CALL FOR ABSTRACTS: International workshop on quantitative and qualitative music therapy research

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International workshop on quantitative and qualitative music therapy research
http://quantitativemusictherapy.weebly.com
October 15, 2015
Barcelona, Spain

Motivation
Music is known to have the power to induce strong emotions and physiological changes. Musical activities have a positive impact in the perception of quality of life and may even improve cognitive, social and emotional abilities. it is not surprising that a variety of clinical conditions are often treated with music therapy. Large scale studies have shown that music therapy produces significant improvements in social behaviors, overt behaviors, reductions in agitated behaviors, and improvements to cognitive problems, However, the positive effects of music therapy are not homogeneous among all studies, and there is often a lack of formal research involving quantitative and qualitative methods to assess the benefits and limitations of music therapy in concrete treatments.

Workshop aims
The aim of the workshop is to promote fruitful collaboration among researchers, music therapists, musicians, psychologists and physicians who are interested in music therapy and its effects, evaluated by applying quantitative and qualitative methods. The workshop will provide the opportunity to learn about, present and discuss ongoing work in the area.  We believe that this is a timely workshop because there is an increasing interest in quantitative and qualitative methods in music therapy.

Submission of abstracts
We solicit 1-page abstracts reporting on quantitative or qualitative music therapy research.  Submissions should include the title, authors’ names, institutions and contact email address. Papers should be submitted in pdf format by email to: musitherapy@gmail.com no later than Friday, July 17, 2015.

Registration
In order to encourage participation, registration to the Workshop will be free of charge. However, the workshop has a limited number of places for non presenters, so please register by sending an email to rafael.ramirez@upf.edu with your name and affiliation.

Information provided by Society for Music Perception and Cognition (biweekly digest).

For more information on qualitative and quantitative methods in music therapy research, please see this post by my colleague.

Springfest 2015: UCSD Music Festival Premiers Live Performance Art, Synthesizer Petting Zoo, Music Psychology Panel and More

SF

Springfest 2015 is the annual showcase of UC San Diego Department of Music’s emerging composers, instrumentalists, and electronic musicians. From April 7-11, concerts will take place every afternoon and night at the Conrad Prebys Music Center and on April 7th and 9th at The Loft (UCSD). On April 19th, Springfest travels to the Birch Aquarium for their annual Immersion event.

Since its founding in the late 1960s, the UCSD Department of Music has been a world leader in experimental music of all stripes, boldly charting the future of jazz, classical, multimedia, and electronic music genres.

SpringFest 2015 begins April 7th at 7:30pm at The Loft (UCSD) with improvisations and new compositions and innovative jazz works. From April 8th through April 11th, there will be two to four performances daily at the Conrad Prebys Music Center featuring masterworks of the late 20th century concert repertoire by Kurtag, Lang, Reich, Scelsi, and Stockhausen, music by UC San Diego’s very own alums Nicholas Deyoe and Edward Hamel, small group improvisation at the aggressive fringe of jazz and popular music, and unprecedented alloys of performance art, sound and media, including investigations of music of the speaking voice (4/9), the experience of motion through music (4/10) and the collision of music and theater (4/11). On April 11th, Springfest hosts an interactive “synthesizer petting zoo,” where audiences can get their hands on the Audio Electronics Club’s handmade music hardware and software, synthesizers, and effects processors.

Reprising last year’s spotlight event, an immersive walk-through concert/installation at Birch Aquarium in La Jolla on April 19th, will feature live performances spread throughout the aquarium including Gavin Bryars’ Sinking of the Titanic, a Gamelan Ensemble, sound installations by Tina Tallon, Nicolee Kuester, Jon Forshee, and Tommy Babin, and SEA SOAR and short films by Lyndsay Ellis Bloom with sound design by Caroline Louise Miller. $10 Discounted admission ($8 for UCSD students) for the entire aquarium.

New this year, Springfest will host its first ever panel discussion on the culture of music and affect, From Fragile to Plastique: Confronting the Culture of Music and Affect, curated by Diana Hereld. Additionally, this event includes exploring alternate models for sound presentation, Celeste Oram’s Microventions, 60 second mini-concerts, and Curt Miller and Nichole Speciale presenting two viewings of their sound installation, Polyester.

Admission to all Springfest events on campus are free of charge.

For full event calendar, visit http://ucsdmusic.blogspot.com/

diaspora

Playing a Musical Instrument as a Protective Factor against Dementia and Cognitive Impairment: A Population-Based Twin Study

Abstract:

Increasing evidence supports that playing a musical instrument may benefit cognitive development and health at young ages. Whether playing an instrument provides protection against dementia has not been established. In a population-based cotwin control study, we examined the association between playing a musical instrument and whether or not the twins developed dementia or cognitive impairment. Participation in playing an instrument was taken from informant-based reports of twins’ leisure activities. Dementia diagnoses were based on a complete clinical workup using standard diagnostic criteria. Among 157 twin pairs discordant for dementia and cognitive impairment, 27 pairs were discordant for playing an instrument. Controlling for sex, education, and physical activity, playing a musical instrument was significantly associated with less likelihood of dementia and cognitive impairment (odds ratio [OR] = 0.36 [95% confidence interval 0.13–0.99]). These findings support further consideration of music as a modifiable protective factor against dementia and cognitive impairment.

For our Italian friends:

Crescenti evidenze sperimentali suggeriscono che suonare uno strumento musicale sia positivo per la salute e lo sviluppo cognitivo dei giovani, invece non è stato stabilito se possa esercitare un effetto protettivo contro la demenza. In questo studio gli Autori indagano l’associazione tra il suonare uno strumento e lo sviluppo di demenza o declino cognitivo in una popolazione di gemelli. La capacità o meno di suonare uno strumento è stata dedotta dalle informazioni personali ottenute dai gemelli, mentre la diagnosi di demenza è stata verificata usando i criteri diagnostici standard. Tra 157 gemelli discordanti per lo sviluppo di demenza, 27 coppie erano discordanti anche per l’aver suonato uno strumento musicale. Controllando per sesso, educazione e attività fisica, la capacità di suonare uno strumento era associata con una ridotta probabilità di demenza e disagio cognitivo (odds ratio [OR]?=?0.36 [95% intervallo di confidenza 0.13-0.99]). Questi risultati supportano la possibilità di considerare la musica come fattore protettivo contro demenza e declino cognitivo.

M. Alison Balbag, Nancy L. Pedersen, and Margaret Gatz, “Playing a Musical Instrument as a Protective Factor against Dementia and Cognitive Impairment: A Population-Based Twin Study,” International Journal of Alzheimer’s Disease, vol. 2014, Article ID 836748, 6 pages, 2014. doi:10.1155/2014/836748

Copyright © 2014 M. Alison Balbag et al. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

 

UC MERCI Project Wins $300K Award for Music and Science Research

UC MERCI

Scott Makeig, research scientist and director of the Swartz Center for Computational Neuroscience at the Institute for Neural Computation of UC San Diego, has brought together a research group from four UC campuses who have won a $300,000 President’s Research Catalyst Award, one of five such awards across the UC system announced by President Janet Napolitano.

The group’s research, which uses music to understand the human brain, “brings together UC experts on music listening, performance, neuroscience, brain imaging, and data science to understand the transformative potential of music for health and cognition,” says Napolitano’s announcement.

Makeig and his colleagues are among the first to receive the new awards, which will channel $10 million over three years to fund research in areas of strategic importance, such as sustainability and climate, food and nutrition, equity and social justice, education innovation, and health care.

“It’s gratifying to know our work on the frontiers of music, systems neuroscience, and human experience has been recognized for its potential value,” said Makeig. “I’m especially pleased for my collaborators. This is a true team effort by scientists from different disciplines with common interests in musical experience and communication.”

His winning project proposes “an American center for the scientific study of musical experience, communication, and behavior.” The UC Music Experience Research Community Initiative (UC MERCI) will allow UC researchers to share cutting-edge resources and collaboratively develop methods to understand – and enhance – music’s ability to affect and even transform the human mind.

Working with Makeig on the project are John Iversen, Sarah Creel, and Gert Lanckriet of UC San Diego; Ramesh Balasubramaniam, UC Merced; Petr Janata, UC Davis; and Mark Tramo, UCLA. Under the initiative, a group of graduate students will work together across the four campuses. California music-industry groups may also be involved.

“The study of musical experience and communication is truly interdisciplinary,” said Makeig. “For centuries, humanists and scientists have studied music and language from different angles and for varied purposes at conservatories and universities around the globe. We now have an opportunity to gain new understanding by using new scientific tools including brain imaging and computation.”

“A thorough and systematic study of music cognition requires a truly multidisciplinary effort, bringing together neuroscience, psychology, cognitive science, linguistics, medicine and, of course, music. While the UC system has much invested in individuals, technologies, and methodologies for studying each of these separately, a systematic interdisciplinary effort to tackle music-cognition problems could enable UC to attain worldwide prominence in these research areas.”

 

Above information taken directly from full press release by Paul K. Mueller, which may be found here.

More information on MERCI may be found here.

Chill-inducing music enhances altruism in humans

Chill-inducing music enhances altruism in humans                                                                                                                                       Frontiers in Psychology, published online October 2014

Fukui H, Toyoshima
Faculty of Education, Nara University of Education, Nara, Japan

Music is a universal feature of human cultures, and it has both fascinated and troubled many researchers. In this paper we show through the dictator game (DG) that an individual’s listening to preferred “chill-inducing” music may promote altruistic behavior that extends beyond the bounds of kin selection or reciprocal altruism. Participants were 22 undergraduate and postgraduate students who were divided into two groups, the in-group and the out-group, and they acted as dictators. The dictators listened to their own preferred “chill-inducing” music, to music they disliked, or to silence, and then played the DG. In this hypothetical experiment, the dictators were given real money (which they did not keep) and were asked to distribute it to the recipients, who were presented as stylized images of men and women displayed on a computer screen. The dictators played the DG both before and after listening to the music. Both male and female dictators gave more money after listening to their preferred music and less after listening to the music they disliked, whereas silence had no effect on the allocated amounts. The group to which the recipient belonged did not influence these trends. The results suggest that listening to preferred “chill-inducing” music promotes altruistic behavior.

T1

Table 1 – Mean allocation of each stimuli.

And for our Italian friends:

La musica è una caratteristica universale tra gli esseri umani, che da anni affascina e intriga i ricercatori. In questo studio i ricercatori dimostrano, attraverso il gioco del dittatore (DG), che quando un individuo ascolta la sua musica preferita, quella che induce i brividi, viene spinto verso comportamenti altruistici che vanno al di là del clan di appartenenza o dell’altruismo reciproco. Hanno partecipato allo studio 22 giovani tra studenti e laureati divisi in due gruppi, il gruppo “interno” e il gruppo “esterno”, e agivano da dittatori. I dittatori ascoltavano musica di loro gradimento o musica che non gradivano, oppure silenzio, prima di agire da dittatori. In questo esperimento ai dittatori veniva dato denaro reale che non potevano però tenere, ma che dovevano distribuire ai riceventi, presentati come immagini stilizzate di uomini e donne sullo schermo di un computer. I dittatori giocavano al DG sia prima sia dopo avere ascolto la musica. Sia i dittatori uomini che donne elargivano più denaro dopo avere ascoltato la loro musica preferita e meno dopo avere ascoltato musica sgradita, mentre il silenzio non aveva alcun effetto sulle somme che venivano allocate. Il gruppo al quale il ricevente apparteneva non influenzava questo trend. Gli Autori concludono che l’ascolto della musica preferita incoraggia comportamenti altruistici.

Fukui, H., & Toyoshima, K. (2014). Chill-inducing music enhances altruism in humans. Frontiers in Psychology, 5, 1215. doi:10.3389/fpsyg.2014.01215

For complete article, please see Frontiers in Psychology.

Editorial note: The views of the following statement contained in the full article, As is widely known, music has the ability to strongly affect a person’s emotions and sometimes even control them (Juslin and Sloboda, 2010),” does not necessarily represent the views of Pathways in Music.

Personal preferred ‘chill-inducing’ moment, in total recollection, occurs in the following piece, 3:32

The Paradox of Music-Evoked Sadness: A Survey of Personality and Reward

The paradox of music-evoked sadness: an online survey

Taruffi L, Koelsch S – Published October 20, 2014

Department of Educational Sciences & Psychology and Cluster of Excellence, “Languages of Emotion”, Freie Universität Berlin, Berlin, Germany

This study explores listeners’ experience of music-evoked sadness. Sadness is typically assumed to be undesirable and is therefore usually avoided in everyday life. Yet the question remains: Why do people seek and appreciate sadness in music? We present findings from an online survey with both Western and Eastern participants (N?=?772). The survey investigates the rewarding aspects of music-evoked sadness, as well as the relative contribution of listener characteristics and situational factors to the appreciation of sad music. The survey also examines the different principles through which sadness is evoked by music, and their interaction with personality traits.

Results show 4 different rewards of music-evoked sadness: reward of imagination, emotion regulation, empathy, and no “real-life” implications. Moreover, appreciation of sad music follows a mood-congruent fashion and is greater among individuals with high empathy and low emotional stability. Surprisingly, nostalgia rather than sadness is the most frequent emotion evoked by sad music. Correspondingly, memory was rated as the most important principle through which sadness is evoked. Finally, the trait empathy contributes to the evocation of sadness via contagion, appraisal, and by engaging social functions.

The present findings indicate that emotional responses to sad music are multifaceted, are modulated by empathy, and are linked with a multidimensional experience of pleasure. These results were corroborated by a follow-up survey on happy music, which indicated differences between the emotional experiences resulting from listening to sad versus happy music. This is the first comprehensive survey of music-evoked sadness, revealing that listening to sad music can lead to beneficial emotional effects such as regulation of negative emotion and mood as well as consolation. Such beneficial emotional effects constitute the prime motivations for engaging with sad music in everyday life.

TABLE 2: Summary of the situations in which participants engage with sad music, and functions of listening to sad music in those circumstances.

TABLE 2: Summary of the situations in which participants engage with sad music, and functions of listening to sad music in those circumstances.

TABLE 6: Summary of the situations in which participants engage with happy music and functions of listening to happy music in those circumstances.

TABLE 6: Summary of the situations in which participants engage with happy music and functions of listening to happy music in those circumstances.

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And for our Italian friends:

Questo studio esplora l’esperienza della tristezza indotta dall’ascolto della musica. La tristezza è comunemente considerata un’emozione negativa e pertanto evitata nella vita quotidiana. Rimane una questione aperta: perché quindi le persone apprezzano la musica triste? Gli Autori presentano i risultati di uno studio condotto online che ha coinvolto 722 partecipanti occidentali e orientali. Lo studio indaga gli effetti gratificanti delle emozioni tristi evocate dalla musica, nonché l’apporto relativo alle caratteristiche dell’ascoltatore e alle situazioni che contribuiscono all’apprezzamento della musica triste. Lo studio esamina inoltre i differenti principi attraverso i quali la tristezza viene evocata dalla musica e la sua interazione con i tratti della personalità.

I risultati mostrano quattro diversi aspetti gratificanti della musica triste: l’effetto dell’immaginazione, la regolazione delle emozioni, l’empatia e l’assenza di implicazioni nella vita reale. Inoltre, l’apprezzamento della musica triste segue una modalità congruente con l’umore ed è più grande tra gli individui con maggiore empatia e minore stabilità emotiva. Sorprendentemente la nostalgia piuttosto che la tristezza è l’emozione più frequente evocata dalla musica triste. Di conseguenza, la memoria è stata valutata come il principio più importante attraverso il quale l’emozione viene evocata dalla musica triste. Infine, il tratto di empatia contribuisce all’evocazione della tristezza attraverso il contagio, l’apprezzamento e il coinvolgimento delle funzioni sociali. I presenti risultati indicano che la risposta emotiva alla musica triste è sfaccettata, modulata dall’empatia e collegata a una esperienza multidimensionale del piacere.

Questi risultati sono stati corroborati da una ricerca successiva sulla musica allegra, che mostra differenze tra le esperienze emotive nell’ascolto di musica felice o triste. Questo è il primo studio comprensivo sulla tristezza evocata dalla musica, e rivela che l’ascolto della musica triste può portare benefici emotivi come la regolazione delle emozioni negative e dell’umore, oltre che della consolazione. Questi benefici emozionali costituiscono una ragione per ascoltare la musica triste durante la vita quotidiana.

Information provided by abstract – full study may be found here.

doi:10.1371/journal.pone.0110490.t002

(My favorite ‘sad’ video of all time below).

Call for Papers – Harvard Graduate Music Forum Conference 2015

poster-draft

 

Call for Proposals

 This interdisciplinary conference takes as its premise that  music is inseparable from the economic conditions of its production and consumption. Through presentations, lecture-recitals and composers’ colloquia,  we seek to explore the intersections of music and economics from a diverse array of perspectives including labor, practice, material culture, and capital.

Questions include but are not limited to:

  • How do musicians and their employers understand musical labor, and how does this  impinge on issues of amateurism, professionalism, and institutionalization?
  • How have shifting economic systems — for instance, from patronage to mass consumption, or from liberalism to neoliberalism — altered the place of music in society?
  • How have issues such as postcolonialism, the North-South economic divide, and globalization, intersected with various musical practices to forge divergent models of economies of music?
  • Where does music succeed and where does it fail in transforming economic relations?
  • What are the economic consequences of the material means of musics’ dissemination, such as manuscripts, published scores, phonograph recordings, streaming and live performance?
  • How do questions of cultural and economic capital combine in appraisals and contestations of musical value?
  • How has music symbolically represented economics and status? What is music’s role in this endeavour today?

Submissions

We welcome submissions from current graduate students on these and related topics. We seek proposals on all repertoires, musical practices and historical periods, and representing a broad set of methodologies. Formats for presentation include:

  • 20-minute papers, audiovisual presentations, or exploratory text works, with 10 minutes for discussion
    Please submit abstracts of a maximum of 350 words and, where appropriate, up to 4 additional pages for figures. Please add a short statement regarding AV requirements.
  • 30-minute composer colloquia, performances, or lecture-recitals, with 15 minutes for discussion
    Please submit details of the work to be presented in a maximum of 350 words and, where appropriate, links to relevant sound recordings and/or scores or supplementary documentation.

Deadline for proposals: 5 December 2014

Please e-mail submissions to: harvardgmf2015@gmail.com

There Is Always Hope: How Music Saved My Life

A couple of months ago, I was asked by To Write Love On Her Arms to do a post on my experience with depression, music, and being a suicide survivor.

This is my story.

photo

For as long as I can remember, my greatest aspiration has been to study psychological resilience and music. Having begun touring as a singer from age three, my furthermost joy and identity were formed in creating and performing music. As I attempt to place these thoughts in tangible form, I’d like to explain where the past year of my life has taken me, and how this hope has finally come to be realized. I’d like to tell you how music saved my life.

       On July 9, 2013, I grabbed sushi with a dear friend from college. It had been at least a year since we’d seen one another due to his relocation to another state. We had a wonderful dinner, his charisma weaving grandiose patterns of laughter and jokes to make up for lost time. To this day, he remains the only friend who could ever get away with his hysterical manner of picking me up and spinning me around. It was simply his way of saying “Hello.”

       The following afternoon, as I was on my way to Stanford University to cover a behavioral science and creativity conference, I received an urgent phone call from the Los Angeles Police Department. After an inundation of bewildering questions and the request that I be sitting down, I was alerted that my friend had sustained a perplexing and potentially fatal injury. The following two months would consist of a blur of countless ER, ICU and eventually hospice visits, and even more fatigued phone calls from detectives, friends, and families in attempt to speculate every detail as to my friend’s condition. After failing to regain consciousness, my friend died on August 21, 2013 of a self-inflicted gunshot wound to the head. He was twenty-seven.

        In the months following my friend’s suicide, the protracted plagues of devastation, anxiety and sheer panic made it painfully clear that I was suffering from severe depression. I had battled fear before, but the danger of self-harm from my perceived terror of abandonment now hit an all-time high. Something about being the last person to see my friend before he took his life had finally made my very existence seemingly unbearable. I simply couldn’t imagine a reality where I would ever feel whole again. Somewhere along the way, however, something began to penetrate the walls I had built. Maybe it was that night of such unbearable emptiness, resulting in my frantic request of a trusted friend, “Why can’t you just tell me it’s going to be okay?” I’ll never forget his response: “Because it’s going to be okay whether I say so or not.”

       For possibly the first time, I realized that no matter how much people love and cherish you, sometimes, they can’t be there. It was not until this year – twenty eight years into my life – that I was truly faced with the chief insecurity of uncovering and confronting my own sense of self. It hit me then: I had built my entire value solely upon the affirmation of others. How would I ever afford unconditional love and hope if I did not possess it for myself?  It took more correspondence with prudent souls, more star-filled nights, more floods of tears and more compassionate, tough love from friends than I ever thought possible, but eventually, I began to understand that a lifetime’s lacking of my own self worth had been, in fact, the greatest torment of all. Slowly, with the help of my music and a lot of blind faith, I decidedly began the harrowing task of turning inward to face a past that had hidden profoundly in the dark for far too long.

       As I discovered that in music could be found the tools for defense, it quickly became all but Pavlovian. With each resurfacing memory of the loss of my father, of my friend, or even the type of violations that I as a young woman should never have had to endure, it began to feel like there was no margin in what could be taken from me, save my headphones screaming louder than any external threat or captor. I recalled that when at age eighteen I witnessed a childhood crush lose his longstanding battle with cancer, a piano, and occasionally present kindred spirit, taught me that three keys struck within a proper distance could form a chord. Those chords at once revealed the earliest potential of more than an escape – they provided the will to keep going.  It was within the process of witnessing my own hopelessness slain by the dogged determination playing before me like a vivid, striking film sequence that I cemented an acute desire to help others through their pain.

Steinway

        It was not quite until really digging in to the psychology of music that I found the possibility of a way not to dull the pain, but utilize it for courage. When my collapsed sense of self risked self-harm, gentle souls appeared to remind me of what I’d already overcome. When the radiant pangs of feeling alone threatened to overtake me, I discovered mercy and anticipation in composing. When I found myself paralyzed by the searing agony of depression, exterior melodies stepped in to share my burden. This award of music had not only provided oxygen for my lungs; it had yielded a powerful breed of strength and beauty within me – the will to struggle, and the will to survive.

       While covering a music industry event in Hollywood this Spring, I had the pleasure of speaking to Benjamin Weinman of The Dillinger Escape Plan. As a friend had alerted me of Ben’s advocacy for youth suicide prevention (The You Rock Foundation in particular), I took the opportunity to ask him what it was about the process of creating music that had helped him in overcoming adversity.

“When I was growing up, I had a lot of difficulties in school. I had certain learning disabilities that made it difficult for me to process information in the way it was presented by a typical school curriculum. My experiences left me feeling extremely isolated and insecure. When I started playing music, I realized that intelligence had nothing to do with one’s ability to excel in the classroom environment. It gave me passion. It gave me confidence. I was able to make friends and also figure out new ways of learning. Creating give me purpose every day and will for the rest of my life… Music saved my life.”

The Dillinger Escape Plan live at Porter’s Pub, San Diego, 2014. Photo by Diana Hereld.

       Like Ben, I never cease to be amazed at music’s capacity to bring about a mental resilience. I know music to be a healing tool, because we are living attestations. It is utterly apparent that the pleasure of simply working in music sustained me through my more anguished, desperate moments. In The Problem of Pain, C.S. Lewis stated “No one ever told me grief felt so like fear.” In Orthodoxy, G.K. Chesterton said “The only courage worth calling courage must necessarily mean that the soul passes a breaking point and does not break.” I have felt this terror, and desperation – but I have also perceived the call of this courage.

˜

       A little over a year ago, I got the call about my friend. Over three hundred and sixty five days have passed since the night I thankfully had the cheek to gleefully yelp “Love you, buddy!” after my friend as he walked away; one hand in the air like an old fashioned movie star. Over the past twelve months, I have been granted more exposure to trauma, mental illness and mercy than I’d ever imagined possible. I have been made aware of more triggers in my subconscious than I felt I could handle, and I have been forced to confront them head on.  I’ve loved and lost more deeply, and written more music than ever before. I’ve applied to, and received a full fellowship to attend my top choice grad school for music and psychological resilience beginning this month. My friends have become my family; my songs that rare blend of confidant and hope. Though I have feared the dangers of losing emotional jurisdiction over my own life the most, I have realized that sometimes, it’s okay to let go, and press on – even when the route is unclear. As Bukowski famously quoted “As the spirit wanes, the form appears.”

       Not a day goes by that I don’t think of my friend. He touched the lives of so many, and I can only pray that I will one day repay him by giving back the selfless love he radiated to everyone around him, and by furthering the cause to ease the hearts of those struggling to find hope.

sunset

       I want to tell you, dear reader, that regardless of the tactless tragedies or inconsolable madness you may be undergoing, there are others. It’s not just that you are not alone – of course you’re not. You are surrounded by a cloud of witnesses, a humanity of enduring creatures, and an enclave of people who not only want to understand, but do understand. As unimaginable as it might sound at times, there is so much love to be found. If you’re standing on the beach at sunset, savor it while it lasts. If you’re going through hell, keep going. The impermanence and temporal nature of existence only contribute to its need to be treasured. For me, it has been my faith in God, and the self-awareness, hope and love I have found and tried to share though music. In the end, it is very possible that only we can save ourselves, but it is often the intrinsic beauty of life and dear ones surrounding that offer the priceless reminder that we can, and should. In the profound words of author Jennifer Hect, “We are indebted to one another and that debt is a kind of faith — a beautiful, difficult, strange faith. We believe each other into being.” Please stay, and please keep going. You can make it though, and it will be more radiant and precious than anything you can possibly imagine.

Diana Hereld, UCSD, Fall 2014

To those who have sustained me through the darkest and brightest of times:

As I continue to research the neurology of self-destructive behaviors and the psychological interventions that might be employed via music, I can only convey my infinite gratitude for whatever role, small or gargantuan; you have played in my life. I love you all. And thank you for the music.

˜

If you or someone you know is struggling with depression or suicidal thoughts, please visit the Suicide Prevention Lifeline or call 1-800-273-TALK (8255).

For more information on what The You Rock Foundation is doing to help youth overcome depression, follow them on FB and stay tuned for their official launch at http://www.yourockfoundation.org . Follow them on social media here –

twitter.com/YouRockFND
instagram.com/yourockfnd
youtube.com/yourockfnd

For more information on Benjamin Weinman and The Dillinger Escape Plan, visit here and here.

Can musical training influence brain connectivity? Evidence from diffusion tensor MRI

Brain Sci 2014 Jun 10;4(2):405-27

Can musical training influence brain connectivity? Evidence from diffusion tensor MRI

(Moore E, Shaefer RS, Bastin ME, Roberts N, Overy K)*

brainsci-04-00405-g001

“In recent years, musicians have been increasingly recruited to investigate grey and white matter neuroplasticity induced by skill acquisition. The development of Diffusion Tensor Magnetic Resonance Imaging (DT-MRI) has allowed more detailed investigation of white matter connections within the brain, addressing questions about the effect of musical training on connectivity between specific brain regions. Here, current DT-MRI analysis techniques are discussed and the available evidence from DT-MRI studies into differences in white matter architecture between musicians and non-musicians is reviewed. Collectively, the existing literature tends to support the hypothesis that musical training can induce changes in cross-hemispheric connections, with significant differences frequently reported in various regions of the corpus callosum of musicians compared with non-musicians. However, differences found in intra-hemispheric fibres have not always been replicated, while findings regarding the internal capsule and corticospinal tracts appear to be contradictory. There is also recent evidence to suggest that variances in white matter structure in non-musicians may correlate with their ability to learn musical skills, offering an alternative explanation for the structural differences observed between musicians and non-musicians. Considering the inconsistencies in the current literature, possible reasons for conflicting results are offered, along with suggestions for future research in this area.”

And for our Italian friends:

In tempi recenti i musicisti sono stati sempre più spesso reclutati per indagare la neuroplasticità della sostanza grigia e bianca indotta dall’acquisizione di nuove abilità. Lo sviluppo della risonanza magnetica a tensore di diffusione (DT-MRI) ha permesso un’indagine più dettagliata delle connessioni della materia bianca all’interno del cervello, permettendo di rispondere a quesiti che interessano lo sviluppo della neuroplasticità indotta dal training musicale. In questo studio, si discutono le potenzialità di questo metodo e si evidenziano le differenze di connettività riscontrate nel cervello di musicisti e non musicisti. Globalmente, la letteratura attuale tende a supportare un aumento della connettività interemisferica indotta dalla pratica musicale, con differenze significative trovate nelle varie regioni del corpo calloso dei musicisti rispetto ai non musicisti. In ogni caso, le differenze nelle fibre intra-emisferiche non sono sempre replicate, mentre le osservazioni riferite alla capsula interna e al tratto corticospinale sembrano essere contraddittorie. Esiste anche una recente evidenza che suggerisce che la variabilità nella struttura della sostanza bianca nei non musicisti possa correlare con la loro capacità di acquisire nuove abilità musicali, offrendo una spiegazione alternativa per le differenze strutturali osservate tra i musicisti e i non musicisti. Considerando le incongruenze nella letteratura, gli Autori propongono una possibile spiegazione per i risultati contraddittori, suggerendo una strategia per la ricerca futura in quest’area delle neuroscienze.

*(1 Institute for Music in Human and Social Development (IMHSD), Reid School of Music, Alison House, 12 Nicolson Square, Edinburgh EH8 9DF, UK; 2 SAGE Center for the Study of the Mind, University of California, Santa Barbara, CA 93106, USA; 3 Centre for Clinical Brain Science, University of Edinburgh, Edinburgh EH8 9YL, UK; 4 Clinical Research Imaging Centre (CRIC), University of Edinburgh, Edinburgh EH8 9YL, UK; 5 Institute for Music in Human and Social Development (IMHSD),Reid School of Music, Alison House, 12 Nicolson Square, Edinburgh EH8 9DF, UK)

“Neuromusic News” edited by Fondazione Mariani.
Contributors: Luisa Lopez, Giuliano Avanzini, Maria Majno and Barbara Bernardini.

This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution license (http://creativecommons.org/licenses/by/3.0/).

CALL FOR PAPERS – 13th Annual Auditory Perception, Cognition and Action Meeting (Long Beach)

APCAM 2014 Call for Papers

The 13th Annual Auditory Perception, Cognition and Action Meeting (APCAM 2014) will be held on Thursday, November 20 (at the Hyatt Regency Long Beach Hotel) in Long Beach, California. APCAM is a one-day satellite meeting affiliated with the annual meeting of the Psychonomic Society. The goal of APCAM is to bring together researchers from various theoretical perspectives to present focused research on auditory cognition, perception, and aurally guided action. APCAM is a unique meeting in its exclusive focus on the perceptual, cognitive, and behavioral aspects of audition. Another unique aspect of APCAM is that it recently has become a FREE EVENT FOR ALL ATTENDEES.

The Organizing Committee welcomes not only empirical, but also general theoretical and methodological submissions on a variety of auditory topics, including (but not limited to) the following areas:

Localization, motion perception, and spatial cognition
Object, event, and pattern perception
Aurally guided action and navigation
Auditory scene analysis
Timing and attention
Pitch, loudness, and timbre perception
Music perception, cognition, and performance
Comparative auditory processing
Behavioral neuroscience
Speech
Memory and source identification

Submissions should include an abstract of 300 words or less, the title of the proposed presentation, names and institutional affiliation information for all contributing authors as they should appear in the conference program, as well as e-mail contact information for the primary/submitting author. Abstracts should be submitted online by following the Submit link on the APCAM website (www.apcam.us); this submission portal is expected to become active prior to the end of June. Authors also can communicate directly about submissions with the Chair of the Organizing Committee at hallmd@jmu.edu.

Each submission also should indicate whether there is a preference for an oral or poster presentation. The committee will make every effort to accommodate presentation preferences, though it may not be possible to honor all requests. Given the limited number of oral presentations, authors traditionally have only been permitted a single oral presentation. If there are more accepted abstracts with an oral presentation preference than there are available presentation slots, preference will be given to papers judged to represent the strongest contributions, as well as to participants who did not deliver an oral presentation at the immediately preceding APCAM.

Additionally, the Organizing Committee welcomes proposals representing either a cluster of 3-4 related abstracts or a possible (45- to 60-minute) panel discussion on a unified topic. Related abstracts can be submitted separately, along with a separate abstract (still 300 words or less) from the coordinating author. Proposals for panel discussions will only require this latter type of abstract. The abstract from the coordinating author should indicate the motivation for, and the nature of, the proposed session, including a brief overview of the fundamental issue(s) that it hopes to address. A listing of contributing authors for the session also should be provided, along with a brief statement about what each author will discuss. Such abstracts are expected to be included in the printed program if a proposal is accepted. Preference will be given to proposed sessions that cut across research domains and that have important theoretical implications and/or practical applications. Additionally, panelists for proposed sessions should be selected based upon their areas of expertise, and thus their ability to actively contribute to the discussion. Panel discussions should be designed to allow for at least 10-15 minutes of questions/participation from the audience either at the end of the session or interspersed throughout the panel discussion.

The deadline for submission of abstracts and all program proposals is October 1. While this traditional deadline is very close to the conference date, all authors are expected to be notified about the status of their submission very rapidly after the submission deadline. Travel and reservation information can be located through the APCAM website (www.apcam.us), which includes a link to details found on the Psychonomic Society site (http://www.psychonomic.org/general-information).

If you are interested in attending APCAM, but do not anticipate being a contributing author, then you can register simply by sending a brief e-mail that includes your name and affiliation to hallmd@jmu.edu. Contributing authors will be registered automatically, but are asked to indicate at the time of submission which authors are expected to attend the meeting.