi: 10.1086/421160
  2. Altmann, J. (2001). Acoustic weapons: a prospective assessment. Sci. Glob. Secur. 9, 165-234. doi: 10.1080/08929880108426495
  3. Alves-Pereira, M., and Castelo Branco, N. (2007). Vibroacoustic disease: biological effects of infrasound and low-frequency noise explained by mechanotransduction cellular signalling. Prog. Biophys. Mol. Biol. 93, 256-279. doi: 10.1016/j. pbiomolbio.2006.07.011
  4. Arnett, J. (1994). Sensation seeking: a new conceptualization and a new scale. Personal. Individ. Differ. 16, 289-296. doi: 10.1016/0191-8869(94)90165-1
  5. Babisch, W. (2005). Noise and health. Environ. Health Perspect. 113, A14-A15. doi: 10.1289/ehp.113-a14
  6. Basner, M., Babisch, W., Davis, A., Brink, M., Clark, C., Janssen, S., et al. (2014). Auditory and non-auditory effects of noise on health. Lancet 383, 1325-1332. doi: 10.1016/S0140-6736(13)61613-X
  7. Beach, E., and Gilliver, M. (2019). Time to listen: most regular patrons of music venues prefer lower volumes. Front. Psychol. 22:607. doi: 10.3389/ fpsyg.2019.00607
  8. Beach, E., Williams, W., and Gilliver, M. (2013). Estimating young Australian adults' risk of hearing damage from selected leisure activities. Ear Hear. 34, 75-82. doi: 10.1097/AUD.0b013e318262ac6c
  9. Beckerman, J. (2014). The sonic boom. how sound transforms the way we think, feel and buy. (Boston, New York: Houghton Mifflin Harcourt).
  10. Bennett, A. (1999). Subcultures or neo-tribes? Rethinking the relationship between youth, style and musical taste. Sociology 33, 599-617. doi: 10.1177/ S0038038599000371
  11. Berglund, B., Harder, K., and Preis, A. (1994). Annoyance perception of sound and information extraction. J. Acoust. Soc. Am. 95, 1501-1509. doi: 10.1121/1.408537
  12. Berglund, B., Hassmén, P., and Soames Job, R. (1996). Sources and effects of low-frequency noise. J. Acoust. Soc. Am. 99, 2985-3002. doi: 10.1121/1.414863
  13. Blesser, B. (2007). The seductive (yet destructive) appeal of loud music. Available at: www.blesser.net
  14. Blumenthal, T. D., Cuthbert, B. N., Filion, D. L., Hackley, S., Lipp, O. V., and Van Boxtel, A. (2005). Committee report: guidelines for human startle eyeblink electromyographic studies. Psychophysiology 42, 1-15. doi: 10.1111/j. 1469-8986.2005.00271.x
  15. Borg, J., Andrée, B., Soderstrom, H., and Farde, L. (2003). The serotonin system and spiritual experiences. Am. J. Psychiatry 160, 1965-1969. doi: 10.1176/ appi.ajp.160.11.1965
  16. Brattico, P., Brattico, E., and Vuust, P. (2017). Global sensory qualities and aesthetic experience in music. Front. Neurosci. 11:159. doi: 10.3389/ fnins.2017.00159
  17. Broner, N. (1978). The effects of low frequency noise on people-a review. J. Sound Vib. 58, 483-500. doi: 10.1016/0022-460X(78)90354-1
  18. Bryan, E. (1976). "Infrasound and low frequency vibration" in Low frequency annoyance. ed. W. Tempest (London: Academic Press), 65-96.
  19. Bulla, W. (2003). Daily noise-exposure of audio engineers: assessment of daily noise-exposures of professional music-recording audio engineers employing OSHA PEL criteria. MEIEA J. 3, 55-83.
  20. Castelo Branco, N., Pimenta, A., Ferreira, J., and Alves-Pereira, M. (2002). "Monitoring vibroacoustic disease" in Proceedings of the Scuola Superiore. L'Aquila. eds. G. R. Romoli and Telecom Italia (SSGRRw), vol. 102, 1-5.
  21. Clark, W. W. (1991). Recent studies of temporary threshold shift (TTS) and permanent threshold shift (PTS) in animals. J. Acoust. Soc. Am. 90, 155-163. doi: 10.1121/1.401309
  22. Colebatch, J. G. (2006). Assessing saccular, (otolith) function in man. J. Acoust. Soc. Am. 119:3432. doi: 10.1121/1.4786895
  23. Cusick, S. G. (2006). Music as torture/music as weapon. Trans. Rev. Transcult. Música, 10, 1-9.
  24. da Fonseca, J., dos Santos, J. M., Branco, N. C., Alves-Pereira, M., Grande, N., Oliveira, P., et al. (2006). Noise-induced gastric lesions: a light and scanning electron microscopy study of the alterations of the rat gastric mucosa induced by low frequency noise. Cent. Eur. J. Public Health 14, 35-38. doi: 10.21101/ cejph.a3362
  25. Davis, M., Gendelman, D. S., Tischler, M. D., and Gendelman, P. M. (1982). A primary acoustic startle circuit: lesion and stimulation studies. J. Neurosci. 2, 791-805. doi: 10.1523/JNEUROSCI.02-06-00791.1982
  26. Dibble, K. (1995). Hearing loss and music. J. Audio Eng. Soc. 43, 251-266.
  27. Egloff, D., Braasch, J., Robinson, P., Van Nort, D., and Krueger, T. (2011). A vibrotactile music system based on sensory substitution. J. Acoust. Soc. Am. 129, 2582-2582. doi: 10.1121/1.3588537
  28. Eidsheim, N. S. (2015). Sensing sound. singing & listening as vibrational practice. (Durham, London: Duke University Press).
  29. Ellis, R. J., and Thayer, J. F. (2010). Music and autonomic nervous system (Dys) function. Music Percept. An Interdiscip. J. 27, 317-326. doi: 10.1525/mp.2010.27.4.317
  30. Emami, S., Pourbakht, A., Daneshi, A., Sheykholeslami, K., Emamjome, H., and Kamali, M. (2013). Sound sensitivity of the saccule for low frequencies in healthy adults. ISRN Otolaryngol. 429680. doi: 10.1155/2013/429680
  31. Fettiplace, R., and Kim, K. X. (2014). The physiology of mechanoelectrical transduction channels in hearing. Physiol. Rev. 94, 951-986. doi: 10.1152/ physrev.00038.2013
  32. Fink, R. (2018). "Below 100 Hz" in The relentless pursuit of tone: Timbre in popular music. eds. R. Fink, M. Latour, and Z. Wallmark (Oxford: Oxford University Press), 88-116.
  33. Fletcher, H., and Munson, W. (1933). Loudness, its definition, measurement and calculation. J. Acoust. Soc. Am. 5, 82-108. doi: 10.1121/1.1915637
  34. Forsyth, A. J. M. (2009). Lager, lager shouting': the role of music and DJs in nightclub disorder control. Adicciones 21, 327-345. doi: 10.20882/adicciones.223
  35. Fukushima, A., Yagi, R., Kawai, N., Honda, M., Nishina, E., and Oohashi, T. (2014). Frequencies of inaudible high-frequency sounds differentially affect brain activity: positive and negative hypersonic effects. PLoS One 9:e95464. doi: 10.1371/journal.pone.0095464
  36. Garrido, S., and Schubert, E. (2013). Adaptive and maladaptive attraction to negative emotions in music. Music. Sci. 17, 147-166. doi: 10.1177/ 1029864913478305
  37. Gavreau, V. (1968). Infrasound. Science J. 14, 33-37.
  38. Gavreau, V., Condat, R., and Saul, H. (1966). Infrasound: generators, detectors, physical qualities, biological effects. Acta Acust. Acust. 17, 1-10.
  39. Gelfand, S. A. (2009). "The acoustic reflex" in Handbook of clinical audiology 6th edn. eds. J. Katz, L. Medwetsky, R. Burkard, and L. Hood (New York, NY, USA: Lippincott Williams & Wilkins), 189-221. June 2019 | Volume 10 | Article 1153
  40. Gilles, A., Thuy, I., de Heyning, P., and De Rycke, E. (2014). A little bit less would be great: adolescents' opinion towards music levels. Noise Health 16, 285-291. doi: 10.4103/1463-1741.140508
  41. Gilles, A., Van Hal, G., De Ridder, D., Wouters, K., and Van de Heyning, P. (2013). Epidemiology of noise-induced tinnitus and the attitudes and beliefs towards noise and hearing protection in adolescents. PLoS One 8:e70297. doi: 10.1371/journal.pone.0070297
  42. Gleason, D. (2015). Sound for underground dance: the technical foundation. Sunsonic Sound System, 2015. Available at: www.unrec.com/sunsonic/sound2. htm (Accessed July 15, 2016).
  43. Goines, L., and Hagler, L. (2007). Noise pollution: a modern plague. South. Med. J. 100, 287-294. doi: 10.1097/SMJ.0b013e3180318be5
  44. Goodman, S. (2009). Sonic warfare: Sound, affect and the ecology of fear. (Cambridge, MA: MIT Press).
  45. Gould van Praag, C. D., Garfinkel, S. N., Sparasci, O., Mees, A., Philippides, A. O., Ware, M., et al. (2017). Mind-wandering and alterations to default mode network connectivity when listening to naturalistic versus artificial sounds. Sci. Rep. 7:45273. doi: 10.1038/srep45273
  46. Guéguen, N., Hélène, L. G., and Jacob, C. (2004). Sound level of background music and alcohol consumption: an empirical evaluation. Percept. Mot. Skills 99, 34-38. doi: 10.2466/pms.99.1.34-38
  47. Guinan, J. (2006). Acoustically responsive fibers in the mammalian vestibular nerve. J. Acoust. Soc. Am. 119, 3433-3434. doi: 10.1121/1.4786894
  48. Hainge, G. (2013). Noise matters: Towards an ontology of noise. (Bloomsbury: New York, London).
  49. Henriques, J. (2011). Sonic bodies: Reggae sound systems, performance techniques, and ways of knowing. (London and New York: Continuum).
  50. Huang, J., Gamble, D., Sarnlertsophon, K., Wang, X., and Hsiao, S. (2012). Feeling music: integration of auditory and tactile inputs in musical meter perception. PLoS One 7:e48496. doi: 10.1371/journal.pone.0048496
  51. Hyman, S. E., Malenka, R. C., and Nestler, E. J. (2006). Neural mechanisms of addiction: the role of reward-related learning and memory. Annu. Rev. Neurosci. 29, 565-598. doi: 10.1146/annurev.neuro.29.051605.113009
  52. Ito, S., Harada, T., Miyaguchi, M., Ishizaki, F., Chikamuran, C., Kodama, Y., et al. (2016). Effect of high-resolution audio music box sound on EEG. Int. Med. J. 23, 1-3.
  53. Ising, H., and Kruppa, B. (2004). Health effects caused by noise: evidence in the literature from the past 25 years. Noise Health 6, 5-13.
  54. Jankélévitch, V. (2003). Music and the ineffable. ed. C. Abbate (Princeton, NJ: Princeton University Press).
  55. Job, R. (1993). "Psychological factors of community reaction to noise" in Noise as a public health problem. ed. M. Vallet (Arcueil Cedex: INRETS) 3, 48-70.
  56. Johnson, K. O. (2001). The roles and functions of cutaneous mechanoreceptors. Curr. Opin. Neurobiol. 11, 455-461. doi: 10.1016/S0959-4388(00)00234-8
  57. Johnson, O., Andrew, B., Walker, D., Morgan, S., and Aldren, A. (2014). British university students' attitudes towards noise-induced hearing loss caused by nightclub attendance. J. Laryngol. Otol. 128, 29-34. doi: 10.1017/ S0022215113003241
  58. Juslin, P. N., and Västfjäll, D. (2008). Emotional responses to music: the need to consider underlying mechanisms. Behav. Brain Sci. 31, 559-621. doi: 10.1017/S0140525X08005293
  59. Keizer, G. (2010). The unwanted sound of everything we want: A book about noise. (New York: Public Affairs).
  60. Koch, M., and Schnitzler, H.-U. (1997). The acoustic startle response in rats- circuits mediating evocation, inhibition and potentiation. Behav. Brain Res. 89, 35-49. doi: 10.1016/S0166-4328(97)02296-1
  61. Kraus, K. S., and Canlon, B. (2012). Neuronal connectivity and interactions between the auditory and limbic systems. Effects of noise and tinnitus. Hear. Res. 288, 34-46. doi: 10.1016/j.heares.2012.02.009
  62. Kujawa, S. G., and Liberman, M. C. (2006). Acceleration of age-related hearing loss by early noise exposure: evidence of a misspent youth. J. Neurosci. 26, 2115-2123. doi: 10.1523/JNEUROSCI.4985-05.2006
  63. Kujawa, S. G., and Liberman, M. C. (2009). Adding insult to injury: cochlear nerve degeneration after "temporary" noise-induced hearing loss. J. Neurosci. 29, 14077-14085. doi: 10.1523/JNEUROSCI.2845-09.2009
  64. Kuribayashi, R., and Nittono, H. (2017). High-resolution audio with inaudible high-frequency components induces a relaxed attentional state without conscious awareness. Front. Psychol. 8:93. doi: 10.3389/fpsyg.2017.00093
  65. Kuwano, S., Namba, S., Hashimoto, T., Berglund, B., Da Rui, Z., Schick, A., et al. (1991). Emotional expression of noise: a cross-cultural study. J. Sound Vib. 151, 421-428. doi: 10.1016/0022-460X(91)90539-V
  66. Landälv, D., Malmström, L., and Widén, S. E. (2013). Adolescents' reported hearing symptoms and attitudes toward loud music. Noise Health 15, 347-354. doi: 10.4103/1463-1741.116584
  67. Landis, C., and Hunt, W. A. (1939). The startle pattern. (New York, NY: Farrar and Rinehart).
  68. Landström, U., Lundström, R., and Byström, M. (1983). Exposure to infrasound- perception and changes in wakefulness. J. Low Freq. Noise, Vib. Act. Control 2, 1-11. doi: 10.1177/026309238300200101
  69. Levänen, S., and Hamdorf, D. (2001). Feeling vibrations: enhanced tactile sensitivity in congenitally deaf humans. Neurosci. Lett. 301, 75-77. doi: 10.1016/S0304-3940(01)01597-X
  70. Levänen, S., Jousmäki, V., and Hari, R. (1998). Vibration-induced auditory- cortex activation in a congenitally deaf adult. Curr. Biol. 8, 869-872. doi: 10.1016/S0960-9822(07)00348-X
  71. Leventhall, G. (2007). What is infrasound? Prog. Biophys. Mol. Biol. 93, 130-137. doi: 10.1016/j.pbiomolbio.2006.07.006
  72. Lewis, E. R., and Fay, R. R. (2004). "Environmental variables and the fundamental nature of hearing" in Evolution of the vertebrate auditory system. eds. G. A. Manley, A. N. Popper, and R. R. Fay (New York, NY: Springer), 27-54.
  73. Liberman, C., and Dodds, L. W. (1984). Single-neuron labeling and chronic cochlear pathology. III. Stereocilia damage and alterations of threshold tuning curves. Hear. Res. 16, 55-74. doi: 10.1016/0378-5955(84)90025-X Lozon, J., and Bensimon, M. (2014). Music misuse: a review of the personal and collective roles of "problem music". Aggress. Violent Behav. 19, 207-218. doi: 10.1016/j.avb.2014.04.003
  74. Maschke, C. (2004). Introduction to the special issue on low frequency noise. Noise Health 6, 1-2.
  75. Maschke, C., Rupp, T., Hecht, K., and Maschke, C. (2000). The influence of stressors on biochemical reactions-a review of present scientific findings with noise. Int. J. Hyg. Environ. Health 203, 45-53. doi: 10.1078/ S1438-4639(04)70007-3
  76. Mayor, S. (2018). Noise pollution: WHO sets limits on exposure to minimise adverse health effects. BMJ 363:k4264. doi: 10.1136/bmj.k4264
  77. McLeroy, K. R., Bibeau, D., Steckler, A., and Glanz, K. (1988). An ecological perspective on health promotion programs. Health Educ. Q. 15, 351-377. doi: 10.1177/109019818801500401
  78. Mercier, V., and Hohmann, B. W. (2002). Is electronically amplified music too loud? What do young people think? Noise Health 4, 47-55.
  79. Miranda, D., and Claes, M. (2009). Music listening, coping, peer affiliation and depression in adolescence. Psychol. Music 37, 215-233. doi: 10.1177/0305735608097245
  80. Mithen, S. J. (2006). The singing Neanderthals: The origins of music, language, mind, and body. (Cambridge: Harvard University Press).
  81. Møller, H., and Pedersen, C. S. (2004). Hearing at low and infrasonic frequencies. Noise Health 6, 37-57.
  82. NIH (1990). "Noise and hearing loss" in NIH Consens. Statement 1990 Jan. 22-24, vol. 8, 1-24.
  83. Oertel, D., and Young, E. D. (2004). What's a cerebellar circuit doing in the auditory system? Trends Neurosci. 27, 104-110. doi: 10.1016/j.tins.2003.12.001
  84. Oliveira, P., Brito, J., Mendes, J., da Fonseca, J., Águas, A., and Martins dos Santos, J. (2013). Effects of large pressure amplitude low frequency noise in the parotid gland perivasculo-ductal connective tissue. Acta Medica Port. 26, 237-242. doi: 10.20344/amp.4251
  85. Oohashi, T., Nishina, E., Honda, M., Yonekura, Y., Fuwamoto, Y., Kawai, N., et al. (2000). Inaudible high-frequency sounds affect brain activity: hypersonic effect. J. Neurophysiol. 83, 3548-3558. doi: 10.1152/jn.2000.83.6.3548
  86. Parker, K. J., Hyde, S. A., Buckmaster, C. L., Tanaka, S. M., Brewster, K. K., Schatzberg, A. F., et al. (2011). Somatic and neuroendocrine responses to standard and biologically salient acoustic startle stimuli in monkeys. Psychoneuroendocrinology 36, 547-556. doi: 10.1016/j.psyneuen.2010.08.009
  87. Perez, P., and Bao, J. (2011). Why do hair cells and spiral ganglion neurons in the cochlea die during aging? Aging Dis. 2, 231-241.
  88. Persson, K., and Björkman, M. (1988). Annoyance due to low frequency noise and the use of the dB(A) scale. J. Sound Vib. 127, 491-497. doi: 10.1016/0022-460X(88)90374-4 June 2019 | Volume 10 | Article 1153
  89. Phillips-Silver, J., and Trainor, L. J. (2007). Hearing what the body feels: auditory encoding of rhythmic movement. Cognition 105, 533-554. doi: 10.1016/j. cognition.2006.11.006
  90. Phillips-Silver, J., and Trainor, L. J. (2008). Vestibular influence on auditory metrical interpretation. Brain Cogn. 67, 94-102. doi: 10.1016/j. bandc.2007.11.007
  91. Popper, A. N., Platt, C., and Saidel, W. M. (1982). Acoustic functions in the fish ear. Trends Neurosci. 5, 276-280. doi: 10.1016/0166-2236(82)90171-0
  92. Reiss, J. (2016). A meta-analysis of high resolution audio perceptual evaluation. J. Audio Eng. Soc. 64, 364-379. doi: 10.17743/jaes.2016.0015
  93. Reybrouck, M. (2014). Musical sense-making between experience and conceptualisation: the legacy of Peirce, Dewey and James. Interdiscip. Stud. Musicol. 14, 176-205. doi: 10.14746/ism.2014.14.12
  94. Reybrouck, M. (2017). Perceptual immediacy in music listening. Multimodality and the "in time/outside of time" dichotomy. Versus 124, 89-104. doi: 10.14649/87044
  95. Reybrouck, M., and Eerola, T. (2017). Music and its inductive power: a psychobiological and evolutionary approach to musical emotions. Front. Psychol. 8:494. doi: 10.3389/fpsyg.2017.00494
  96. Richard, L., Gauvin, L., and Raine, K. (2011). Ecological models revisited: their uses and evolution in health promotion over two decades. Annu. Rev. Public Health 32, 307-326. doi: 10.1146/annurev-publhealth-031210-101141
  97. Romand, R. (Ed.) (1992). Development of auditory and vestibular systems. (New York: Elsevier).
  98. Ryan, A., Kujawa, S., Hammil, T., Le Prell, C., and Kil, J. (2016). Temporary and permanent noise-induced threshold shifts: a review of basic and clinical observations. Otol. Neurotol. 37, e271-43. doi: 10.1097/MAO.0000000000001071
  99. Rylander, R. (2004). Physiological aspects of noise-induced stress and annoyance. J. Sound Vib. 277, 471-478. doi: 10.1016/j.jsv.2004.03.008
  100. Saarinen, J. A. (2012). The oceanic state: a conceptual elucidation in terms of modal contact. Int. J. Psychoanal. 93, 939-961. doi: 10.1111/ j.1745-8315.2012.00620.x
  101. Sheykholeslami, K., and Kaga, K. (2002). The otolithic organ as a receptor of vestibular hearing revealed by vestibular-evoked myogenic potentials in patients with inner ear anomalies. Hear. Res. 165, 62-67. doi: 10.1016/ S0378-5955(02)00278-2
  102. Takahashi, Y., Kanada, K., and Yonekawa, Y. (2002a). Some characteristics of human body surface vibration induced by low frequency noise. J. Low Freq. Noise, Vib. Act. Control 21, 9-19. doi: 10.1260/02630920260374943
  103. Takahashi, Y., Kanada, K., and Yonekawa, Y. (2002b). The relationship between vibratory sensation and body surface vibration induced by low-frequency noise. J. Low Freq. Noise, Vib. Act. Control 21, 87-100. doi: 10.1260/ 026309202761019534
  104. Todd, N. P. M. (1993). Vestibular feedback in musical performance: response to "somatosensory feedback in musical performance". Music Percept. An Interdiscip. J. 10, 379-382. doi: 10.2307/40285575
  105. Todd, N. (2001). Evidence for a behavioral significance of saccular acoustic sensitivity in humans. J. Acoust. Soc. Am. 110, 380-390. doi: 10.1121/1.1373662
  106. Todd, N. P. M., and Cody, F. W. (2000). Vestibular responses to loud dance music: a physiological basis of the "rock and roll threshold"? J. Acoust. Soc. Am. 107, 496-500. doi: 10.1121/1.428317
  107. Todd, N. P. M., Cody, F. W., and Banks, J. R. (2000). A saccular origin of frequency tuning in myogenic vestibular evoked potentials?: implications for human responses to loud sounds. Hear. Res. 141, 180-188. doi: 10.1016/ S0378-5955(99)00222-1
  108. Todd, N. P. M., and Lee, C. S. (2015). The sensory-motor theory of rhythm and beat induction 20 years on: a new synthesis and future perspectives. Front. Hum. Neurosci. 9:444. doi: 10.3389/FNHUM.2015.00444
  109. Trainor, L. J., Gao, X., Lei, J., Lehtovaara, K., and Harris, L. R. (2009). The primal role of the vestibular system in determining musical rhythm. Cortex 45, 35-43. doi: 10.1016/J.CORTEX.2007.10.014
  110. Trainor, L. J., and Unrau, A. (2009). Extracting the beat: an experience-dependent complex integration of multisensory information involving multiple levels of the nervous system. Empir. Musicol. Rev. 4, 32-36. doi: 10.18061/1811/36606
  111. Verrillo, R. T. (1992). Vibration sensation in humans. Music Percept. An Interdiscip. J. 9, 281-302. doi: 10.2307/40285553
  112. Volcler, J. (2013). Extremely loud: Sound as a weapon. (New York, London: The New Press).
  113. von Gierke, H. E., and Nixon, C. (1976). "Effects of intense infrasound on man" in Infrasound and low frequency vibration. ed. W. Tempest (New York: Academic Press), 115-150.
  114. Wang, Y., Hirose, K., and Liberman, M. C. (2002). Dynamics of noise-induced cellular injury and repair in the mouse cochlea. J. Assoc. Res. Otolaryngol. 3, 248-268. doi: 10.1007/s101620020028
  115. Watanabe, T., and Møller, H. (1990). Low frequency hearing thresholds in pressure field and in free field. J. Low Freq. Noise, Vib. Act. Control 9, 106-115. doi: 10.1177/026309239000900303
  116. Welch, D., Dirks, K. N., Shepherd, D., and McBride, D. (2018). Health-related quality of life is impacted by proximity to an airport in noise-sensitive people. Noise Health 20, 171-177. doi: 10.4103/nah.NAH_62_17
  117. Welch, D., and Fremaux, G. (2017a). Understanding why people enjoy loud sound. Semin. Hear. 38, 348-358. doi: 10.1055/s-0037-1606328
  118. Welch, D., and Fremaux, G. (2017b). Why do people like loud sound? A qualitative study. Int. J. Environ. Res. Public Health 14:E908. doi: 10.3390/ ijerph14080908
  119. Welch, D., Shepherd, D., McBride, D., Dirks, K., and Marsh, S. (2013). Road traffic noise and health-related quality of life: a cross-sectional study. Noise Health 15, 224-230. doi: 10.4103/1463-1741.113513
  120. Whitmire, C. J., and Stanley, G. B. (2016). Rapid sensory adaptation Redux: a circuit perspective. Neuron 92, 298-315. doi: 10.1016/j.neuron.2016.09.046
  121. Williams, W., Beach, E. F., and Gilliver, M. (2010). Clubbing: the cumulative effect of noise exposure from attendance at dance clubs and night clubs on whole-of-life noise exposure. Noise Health 12, 155-158. doi: 10.4103/1463-1741.64970
  122. Yeowart, N. S. (1976). "Thresholds of hearing and loudness for very low frequencies" in Infrasound and low frequency vibration. ed. W. Tempest (London: Academic), 37-64.
  123. Yeowart, N. S., Bryan, M. E., and Tempest, W. (1967). The monaural MAP threshold of hearing at frequencies from 1.5 to 100 c/s. J. Sound Vibrat. 6, 335-342.

Related papers

Sound, Music Affect: Theorizing Sonic Experience.
Ian Biddle

Sound, Music, Affect features brand new essays that bring together the burgeoning developments in sound studies and affect studies. The first section sets out key methodological and theoretical concerns, focussing on the relationships between affective models and sound. The second section deals with particular musical case studies, exploring how reference to affect theory might change or reshape some of the ways we are able to make sense of musical materials. The third section examines the politics and practice of sonic disruption: from the notion of noise as 'prophecy', to the appropriation of 'bad vibes' for pleasurable aesthetic and affective experiences. And the final section engages with some of the ways in which affect can help us understand the politics of chill, relaxation and intimacy as sonic encounters. The result is a rich and multifaceted consideration of sound, music and the affective, from scholars with backgrounds in cultural theory, history, literary studies, media studies, architecture, philosophy and musicology. - See more at: http://www.bloomsbury.com/uk/sound-music-affect-9781441114679/#sthash.VX8ueC9Z.dpuf

View PDFchevron_right
Noise/Music: A History (review)
Huw Hallam

Music and Letters, 2010

There is probably little doubt now that the proliferation of noise was the most significant problematic of twentieth century aural culture. During a century that witnessed regular rejections and reconceptualisations of every parameter of musicfrom harmony, melody and rhythm to music's production, reproduction and relation to place -the question of how noise is apprehended established itself by necessity as the ground common to all other considerations. This at least must be true if music is understood to operate within a normative framework established by its history in such a way that any real innovation ruptures or exceeds that framework, passing over and beyond it into an unknown field of possibilities. Under such a model, any real innovation is destined to start life as temporarily inassimilable noise.

View PDFchevron_right
MUSIC AND THE FUNCTIONS OF THE BRAIN: AROUSAL, EMOTIONS, AND PLEASURE EDITED BY : Mark Reybrouck, Tuomas Eerola and Piotr Podlipniak PUBLISHED IN : Frontiers in Psychology and Frontiers in Neuroscience
Mark Reybrouck, Tuomas Eerola

Music impinges upon the body and the brain. As such, it has significant inductive power which relies both on innate dispositions and acquired mechanisms and competencies. The processes are partly autonomous and partly deliberate, and interrelations between several levels of processing are becoming clearer with accumulating new evidence. For instance, recent developments in neuroimaging techniques, have broadened the field by encompassing the study of cortical and subcortical processing of the music. The domain of musical emotions is a typical example with a major focus on the pleasure that can be derived from listening to music. Pleasure, however, is not the only emotion to be induced and the mechanisms behind its elicitation are far from understood. There are also mechanisms related to arousal and activation that are both less differentiated and at the same time more complex than the assumed mechanisms that trigger basic emotions. It is imperative, therefore, to investigate what pleasurable and mood modifying effects music can have on human beings in real-time listening situations. This e-book is an attempt to answer these questions. Revolving around the specificity of music experience in terms of perception, emotional reactions, and aesthetic assessment, it presents new hypotheses, theoretical claims as well as new empirical data which contribute to a better understanding of the functions of the brain as related to musical experience.

View PDFchevron_right
Music, feelings, and the human brain
Antonio Damasio

Psychomusicology: Music, Mind, and Brain, 2014

Music of varied kinds consistently triggers a large range of drives and emotions, which, in turn, induce a particular class of mental experiences known as feelings. The feelings are often pleasurable, though not necessarily. Neuroimaging and electrophysiological studies, in normal individuals as well as in patients with focal neurological lesions, reveal that music can change the state of large-scale neural systems of the human brain. The changes are not confined to brain sectors related to auditory and motor processing; they also occur in regions related to the regulation of life processes (homeostasis), including those related to emotions and feelings, most prominently in the insula and cingulate cortices, in the ventral striatum, in the amygdala, and in certain upper brainstem nuclei. The ease with which music leads to feelings, the predictability with which it does so, the fact that human beings of many cultures actively seek and consume music, and the evidence that early humans engaged in music practices lead us to hypothesize that music has long had a consistent relation to the neural devices of human life regulation. It is conceivable that, as a result, music-induced feelings can be informative and nourishing at the individual level and can also operate as significant promoters of sociocultural organization. We venture that the close relationship between music and feelings along with music's effectiveness in certain personal and social contexts, that is, its roles in homeostasis, explain, at least in part, the considerable degree of selection and replication of music-related phenomena, both biologically and culturally. As the invention of music forms continued and as intellectual analysis of compositions and reflection on music expanded, the practices and uses of music became less closely aligned with its affective and homeostatic aspects and, to a certain degree, gained autonomy relative to those aspects. This may account for the varied panorama of music invention, practice, and consumption that can be found today.

View PDFchevron_right
Music and the Transhuman Ear: Ultrasonics, Material Bodies, and the Limits of Sensation
David Trippett

The Musical Quarterly, 2017

View PDFchevron_right

Related topics

  • Deafness and Hearing Loss
  • leisure noise

    • Cited by

    Citizen Science as Part of the Primary School Curriculum: A Case Study of a Technical Day on the Topic of Noise and Health
    Natalija Kranjec

    Sustainability

    In this paper, we summarise lessons learned conducting citizen science (CS) activities within the CitieS-Health H2020 project on the topic of noise exposure and health at a primary school in Ljubljana, Slovenia. Activities were organised in the form of a School Tech-Day Event (STDE) as part of the school’s curriculum involving second-grade pupils, ages 7–8. The STDE was aligned with the project’s methodological framework, which is based on co-creation and co-design principles. To this end, the pupils initially were involved in identifying noise-related issues and translation of selected topics into research questions. Next, together with mentors, they participated in the process of hypothesis formulation and the designing of data collection protocols. Finally, they participated in three focussed noise measurement experiments, as well as data analysis and presentation. We report and critically evaluate the whole chain of activities, focussing on the participant dimension using select...

    View PDFchevron_right
    Music Listening as Coping Behavior: From Reactive Response to Sense-Making
    Piotr Podlipniak

    Behavioral Sciences, 2020

    Coping is a survival mechanism of living organisms. It is not merely reactive, but also involves making sense of the environment by rendering sensory information into percepts that have meaning in the context of an organism’s cognitions. Music listening, on the other hand, is a complex task that embraces sensory, physiological, behavioral, and cognitive levels of processing. Being both a dispositional process that relies on our evolutionary toolkit for coping with the world and a more elaborated skill for sense-making, it goes beyond primitive action–reaction couplings by the introduction of higher-order intermediary variables between sensory input and effector reactions. Consideration of music-listening from the perspective of coping treats music as a sound environment and listening as a process that involves exploration of this environment as well as interactions with the sounds. Several issues are considered in this regard such as the conception of music as a possible stressor, t...

    View PDFchevron_right
    Musical Enjoyment and Reward: From Hedonic Pleasure to Eudaimonic Listening
    Tuomas Eerola

    Behavioral Sciences

    This article is a hypothesis and theory paper. It elaborates on the possible relation between music as a stimulus and its possible effects, with a focus on the question of why listeners are experiencing pleasure and reward. Though it is tempting to seek for a causal relationship, this has proven to be elusive given the many intermediary variables that intervene between the actual impingement on the senses and the reactions/responses by the listener. A distinction can be made, however, between three elements: (i) an objective description of the acoustic features of the music and their possible role as elicitors; (ii) a description of the possible modulating factors—both external/exogenous and internal/endogenous ones; and (iii) a continuous and real-time description of the responses by the listener, both in terms of their psychological reactions and their physiological correlates. Music listening, in this broadened view, can be considered as a multivariate phenomenon of biological, p...

    View PDFchevron_right
    Comparison of Saccular Function in Nonmusicians and Violinists Using cVEMP: A Pilot Study
    krishna Yerraguntla

    Annals of Otology and Neurotology, 2021

    Introduction Human auditory and vestibular systems change due to noise exposure. Professional musicians are often subjected to loud music and longer durations as part of their practice. Although the effects of music have been explored extensively on the auditory system, it is important to understand changes in the vestibular system also. The current study is aimed to compare cervical vestibular evoked myogenic potential (cVEMP) findings in nonmusicians and violinists to understand if there are any changes in the P1 and N1 latencies and absolute amplitudes in the violinists’ groups because of their exposure to violin music. Materials and Methods Twelve participants (6 nonmusicians and 6 violinists) of both genders were included in the study. Pure tone audiometry and distortion product otoacoustic emissions (DPOAEs) were performed on all the participants. cVEMP P1 and N1 latencies and absolute amplitudes were obtained, and overall mean differences were compared within and between grou...

    View PDFchevron_right
    580 California St., Suite 400
    San Francisco, CA, 94104
    © 2025 Academia. All rights reserved