Music, Mind and Meaning Conference at the Peabody Institute – Day 2 Recap

1779146_10100787537465660_2115934_nMusic, Mind and Meaning Conference – Day 2

Friday commenced with the morning keynote delivered by Dr. Ani Patel, entitled Does instrumental musical training enhance the brain’s processing of speech? In Patel’s articulate and informative lecture, he began by drawing our attention to the following: “Music and language have important connections as cognitive and neural systems, and that has implications for theoretical debates about how the mind is organized – for evolutionary studies on the origins of these abilities, and practical issues about remediation of language disorders” (Patel, 2014). Though the parallels in music and language are less novel on account of the publication of his 2008 book Music, Language and the Brain, the implications of instrumental training lending to developments in language and speech are very much so. In conclusion, operating with his extended OPERA hypothesis, Patel emphasizes that regardless of the varying direction and debates these studies may undergo, “Comparative music and language research really does deepen our understanding of human communication.” (Patel, 2014).

Dr. Elizabeth Tolbert spoke next, providing an evolutionary perspective in Music, Meaning and Becoming Human. Approaching the co-evolution of music, meaning and social intelligence, Tolbert addressed music as a behavior, not object; of possessing a social ontology, and its implicational model as derived from social interaction, shared intentionality and social intelligence. Her overarching thesis states “the story of becoming human is the story of the development of a specifically human type of meaning rooted in social intelligence, and one that likely has its origins in proto-musical behavior.” (Tolbert, 2014).

IMG_9286Dr. Ian Cross’s lecture entitled Music, Participation and Interaction further expanded on the day’s existing idea of music not only as a “practice composed by the few and consumed by many,” but as the encompassment of interactive processes far beyond a role of abstract structures, symbolic realms or lofty themes. As uniquely flexible and socially cooperative creatures, humans are capable of utilizing music as not only a mode of communicating information and ideals, but at times as phatic organisms. Cross went on to explain with conviction that if this theory were more widely considered, the insinuation might result in music being given the proper chance to utilize it’s more pragmatic magic in resolving social uncertainties (and thus social anxiety), provide powerful effects on memory and social attitude, and “provide us with new perspectives on the investigation of music beyond the bounds of Western culture” (Cross, 2014).

The second keynote, Losing the Beat: A New Window on Human Rhythm was given Dr. Isabelle Peretz (University of Montreal). Peretz has published over two hundred and fifty five scientific papers regarding everything from perception, emotion and memory to singing and dancing. In Losing the Beat, Peretz explained that a defining characteristic of human interaction with music is “the identity and ability to move to the beat.” Although this universal faculty is typically formed early in life, her recent research shows that some individuals suffer from the inability to synchronize with beats in music. This disorder is referred to as beat deafness, a new form of congenital amusia. In her presentation, Peretz conveyed a strong sensibility for the cause of studying musical disorders in regard to “reverse-engineering of the musical brain” (Peretz, 2014).

IMG_9311Later in the afternoon, Andrea Halpern took the floor to share her work on auditory imagery, and to describe her study examining the neural loci of imagined music. Halpern is a pioneer in her long-standing devotion to the field from early in its development. She has contributed fundamental work on memory and perception of musical structure, including studies on earworms and the persistence of musical memories), effects of timbre and tempo change, and perception of emotion in sounded and imagined music. In her presentation Auditory Imagery: Linking Internal and External Music, Halpern presented the argument that although internal and external music experiences are distinctive encounters, they share a number of important similarities, which both musicians and nonmusicians can exploit to enhance the musical experience.

Photo 1 – Diana Hereld

Photos 2, 3 – Scott Metcalfe

Note: I must include an apology for the delay in reporting on the conference this weekend. I simply found myself so wonderfully overwhelmed with information (but overwhelmed regardless) that I was unsure how to encapsulate the day’s culmination of so many brilliant minds in presentation of their most recent work. As a result, I’ve decided to report individually on each of them in the near future. A few other outlets have picked up specific coverage, and I will advise as those are released. I will also be sharing a summation of the conference’s concluding rountable featuring the speakers and performers, which was truly a thing to behold.

Advertisements

Music, Mind and Meaning Conference at the Peabody Institute– Day 1 Recap

IMG_9755 Music, Mind and Meaning Conference – Day 1

Apart from the seventy (yes, seventy) degree temperature shock going from Los Angeles to Baltimore, I had a wonderful evening at the opening of the Music, Mind and Meaning conference at the Peabody Institute. The evening began with rousing introductions all around, and I was wonderfully honored to finally meet some of my favorite scholars face to face.

At 7pm, Dr. David Huron took the floor for the keynote address. In his talk, “Emotions and Meanings in Music, he posed the question, “In what ways can music convey meaning?” Songs have lyrics, works have evocative titles, but most of music’s meaning comes from other sources including:

  • Cultural schemas
  • Learned expectations
  • Personal associations

In his over sixty minute presentation, Huron covered everything from how musical associations become universal cultural icons, to the psychoacoustics of intimacy (which contained brilliant perspectives I had never visualized), to an explicitly detailed account of how ethologists differentiate between signals versus cues, and what we can take from learning about hostile versus friendly behavior in animals to musical studies. Since my arrival, I’ve listened to one out of nine lectures, and am, at present, blown away. Let’s just say this: you know it’s good when you have world-class academics on either side murmuring in awe at what is being presented. I look very forward to recounting the full presentation when time permits.

Following Dr. Huron’s talk, a duo took the stage like I haven’t quite seen before. I’d venture it’s not uncommon, but when Grammy-nominated pianist and composer (and MacArthur genius fellowship recipient) Vijay Iyer improvises a single-song performance – for thirty-five minutes nonstop – one listens. Joined by Gary Thomas (Director of Jazz Studies, Peabody) on the saxophone followed by flute, the enigmatic chemistry that was created simply devoured the room like a thick trance. One of my favorite enigmas of the evening was simply glancing down the two rows of conference speakers to see who was bobbing side to side, or front to back; the eyes that were closed or engaged, or (my favorite) watching the woman who periodically plugged her ears as if to reimagine what she had just heard.

The evening closed with a reception lasting well past eleven in the Peabody library. Accompanied by a presentation of the exhibit from the personal collection of Eugene S. Flamm, the final talk included introducing some of the very oldest texts surrounding neurosurgery and the cradle of medicine known to exist. I look very forward to the continuance and development of the conference tomorrow morning.